{"meta":{"query_hash":"6debea588529","filters":{"topic":"Visual Culture and Art Theory"},"cohort_total":669,"direct_labels_cover":0,"predictions_cover":669,"exported":669,"export_cap":100000,"truncated":false,"label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12"},"permalink":"https://metacan.xera.ac/q/6debea588529","api":"https://metacan.xera.ac/api/v1/cohort?topic=Visual+Culture+and+Art+Theory"},"results":[{"id":"W102724645","doi":"","title":"Essays into the Imagetext: An Interview with W. J. T. Mitchell","year":2000,"lang":"en","type":"article","venue":"Mosaic (Winnipeg)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Comics; Art history; Iconology; Art; Comic strip; Sociology; Literature","score_opus":0.023407038794015598,"score_gpt":0.24546751726947189,"score_spread":0.2220604784754563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W102724645","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21204829,0.009126799,0.0012389986,0.63279366,0.004206471,0.00016349612,0.00012658448,0.00007817147,0.14021753],"genre_scores_gemma":[0.66825306,0.010437804,0.0014614386,0.09431866,0.0015559135,0.0003611332,0.00014275585,0.00031979926,0.22314946],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99659026,0.0015534514,0.000101065765,0.00031451843,0.0008216311,0.0006190657],"domain_scores_gemma":[0.99517316,0.0018148075,0.0004398994,0.00012794467,0.00082934834,0.00161483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037349549,0.00044756156,0.00056331226,0.0013948093,0.016147872,0.009233554,0.0013562196,0.0041313344,0.006915133],"category_scores_gemma":[0.014656243,0.000546989,0.00023303297,0.0023047733,0.007143361,0.009696994,0.0038835357,0.008498283,0.0011573205],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029583784,0.00016217666,0.0012806108,0.00009264477,0.000003892546,0.0025194897,0.7012858,0.00003556699,0.0008269799,0.022363545,0.25261655,0.018783053],"study_design_scores_gemma":[0.000006359107,0.000034062672,0.0012616847,0.00013137612,0.0000026417115,0.0005008061,0.4184576,0.000051231167,0.00013029407,0.0014717644,0.5779351,0.000017083627],"about_ca_topic_score_codex":0.028162153,"about_ca_topic_score_gemma":0.04822462,"teacher_disagreement_score":0.028162153,"about_ca_system_score_codex":0.006384932,"about_ca_system_score_gemma":0.0054933,"threshold_uncertainty_score":0.055996478},"labels":[],"label_agreement":null},{"id":"W104559808","doi":"10.4000/communication.1673","title":"Jean-Louis ALIBERT (2008), Le son de l’image","year":2011,"lang":"fr","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.05859802876863783,"score_gpt":0.26690153214958784,"score_spread":0.20830350338095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W104559808","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020350635,0.17686428,0.019811053,0.29931587,0.018227872,0.00008180429,0.00063404976,0.0003892903,0.46432516],"genre_scores_gemma":[0.35338688,0.0846766,0.008309784,0.067278415,0.0048004906,0.00013072052,0.00030650556,0.0005172491,0.4805933],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999003,0.0004113185,0.000032194348,0.00020903852,0.0002575439,0.00008697849],"domain_scores_gemma":[0.99879265,0.00068171904,0.00010619484,0.000048681617,0.00029485658,0.00007595992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013641684,0.0011633487,0.00028391692,0.0013352749,0.0042381827,0.0067114816,0.00091470906,0.004336286,0.01628102],"category_scores_gemma":[0.0036982833,0.00033923125,0.0003971624,0.00086977676,0.0040884814,0.0055806926,0.0018300357,0.005989487,0.0052078953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014865752,0.000053654883,0.0018766926,0.00050794997,0.000038987662,0.00054916437,0.026517566,0.0002691592,0.0010634094,0.5910223,0.30940202,0.068550296],"study_design_scores_gemma":[0.0000108555105,0.00001548516,0.0014911353,0.00038712812,0.000014295669,0.00047816552,0.006518856,0.00019028019,0.0012744417,0.048823714,0.94076145,0.000034146673],"about_ca_topic_score_codex":0.027712485,"about_ca_topic_score_gemma":0.04788683,"teacher_disagreement_score":0.027712485,"about_ca_system_score_codex":0.0052474216,"about_ca_system_score_gemma":0.0026371893,"threshold_uncertainty_score":0.055102408},"labels":[],"label_agreement":null},{"id":"W107459895","doi":"10.18357/illumine.nuttingcm.1112012","title":"Embracing the Divine: Devotional Zeal and Mystical “Humanation” in Rembrandt’s Annunciation Sketch","year":2014,"lang":"en","type":"article","venue":"Illumine Journal of the Centre for Studies in Religion and Society of Graduate Students Association","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Mysticism; Symbol (formal); Parallels; Aesthetics; Sketch; Narrative; Literature; Art; Humanity; Philosophy; Style (visual arts); Art history; Theology","score_opus":0.038911513538155,"score_gpt":0.3142430236496387,"score_spread":0.2753315101114837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W107459895","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056284152,0.0035171576,0.009133742,0.010286663,0.0013181695,0.000057637273,0.0001297904,0.00020577945,0.91906697],"genre_scores_gemma":[0.7157397,0.0012889882,0.0030384925,0.0014082127,0.000327764,0.00005983999,0.000062410414,0.00029499168,0.27777964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971753,0.00013393613,0.0000058028154,0.000037280475,0.0000717748,0.00003368312],"domain_scores_gemma":[0.9997682,0.000118627824,0.000015608412,0.00004170993,0.000024956684,0.000030919367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045990528,0.00036792085,0.00010378828,0.00046168483,0.0020631098,0.002768163,0.00036649764,0.0010061733,0.007264514],"category_scores_gemma":[0.0014607997,0.00014591528,0.00016120005,0.00020573457,0.0099614905,0.0025245287,0.0017218015,0.0019725685,0.001104686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037528534,0.000015876176,0.00027591895,0.000064753396,0.0000036071622,0.0004075186,0.05332835,0.00019036364,0.0009505429,0.9085412,0.025612883,0.010571423],"study_design_scores_gemma":[0.0000083301375,0.00002515901,0.00073842047,0.000112080095,0.0000032969986,0.0007257521,0.01044061,0.0003513488,0.0009891049,0.047829293,0.9387625,0.000014208458],"about_ca_topic_score_codex":0.002524483,"about_ca_topic_score_gemma":0.005596269,"teacher_disagreement_score":0.007264514,"about_ca_system_score_codex":0.0014829554,"about_ca_system_score_gemma":0.0005326366,"threshold_uncertainty_score":0.024302244},"labels":[],"label_agreement":null},{"id":"W109208319","doi":"10.3138/jcs.36.2.106","title":"Furnishing the Pictures: Arthur S. Goss, Michael Ondaatje and the Imag(in)ing of Toronto","year":2001,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Verisimilitude; Power (physics); Character (mathematics); Sociology; Art history; Visual arts; Media studies; History; Art; Literature","score_opus":0.03604623074844778,"score_gpt":0.2617454008329841,"score_spread":0.2256991700845363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W109208319","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026890239,0.15398267,0.0008397015,0.30148256,0.015471873,0.00007501885,0.0006991406,0.00021599013,0.50034285],"genre_scores_gemma":[0.3006361,0.060496632,0.0012153288,0.012230907,0.0018340044,0.00003904761,0.00021213172,0.00023854115,0.6230973],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996251,0.00010061419,0.000009591225,0.00004593442,0.000121672376,0.000097118886],"domain_scores_gemma":[0.99927837,0.00011261554,0.00005808805,0.000025020268,0.00018575665,0.00034022453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005074977,0.0008303663,0.00022183415,0.0010011719,0.015907556,0.0058208625,0.0005644205,0.0014500218,0.02602153],"category_scores_gemma":[0.0012188026,0.00038020863,0.00014726387,0.0012387289,0.0067413007,0.002056845,0.0019436475,0.0022125482,0.0035728612],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001983029,0.000007154041,0.00070560974,0.00013178107,0.000004512785,0.00047155496,0.06094558,0.000044818935,0.00030424094,0.021915022,0.9011638,0.014286131],"study_design_scores_gemma":[0.0000023406117,0.0000040180994,0.0014082706,0.0001298476,0.000004132081,0.00017752397,0.04695001,0.000015203056,0.00010041752,0.0005778409,0.9506218,0.000008569886],"about_ca_topic_score_codex":0.72080547,"about_ca_topic_score_gemma":0.94547117,"teacher_disagreement_score":0.27919453,"about_ca_system_score_codex":0.023639234,"about_ca_system_score_gemma":0.009739374,"threshold_uncertainty_score":0.5616775},"labels":[],"label_agreement":null},{"id":"W125627690","doi":"10.1163/22141332-00101005","title":"Early Modern Jesuit Arts and Jesuit Visual Culture","year":2013,"lang":"en","type":"article","venue":"Journal of Jesuit Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Visual culture; Articulation (sociology); The arts; Sociology; Aesthetics; Subject (documents); Visual arts; History; Social science; Epistemology; Anthropology; Art; Law; Political science; Philosophy; Library science; Computer science","score_opus":0.052708111818121586,"score_gpt":0.3013038404899084,"score_spread":0.2485957286717868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W125627690","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53085285,0.019998884,0.0020345834,0.007893248,0.00026596407,0.000013777462,0.000039240666,0.000028192193,0.43887323],"genre_scores_gemma":[0.9930092,0.0015584035,0.00018261635,0.00021578025,0.000031504038,0.0000038826815,0.000005285011,0.0000057779666,0.004987621],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914014,0.00040347598,0.000028016266,0.000083447994,0.00014584322,0.0001990775],"domain_scores_gemma":[0.99883026,0.00059017027,0.00015587399,0.00010398757,0.00016147758,0.0001582752],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015802244,0.00021891356,0.00020462257,0.0014136053,0.0070447675,0.005363057,0.0006312705,0.0007711874,0.0054410067],"category_scores_gemma":[0.0023661084,0.00014179117,0.00010127431,0.001275608,0.017412655,0.0033521722,0.0031272008,0.0013878418,0.00023465004],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000320152,0.00002938432,0.0025976137,0.00017170652,0.000008577993,0.00032019216,0.37526286,0.00008603403,0.00049029716,0.5964527,0.0016059306,0.02294267],"study_design_scores_gemma":[0.000008806367,0.000110714194,0.02697867,0.00096008286,0.00002255716,0.0011721231,0.47522774,0.00043321683,0.0017444876,0.17051318,0.3227686,0.000059839276],"about_ca_topic_score_codex":0.017760456,"about_ca_topic_score_gemma":0.049349982,"teacher_disagreement_score":0.017760456,"about_ca_system_score_codex":0.0035222985,"about_ca_system_score_gemma":0.0015997979,"threshold_uncertainty_score":0.035314143},"labels":[],"label_agreement":null},{"id":"W134268286","doi":"","title":"Autobiography, Visual Representations, and the Preservation of Self","year":2004,"lang":"en","type":"article","venue":"Mosaic (Winnipeg)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biography; Drama; Narrative; Painting; Art; Literature; Character (mathematics); Nazism; Visual arts; German; History; Art history","score_opus":0.01752029263362095,"score_gpt":0.25595086801847755,"score_spread":0.2384305753848566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W134268286","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36511403,0.005543201,0.00827217,0.015236889,0.0007270189,0.00003531321,0.000099610945,0.00028877254,0.6046829],"genre_scores_gemma":[0.93629354,0.0010362425,0.0010222256,0.0006694243,0.000097245524,0.000017584145,0.0000326779,0.00009171091,0.060739405],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994411,0.00036898733,0.0000057999164,0.000038255508,0.00008018121,0.000065586384],"domain_scores_gemma":[0.99962294,0.00016284417,0.000057281988,0.00006248318,0.000043656622,0.000050778905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005613404,0.00045013172,0.0001223693,0.0007723122,0.0031937168,0.0042576506,0.0005036629,0.00071059284,0.0071378737],"category_scores_gemma":[0.0013249466,0.00012095086,0.0001293165,0.0003678786,0.012683781,0.0025229082,0.0028702426,0.0015024301,0.0005509363],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007516175,0.000043450076,0.00064482645,0.00016323166,0.000013084541,0.0011705839,0.5075205,0.00030661953,0.00476832,0.41789132,0.028223686,0.039179336],"study_design_scores_gemma":[0.00001640246,0.000065456414,0.0019666029,0.00027609253,0.000010905095,0.0015731121,0.19172828,0.00041217895,0.0030461857,0.03204601,0.76882267,0.000036115693],"about_ca_topic_score_codex":0.0039051773,"about_ca_topic_score_gemma":0.0068570655,"teacher_disagreement_score":0.0071378737,"about_ca_system_score_codex":0.001756202,"about_ca_system_score_gemma":0.0007976365,"threshold_uncertainty_score":0.023878515},"labels":[],"label_agreement":null},{"id":"W1411629652","doi":"10.1163/15685292-01904003","title":"Healing Vibrations through Visionary Art","year":2015,"lang":"en","type":"article","venue":"Religion and the Arts","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Spiritualism; Painting; Portrait; Art; Aesthetics; Art history; Visual arts","score_opus":0.05032643287326357,"score_gpt":0.28436912318810714,"score_spread":0.23404269031484357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1411629652","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27996483,0.0044723577,0.020811992,0.0071500447,0.00034163616,0.000041121733,0.00001843895,0.00010714052,0.6870924],"genre_scores_gemma":[0.97798187,0.00069680926,0.0026063523,0.00033250754,0.000028254652,0.000012575503,0.000005009288,0.000025709402,0.01831099],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995252,0.00021494518,0.000009147151,0.0000649854,0.00011781101,0.00006783814],"domain_scores_gemma":[0.99971396,0.00014074473,0.000027605574,0.000044353823,0.000033248067,0.0000399875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008824718,0.00022168149,0.00012227576,0.00065018726,0.002777267,0.0034035698,0.0004696386,0.00069535174,0.004622262],"category_scores_gemma":[0.0012179067,0.00012187206,0.00019209631,0.00021233961,0.018553756,0.0022033772,0.0037800523,0.0015244719,0.0003439583],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007193906,0.00005174268,0.0011151469,0.00017205256,0.000012827601,0.00025212427,0.111644454,0.00051581056,0.003322185,0.8201797,0.004917186,0.057744868],"study_design_scores_gemma":[0.00006061002,0.00018856686,0.006993906,0.000555653,0.000026990034,0.00085518457,0.09320487,0.0018379189,0.0026105212,0.43344066,0.4601773,0.00004789286],"about_ca_topic_score_codex":0.0018297536,"about_ca_topic_score_gemma":0.004427163,"teacher_disagreement_score":0.004622262,"about_ca_system_score_codex":0.0019633465,"about_ca_system_score_gemma":0.0007825125,"threshold_uncertainty_score":0.015462995},"labels":[],"label_agreement":null},{"id":"W14201357","doi":"10.7202/1066793ar","title":"Annibale Carracci and the Modern Reform of Altar Painting","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Humanities; Baroque; Art; Philosophy; Art history","score_opus":0.022336087711369374,"score_gpt":0.1991565298379865,"score_spread":0.17682044212661713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W14201357","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018507088,0.022614198,0.00077822595,0.03683634,0.0005829248,0.000014297026,0.000030742733,0.000034603207,0.92060155],"genre_scores_gemma":[0.69512856,0.0082183685,0.0008942431,0.0049964814,0.0011489606,0.000046883277,0.000029602663,0.00008327615,0.2894536],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898046,0.0004898918,0.00001423804,0.00012859631,0.00018436353,0.00020242097],"domain_scores_gemma":[0.99956566,0.00015703836,0.00007084101,0.0000821452,0.00007491184,0.000049317376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011080655,0.0003164161,0.00021571894,0.0008506622,0.0064280084,0.0053373314,0.0006022301,0.0022392268,0.01076234],"category_scores_gemma":[0.0021103886,0.00020115869,0.00019784512,0.0011787068,0.014927727,0.0028958567,0.0018457113,0.0035512971,0.00093940087],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017271594,0.000006081755,0.00015122828,0.000029273328,0.0000017586052,0.00004017873,0.0068957424,0.000112344525,0.00005877185,0.96292084,0.024135325,0.0056312927],"study_design_scores_gemma":[0.000009733198,0.000012993616,0.0015235777,0.00017286613,0.0000042545043,0.000078782796,0.0029388084,0.00019406246,0.0001299905,0.06568849,0.9292326,0.000013798904],"about_ca_topic_score_codex":0.04958894,"about_ca_topic_score_gemma":0.093336105,"teacher_disagreement_score":0.04958894,"about_ca_system_score_codex":0.012996724,"about_ca_system_score_gemma":0.0025966158,"threshold_uncertainty_score":0.098600626},"labels":[],"label_agreement":null},{"id":"W1438297620","doi":"","title":"Vincent Lavoie, Photojournalismes : Revoir les canons de l’image de presse, Paris, Hazan, 2010, 240 p.Vincent Lavoie, Photojournalismes : Revoir les canons de l’image de presse, Paris, Hazan, 2010, 240 p.","year":2011,"lang":"fr","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03407991911535106,"score_gpt":0.25988988775449967,"score_spread":0.2258099686391486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1438297620","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040944194,0.8588455,0.0012240991,0.07626256,0.0071132774,0.00001648186,0.0002600207,0.00015321997,0.05571538],"genre_scores_gemma":[0.030064221,0.694024,0.002623022,0.018193014,0.010909733,0.00009870938,0.00029054913,0.0005903311,0.24320637],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988701,0.0003715746,0.000054360986,0.00015157451,0.00044838278,0.000103869],"domain_scores_gemma":[0.9980551,0.0010634484,0.00013960186,0.000051181658,0.00044198756,0.0002486753],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001666864,0.001710979,0.0007384856,0.0034767534,0.0038936832,0.00936399,0.0017059118,0.0052312627,0.041247055],"category_scores_gemma":[0.0033161212,0.00085694436,0.00048689265,0.00431569,0.004006347,0.012236282,0.0019388305,0.006322448,0.01586],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027006692,0.000014115512,0.00018311733,0.00047715558,0.000009646877,0.000074429605,0.0026517457,0.000066278975,0.0001431877,0.03263738,0.91708344,0.046632502],"study_design_scores_gemma":[0.0000073862743,0.000004311401,0.0011195232,0.00045371012,0.000004585284,0.0001174997,0.0016880285,0.000041728494,0.00012309705,0.0050658314,0.9913605,0.000013787525],"about_ca_topic_score_codex":0.10179904,"about_ca_topic_score_gemma":0.14055261,"teacher_disagreement_score":0.10179904,"about_ca_system_score_codex":0.00722014,"about_ca_system_score_gemma":0.003701672,"threshold_uncertainty_score":0.20241302},"labels":[],"label_agreement":null},{"id":"W1458289442","doi":"10.7202/1026000ar","title":"Coleridge’s Late Confessions: Personification, Convention, and Free Agency","year":2014,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Agency (philosophy); Poetry; Reading (process); Literature; Convention; Moral agency; Art; Philosophy; Law; Political science; Linguistics; Epistemology","score_opus":0.02291743737900105,"score_gpt":0.22685689427689495,"score_spread":0.2039394568978939,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1458289442","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11331532,0.021432273,0.013189649,0.075904906,0.0025333785,0.000055870536,0.00007104209,0.00019238266,0.77330524],"genre_scores_gemma":[0.9377226,0.0027026117,0.0017432997,0.004517627,0.0006570767,0.00004961869,0.000017502436,0.00009540131,0.05249415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99795437,0.0011055331,0.000050382885,0.00019397297,0.00047664472,0.00021893888],"domain_scores_gemma":[0.99597365,0.0025673562,0.00029983406,0.0003288843,0.00047925822,0.00035106076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022561785,0.00037432768,0.0002421714,0.0012454825,0.006427746,0.0076951124,0.0006906396,0.0019873627,0.002627317],"category_scores_gemma":[0.009871574,0.00018365178,0.00015694494,0.0008549401,0.031768624,0.00487597,0.0021724456,0.006116624,0.00043801134],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003144875,0.000010571732,0.00021539026,0.000052427957,0.0000022628615,0.00023718635,0.10244751,0.00004195853,0.00028811657,0.8609859,0.025065998,0.010621214],"study_design_scores_gemma":[0.000014739008,0.00003224119,0.00097449374,0.00030804568,0.00000581616,0.000740926,0.04033125,0.0002327182,0.0011072224,0.11325753,0.84294933,0.00004567693],"about_ca_topic_score_codex":0.008079238,"about_ca_topic_score_gemma":0.009906797,"teacher_disagreement_score":0.008079238,"about_ca_system_score_codex":0.0036681164,"about_ca_system_score_gemma":0.0017373024,"threshold_uncertainty_score":0.02661413},"labels":[],"label_agreement":null},{"id":"W1483647221","doi":"10.7202/019450ar","title":"Savoirs et compétences des visiteurs : la réception de l’oeuvre de Rubens","year":2009,"lang":"fr","type":"article","venue":"Lien social et Politiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.042006887132108005,"score_gpt":0.3414659206273122,"score_spread":0.2994590334952042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1483647221","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64394915,0.0028958924,0.0036577112,0.012390619,0.00038176632,0.000054122873,0.000041005263,0.00011818298,0.33651152],"genre_scores_gemma":[0.9635184,0.00050441234,0.00034341656,0.00029421187,0.000058015303,0.000013465332,0.000011698459,0.000051649604,0.035204705],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9954202,0.0024722437,0.00007109809,0.00022384779,0.00089046144,0.0009221903],"domain_scores_gemma":[0.99673235,0.0016873952,0.00032426332,0.00020846319,0.00037890088,0.0006685986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034759257,0.0003991794,0.00043944834,0.0012770827,0.011189294,0.007896395,0.0009999574,0.0023341451,0.013248131],"category_scores_gemma":[0.007434004,0.0004062467,0.00043712833,0.0008149162,0.011334189,0.003906606,0.008040095,0.004439376,0.0011382651],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048381105,0.00004394802,0.002179201,0.00009546281,0.0000060157618,0.0012182948,0.92287195,0.00007448881,0.0012098519,0.046535525,0.0035172806,0.022199603],"study_design_scores_gemma":[0.000010749736,0.00008629681,0.0063389856,0.0002547641,0.00000747705,0.0009768462,0.72114635,0.00013351018,0.0006711071,0.0049076844,0.26542702,0.000039156694],"about_ca_topic_score_codex":0.017033825,"about_ca_topic_score_gemma":0.023444686,"teacher_disagreement_score":0.017033825,"about_ca_system_score_codex":0.0034513907,"about_ca_system_score_gemma":0.0027648702,"threshold_uncertainty_score":0.04431939},"labels":[],"label_agreement":null},{"id":"W1484675409","doi":"","title":"La Bête humaine. La Chasse de Thomas Vinterberg, Danemark, 2012, 115 minLa Chasse de Thomas Vinterberg, Danemark, 2012, 115 min","year":2013,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01633057006231726,"score_gpt":0.2548390993785017,"score_spread":0.23850852931618444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1484675409","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016009291,0.41502437,0.00085923745,0.18955882,0.051403485,0.00006044156,0.0012414312,0.00029010483,0.3399612],"genre_scores_gemma":[0.004822688,0.026832089,0.0002339099,0.01188394,0.00415445,0.00006876452,0.00021523178,0.00024722095,0.9515416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991642,0.00021240802,0.0000475716,0.00019784599,0.00026111488,0.000116948424],"domain_scores_gemma":[0.9989767,0.00030480037,0.00008221323,0.000055448698,0.00037005395,0.00021089683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011514627,0.0014262464,0.000832081,0.0009581604,0.0058439514,0.007353031,0.0009988006,0.0041619893,0.14298318],"category_scores_gemma":[0.0033727698,0.00081799395,0.0003104317,0.0010804438,0.0012185258,0.0069292146,0.0033926244,0.0053278394,0.051502164],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017848584,0.000011078877,0.000061533385,0.000082247454,0.0000019612062,0.000019542133,0.00044613506,0.000012320979,0.00006928334,0.004730223,0.97939634,0.0151515035],"study_design_scores_gemma":[0.0000019630475,0.0000024170088,0.0002770879,0.000106910884,0.0000013175043,0.000025147889,0.00035786713,0.0000082227325,0.00002575528,0.00046483398,0.9987256,0.0000029236187],"about_ca_topic_score_codex":0.028412059,"about_ca_topic_score_gemma":0.095929906,"teacher_disagreement_score":0.14298318,"about_ca_system_score_codex":0.0043068,"about_ca_system_score_gemma":0.0029528742,"threshold_uncertainty_score":0.47832638},"labels":[],"label_agreement":null},{"id":"W1487546466","doi":"10.15388/relig.2009.1.2771","title":"The transformation of ontology dimension of image in aesthetics","year":2009,"lang":"en","type":"article","venue":"Religija ir kultūra","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Sumitomo Precision Products (Canada)","funders":"","keywords":"Epistemology; Interpretation (philosophy); Dimension (graph theory); Ontology; Meaning (existential); Philosophy; Perspective (graphical); Postmodernism; Fundamental ontology; Aesthetics; Image (mathematics); Art; Computer science; Linguistics; Mathematics; Artificial intelligence; Visual arts; Pure mathematics","score_opus":0.014966880798173831,"score_gpt":0.25295997012446664,"score_spread":0.23799308932629282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1487546466","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06762156,0.0016897613,0.04529265,0.0077882246,0.00053470465,0.000028251308,0.000037812508,0.00006870941,0.8769382],"genre_scores_gemma":[0.98045385,0.00045696148,0.005202157,0.0004769406,0.00013184831,0.000029122737,0.000018460412,0.000078750636,0.013151928],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9980586,0.0008856135,0.000054358796,0.00020848511,0.0005507071,0.00024217469],"domain_scores_gemma":[0.9988526,0.00049246155,0.00011536589,0.0002497287,0.0001762584,0.00011358511],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001795702,0.00044386386,0.00030549508,0.0014360893,0.003207338,0.0077205976,0.0007309431,0.0013053854,0.0057432633],"category_scores_gemma":[0.0024421192,0.00024773524,0.000647088,0.0007696534,0.030584875,0.0075839283,0.004442768,0.0030803164,0.0005205614],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006168981,0.0000075534717,0.0001609123,0.00001972339,0.0000022423342,0.000034817756,0.0056340275,0.000091258495,0.00023262083,0.99015033,0.0003275081,0.0033327579],"study_design_scores_gemma":[0.000016213338,0.000026590546,0.0009700582,0.00007313631,0.000010494667,0.00026471083,0.007985342,0.0007898598,0.00053562707,0.94266564,0.04664696,0.000015309284],"about_ca_topic_score_codex":0.0017560164,"about_ca_topic_score_gemma":0.0016692264,"teacher_disagreement_score":0.0077205976,"about_ca_system_score_codex":0.0032439986,"about_ca_system_score_gemma":0.0014881259,"threshold_uncertainty_score":0.02353698},"labels":[],"label_agreement":null},{"id":"W1487863186","doi":"10.4000/questionsdecommunication.294","title":"Herbert Molderings, L’évidence du possible. Photographie moderne et surréalisme","year":2010,"lang":"fr","type":"article","venue":"Questions de communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ste. Anne's Hospital","funders":"","keywords":"Art; Philosophy","score_opus":0.02504070952270096,"score_gpt":0.2870126491859556,"score_spread":0.2619719396632546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1487863186","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003534009,0.5808072,0.0012175923,0.2485099,0.0051652337,0.000022269143,0.0002527106,0.00005418004,0.16043693],"genre_scores_gemma":[0.24867822,0.46318907,0.0027532482,0.050237007,0.009180676,0.00012365896,0.00024924992,0.00018696714,0.22540188],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998447,0.00068698265,0.000059942893,0.00021996991,0.00045851918,0.00012764485],"domain_scores_gemma":[0.9981047,0.0012873992,0.00015993135,0.0001101963,0.00024352872,0.000094272335],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001741699,0.0007119756,0.00029134421,0.0016332602,0.004202262,0.00518846,0.0007156989,0.005109711,0.011583214],"category_scores_gemma":[0.0034431217,0.0004975897,0.00025042135,0.0019776188,0.011983993,0.012221785,0.002075171,0.0045259027,0.0026154586],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045861332,0.000025446076,0.0004209514,0.0003050105,0.00001183551,0.00013553165,0.016849902,0.00008096191,0.00022662866,0.45857206,0.47010067,0.05322521],"study_design_scores_gemma":[0.00001426353,0.000007857389,0.001974496,0.00060440844,0.0000072067155,0.00015164122,0.0068589635,0.00003828526,0.00031277438,0.067130536,0.92288303,0.000016590779],"about_ca_topic_score_codex":0.051500335,"about_ca_topic_score_gemma":0.0648212,"teacher_disagreement_score":0.051500335,"about_ca_system_score_codex":0.004493044,"about_ca_system_score_gemma":0.0029802492,"threshold_uncertainty_score":0.10240114},"labels":[],"label_agreement":null},{"id":"W1494135618","doi":"","title":"Mas(k/t)ectomies: Losing a Breast (and Hair) in Hannah Wilke's Body Art","year":2007,"lang":"en","type":"article","venue":"Thirdspace","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Performative utterance; Silence; Femininity; Context (archaeology); Taboo; Identity (music); Historiography; Aesthetics; Art; Portrait; Feminist theory; Performativity; Gender studies; Sociology; Feminism; Literature; Art history; History; Anthropology","score_opus":0.015850890724720686,"score_gpt":0.24978068475403264,"score_spread":0.23392979402931197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1494135618","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31330493,0.011756667,0.0016627819,0.022122096,0.0015864833,0.00004771324,0.00006240411,0.000088127104,0.6493689],"genre_scores_gemma":[0.8472542,0.002511381,0.0006223735,0.0019038409,0.00021831649,0.000017496019,0.000013956626,0.00006725984,0.14739114],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996655,0.00012208377,0.000006599446,0.000035033238,0.00008372374,0.00008711107],"domain_scores_gemma":[0.9998155,0.00008882269,0.00002019768,0.000014748542,0.000017514627,0.000043307635],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057273026,0.00019515914,0.00009228921,0.0006822177,0.0067263274,0.0029224297,0.0003048867,0.0009251795,0.0044626053],"category_scores_gemma":[0.00073679385,0.0001381804,0.00010920867,0.00034785763,0.007129373,0.0014809665,0.0022504325,0.0015114566,0.00059300265],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015781632,0.00007668261,0.0016358229,0.00016545698,0.000008140358,0.0028058444,0.53375983,0.0001816505,0.002815545,0.30660644,0.084028415,0.067758344],"study_design_scores_gemma":[0.0000068705735,0.000051198564,0.004749829,0.00022407659,0.000007723675,0.0015756588,0.16877548,0.000152346,0.0017101399,0.010109555,0.81261206,0.000025098847],"about_ca_topic_score_codex":0.010063212,"about_ca_topic_score_gemma":0.037420835,"teacher_disagreement_score":0.010063212,"about_ca_system_score_codex":0.0024251437,"about_ca_system_score_gemma":0.00091872655,"threshold_uncertainty_score":0.02000928},"labels":[],"label_agreement":null},{"id":"W1494647917","doi":"10.7202/1017691ar","title":"La Revue populaire et Le Samedi – Objets de diffusion de la modernité photographique au Québec, 1935-1945","year":2013,"lang":"fr","type":"article","venue":"Revue de Bibliothèque et Archives nationales du Québec","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.014134737674811505,"score_gpt":0.24693479979379027,"score_spread":0.23280006211897877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1494647917","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32099935,0.01964026,0.0021324507,0.024735402,0.0009993233,0.00012470849,0.002456286,0.00017498348,0.6287373],"genre_scores_gemma":[0.66223586,0.006730501,0.001145711,0.0011298977,0.00008271689,0.000053761494,0.00037414802,0.000082157516,0.3281652],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991979,0.000100420635,0.000018218378,0.00012009438,0.00035267518,0.00021065184],"domain_scores_gemma":[0.9983582,0.00021954336,0.00008705608,0.00009289599,0.0009668047,0.00027561656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011225904,0.00032360305,0.00018427485,0.0018862323,0.009155116,0.0045972858,0.0007778191,0.00071233296,0.028438458],"category_scores_gemma":[0.0021339385,0.0002805799,0.00020433286,0.0035164927,0.0047843973,0.0016748792,0.0014118575,0.0018463025,0.0010273155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002148265,0.000084103216,0.031737898,0.00071768207,0.00004335819,0.0013376111,0.228456,0.0006193406,0.0048218225,0.31768343,0.1874544,0.22682962],"study_design_scores_gemma":[0.0000068007107,0.000016106656,0.064627446,0.00021209642,0.000011634806,0.00010643277,0.025561888,0.00015957167,0.00060818886,0.00075321173,0.9079021,0.000034507426],"about_ca_topic_score_codex":0.9836337,"about_ca_topic_score_gemma":0.99322164,"teacher_disagreement_score":0.07762812,"about_ca_system_score_codex":0.07762812,"about_ca_system_score_gemma":0.0523677,"threshold_uncertainty_score":0.5632341},"labels":[],"label_agreement":null},{"id":"W1494805973","doi":"10.33137/rr.v34i1-2.16191","title":"The Origins of Baroque Art in Rome","year":2012,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Baroque; The Renaissance; Art; Period (music); Art history; Visual arts; Classics; Aesthetics","score_opus":0.0223348722004108,"score_gpt":0.24808441604251227,"score_spread":0.22574954384210147,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1494805973","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024096716,0.071460865,0.00043724227,0.013757568,0.000831915,0.000014473502,0.000065002285,0.00004622193,0.8892899],"genre_scores_gemma":[0.84920996,0.015926076,0.0009838754,0.0019113919,0.0012018116,0.000037956488,0.000076570446,0.00009693443,0.13055545],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900824,0.000423734,0.000026534166,0.000117122356,0.00016188399,0.00026257004],"domain_scores_gemma":[0.9997869,0.00006733453,0.000044121807,0.00003537944,0.000031889194,0.000034359608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010244313,0.00042954655,0.00036748673,0.0015374412,0.0053329463,0.006200252,0.00048606913,0.0015119641,0.008246839],"category_scores_gemma":[0.0010210585,0.00037247926,0.00024603173,0.0013925054,0.0155078275,0.0024508715,0.0021266595,0.0025379923,0.00093392713],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003549803,0.00002062875,0.00035661118,0.00010822049,0.000003997125,0.00015470074,0.022778139,0.00010599098,0.00011054255,0.9331381,0.018762864,0.02442477],"study_design_scores_gemma":[0.000035221594,0.000030096071,0.0058599855,0.0006135873,0.0000072814364,0.00023828703,0.008106075,0.00006537949,0.00015486214,0.06295857,0.9219083,0.000022235961],"about_ca_topic_score_codex":0.020961236,"about_ca_topic_score_gemma":0.047974117,"teacher_disagreement_score":0.020961236,"about_ca_system_score_codex":0.010223347,"about_ca_system_score_gemma":0.0018087339,"threshold_uncertainty_score":0.074175894},"labels":[],"label_agreement":null},{"id":"W1498288817","doi":"10.4000/1895.2393","title":"Émile Cohl et les « histoires en images » : le corps au pied de la lettre","year":2007,"lang":"fr","type":"article","venue":"1895","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Mile; Art; Visual arts; Computer graphics (images); Computer science; Geography; Geodesy","score_opus":0.016603054725285806,"score_gpt":0.27011182038717296,"score_spread":0.2535087656618872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1498288817","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.078833066,0.032337576,0.02978421,0.16448101,0.0032617447,0.00009200336,0.0003251716,0.00021831643,0.6906669],"genre_scores_gemma":[0.7213443,0.008806681,0.007621874,0.013268201,0.0013082738,0.0001105432,0.00010013277,0.00034441904,0.24709557],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878126,0.0006886221,0.000018716744,0.00014021958,0.0002576577,0.000113558264],"domain_scores_gemma":[0.9987098,0.00077982753,0.00010049254,0.00007138122,0.00023267067,0.00010589983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010682915,0.0005549769,0.00018418384,0.0011149368,0.005960179,0.0060268715,0.0005224541,0.002720046,0.010860444],"category_scores_gemma":[0.0038903374,0.00019697081,0.00020749339,0.00085475564,0.010168213,0.00639658,0.0023779438,0.0031927985,0.001174848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007020128,0.000018377796,0.0011704561,0.00017369584,0.000008242278,0.0005071396,0.1135587,0.00017596132,0.0013252997,0.7781224,0.072777815,0.032091763],"study_design_scores_gemma":[0.000008058951,0.000025943806,0.0016130797,0.00021264091,0.0000056780427,0.00058531016,0.03668493,0.00036310998,0.0015785479,0.049540494,0.90934956,0.00003262397],"about_ca_topic_score_codex":0.02133586,"about_ca_topic_score_gemma":0.042392388,"teacher_disagreement_score":0.02133586,"about_ca_system_score_codex":0.003966627,"about_ca_system_score_gemma":0.0018151124,"threshold_uncertainty_score":0.042423368},"labels":[],"label_agreement":null},{"id":"W1501441913","doi":"10.20360/g2ns3f","title":"Shaping Stories: Linking Images Through Time and Space","year":2001,"lang":"en","type":"article","venue":"Language and Literacy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Literacy; Computer science; Spacetime; Sociology; Physics; Pedagogy","score_opus":0.021208598408036104,"score_gpt":0.2810592936478048,"score_spread":0.25985069523976867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1501441913","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1688018,0.0056340974,0.16858004,0.01862535,0.00092521054,0.00024311196,0.00041951254,0.0008971382,0.63587373],"genre_scores_gemma":[0.9156968,0.0026702401,0.04933342,0.00083213515,0.0001624851,0.00017943537,0.00018658399,0.0006496522,0.030289112],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812025,0.0012496162,0.000036321533,0.00018764219,0.00023119443,0.00017496983],"domain_scores_gemma":[0.9970521,0.0016067319,0.00034185473,0.00039815228,0.00024217008,0.00035911961],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018754703,0.00078077585,0.00023370492,0.001849548,0.004299184,0.015115266,0.0014238647,0.0019808807,0.011998669],"category_scores_gemma":[0.011151121,0.00052052864,0.00047672194,0.0013570343,0.014813009,0.017341455,0.008055908,0.0020523055,0.0016887432],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081649705,0.00003881685,0.002397926,0.00034268087,0.00003571903,0.0008658456,0.5611403,0.0007555843,0.0039341627,0.3360921,0.01641657,0.07789867],"study_design_scores_gemma":[0.000022638926,0.00007425922,0.002843186,0.0006296482,0.00006472292,0.001325325,0.3431002,0.0015735878,0.0038134723,0.22328794,0.4231845,0.00008042563],"about_ca_topic_score_codex":0.002107301,"about_ca_topic_score_gemma":0.003809375,"teacher_disagreement_score":0.015115266,"about_ca_system_score_codex":0.0014884411,"about_ca_system_score_gemma":0.00089817384,"threshold_uncertainty_score":0.040139616},"labels":[],"label_agreement":null},{"id":"W1502482884","doi":"10.25071/1916-4467.36753","title":"Between Hope and Despair is Resolve: Remembering Roger Simon","year":2014,"lang":"en","type":"article","venue":"Journal of the Canadian Association for Curriculum Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Honour; Memoir; Psychoanalysis; Work (physics); Sociology; Cognitive science; History; Art history; Psychology; Archaeology","score_opus":0.03526355479049816,"score_gpt":0.27263747734417465,"score_spread":0.23737392255367648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1502482884","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012212602,0.027467955,0.0017141656,0.8951137,0.02592821,0.000018400926,0.00001926011,0.00008766459,0.037438028],"genre_scores_gemma":[0.6108191,0.02753179,0.0030288845,0.28083417,0.022515744,0.00008349901,0.000028323406,0.00029711236,0.05486145],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9909436,0.006085924,0.00018469772,0.0006254688,0.0010823336,0.0010779531],"domain_scores_gemma":[0.9892001,0.0056336047,0.00087824836,0.00058186706,0.0017797255,0.0019264922],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00804108,0.000801096,0.00084582315,0.0012804948,0.016782783,0.011630878,0.0015844966,0.0077224243,0.0023155338],"category_scores_gemma":[0.033040214,0.00043890998,0.0004611977,0.00095871184,0.03272524,0.014389792,0.005083651,0.018292626,0.0009781884],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008293791,0.000037066384,0.0007072435,0.00013390102,0.000025714782,0.004007725,0.1571068,0.00019524296,0.00026243288,0.2464753,0.5696735,0.021292115],"study_design_scores_gemma":[0.000018145683,0.0000366727,0.0002436471,0.00046491905,0.000015454094,0.0038385761,0.12278506,0.00016285716,0.00028849015,0.06682593,0.80522424,0.000096061085],"about_ca_topic_score_codex":0.019583084,"about_ca_topic_score_gemma":0.035812877,"teacher_disagreement_score":0.019583084,"about_ca_system_score_codex":0.008194774,"about_ca_system_score_gemma":0.008912664,"threshold_uncertainty_score":0.05945754},"labels":[],"label_agreement":null},{"id":"W1508538217","doi":"","title":"Architecture by Design: Exhibiting Architecture Architecturally","year":2012,"lang":"en","type":"article","venue":"MediaTropes","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Exhibition; Materiality (auditing); Architecture; Performative utterance; Visual arts; Aesthetics; Narrative; Meaning (existential); Experiential learning; Representation (politics); Sociology; Art; Epistemology; Literature; Politics; Philosophy; Political science","score_opus":0.02461754073736007,"score_gpt":0.23182633899127456,"score_spread":0.20720879825391447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1508538217","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.069854476,0.0064267595,0.080926165,0.019198023,0.0006974143,0.00012048301,0.00011224662,0.00059324235,0.82207125],"genre_scores_gemma":[0.8512652,0.003048423,0.028140858,0.0018014682,0.00014832302,0.00014059799,0.00007310876,0.00029567344,0.11508641],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997334,0.0017738428,0.00003174056,0.00017032983,0.00033866378,0.0003514437],"domain_scores_gemma":[0.99894994,0.00039200197,0.0000682216,0.00029503973,0.00012359617,0.00017122911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025273652,0.0008120269,0.00023816695,0.0010782295,0.008576326,0.010505936,0.0013000198,0.001528398,0.008326631],"category_scores_gemma":[0.0022934908,0.00031744645,0.00039575718,0.0009779615,0.031165509,0.0040015606,0.005015407,0.0018584339,0.0007831738],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022421365,0.000023011178,0.0016620985,0.00022537894,0.000021041482,0.00041547863,0.13707824,0.0016415856,0.0024046795,0.7924346,0.020911522,0.043159947],"study_design_scores_gemma":[0.000011536441,0.00004486977,0.001504363,0.0002332156,0.000023937208,0.00047550313,0.053531,0.00069099304,0.0012480716,0.07313553,0.869068,0.000032918277],"about_ca_topic_score_codex":0.049330633,"about_ca_topic_score_gemma":0.14303887,"teacher_disagreement_score":0.049330633,"about_ca_system_score_codex":0.007685262,"about_ca_system_score_gemma":0.0057822308,"threshold_uncertainty_score":0.09808695},"labels":[],"label_agreement":null},{"id":"W1512668065","doi":"","title":"Graham-Dixon, Andrew, rédacteur. 2009. Art : L’histoire de l’art en images","year":2009,"lang":"fr","type":"article","venue":"Material Culture Review / Revue de la culture matérielle","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Art; Art history","score_opus":0.009202921104077869,"score_gpt":0.2455732235008154,"score_spread":0.23637030239673754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1512668065","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053608217,0.43803233,0.0034635414,0.35633212,0.018652366,0.00007523699,0.0008903414,0.00014088556,0.17705232],"genre_scores_gemma":[0.1548393,0.324654,0.0091804,0.0505461,0.005501617,0.00017108653,0.00051062054,0.0005004707,0.4540965],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993693,0.00014079137,0.00003935507,0.000047440546,0.0003312833,0.00007181291],"domain_scores_gemma":[0.99589926,0.0014058574,0.000184456,0.00012387629,0.0020636502,0.00032292926],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00227636,0.00060239085,0.00036535013,0.0031077776,0.005942421,0.005247026,0.0011966309,0.0036552472,0.018152278],"category_scores_gemma":[0.005877039,0.0004477847,0.00021598361,0.002669265,0.0032839458,0.007277969,0.0018660972,0.0051612975,0.003859884],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003997612,0.00001575372,0.0006889006,0.0004450089,0.000007824962,0.000121296405,0.006493467,0.00003462279,0.00023269671,0.044169217,0.8455654,0.10218583],"study_design_scores_gemma":[0.00000820694,0.000009635426,0.0029742997,0.00055788754,0.00001745013,0.00015031289,0.006996167,0.000020238393,0.00027886013,0.00887217,0.9801048,0.000010095778],"about_ca_topic_score_codex":0.094660796,"about_ca_topic_score_gemma":0.29053262,"teacher_disagreement_score":0.094660796,"about_ca_system_score_codex":0.0042215893,"about_ca_system_score_gemma":0.0064245034,"threshold_uncertainty_score":0.1882196},"labels":[],"label_agreement":null},{"id":"W1519178882","doi":"10.1080/01969722.2015.1038480","title":"On Belief and the Making of All Things Beautiful and Sublime: Creation by Ordinance and Destruction by Chaos","year":2015,"lang":"en","type":"article","venue":"Cybernetics & Systems","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"New York Institute of Technology","funders":"","keywords":"Beauty; Aesthetics; Epistemology; Sublime; Order (exchange); Semiotics; Taste; Style (visual arts); Meaning (existential); Sophistication; Philosophy; Sociology; Art; Literature; Psychology","score_opus":0.022327562698427762,"score_gpt":0.24052112926454067,"score_spread":0.2181935665661129,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1519178882","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15920681,0.025958734,0.0407164,0.06794631,0.0009996832,0.000055361303,0.00009624431,0.00005401026,0.70496637],"genre_scores_gemma":[0.97728264,0.0048508025,0.0028581563,0.0018913009,0.00030296968,0.000055767418,0.000021802001,0.000041229832,0.012695379],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99878496,0.00067070365,0.000022904562,0.00015698351,0.00018326541,0.00018129639],"domain_scores_gemma":[0.996869,0.002248876,0.0002822379,0.00020065914,0.00023673748,0.00016245936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018002789,0.00037994448,0.00030295146,0.0012953818,0.00390525,0.007492784,0.00082369335,0.0018271819,0.0044764327],"category_scores_gemma":[0.0037450627,0.0001861528,0.00045706445,0.0012350249,0.03436603,0.0077688983,0.003080246,0.0025326912,0.00040909782],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009970872,0.0000097591255,0.00025047307,0.000023237868,0.000003270388,0.000054145934,0.012272111,0.00021596352,0.000082346756,0.98252493,0.0011219272,0.0034320084],"study_design_scores_gemma":[0.0000073568394,0.000024392974,0.0011534112,0.00015065966,0.000007982553,0.00009651132,0.010204396,0.00073476724,0.00024258546,0.95064473,0.03671846,0.000014759121],"about_ca_topic_score_codex":0.004538705,"about_ca_topic_score_gemma":0.0037716348,"teacher_disagreement_score":0.007492784,"about_ca_system_score_codex":0.0040487847,"about_ca_system_score_gemma":0.0014901352,"threshold_uncertainty_score":0.02937609},"labels":[],"label_agreement":null},{"id":"W1524164293","doi":"10.37693/pjos.2012.4.8839","title":"The Efficacy Of The Virtual: From Che As Sign To Che As Agent","year":2012,"lang":"en","type":"article","venue":"Public Journal of Semiotics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Semiotics; Sign (mathematics); Sociology; Representation (politics); Epistemology; Semiosis; Aesthetics; Politics; Philosophy; Mathematics","score_opus":0.04834739820550249,"score_gpt":0.27460912041350677,"score_spread":0.22626172220800428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1524164293","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08885582,0.0028532224,0.022538202,0.021045538,0.0004833743,0.00004246722,0.000050589362,0.0001244812,0.86400634],"genre_scores_gemma":[0.9868527,0.0005135619,0.0019638056,0.0005173938,0.00006942216,0.000028202378,0.000013270721,0.000064918604,0.00997679],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9967629,0.002280018,0.00006501218,0.0002602579,0.00037072884,0.0002610725],"domain_scores_gemma":[0.9965145,0.0019149083,0.00026127667,0.00063127826,0.00037590056,0.0003022307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031868266,0.00052571535,0.0003468402,0.0012887918,0.006282881,0.01454101,0.0009247847,0.0022396871,0.009489774],"category_scores_gemma":[0.007684192,0.0003483106,0.00025266255,0.00077652565,0.03926102,0.01665077,0.008481445,0.0039469306,0.000992702],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033584143,0.000017544895,0.0005223312,0.00007274848,0.0000041642584,0.00019130661,0.04705817,0.00019447831,0.0002720304,0.93991584,0.0021346386,0.009583086],"study_design_scores_gemma":[0.00004018883,0.00012213802,0.0013420348,0.0006205885,0.000028354681,0.0007669137,0.105409905,0.002298274,0.001596957,0.50940067,0.3783172,0.000056824865],"about_ca_topic_score_codex":0.0020489986,"about_ca_topic_score_gemma":0.0017408909,"teacher_disagreement_score":0.01454101,"about_ca_system_score_codex":0.0031557456,"about_ca_system_score_gemma":0.0016492483,"threshold_uncertainty_score":0.031746447},"labels":[],"label_agreement":null},{"id":"W1532308427","doi":"10.1111/jaac.12011_9","title":"Freeman, Damien. Art's Emotions: Ethics, Expression and Aesthetic Experience. McGill-Queen's University Press, 2012, xii + 210 pp., $27.95 paper.","year":2013,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Expression (computer science); Art; Art history; Sociology; Psychoanalysis; Psychology; Media studies; Computer science; Biology","score_opus":0.02367853672902031,"score_gpt":0.24735821374317712,"score_spread":0.2236796770141568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1532308427","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005540139,0.9360112,0.0010597543,0.021584788,0.0039353603,0.000023243274,0.00045698197,0.00017263753,0.03620202],"genre_scores_gemma":[0.025776876,0.83273387,0.002540672,0.004253042,0.0027460265,0.000089529225,0.00030562296,0.00036630817,0.13118802],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995546,0.00008580959,0.00004662051,0.000056483655,0.00021153908,0.000044972356],"domain_scores_gemma":[0.99775946,0.00096639903,0.00015562108,0.00010883794,0.0007596132,0.00025017487],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009819373,0.0018902249,0.00095443294,0.0033109905,0.0021685967,0.0030286282,0.0015337331,0.003193984,0.040243365],"category_scores_gemma":[0.0038952518,0.0014315471,0.00057532167,0.0036286612,0.002816948,0.006473121,0.0013317233,0.0035020756,0.015557685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063936684,0.000019738929,0.00024281348,0.0006423338,0.000013536655,0.00012623804,0.001256117,0.00013728463,0.00019635282,0.008252419,0.8222015,0.16684769],"study_design_scores_gemma":[0.00002249374,0.000019871111,0.0041052457,0.0024401876,0.000047069272,0.00030712903,0.0020113443,0.000080733604,0.00030757778,0.01878224,0.97184426,0.000031935437],"about_ca_topic_score_codex":0.052701212,"about_ca_topic_score_gemma":0.09965106,"teacher_disagreement_score":0.052701212,"about_ca_system_score_codex":0.0019948084,"about_ca_system_score_gemma":0.0024097953,"threshold_uncertainty_score":0.13462746},"labels":[],"label_agreement":null},{"id":"W1532962586","doi":"","title":"Colour of War: Works on Paper from the Canadian War Musuem, 1914 to 1945","year":2001,"lang":"en","type":"article","venue":"Scholars Commons (Wilfrid Laurier University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Political science; History; Economic history","score_opus":0.021949934499668016,"score_gpt":0.20834114720672198,"score_spread":0.18639121270705397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1532962586","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08770121,0.04846341,0.00056888105,0.00727483,0.001672878,0.00008934307,0.016862744,0.00016862182,0.83719814],"genre_scores_gemma":[0.36542234,0.03260282,0.0014483763,0.0008432113,0.00024419682,0.000045860957,0.00391664,0.00023496544,0.5952416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993445,0.000019928282,0.000010304727,0.00006430996,0.00039128526,0.00016975119],"domain_scores_gemma":[0.9995608,0.000037910217,0.00003441558,0.000022226897,0.00025593606,0.00008873657],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003451744,0.00067491375,0.00023894985,0.005299652,0.011878476,0.0031482053,0.00086319813,0.00040014676,0.03729817],"category_scores_gemma":[0.001231326,0.00027803518,0.00026078496,0.010412838,0.0028732847,0.00078014773,0.0014479561,0.0007300875,0.0028233016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000195693,0.000025529971,0.009833351,0.00078344904,0.000035049557,0.0008187534,0.072780766,0.0003270054,0.0018327073,0.020023795,0.52265745,0.3706865],"study_design_scores_gemma":[0.0000016589659,0.0000041923654,0.03392205,0.00018367266,0.000006618016,0.00010667397,0.006617168,0.000013676005,0.00025304293,0.00017110333,0.9587087,0.000011314972],"about_ca_topic_score_codex":0.9843098,"about_ca_topic_score_gemma":0.99711096,"teacher_disagreement_score":0.046795383,"about_ca_system_score_codex":0.046795383,"about_ca_system_score_gemma":0.031242365,"threshold_uncertainty_score":0.33952588},"labels":[],"label_agreement":null},{"id":"W1535452275","doi":"","title":"Communiquer l'architecture par le média exposition (with an abstract in English)","year":2012,"lang":"fr","type":"article","venue":"MediaTropes","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Exhibition; Architecture; Exposition (narrative); Visitor pattern; Experiential learning; Sociology; Visual arts; Aesthetics; Art; Computer science; Pedagogy; Literature","score_opus":0.019624121776931177,"score_gpt":0.23980361561956381,"score_spread":0.22017949384263263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1535452275","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06414893,0.05990679,0.043866944,0.04103608,0.010626423,0.00014455414,0.0005787031,0.000891834,0.7787998],"genre_scores_gemma":[0.6862018,0.02090518,0.009496764,0.0023767273,0.0047570714,0.00025486527,0.0002599027,0.0005644732,0.27518323],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987758,0.0007615252,0.000039572376,0.00012490067,0.00020794565,0.00009029176],"domain_scores_gemma":[0.9990878,0.0006440579,0.00006659111,0.000046215428,0.0001031335,0.00005224797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010740095,0.00083199266,0.00039037046,0.00095425925,0.0029508742,0.008926646,0.000537376,0.0019055151,0.010673436],"category_scores_gemma":[0.0020273419,0.00032728433,0.0006301846,0.00089608214,0.00560054,0.0036225219,0.0019094169,0.0036549238,0.0022785638],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013505587,0.000062433515,0.0008050727,0.00074005226,0.00002920103,0.0011959955,0.074353255,0.00091832486,0.004137395,0.7846281,0.071693994,0.061301127],"study_design_scores_gemma":[0.000016163354,0.00004039974,0.0017809612,0.00021297157,0.0000072671382,0.0005913294,0.0059126792,0.00050343515,0.00059466856,0.0068239258,0.983493,0.000023129234],"about_ca_topic_score_codex":0.011688084,"about_ca_topic_score_gemma":0.008164856,"teacher_disagreement_score":0.011688084,"about_ca_system_score_codex":0.0024342905,"about_ca_system_score_gemma":0.0010853213,"threshold_uncertainty_score":0.035706222},"labels":[],"label_agreement":null},{"id":"W1537108452","doi":"","title":"Walter Bernhart, Steven Paul Scher, and Werner Wolf, eds. Word ; and Music Studies: Defining the Field and Werner Wolf. The Musicalization of Fiction: A Study in the Theory and History of Intermediality","year":2002,"lang":"en","type":"article","venue":"International fiction review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art history; Field (mathematics); History; Art; Mathematics","score_opus":0.06988321635535204,"score_gpt":0.31314200003681975,"score_spread":0.2432587836814677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1537108452","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00035471146,0.965159,0.0008918835,0.01613884,0.0025843848,0.000009634295,0.000055139346,0.000029490302,0.014776876],"genre_scores_gemma":[0.0051097716,0.9668674,0.0010909019,0.0014146796,0.0020474952,0.00002633603,0.00007651788,0.00003370737,0.023333272],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908674,0.0003128749,0.0000660783,0.00011974526,0.00034932492,0.00006518402],"domain_scores_gemma":[0.997449,0.0016843462,0.00018887752,0.000060167196,0.00041079288,0.00020679193],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019168613,0.0017782298,0.0012678341,0.004912589,0.0017217762,0.005927986,0.0010611224,0.003302344,0.011897553],"category_scores_gemma":[0.0039462876,0.0010451458,0.0004650725,0.0066651893,0.0025824364,0.011691941,0.0017178048,0.0029950594,0.009310118],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009179727,0.00005269122,0.00058268185,0.0020471103,0.000031534226,0.00014089071,0.004534109,0.0003072675,0.00029045262,0.048431683,0.63640606,0.30708376],"study_design_scores_gemma":[0.000010212385,0.00001530558,0.0013019904,0.0019414775,0.000028887787,0.00027893612,0.0023583465,0.00011027167,0.00019386476,0.027032677,0.96670914,0.000018823172],"about_ca_topic_score_codex":0.009641526,"about_ca_topic_score_gemma":0.026348876,"teacher_disagreement_score":0.011897553,"about_ca_system_score_codex":0.0013478397,"about_ca_system_score_gemma":0.0025412792,"threshold_uncertainty_score":0.0398013},"labels":[],"label_agreement":null},{"id":"W1537286298","doi":"10.20360/g2d880","title":"The Pedagogic Force of Ekphrastic Poetics","year":2006,"lang":"en","type":"article","venue":"Language and Literacy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Poetics; Storytelling; Poetry; Painting; Art; Representation (politics); Literature; Curriculum; The arts; Visual arts; Aesthetics; Sociology; Narrative; Pedagogy; Law; Political science","score_opus":0.013383970387666243,"score_gpt":0.2702173807424923,"score_spread":0.25683341035482604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1537286298","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042906873,0.009357243,0.051885813,0.03535341,0.001334195,0.0000946219,0.000033812466,0.00014542414,0.8588885],"genre_scores_gemma":[0.95563054,0.0041067842,0.010236946,0.002638921,0.0006219102,0.00017947245,0.000015728063,0.00012098366,0.026448753],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9932527,0.004768367,0.00019129254,0.0005724739,0.00096740504,0.00024775122],"domain_scores_gemma":[0.98639226,0.010566458,0.00057364994,0.0011792913,0.0008012557,0.000487074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007281732,0.00055362465,0.00041783025,0.0024906786,0.0040635983,0.008885017,0.00090834516,0.0018776433,0.0062760846],"category_scores_gemma":[0.015354336,0.00032014473,0.0002464823,0.0011012753,0.048846755,0.010273115,0.0065102805,0.005706916,0.0011018211],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063780053,0.000016337164,0.00016748026,0.00007796656,0.0000017568092,0.000040547933,0.0089163305,0.00007148967,0.00010666587,0.9796749,0.0009773972,0.009942781],"study_design_scores_gemma":[0.000029811592,0.000041435425,0.0005066432,0.0005075935,0.000005868694,0.0003159484,0.015057977,0.0005076579,0.0008969329,0.71195024,0.27016822,0.000011693575],"about_ca_topic_score_codex":0.0006523149,"about_ca_topic_score_gemma":0.0007610419,"teacher_disagreement_score":0.008885017,"about_ca_system_score_codex":0.0034583944,"about_ca_system_score_gemma":0.0030646098,"threshold_uncertainty_score":0.038509965},"labels":[],"label_agreement":null},{"id":"W1539006797","doi":"","title":"A case for... the work of The Caseroom Press","year":2010,"lang":"en","type":"article","venue":"Lincoln Repository (University of Lincoln)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Typography; Enthusiasm; Vernacular; Photography; Work (physics); Visual arts; History; Sociology; Art; Engineering; Literature; Psychology","score_opus":0.02419380098352424,"score_gpt":0.20501156907077062,"score_spread":0.18081776808724637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1539006797","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005627621,0.0149817895,0.004891188,0.3680152,0.008027563,0.00004466848,0.00008275926,0.00014089844,0.59818834],"genre_scores_gemma":[0.4027421,0.014894517,0.006601399,0.09292747,0.007093836,0.0004047186,0.0001403012,0.0008670902,0.47432858],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98596156,0.009171338,0.0002898344,0.0013952554,0.0016429243,0.0015391747],"domain_scores_gemma":[0.97106814,0.016148813,0.0011505128,0.004097004,0.0026473973,0.0048881248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01291158,0.0006783669,0.00057216495,0.0023489974,0.020253848,0.026510507,0.0031632292,0.011857981,0.051422235],"category_scores_gemma":[0.029227404,0.00047146057,0.00065088883,0.0025216197,0.04564685,0.025049172,0.01234522,0.014231112,0.0116856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012131967,0.000019106697,0.00015581195,0.000058499343,0.0000023581372,0.00070624094,0.020026188,0.000018904748,0.000039744835,0.8114445,0.15772012,0.009796311],"study_design_scores_gemma":[0.0000036921992,0.0000043519426,0.00009598163,0.00030812167,0.0000017325663,0.00047202758,0.017444117,0.000029697221,0.00003964978,0.032178186,0.94941443,0.000008034167],"about_ca_topic_score_codex":0.010894284,"about_ca_topic_score_gemma":0.021047832,"teacher_disagreement_score":0.051422235,"about_ca_system_score_codex":0.008017946,"about_ca_system_score_gemma":0.008491424,"threshold_uncertainty_score":0.17202455},"labels":[],"label_agreement":null},{"id":"W1541324570","doi":"10.7202/902204ar","title":"Cage/Satie, le silence vertigineux","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cage; Art; Silence; Humanities; John Cage; Art history; Aesthetics; Combinatorics; Performance art; Mathematics","score_opus":0.03485500851377237,"score_gpt":0.24880987461266799,"score_spread":0.2139548660988956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541324570","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019167034,0.019630674,0.008176561,0.18176654,0.021728305,0.000055645673,0.00037397473,0.00060168037,0.7484997],"genre_scores_gemma":[0.35604203,0.0049240724,0.002746261,0.07849545,0.0053744316,0.00017419003,0.00015221738,0.00093723787,0.5511541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963154,0.001865024,0.00009176123,0.00047231143,0.0008341528,0.0004213158],"domain_scores_gemma":[0.99808854,0.00094399246,0.00015155012,0.00023085924,0.0003510799,0.00023392295],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023321684,0.000626318,0.00050640275,0.00064286595,0.0073573864,0.0072458345,0.0013245436,0.004278274,0.017483998],"category_scores_gemma":[0.0058364263,0.00033166795,0.0005474532,0.0005000458,0.011419625,0.00488265,0.0035120873,0.008708622,0.0049074707],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013567148,0.000018353714,0.00042332234,0.00016523385,0.000012942276,0.00030083262,0.03778127,0.000072379655,0.0013580817,0.6850665,0.25303698,0.02162828],"study_design_scores_gemma":[0.0000063752564,0.000016290953,0.00040080716,0.00007671579,0.0000030559424,0.00015657113,0.006379761,0.00006886669,0.0006455117,0.0070345993,0.98519427,0.000017071796],"about_ca_topic_score_codex":0.014355668,"about_ca_topic_score_gemma":0.02760331,"teacher_disagreement_score":0.017483998,"about_ca_system_score_codex":0.003875538,"about_ca_system_score_gemma":0.0020713047,"threshold_uncertainty_score":0.05848986},"labels":[],"label_agreement":null},{"id":"W1542135345","doi":"10.22329/p.v3i1.298","title":"Building-in-Place","year":2008,"lang":"en","type":"article","venue":"PhaenEx","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Context (archaeology); Object (grammar); Aesthetics; Feeling; Identity (music); Epistemology; Sociology; Attunement; Architecture; Phenomenon; History; Philosophy; Linguistics; Archaeology","score_opus":0.05078623007012149,"score_gpt":0.2722793717852567,"score_spread":0.2214931417151352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1542135345","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011383492,0.0021178876,0.09342859,0.014084064,0.0006690188,0.00006502571,0.00006468121,0.00059491245,0.8775924],"genre_scores_gemma":[0.7526415,0.0029489787,0.047007058,0.0027192228,0.00015345041,0.00016051785,0.00010866994,0.00052261254,0.19373798],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975926,0.0012219442,0.000051243933,0.00038942156,0.0003933712,0.00035127212],"domain_scores_gemma":[0.9989139,0.00026838426,0.000060175393,0.00038959345,0.000122049816,0.0002459645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002811261,0.00080056104,0.00037044293,0.0007653864,0.0056311167,0.007190802,0.0015475824,0.0025472012,0.021755254],"category_scores_gemma":[0.0023907276,0.00038242186,0.0005724983,0.00075588847,0.020680428,0.012618274,0.00923707,0.0034320904,0.0044353106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000065264903,0.000009149549,0.00010356192,0.000030166302,0.000002090921,0.00005225962,0.0062969932,0.0003299859,0.00015285547,0.9772868,0.0062043034,0.009525171],"study_design_scores_gemma":[0.000004996477,0.00003386137,0.00014529876,0.00012061669,0.000007252872,0.00021220167,0.0059041544,0.00065601716,0.00076546887,0.22685027,0.7652832,0.000016582037],"about_ca_topic_score_codex":0.00487828,"about_ca_topic_score_gemma":0.0095599545,"teacher_disagreement_score":0.021755254,"about_ca_system_score_codex":0.0034991216,"about_ca_system_score_gemma":0.0035787616,"threshold_uncertainty_score":0.07277858},"labels":[],"label_agreement":null},{"id":"W1546636838","doi":"10.7202/1064391ar","title":"Image, sujet, pouvoir. Entretien avec Marie-José Mondzain","year":2008,"lang":"fr","type":"article","venue":"Sens public","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.029457420850354576,"score_gpt":0.2367725607585053,"score_spread":0.20731513990815073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1546636838","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035197597,0.1643921,0.00415359,0.31067914,0.0070047197,0.000023716428,0.000086819215,0.00005697339,0.47840533],"genre_scores_gemma":[0.77683043,0.032525133,0.0017915529,0.013178925,0.0027036525,0.00004138447,0.000029179573,0.00012038474,0.1727795],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835604,0.00089759275,0.000030775274,0.00025587686,0.00029513694,0.00016444964],"domain_scores_gemma":[0.9982728,0.0011588638,0.0001542673,0.000073483854,0.0001823879,0.0001581775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002258593,0.00060887827,0.0003485097,0.0010971851,0.006871001,0.007290627,0.0005496544,0.0034820128,0.009155631],"category_scores_gemma":[0.0037363805,0.00032695965,0.00026226207,0.0010515212,0.018214405,0.0070265047,0.002734681,0.0054261666,0.0010669099],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030849587,0.000021569123,0.00042437547,0.00007812851,0.000006464747,0.00020656959,0.046774667,0.0000716327,0.00011775236,0.8858831,0.051510043,0.014874793],"study_design_scores_gemma":[0.000011263068,0.000027308079,0.0012241894,0.00038035194,0.0000060972548,0.00047012768,0.03114503,0.00010819131,0.00017176477,0.09675221,0.8696801,0.00002341136],"about_ca_topic_score_codex":0.018817192,"about_ca_topic_score_gemma":0.028738106,"teacher_disagreement_score":0.018817192,"about_ca_system_score_codex":0.0056953686,"about_ca_system_score_gemma":0.0017110589,"threshold_uncertainty_score":0.041323006},"labels":[],"label_agreement":null},{"id":"W1548413142","doi":"","title":"Enquête sur les représentations sociales entretenues au secondaire au sujet des arts plastiques comme matière scolaire","year":2014,"lang":"fr","type":"article","venue":"Archipelago (Université du Québec à Montréal)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; The arts; Visual arts","score_opus":0.031458550478557175,"score_gpt":0.22787044293780018,"score_spread":0.196411892459243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1548413142","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82716393,0.007558482,0.009474421,0.025548209,0.00074405986,0.00014410689,0.00067594054,0.00011279216,0.128578],"genre_scores_gemma":[0.9400476,0.005011046,0.001999419,0.00101302,0.00012709819,0.00009836497,0.00024247507,0.00006816182,0.051392812],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99622947,0.0014350319,0.00015286249,0.00040490448,0.0012481193,0.0005296045],"domain_scores_gemma":[0.9903577,0.0045871274,0.0012251912,0.00048180445,0.00235712,0.0009910798],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0060764826,0.000612245,0.0006154117,0.0032205964,0.012016432,0.009227126,0.0012764247,0.0018641675,0.015664583],"category_scores_gemma":[0.010066871,0.0004409695,0.0006064623,0.0042257546,0.011314485,0.006005298,0.005494726,0.0033783363,0.0010663866],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032580632,0.000020146545,0.01090214,0.00024785506,0.000013974934,0.00043402807,0.9497584,0.000070346985,0.00086322107,0.01617791,0.0035430996,0.017936273],"study_design_scores_gemma":[0.0000035041237,0.000033590906,0.023367628,0.00048487892,0.000018345767,0.00023474343,0.8613251,0.000111764326,0.00039527574,0.0016732623,0.112316445,0.00003549071],"about_ca_topic_score_codex":0.24252893,"about_ca_topic_score_gemma":0.41560426,"teacher_disagreement_score":0.24252893,"about_ca_system_score_codex":0.014529407,"about_ca_system_score_gemma":0.016674068,"threshold_uncertainty_score":0.48223448},"labels":[],"label_agreement":null},{"id":"W1551094202","doi":"10.29173/cons8050","title":"‘Civilizing the warlike Indians:’ A Confrontation of the Rutherford Library's Glyde Mural","year":2010,"lang":"en","type":"article","venue":"Constellations","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mural; Colonialism; Painting; Reading (process); Art history; History; White (mutation); Art; Sociology; Law; Political science; Archaeology","score_opus":0.017538998501366074,"score_gpt":0.21487977075085182,"score_spread":0.19734077224948576,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1551094202","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5061377,0.0063125,0.0010032255,0.10235185,0.0023977254,0.000024014187,0.000046275447,0.00013033836,0.38159633],"genre_scores_gemma":[0.9649396,0.0010542118,0.00012630958,0.0038280773,0.00028413802,0.00000539121,0.000008260473,0.00005767051,0.02969626],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99780864,0.0010631674,0.000018293924,0.00012383204,0.00036365003,0.0006223903],"domain_scores_gemma":[0.9982389,0.0007017678,0.00016140706,0.0001362632,0.00023042878,0.0005312677],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021522474,0.0006050305,0.00034553374,0.0012958582,0.042986065,0.015035219,0.0020097462,0.003418049,0.0077173947],"category_scores_gemma":[0.003902926,0.000340598,0.00023425574,0.001610476,0.04080015,0.004038143,0.00621711,0.008044272,0.0005694002],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039636463,0.000021842705,0.0007011969,0.000042252304,0.0000055722244,0.0011591733,0.9026309,0.000054965472,0.0003160123,0.060646493,0.0252454,0.009136488],"study_design_scores_gemma":[0.0000053155763,0.00001539576,0.0014118329,0.000102996164,0.000008151525,0.00043586976,0.8373219,0.000047893187,0.0003062664,0.001870627,0.15845335,0.000020468753],"about_ca_topic_score_codex":0.44056565,"about_ca_topic_score_gemma":0.7057386,"teacher_disagreement_score":0.44056565,"about_ca_system_score_codex":0.025290055,"about_ca_system_score_gemma":0.009197426,"threshold_uncertainty_score":0.87600255},"labels":[],"label_agreement":null},{"id":"W1553627051","doi":"10.5565/rev/enrahonar.115","title":"Ahora todos somos artistas","year":2013,"lang":"es","type":"article","venue":"Enrahonar An international journal of theoretical and practical reason","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.0206961777268608,"score_gpt":0.3244921691576924,"score_spread":0.30379599143083164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1553627051","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012544264,0.0028322258,0.014792207,0.012966435,0.0045110006,0.00009448336,0.00016362997,0.00072564645,0.9513701],"genre_scores_gemma":[0.20247284,0.0036753914,0.018535225,0.0035165595,0.0015918673,0.0001607755,0.00027906385,0.00085753674,0.7689107],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968927,0.0011271097,0.00012196908,0.00040305688,0.0011296298,0.0003255497],"domain_scores_gemma":[0.9970215,0.00048171575,0.00018953766,0.0007196464,0.00084654643,0.0007409314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002458676,0.0010614465,0.00045110376,0.0017985479,0.004521316,0.0100481035,0.0013755595,0.0018691121,0.06074624],"category_scores_gemma":[0.0050121723,0.00039173377,0.00083442405,0.0016811452,0.005347467,0.0065096794,0.0054848352,0.003296962,0.018726574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012015896,0.000101895734,0.0024476175,0.0005150592,0.00004082483,0.0004955095,0.02489755,0.0004089599,0.00492531,0.61660314,0.17650937,0.17293468],"study_design_scores_gemma":[0.000009845992,0.00003335033,0.0008237661,0.00018834017,0.000018319386,0.00033285332,0.0070876107,0.0003581775,0.0009408668,0.033063818,0.95711786,0.000025128193],"about_ca_topic_score_codex":0.0021249752,"about_ca_topic_score_gemma":0.004871833,"teacher_disagreement_score":0.06074624,"about_ca_system_score_codex":0.0020186796,"about_ca_system_score_gemma":0.0023306645,"threshold_uncertainty_score":0.20321643},"labels":[],"label_agreement":null},{"id":"W1555403986","doi":"","title":"L'intégration des icônes de tradition orthodoxe dans les églises catholiques de Montréal : ritualisation, appropriation, réception, adaptation et diffusion","year":2007,"lang":"fr","type":"article","venue":"Archipelago (Université du Québec à Montréal)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.018982779380624672,"score_gpt":0.20753325046878243,"score_spread":0.18855047108815776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1555403986","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61016667,0.019298745,0.0063142246,0.017895566,0.00045041455,0.00016120252,0.00049022114,0.000084674306,0.34513825],"genre_scores_gemma":[0.906474,0.0037387374,0.0014408228,0.00070647575,0.000050311697,0.000042581345,0.00008002556,0.000043849093,0.0874232],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999076,0.00024891042,0.000017282042,0.00012071905,0.00023157566,0.0003054986],"domain_scores_gemma":[0.99926907,0.00019750893,0.000080578786,0.00004575575,0.000221019,0.0001861463],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008853531,0.00049016,0.000261918,0.0012371405,0.009154666,0.00594912,0.0009158126,0.000943719,0.0068140635],"category_scores_gemma":[0.0017093843,0.00022499613,0.00022020478,0.0028315035,0.009153088,0.0015778044,0.002611778,0.0016915036,0.0002533307],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001498539,0.000052175496,0.024654394,0.00039060522,0.000057940517,0.0016339829,0.47341532,0.001068416,0.005148493,0.3688103,0.020120379,0.104498126],"study_design_scores_gemma":[0.000021848811,0.000092109396,0.13333379,0.00043336817,0.00008359659,0.00053875684,0.19381385,0.00082824775,0.0018865741,0.007161922,0.66163284,0.0001730994],"about_ca_topic_score_codex":0.96226174,"about_ca_topic_score_gemma":0.9882161,"teacher_disagreement_score":0.048420083,"about_ca_system_score_codex":0.048420083,"about_ca_system_score_gemma":0.029155148,"threshold_uncertainty_score":0.35131395},"labels":[],"label_agreement":null},{"id":"W1559301354","doi":"10.1023/a:1005187003490","title":"Garry Disher, Michael Ondaatje, and the Haptic Eye: Taking a Second Look at Print Literacy","year":2000,"lang":"en","type":"article","venue":"Children s Literature in Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Linguistics; Psychology; Philosophy","score_opus":0.006028370313529123,"score_gpt":0.2424593634957623,"score_spread":0.23643099318223318,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1559301354","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02063517,0.066753425,0.0026582344,0.70749164,0.0025592628,0.000025088671,0.0001205511,0.00009562422,0.199661],"genre_scores_gemma":[0.48116845,0.09913025,0.008038332,0.16688539,0.0032978726,0.00021523316,0.00014074915,0.00045458565,0.24066909],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906486,0.0003519022,0.000026582322,0.000118196906,0.00024854564,0.00018995944],"domain_scores_gemma":[0.9963965,0.0022382461,0.00018106095,0.000108848806,0.00045420113,0.00062122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017813043,0.00060965726,0.00043141883,0.0026020466,0.00869372,0.009598182,0.0014680359,0.00923872,0.02829739],"category_scores_gemma":[0.0062035196,0.0005914197,0.00034234827,0.0011798212,0.00996031,0.018726703,0.0044759717,0.009453764,0.0024441017],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012324212,0.00012893228,0.005485219,0.00034709217,0.000016892101,0.0016879591,0.13181637,0.000103444996,0.0008611325,0.26364356,0.50815624,0.08762983],"study_design_scores_gemma":[0.00003531488,0.000052350177,0.0068604155,0.0013170207,0.000031077656,0.0016725599,0.2067538,0.00009824444,0.0009330898,0.093624055,0.6885524,0.000069721296],"about_ca_topic_score_codex":0.030992515,"about_ca_topic_score_gemma":0.08686375,"teacher_disagreement_score":0.030992515,"about_ca_system_score_codex":0.002502988,"about_ca_system_score_gemma":0.0021936283,"threshold_uncertainty_score":0.094664216},"labels":[],"label_agreement":null},{"id":"W1566011366","doi":"10.3138/tric.32.2.174","title":"Théâtralite, médialité et sociomédialité: Fondements et enjeux de l'intermédialité théâtrale","year":2011,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.26466019561035653,"score_gpt":0.39647123937441886,"score_spread":0.13181104376406233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1566011366","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06959962,0.0044299397,0.019880388,0.0121387355,0.00042123412,0.00004649952,0.00007553601,0.000092830545,0.89331514],"genre_scores_gemma":[0.9104595,0.0025830418,0.0033161314,0.00071909366,0.00020701997,0.00007115715,0.000042123607,0.00012716456,0.082474776],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971527,0.0014197368,0.00008987909,0.00038181024,0.0006569618,0.00029893513],"domain_scores_gemma":[0.99735767,0.0013276259,0.0003590206,0.0004472967,0.0002587469,0.00024958572],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024987832,0.00065170816,0.00039244207,0.0022633485,0.0064500915,0.016089229,0.0011569198,0.0023898329,0.015480034],"category_scores_gemma":[0.0044929762,0.0003745508,0.00047646294,0.002168184,0.03226482,0.011153866,0.009788824,0.0038677002,0.001873043],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028379494,0.00001303534,0.000528337,0.00007213377,0.0000044078156,0.00020239972,0.048659272,0.00010677592,0.00034684545,0.93989986,0.0011244541,0.0090142125],"study_design_scores_gemma":[0.000024878122,0.000055923592,0.0035179364,0.0005745015,0.00002974598,0.0011803418,0.08753025,0.00091482146,0.0017600724,0.27540746,0.6289411,0.00006293286],"about_ca_topic_score_codex":0.0064024497,"about_ca_topic_score_gemma":0.0069256295,"teacher_disagreement_score":0.99359757,"about_ca_system_score_codex":0.005787911,"about_ca_system_score_gemma":0.0028509886,"threshold_uncertainty_score":0.051785886},"labels":[],"label_agreement":null},{"id":"W1566014588","doi":"10.58282/acta.4553","title":"Jarry, surmâle des arts ?","year":2008,"lang":"fr","type":"article","venue":"Acta Fabula","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Painting; Philosophy; Art history","score_opus":0.06520426634952899,"score_gpt":0.26306757713522416,"score_spread":0.1978633107856952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1566014588","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012269439,0.12325369,0.0030180493,0.20689836,0.01601693,0.000019300562,0.000084945226,0.00015822482,0.63828105],"genre_scores_gemma":[0.3548562,0.060532887,0.0032687406,0.0429406,0.0066893515,0.0000480619,0.00010138237,0.00036440356,0.5311984],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99784493,0.0010052897,0.000058280195,0.00031617403,0.0004929532,0.00028239837],"domain_scores_gemma":[0.9990042,0.00031134216,0.00013558973,0.00010215425,0.0002587984,0.00018789418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021692766,0.0005968559,0.00044615034,0.0010268962,0.0051725623,0.009811716,0.00060363056,0.002327118,0.021991748],"category_scores_gemma":[0.0067090183,0.00026300954,0.00024897032,0.000793413,0.009173648,0.011433819,0.0033671889,0.0039595934,0.0065680537],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007510951,0.000019537098,0.0004987753,0.00017217593,0.000007144441,0.00021931894,0.029938292,0.00004834104,0.00029164113,0.6626622,0.22444396,0.081623435],"study_design_scores_gemma":[0.0000051951224,0.00001610325,0.00058296364,0.00020987431,0.000002922262,0.0002612648,0.011020449,0.00003425457,0.00013737651,0.02355836,0.9641628,0.0000084246785],"about_ca_topic_score_codex":0.012616125,"about_ca_topic_score_gemma":0.020156264,"teacher_disagreement_score":0.021991748,"about_ca_system_score_codex":0.002751589,"about_ca_system_score_gemma":0.0022606635,"threshold_uncertainty_score":0.073569775},"labels":[],"label_agreement":null},{"id":"W1569533167","doi":"10.4000/ceroart.3550","title":"Raphael’s Religious Paintings and Their Early Restorations: Devotional Attention or Aesthetic Appreciation?","year":2013,"lang":"en","type":"article","venue":"CeROArt","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Humanities; Art; Painting; Art history","score_opus":0.02336235669846371,"score_gpt":0.2224382731536564,"score_spread":0.1990759164551927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1569533167","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3061705,0.0046245516,0.0023899053,0.011240544,0.00038728688,0.000019491072,0.00003567114,0.00004300865,0.6750891],"genre_scores_gemma":[0.94958895,0.00078077003,0.000516297,0.0004255104,0.00006890396,0.000006143985,0.000007049436,0.00003262428,0.048573736],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933666,0.00032124386,0.000009605343,0.000083401384,0.00014585715,0.000103263126],"domain_scores_gemma":[0.99902785,0.00045901528,0.00013229741,0.00014560949,0.00011997905,0.00011528362],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012687693,0.00022581151,0.00016053097,0.0006721254,0.0034973212,0.004823915,0.00045332094,0.00082142383,0.012307433],"category_scores_gemma":[0.0024765616,0.0001387197,0.0001678607,0.00058760936,0.009428333,0.002295392,0.002309907,0.0017387427,0.00056979794],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000971316,0.000064520464,0.0024908327,0.00016436094,0.000011796408,0.0005375508,0.41340512,0.0001621809,0.0012807379,0.5044464,0.014339912,0.06299952],"study_design_scores_gemma":[0.00001817302,0.00008940119,0.0127594145,0.00031264639,0.000018306593,0.0008827747,0.24618728,0.00032108108,0.0016090933,0.030445913,0.7073202,0.000035683497],"about_ca_topic_score_codex":0.005251657,"about_ca_topic_score_gemma":0.020298144,"teacher_disagreement_score":0.012307433,"about_ca_system_score_codex":0.0022188493,"about_ca_system_score_gemma":0.0009132879,"threshold_uncertainty_score":0.041172445},"labels":[],"label_agreement":null},{"id":"W1570213503","doi":"10.4000/edc.161","title":"Intertextualité et archi-iconicité : le cas des représentations scientifiques de la réaction antigène-anticorps.","year":2004,"lang":"fr","type":"article","venue":"Etudes de communication/Études de communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.057834748231059385,"score_gpt":0.3809571046147434,"score_spread":0.32312235638368403,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1570213503","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07724635,0.006803292,0.12978561,0.01688855,0.0015857071,0.00007967051,0.00018929984,0.00030606668,0.7671155],"genre_scores_gemma":[0.9360701,0.0021640994,0.017987218,0.0009403347,0.00048554724,0.00012092314,0.00012820793,0.00021386024,0.04188964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9952057,0.0027411697,0.00015988741,0.0005082438,0.0010831621,0.00030177765],"domain_scores_gemma":[0.9917434,0.0046507213,0.0007860414,0.0016444873,0.0009062738,0.0002689859],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043418542,0.00082342303,0.00034769764,0.00342253,0.004284661,0.014913978,0.0012392027,0.0026595742,0.008082632],"category_scores_gemma":[0.0142436,0.0003592736,0.00065324164,0.0026632699,0.03495584,0.014964885,0.005109161,0.0038564734,0.0010659934],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015154838,0.000003962563,0.00018008964,0.000054855347,0.0000044467397,0.000093906194,0.035091203,0.00012587651,0.00042750893,0.95781,0.0008417348,0.0053513004],"study_design_scores_gemma":[0.000030023719,0.00006171651,0.0010899743,0.00034009994,0.000039063605,0.001131775,0.039441694,0.0017899314,0.0024062283,0.62098867,0.3326268,0.00005399988],"about_ca_topic_score_codex":0.0035032504,"about_ca_topic_score_gemma":0.0025758112,"teacher_disagreement_score":0.014913978,"about_ca_system_score_codex":0.0040734964,"about_ca_system_score_gemma":0.0022991989,"threshold_uncertainty_score":0.02955544},"labels":[],"label_agreement":null},{"id":"W1570759283","doi":"10.4000/lisa.273","title":"La distanciation dans l’œuvre régionaliste de Grant Wood comme moyen de mise en échec du nationalisme","year":2009,"lang":"fr","type":"article","venue":"Revue LISA / LISA e-journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cegep de Sept Iles","funders":"","keywords":"Nationalism; Modernism (music); Ideology; Aesthetics; Mythology; Rhetoric; Painting; Narrative; Defamiliarization; Theme (computing); Representation (politics); Work of art; Art; Literature; Sociology; Art history; Philosophy; Political science; Law; Politics; Linguistics","score_opus":0.02669809828670987,"score_gpt":0.25916725826367354,"score_spread":0.23246915997696366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1570759283","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.119396076,0.008827363,0.011185623,0.0864724,0.0011910651,0.000019562367,0.000033861594,0.0000992584,0.77277476],"genre_scores_gemma":[0.9310414,0.00126225,0.0018526467,0.0026673,0.00015062105,0.000027853112,0.000008624164,0.000090422494,0.06289878],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866855,0.0006729684,0.000020180649,0.00017610598,0.00025088713,0.00021131187],"domain_scores_gemma":[0.9993395,0.00027616022,0.000065838474,0.000064738044,0.00013409929,0.000119562486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017802623,0.00021880545,0.00019822294,0.0005344977,0.0061838287,0.007908021,0.0004980889,0.001454454,0.002656309],"category_scores_gemma":[0.0023991559,0.00018808326,0.00019735412,0.0006804733,0.012007661,0.0036357157,0.0024007177,0.0039450657,0.00030632454],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017799517,0.000008957146,0.00037783204,0.000023322618,0.0000035658022,0.00010531699,0.037370857,0.00010723443,0.00033230626,0.93464947,0.016865663,0.010137713],"study_design_scores_gemma":[0.000009995846,0.000017321849,0.0011579242,0.000117306205,0.000007282954,0.00023995776,0.028338684,0.0002827733,0.00050864986,0.059494343,0.90981007,0.000015702086],"about_ca_topic_score_codex":0.029363573,"about_ca_topic_score_gemma":0.06667467,"teacher_disagreement_score":0.029363573,"about_ca_system_score_codex":0.0066659222,"about_ca_system_score_gemma":0.0035897612,"threshold_uncertainty_score":0.058385313},"labels":[],"label_agreement":null},{"id":"W1573833042","doi":"10.22329/p.v2i2.396","title":"Faces and the Invisible of the Visible: Toward an Animal Ontology","year":2007,"lang":"en","type":"article","venue":"PhaenEx","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ontology; Analogy; Perception; Face (sociological concept); Philosophy of logic; Epistemology; Cognitive science; Relation (database); Philosophy; Computer science; Psychology; Linguistics","score_opus":0.04507358085334018,"score_gpt":0.2871637387476285,"score_spread":0.24209015789428834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1573833042","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10868566,0.009410223,0.124169886,0.03670434,0.0007671177,0.00004570048,0.000087639586,0.00008800685,0.72004145],"genre_scores_gemma":[0.954574,0.0032831195,0.018055532,0.0025397346,0.00039746304,0.000052308922,0.000039295668,0.000063845844,0.020994699],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99908864,0.00046902825,0.000019297782,0.00013056493,0.00019408771,0.000098316945],"domain_scores_gemma":[0.99936014,0.00034724167,0.000057218946,0.000077306046,0.00008562959,0.00007244177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014291493,0.00032698305,0.00027242306,0.0011840555,0.0035609317,0.0057740672,0.0008005179,0.0021213677,0.003477001],"category_scores_gemma":[0.0015856419,0.00021854753,0.00038567642,0.0006488232,0.030321628,0.010231465,0.0029085004,0.0033786653,0.0004178982],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000024399526,0.0000022216593,0.0000481501,0.000007353088,5.561675e-7,0.00001578526,0.00242784,0.000060549064,0.000052701045,0.99558157,0.00027236494,0.0015285204],"study_design_scores_gemma":[0.0000035147564,0.000008970846,0.0001482472,0.00003541548,0.0000022103031,0.000055942117,0.00240749,0.00038713202,0.00011957343,0.96148527,0.035340562,0.0000056783506],"about_ca_topic_score_codex":0.004204535,"about_ca_topic_score_gemma":0.0031661894,"teacher_disagreement_score":0.0057740672,"about_ca_system_score_codex":0.0025873543,"about_ca_system_score_gemma":0.0015772149,"threshold_uncertainty_score":0.018772602},"labels":[],"label_agreement":null},{"id":"W1576072057","doi":"10.26522/vp.v11i1.913","title":"L’image-saudade : iconographie photographique d’un sentiment ambigu","year":2014,"lang":"fr","type":"article","venue":"Voix Plurielles","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Iconography; Humanities; Art history; Poetry; The Imaginary; Sadness; Literature","score_opus":0.012693532363789927,"score_gpt":0.22662347165667077,"score_spread":0.21392993929288084,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1576072057","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061309393,0.030639065,0.004240262,0.02836859,0.0031679068,0.00004268897,0.00024677246,0.000054683347,0.8719305],"genre_scores_gemma":[0.85802084,0.010877002,0.0012716352,0.0031139352,0.0016089001,0.000059729336,0.000095944226,0.00016818978,0.12478389],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991875,0.00047304822,0.00001908303,0.000102552345,0.000117202595,0.000100590194],"domain_scores_gemma":[0.9993374,0.00041602692,0.00005163965,0.00006557527,0.000083858125,0.000045495926],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011439834,0.0005588822,0.0002564865,0.001374565,0.00540407,0.00816091,0.00052089675,0.0014737163,0.0067971037],"category_scores_gemma":[0.0018424287,0.00018713658,0.0002081173,0.0015770016,0.01430918,0.004141855,0.0015303807,0.0024667236,0.00062481884],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006944162,0.000009264933,0.00044891977,0.00021872073,0.000004461996,0.00038895977,0.18694633,0.000082012455,0.0009047576,0.7721932,0.0272435,0.011490439],"study_design_scores_gemma":[0.0000086946,0.000016925458,0.0015048705,0.00041226888,0.0000069384214,0.00028493183,0.06794954,0.00017873413,0.0005189788,0.010372284,0.91873294,0.0000129889995],"about_ca_topic_score_codex":0.030058831,"about_ca_topic_score_gemma":0.047889493,"teacher_disagreement_score":0.030058831,"about_ca_system_score_codex":0.0061006374,"about_ca_system_score_gemma":0.0018706556,"threshold_uncertainty_score":0.059767723},"labels":[],"label_agreement":null},{"id":"W1581636069","doi":"10.7202/902415ar","title":"Some Ideas about Viewer Re-Mobilization from a Practice-in-Progress","year":2010,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performing arts; Persona; Aesthetics; Active listening; Sociology; Politics; Deconstruction (building); Visual arts; Media studies; Art; Communication; Humanities; Political science; Engineering","score_opus":0.03684095786121904,"score_gpt":0.29658769403664953,"score_spread":0.2597467361754305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1581636069","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06321745,0.0076804464,0.046196464,0.15213454,0.0027538252,0.00016390663,0.00005271065,0.00018684106,0.7276138],"genre_scores_gemma":[0.89493483,0.0029479295,0.010254847,0.009490145,0.0008224126,0.00029060332,0.000041800547,0.00020514174,0.081012316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9924757,0.004841993,0.00017879438,0.00085991295,0.00077410514,0.0008695144],"domain_scores_gemma":[0.99578273,0.002607698,0.0002793615,0.0005241966,0.00041946166,0.00038661418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010860746,0.0008265541,0.0003536292,0.0020610578,0.013953755,0.019868735,0.0027753317,0.008696704,0.010653968],"category_scores_gemma":[0.011970298,0.0004319439,0.0007361759,0.0016188842,0.047994144,0.018346367,0.0087025855,0.008906626,0.0012136388],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011616509,0.000017530756,0.00017184968,0.0000425641,0.0000023493972,0.0001816485,0.108900115,0.000055044966,0.00018240084,0.8824579,0.002851007,0.005125874],"study_design_scores_gemma":[0.000024025494,0.00008663332,0.00045000509,0.00034413638,0.000009293215,0.0006446622,0.2056484,0.00040436568,0.00065053237,0.30789343,0.48381177,0.000032767784],"about_ca_topic_score_codex":0.0028101427,"about_ca_topic_score_gemma":0.0032352605,"teacher_disagreement_score":0.019868735,"about_ca_system_score_codex":0.005611622,"about_ca_system_score_gemma":0.0026186784,"threshold_uncertainty_score":0.057437778},"labels":[],"label_agreement":null},{"id":"W1583236752","doi":"10.5860/choice.46-1304","title":"Photography and philosophy: essays on the pencil of nature","year":2008,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":52,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Pencil (optics); Art; Philosophy; Literature; Visual arts; Art history; Aesthetics; Engineering","score_opus":0.09323902856212664,"score_gpt":0.2986923897320909,"score_spread":0.20545336116996427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1583236752","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017518265,0.31953102,0.004338751,0.10175362,0.017078826,0.000030818534,0.00027820395,0.00009315742,0.5551439],"genre_scores_gemma":[0.17144656,0.20327775,0.0055067986,0.022938853,0.019901011,0.00020951351,0.0003720673,0.0003861751,0.57596123],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985947,0.0008516339,0.000048827995,0.00014548555,0.00027574366,0.00008371673],"domain_scores_gemma":[0.9975204,0.0014920533,0.00012304886,0.00026611856,0.00043097453,0.00016744972],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015812658,0.0009307057,0.00047771473,0.0016492145,0.003577762,0.0050839065,0.0008206951,0.0025832204,0.023996077],"category_scores_gemma":[0.006320414,0.00036440138,0.00044350734,0.0022358499,0.00804431,0.0066477535,0.0019566165,0.0031589859,0.005429183],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002124367,0.000013132067,0.00009494793,0.00021799975,0.000004580188,0.00007836443,0.0034952185,0.00008853546,0.000078806675,0.4229392,0.5431896,0.029778404],"study_design_scores_gemma":[0.000002600445,0.00000414469,0.00020244948,0.00048455343,0.0000014730423,0.000068208894,0.00114995,0.000044672888,0.000037032085,0.033781607,0.9642198,0.0000035079215],"about_ca_topic_score_codex":0.004418137,"about_ca_topic_score_gemma":0.006109839,"teacher_disagreement_score":0.023996077,"about_ca_system_score_codex":0.005194358,"about_ca_system_score_gemma":0.0020627081,"threshold_uncertainty_score":0.08027488},"labels":[],"label_agreement":null},{"id":"W1585205037","doi":"10.22230/cjc.2000v25n1a1144","title":"The Beginnings of Communication Studies in Canada: Concluding Comments: <i>Canadian Journal of Communication</i> and the LaMarsh Commission","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Tribute; Journalism; Narrative; Media studies; Commission; Communication studies; Sociology; Scholarly communication; Political science; Library science; Social science; Publishing; Art; Law; Literature","score_opus":0.05033833433981162,"score_gpt":0.272559517277744,"score_spread":0.22222118293793242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1585205037","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024392575,0.043625735,0.00030748578,0.8385205,0.0037591367,0.00006642345,0.00023622712,0.00003245672,0.08905943],"genre_scores_gemma":[0.66838795,0.05431604,0.0013506113,0.22228622,0.0027581442,0.00018012806,0.0002408546,0.00014653192,0.050333414],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98019445,0.0033875192,0.0004913223,0.00096908055,0.00600189,0.008955742],"domain_scores_gemma":[0.93461937,0.01905558,0.0020894427,0.0007951721,0.026255803,0.01718464],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.015758129,0.0006636527,0.001010843,0.0052653383,0.081414424,0.036551114,0.004615525,0.012647461,0.007817867],"category_scores_gemma":[0.03239589,0.00068576477,0.00065653207,0.012926342,0.043916047,0.010678952,0.00875354,0.01723448,0.0005519455],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00007463884,0.000049020913,0.0037527098,0.0005803681,0.000016155396,0.0011112064,0.30154365,0.00019023621,0.00017268483,0.38732618,0.28579593,0.019387161],"study_design_scores_gemma":[0.000014394198,0.000008308,0.0058917347,0.0012683516,0.000015141475,0.0000937969,0.4697626,0.000094710245,0.00011692265,0.010153852,0.51250225,0.00007783946],"about_ca_topic_score_codex":0.99319685,"about_ca_topic_score_gemma":0.99504745,"teacher_disagreement_score":0.9185856,"about_ca_system_score_codex":0.3132561,"about_ca_system_score_gemma":0.52047735,"threshold_uncertainty_score":0.7965256},"labels":[],"label_agreement":null},{"id":"W1585733511","doi":"10.5539/ass.v11n16p246","title":"Clash of Images: 9/11 &amp; Terrorism","year":2015,"lang":"en","type":"article","venue":"Asian Social Science","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hatred; Persuasion; Sympathy; Terrorism; Ideology; Image (mathematics); Sociology; Psychology; Aesthetics; Computer science; Social psychology; Artificial intelligence; Political science; Art; Law; Politics","score_opus":0.06416844155215438,"score_gpt":0.3099367516610148,"score_spread":0.2457683101088604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1585733511","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35306486,0.004250246,0.0037707451,0.016601568,0.0006321664,0.00003913285,0.00009187818,0.000051148203,0.6214982],"genre_scores_gemma":[0.9866583,0.00048815616,0.00048368552,0.00060240744,0.00007121659,0.0000112833595,0.000018778906,0.000020805155,0.011645487],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909294,0.0005512436,0.00001800841,0.0000851305,0.00013371978,0.000118998294],"domain_scores_gemma":[0.9991048,0.00038751852,0.00019651587,0.00009498492,0.0001015178,0.00011461915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093287375,0.00035648994,0.00014728733,0.0009178289,0.0051514157,0.0056243576,0.00041806832,0.0016182107,0.007126228],"category_scores_gemma":[0.0017747325,0.00017420748,0.00022103691,0.0007282059,0.013966273,0.004005143,0.0035379266,0.0024446913,0.00055775966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011686404,0.00005852451,0.0031213698,0.0002271318,0.000019100304,0.0012809061,0.3409776,0.0001608426,0.0015638234,0.6038834,0.01646937,0.032121114],"study_design_scores_gemma":[0.0000298562,0.000102493235,0.015125807,0.00052979635,0.000033839413,0.0042159106,0.4282954,0.0006585366,0.0027310215,0.11603335,0.4321875,0.000056466273],"about_ca_topic_score_codex":0.0044264887,"about_ca_topic_score_gemma":0.005104216,"teacher_disagreement_score":0.007126228,"about_ca_system_score_codex":0.002772306,"about_ca_system_score_gemma":0.00069104775,"threshold_uncertainty_score":0.023839653},"labels":[],"label_agreement":null},{"id":"W1587888718","doi":"10.1353/mos.2012.a479201","title":"Photographic Documents and Postmodern Fictions: Photobooks by Susan Meiselas and Gregory Crewdson","year":2012,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Depiction; Postmodernism; Art; Photography; Action (physics); Space (punctuation); Art history; Aesthetics; Literature; Philosophy; Visual arts","score_opus":0.017664110731055196,"score_gpt":0.23502658078571587,"score_spread":0.21736247005466067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1587888718","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21784729,0.053716663,0.0023209942,0.105893075,0.0033124133,0.00008367348,0.00019082947,0.000111734305,0.61652327],"genre_scores_gemma":[0.84239894,0.024955198,0.0018243623,0.0029255943,0.0007628886,0.0001114947,0.000065778426,0.000109386485,0.12684633],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994342,0.00038978824,0.000009429403,0.000040090003,0.00008401587,0.00004255245],"domain_scores_gemma":[0.9979455,0.0015947758,0.00012212747,0.0001261266,0.000121491226,0.00008994558],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011783077,0.000342641,0.00015013301,0.0012425754,0.0075247088,0.0036660277,0.00066172966,0.0011703321,0.005005195],"category_scores_gemma":[0.0033080992,0.00020479396,0.00008922562,0.0015334331,0.010366983,0.0034025915,0.002148019,0.0021031688,0.00038519877],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004125195,0.000025188834,0.0012207585,0.0001709259,0.000004682965,0.00060500036,0.6219173,0.00012542553,0.00053756067,0.23988146,0.09253893,0.042931523],"study_design_scores_gemma":[0.0000055064825,0.000013025748,0.0023235884,0.00033019795,0.0000041007115,0.0002830584,0.16133393,0.000045451754,0.0003946551,0.006954852,0.8282992,0.0000124361795],"about_ca_topic_score_codex":0.03707379,"about_ca_topic_score_gemma":0.11983094,"teacher_disagreement_score":0.03707379,"about_ca_system_score_codex":0.004769076,"about_ca_system_score_gemma":0.001770979,"threshold_uncertainty_score":0.073715985},"labels":[],"label_agreement":null},{"id":"W1594873422","doi":"10.22230/cjc.2013v38n4a2676","title":"The View from the Window","year":2013,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University; University of Toronto","funders":"","keywords":"Subject (documents); Representation (politics); Event (particle physics); Order (exchange); Window (computing); Sociology; Aesthetics; Computer science; Epistemology; Media studies; Art; Philosophy; Political science; Law; World Wide Web","score_opus":0.03415307787309513,"score_gpt":0.2272165985108397,"score_spread":0.19306352063774457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1594873422","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022407467,0.009798892,0.018481897,0.0616964,0.014884281,0.00006070707,0.00038183638,0.0005999389,0.87168866],"genre_scores_gemma":[0.5015736,0.0073787663,0.009825291,0.014727305,0.0030095733,0.00008813557,0.00026871735,0.001319724,0.4618088],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992919,0.00020346296,0.00001822089,0.00013108911,0.00019358128,0.00016168831],"domain_scores_gemma":[0.99931896,0.00017461619,0.000037163187,0.00012118425,0.00015674556,0.00019135688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070237723,0.00046123617,0.00030080156,0.00047590627,0.0041124574,0.007255757,0.00060137635,0.0020558888,0.05097034],"category_scores_gemma":[0.0036147179,0.00025632003,0.00043797088,0.0003691456,0.00433852,0.008058633,0.005308296,0.004273659,0.009895857],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017028002,0.00002289091,0.00096386875,0.0001741446,0.000016305052,0.0017048694,0.039333515,0.000095563984,0.0035208657,0.60013133,0.2677231,0.086143225],"study_design_scores_gemma":[0.000006924988,0.000020352683,0.0004112867,0.00019328475,0.0000066604907,0.00071159145,0.0121824145,0.000059968424,0.00046153384,0.020271761,0.965657,0.000017265424],"about_ca_topic_score_codex":0.0058192722,"about_ca_topic_score_gemma":0.0064036814,"teacher_disagreement_score":0.05097034,"about_ca_system_score_codex":0.0011396789,"about_ca_system_score_gemma":0.0017534897,"threshold_uncertainty_score":0.1705128},"labels":[],"label_agreement":null},{"id":"W1600050817","doi":"10.7202/016324ar","title":"Sur trois photographies de Johan van der Keuken*","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.025986889903357683,"score_gpt":0.2605763551035814,"score_spread":0.23458946520022372,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1600050817","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12519842,0.08085598,0.004690847,0.07144278,0.0149328085,0.000084925516,0.00039809692,0.00014387333,0.7022522],"genre_scores_gemma":[0.4946678,0.021016074,0.0026702047,0.006005008,0.001612029,0.00006918959,0.00020669222,0.00041685498,0.47333616],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990754,0.00036422213,0.00002455492,0.00015185788,0.00026596792,0.00011795335],"domain_scores_gemma":[0.999408,0.0002999715,0.00004673778,0.000041446412,0.000117570715,0.00008631347],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009319165,0.00038140643,0.00018879655,0.00088321586,0.004976467,0.0037536782,0.0004920107,0.001275062,0.014651231],"category_scores_gemma":[0.0026468162,0.0003315753,0.00018386729,0.0006913669,0.004033104,0.004157207,0.0025166748,0.0032420103,0.0020507425],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016380326,0.000041418694,0.002371633,0.0005508992,0.000017823813,0.0030301567,0.31167367,0.00020537527,0.0036021785,0.27408195,0.31121367,0.093047336],"study_design_scores_gemma":[0.0000021643982,0.000008784233,0.0009560667,0.00021555038,0.000003150842,0.00040414117,0.022992183,0.00003172907,0.00034661367,0.0023194933,0.9727087,0.000011414408],"about_ca_topic_score_codex":0.02041328,"about_ca_topic_score_gemma":0.061249077,"teacher_disagreement_score":0.02041328,"about_ca_system_score_codex":0.0020925952,"about_ca_system_score_gemma":0.001430705,"threshold_uncertainty_score":0.049013257},"labels":[],"label_agreement":null},{"id":"W1602814930","doi":"10.22230/cjc.2000v25n1a1140","title":"The Beginnings of Communication Studies in Canada: Introduction","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Tribute; Journalism; Narrative; Media studies; Sociology; Communication studies; History; Political science; Library science; Art; Art history; Social science; Literature","score_opus":0.04608777987810776,"score_gpt":0.26021878231231865,"score_spread":0.2141310024342109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1602814930","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06337948,0.19423981,0.0020300986,0.14455527,0.0036076482,0.00023430245,0.0016722906,0.000108019136,0.59017307],"genre_scores_gemma":[0.7652254,0.12745816,0.003452968,0.01604922,0.0010030959,0.00028552278,0.000698146,0.00018888857,0.08563864],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99455833,0.0011080352,0.00016405217,0.00035451836,0.001765474,0.002049543],"domain_scores_gemma":[0.99241054,0.0021195482,0.0003001648,0.00017535676,0.0029354233,0.0020590976],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0038663358,0.00083313027,0.0005524934,0.006099837,0.036613062,0.021698846,0.0015593427,0.003552116,0.0091929855],"category_scores_gemma":[0.0063280608,0.000571491,0.00034483627,0.013363721,0.022725996,0.005807249,0.0054245526,0.005088088,0.0006877663],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00005860181,0.000044993056,0.0043590427,0.00067021913,0.000011534638,0.00076375395,0.27816355,0.00028646403,0.00030351247,0.55315715,0.10436858,0.057812657],"study_design_scores_gemma":[0.0000055230116,0.000008646644,0.008475551,0.0010559034,0.0000071884533,0.00015494037,0.13465105,0.00009569014,0.00011539297,0.012002702,0.84338826,0.00003913891],"about_ca_topic_score_codex":0.9880625,"about_ca_topic_score_gemma":0.98980135,"teacher_disagreement_score":0.96338695,"about_ca_system_score_codex":0.21878788,"about_ca_system_score_gemma":0.21799932,"threshold_uncertainty_score":0.9060953},"labels":[],"label_agreement":null},{"id":"W1607283622","doi":"10.3138/tric.32.2.223","title":"Memorial Reconstructions: Presence and (Re)-presentation in Carbone 14’s Le Dortoir","year":2011,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Aesthetics; Narrative; Fantasy; Postmodernism; Context (archaeology); Theme (computing); Semiotics; Identity (music); Impossibility; Ambiguity; Representation (politics); Meaning (existential); Sociology; Epistemology; Art; History; Literature; Philosophy; Linguistics; Politics; Computer science","score_opus":0.13883683974167807,"score_gpt":0.3125901836445452,"score_spread":0.17375334390286715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1607283622","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31303382,0.0029053555,0.00888637,0.014964955,0.0017552937,0.00010574131,0.000103227314,0.00027198176,0.65797323],"genre_scores_gemma":[0.87279636,0.00067843875,0.0021534394,0.00081129064,0.00021270128,0.00004312051,0.000049091508,0.00014899642,0.12310653],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981311,0.0009893042,0.000024720695,0.0002079986,0.0003463575,0.00030046437],"domain_scores_gemma":[0.9988374,0.0006261428,0.00006514755,0.000101423764,0.00012897814,0.00024095645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014470959,0.0006171392,0.0002423562,0.0009461255,0.009010562,0.0066850698,0.0013328735,0.002162185,0.0098544285],"category_scores_gemma":[0.0040411623,0.00029436126,0.00025609529,0.000489112,0.011380647,0.00274568,0.004686771,0.0036020263,0.00073607767],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021572894,0.00012060753,0.0011314648,0.00018039772,0.00001562333,0.0028138936,0.64212847,0.00047101383,0.0033477645,0.261878,0.033772286,0.05392477],"study_design_scores_gemma":[0.000019238016,0.00011966941,0.0020175127,0.00030768677,0.000012920425,0.0013247618,0.21948707,0.00053264346,0.0023779979,0.0068185315,0.7669105,0.00007141413],"about_ca_topic_score_codex":0.027602436,"about_ca_topic_score_gemma":0.07814077,"teacher_disagreement_score":0.027602436,"about_ca_system_score_codex":0.0051643783,"about_ca_system_score_gemma":0.001681454,"threshold_uncertainty_score":0.05488354},"labels":[],"label_agreement":null},{"id":"W1613662333","doi":"10.22230/cjc.2000v25n1a1142","title":"The Beginnings of Communication Studies in Canada: The Canadian Communication Association and the <i>Canadian Journal of Communication</i>: Some Reminiscences and Trends","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Calgary","funders":"","keywords":"Tribute; Journalism; Narrative; Media studies; Communication studies; Sociology; Library science; Political science; History; Social science; Law; Art; Literature","score_opus":0.036992707539618835,"score_gpt":0.25821039287882475,"score_spread":0.2212176853392059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1613662333","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11417996,0.23426172,0.0007454466,0.43613982,0.005625201,0.000095574884,0.00090798695,0.00008255099,0.20796174],"genre_scores_gemma":[0.8438892,0.08977289,0.0011621692,0.024016444,0.0011389118,0.00013014859,0.00038105116,0.00015226172,0.03935703],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.98926264,0.0019602468,0.000279966,0.00060726254,0.0036464673,0.0042433743],"domain_scores_gemma":[0.97200215,0.0058487686,0.001409775,0.00048158836,0.01084221,0.0094154775],"candidate_categories":["scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.008080281,0.0006950821,0.0008875669,0.008640746,0.07469401,0.029857991,0.0029653907,0.0049420735,0.006624643],"category_scores_gemma":[0.017588686,0.0008577976,0.00039342756,0.02700038,0.033170518,0.008729397,0.0078100963,0.009477656,0.000534088],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00009439118,0.000050145452,0.007219817,0.00064670877,0.000028152077,0.00096073904,0.63910747,0.00013703025,0.00030035496,0.1320585,0.1682653,0.05113142],"study_design_scores_gemma":[0.0000068943154,0.000007836833,0.014413134,0.00076039176,0.000016072105,0.00013878116,0.36821446,0.000059467497,0.000085709755,0.0029188013,0.61331403,0.000064462096],"about_ca_topic_score_codex":0.9954893,"about_ca_topic_score_gemma":0.9975032,"teacher_disagreement_score":0.970142,"about_ca_system_score_codex":0.26964474,"about_ca_system_score_gemma":0.43915367,"threshold_uncertainty_score":0.8471086},"labels":[],"label_agreement":null},{"id":"W1629825833","doi":"10.22230/cjc.2015v40n1a2978","title":"A Note on Non-Ostentatious Religious Signs","year":2015,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Psychology; Social psychology","score_opus":0.05773741737453363,"score_gpt":0.28066296316039596,"score_spread":0.22292554578586232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1629825833","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025570232,0.007939939,0.013467468,0.13338499,0.009581223,0.000083052706,0.00036156637,0.00013956838,0.80947196],"genre_scores_gemma":[0.57701045,0.011186699,0.019823026,0.03704933,0.005724201,0.00020213683,0.00033277913,0.0004190318,0.34825236],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99396,0.0018476493,0.00047852972,0.0005522433,0.0025796262,0.00058189733],"domain_scores_gemma":[0.9734623,0.016782168,0.0006755442,0.0032516408,0.005315268,0.0005131634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050318576,0.0003606394,0.0004553923,0.0011412889,0.007928234,0.0074109198,0.0022688403,0.005536246,0.020505136],"category_scores_gemma":[0.02735447,0.00030509927,0.000690655,0.0014282867,0.008380212,0.007857896,0.0035234117,0.008371661,0.0038927381],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008161575,0.00003435543,0.0014896893,0.00026868584,0.000008826849,0.0012483995,0.0107983975,0.00009554595,0.0019840687,0.80107576,0.09547187,0.08744282],"study_design_scores_gemma":[0.000010366866,0.00003908223,0.003948914,0.00088739773,0.000021553267,0.0015171403,0.011248252,0.00016779212,0.002444801,0.05822204,0.92144233,0.000050214363],"about_ca_topic_score_codex":0.025534056,"about_ca_topic_score_gemma":0.06975548,"teacher_disagreement_score":0.025534056,"about_ca_system_score_codex":0.0025138634,"about_ca_system_score_gemma":0.0049171415,"threshold_uncertainty_score":0.06859648},"labels":[],"label_agreement":null},{"id":"W1683951640","doi":"","title":"Ekphrasis Revisited: The Mental Underpinnings of Literary Pictorialism","year":2010,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cognition; Literary language; Mental image; Psychology; The arts; Literary criticism; Key (lock); Literary science; Language and thought; Linguistics; Literature; Cognitive science; Cognitive psychology; Philosophy; Art; Visual arts; Computer science","score_opus":0.01865699001598436,"score_gpt":0.30140951847641984,"score_spread":0.28275252846043547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1683951640","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36708087,0.009133055,0.14378932,0.017598532,0.00092194014,0.00012567702,0.00014791533,0.0004648833,0.46073785],"genre_scores_gemma":[0.9875401,0.00086312916,0.0076559274,0.00028200785,0.0001257151,0.000037344278,0.000028463399,0.000057623405,0.0034095969],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9975425,0.0014675135,0.00009443019,0.0003495767,0.00038735833,0.00015873263],"domain_scores_gemma":[0.99474514,0.0035916811,0.0005255367,0.00053253723,0.00045349164,0.00015160267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027289728,0.00065967056,0.00032088265,0.0027484216,0.0020088188,0.009479712,0.0011347467,0.001790489,0.0028108829],"category_scores_gemma":[0.009788807,0.000381651,0.00059238495,0.0012559736,0.03585456,0.01380414,0.0036246788,0.0035874527,0.0003383671],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003606886,0.0000099038425,0.0004376655,0.00014032831,0.000009032837,0.00031473397,0.10676787,0.00030905326,0.0013500372,0.8819761,0.0005869987,0.0080623245],"study_design_scores_gemma":[0.00003996661,0.00007394584,0.002336392,0.00038170337,0.000031275933,0.0013817189,0.062023286,0.0035954672,0.0021238094,0.8662024,0.061740458,0.00006952541],"about_ca_topic_score_codex":0.001242596,"about_ca_topic_score_gemma":0.00073938235,"teacher_disagreement_score":0.009479712,"about_ca_system_score_codex":0.002216397,"about_ca_system_score_gemma":0.0011932299,"threshold_uncertainty_score":0.016081154},"labels":[],"label_agreement":null},{"id":"W1686628550","doi":"10.22230/cjc.2000v25n1a1141","title":"The Beginnings of Communication Studies in Canada: The York University Program in Mass Communication","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Tribute; Journalism; Narrative; Media studies; Communication studies; Sociology; Library science; Political science; History; Art; Social science; Art history; Literature","score_opus":0.055607693922564774,"score_gpt":0.25792127447288077,"score_spread":0.202313580550316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1686628550","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46309042,0.014440172,0.0013131746,0.1510737,0.0011595478,0.00023346994,0.00045491708,0.00007603678,0.36815858],"genre_scores_gemma":[0.946063,0.0034830188,0.0006625189,0.0049891346,0.00008225402,0.00012533009,0.00010097434,0.00006056407,0.044433206],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9933334,0.0015081193,0.00011640252,0.00034742977,0.0014147729,0.00327987],"domain_scores_gemma":[0.9857636,0.0032067685,0.00060361833,0.0002663877,0.0027241497,0.007435432],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0038051973,0.00042371245,0.00047549384,0.0025154015,0.06766111,0.016894443,0.0019181992,0.0035826443,0.0079381475],"category_scores_gemma":[0.0116974525,0.0006181614,0.00023883302,0.005716172,0.026841443,0.005197808,0.010136567,0.0081388615,0.00042869512],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00007652359,0.000050009534,0.0048481375,0.00011075225,0.000007660366,0.0008324032,0.71330774,0.00013794756,0.0003866909,0.2020624,0.0535612,0.024618525],"study_design_scores_gemma":[0.000017247985,0.000019158444,0.015984392,0.0003576962,0.000011320376,0.00012770732,0.5770269,0.00014932433,0.00023829169,0.0054356,0.40056735,0.00006497395],"about_ca_topic_score_codex":0.9919701,"about_ca_topic_score_gemma":0.9967514,"teacher_disagreement_score":0.9323389,"about_ca_system_score_codex":0.1808587,"about_ca_system_score_gemma":0.26445922,"threshold_uncertainty_score":0.9500878},"labels":[],"label_agreement":null},{"id":"W172079889","doi":"10.1353/tsw.2013.a550203","title":"Onco-Filmographics: The Politics and Affects of the Canadian Breast Cancer Documentary","year":2013,"lang":"en","type":"article","venue":"Tulsa Studies in Women s Literature","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biopower; Publics; Politics; Narrative; Sociology; Subjectivity; Gender studies; Sociality; Lesbian; Aesthetics; Media studies; Political science; Art; Law; Epistemology; Literature","score_opus":0.015071992619478324,"score_gpt":0.2648335743249746,"score_spread":0.24976158170549628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W172079889","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29524875,0.008148641,0.00019942156,0.123838805,0.0011440606,0.000052251635,0.0012085814,0.00004319054,0.57011634],"genre_scores_gemma":[0.9356696,0.0045555183,0.00017127206,0.004735639,0.00020671217,0.0000189317,0.00023931765,0.00007432694,0.054328736],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99703586,0.0004310724,0.00005715914,0.00017147438,0.0012832525,0.0010210861],"domain_scores_gemma":[0.98954153,0.0028194692,0.0008718305,0.00029083402,0.003920473,0.0025557505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027536533,0.0002255479,0.00025255632,0.0038789858,0.03069438,0.013401219,0.0013284532,0.0018056853,0.019092536],"category_scores_gemma":[0.015102294,0.00031808447,0.00021668202,0.006705381,0.008323934,0.0023185296,0.0037781189,0.0038596382,0.0006602987],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019522826,0.00008803249,0.04332112,0.00030625195,0.000041152598,0.0008924029,0.34832627,0.00020026886,0.0012655159,0.21882595,0.28925893,0.097278796],"study_design_scores_gemma":[0.000011336785,0.000014574988,0.049434207,0.0003428252,0.000029825813,0.00010976371,0.29279202,0.00009135032,0.0003612896,0.0017167919,0.65503985,0.00005620946],"about_ca_topic_score_codex":0.98557395,"about_ca_topic_score_gemma":0.9946514,"teacher_disagreement_score":0.11051926,"about_ca_system_score_codex":0.11051926,"about_ca_system_score_gemma":0.10023584,"threshold_uncertainty_score":0.80187714},"labels":[],"label_agreement":null},{"id":"W1784230610","doi":"10.7146/nja.v23i43.7496","title":"Exalting Points of View A Discussion of Michael Fried’s Interpretation of Wittgenstein’s Contribution to Aesthetic Thought","year":2012,"lang":"en","type":"article","venue":"The Nordic Journal of Aesthetics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interpretation (philosophy); Value (mathematics); Foundation (evidence); Aesthetics; Art; Art history; Visual arts; Sociology; Philosophy; Epistemology; Law; Computer science; Political science","score_opus":0.019897360044818724,"score_gpt":0.2672010234601508,"score_spread":0.24730366341533205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1784230610","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08246251,0.019934112,0.016303565,0.23378359,0.0023359987,0.000025803161,0.00012029485,0.00011382023,0.64492023],"genre_scores_gemma":[0.94443834,0.0029259536,0.0031748917,0.011830611,0.000845729,0.000030722003,0.000023315057,0.00011709104,0.0366134],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997778,0.00096123654,0.000045755107,0.00034754782,0.0004955466,0.00037193086],"domain_scores_gemma":[0.9987961,0.00072077644,0.0000919604,0.00010163316,0.00018855595,0.00010094655],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002741573,0.00048202564,0.00040481074,0.0022449507,0.008816253,0.0060445503,0.0012861909,0.0038266699,0.0039469795],"category_scores_gemma":[0.0041594524,0.00022553737,0.0005175203,0.0015510714,0.04101187,0.006222675,0.002568999,0.0050864276,0.00035482363],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000065256213,0.0000040215764,0.000067076275,0.000014821463,0.0000032494688,0.00006786054,0.013917019,0.00008340075,0.00004581142,0.97891766,0.005170948,0.0017015546],"study_design_scores_gemma":[0.0000116567135,0.000011477503,0.00044584146,0.0002287941,0.000013062498,0.00024610411,0.021540733,0.0004972796,0.00035231886,0.71719027,0.25943676,0.000025724048],"about_ca_topic_score_codex":0.041876234,"about_ca_topic_score_gemma":0.04466863,"teacher_disagreement_score":0.041876234,"about_ca_system_score_codex":0.011832056,"about_ca_system_score_gemma":0.003063086,"threshold_uncertainty_score":0.085847974},"labels":[],"label_agreement":null},{"id":"W1819409888","doi":"10.3968/j.ccc.1923670020110702.013","title":"‘Incurable Sores on Innocent Tongues’: The Language of Pain in World War I Poetry","year":2011,"lang":"en","type":"article","venue":"Cross-cultural communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; The Holocaust; Humanities; Art; Resistance (ecology); Literature; Law; Political science","score_opus":0.05123747064883753,"score_gpt":0.3160243076960969,"score_spread":0.26478683704725936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1819409888","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5823202,0.02082469,0.015087412,0.015330851,0.0015140678,0.000100716796,0.00016010222,0.0001020384,0.3645599],"genre_scores_gemma":[0.98374337,0.002859362,0.0009945811,0.00052508723,0.00023617908,0.000026008045,0.000028398565,0.00003593131,0.011551055],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987025,0.00086764543,0.000040826788,0.00006351747,0.00016256889,0.00016294996],"domain_scores_gemma":[0.9980661,0.0014569904,0.00023711626,0.00006926493,0.00009434991,0.00007612868],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017496122,0.000536215,0.00028777035,0.0012725549,0.0040115584,0.005021457,0.00049096596,0.00084890303,0.0026480022],"category_scores_gemma":[0.0044045458,0.00018058383,0.00018003985,0.0012026386,0.013620176,0.0041774926,0.002281163,0.0028376563,0.0004275499],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010512549,0.00002110922,0.0008556359,0.0002570965,0.000005935086,0.0007627,0.72327334,0.00015935404,0.0015363921,0.24609816,0.0056416285,0.021283591],"study_design_scores_gemma":[0.000022647975,0.00022856353,0.005152306,0.0010378319,0.00001635865,0.002814082,0.49054042,0.0005423532,0.0025181533,0.033873364,0.4631983,0.00005564193],"about_ca_topic_score_codex":0.0013860897,"about_ca_topic_score_gemma":0.0016215614,"teacher_disagreement_score":0.005021457,"about_ca_system_score_codex":0.0011688515,"about_ca_system_score_gemma":0.0007664845,"threshold_uncertainty_score":0.009252906},"labels":[],"label_agreement":null},{"id":"W1834910375","doi":"10.29173/pandpr20105","title":"Sublimity &amp; the Image: A Hermeneutic Phenomenological Exploration","year":2013,"lang":"en","type":"article","venue":"Phenomenology & Practice","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Sublime; Embodied cognition; Subject (documents); Object (grammar); Phenomenon; Aesthetics; Aesthetic experience; Art; Philosophy; Epistemology; Computer science; Linguistics","score_opus":0.08485589847813153,"score_gpt":0.29960260084712576,"score_spread":0.21474670236899424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1834910375","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37069649,0.014319012,0.11670027,0.037289646,0.0011838786,0.00036125703,0.00024038045,0.0001566669,0.45905235],"genre_scores_gemma":[0.9877698,0.0015163302,0.004124707,0.000922968,0.00011669979,0.00011726139,0.000021694073,0.000059176007,0.005351486],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99502975,0.0038306606,0.000093049945,0.0003544189,0.00043292844,0.00025930756],"domain_scores_gemma":[0.9959281,0.003223763,0.00019069722,0.00037903045,0.00014714609,0.00013128108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049358723,0.0004687917,0.00045814537,0.0017924425,0.006836266,0.010387619,0.0011795178,0.0026690238,0.0027772777],"category_scores_gemma":[0.007962544,0.00033686866,0.00043085252,0.0018226608,0.060380153,0.013092399,0.005415176,0.0044167107,0.00028191364],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023441808,0.000016079926,0.00026964647,0.00011762491,0.0000038650387,0.00031791822,0.4345916,0.00011006108,0.00048094834,0.55825853,0.0011057762,0.0047045145],"study_design_scores_gemma":[0.000023206578,0.00005915832,0.0009089647,0.0006030714,0.000011110474,0.0015284949,0.48600543,0.0011256923,0.000937496,0.35028058,0.15846615,0.00005063961],"about_ca_topic_score_codex":0.0018122921,"about_ca_topic_score_gemma":0.001521218,"teacher_disagreement_score":0.010387619,"about_ca_system_score_codex":0.0030270491,"about_ca_system_score_gemma":0.001602674,"threshold_uncertainty_score":0.026103735},"labels":[],"label_agreement":null},{"id":"W18352981","doi":"10.22329/p.v5i1.2864","title":"Phenomenology of a Photograph, or: How to use an Eidetic Phenomenology","year":2010,"lang":"en","type":"article","venue":"PhaenEx","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phenomenology (philosophy); Epistemology; Phenomenological method; Philosophy; Psychology","score_opus":0.0691325895261902,"score_gpt":0.2823624380715877,"score_spread":0.21322984854539748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W18352981","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03487884,0.017576769,0.19080667,0.12599328,0.005370381,0.0005245598,0.00019887729,0.00031639606,0.6243342],"genre_scores_gemma":[0.88814986,0.0072282194,0.06502096,0.008691277,0.0006833754,0.0005105707,0.000086507396,0.000274071,0.02935521],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99174666,0.006423882,0.00026449296,0.0005319096,0.0007527869,0.000280314],"domain_scores_gemma":[0.99330795,0.004381472,0.0003003815,0.0012231086,0.00052708515,0.0002600185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011939821,0.0007478494,0.0005409549,0.002378986,0.0063848803,0.011255322,0.0017885325,0.0033010792,0.007073039],"category_scores_gemma":[0.019321116,0.0004175637,0.0006821225,0.0011925135,0.052021503,0.030266702,0.0066987663,0.0058130138,0.001202074],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012762509,0.000008568906,0.00013783602,0.000096318705,0.0000047339013,0.00009380955,0.040708542,0.00012144572,0.00014747017,0.95038646,0.0028400405,0.0054419963],"study_design_scores_gemma":[0.00002358119,0.000025489713,0.0002574441,0.00058498053,0.00001010346,0.00035313392,0.06928863,0.00055600767,0.0003365841,0.7426535,0.18587191,0.000038660113],"about_ca_topic_score_codex":0.003416433,"about_ca_topic_score_gemma":0.0030995465,"teacher_disagreement_score":0.011939821,"about_ca_system_score_codex":0.0034965232,"about_ca_system_score_gemma":0.0023852875,"threshold_uncertainty_score":0.063144565},"labels":[],"label_agreement":null},{"id":"W1837273114","doi":"10.19177/rcc.v3e2200829-31","title":"A fotografia como documento primário e performance nas artes visuais","year":2008,"lang":"pt","type":"article","venue":"Revista Crítica Cultural","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Encana (Canada)","funders":"","keywords":"Art; Humanities","score_opus":0.04324059786187358,"score_gpt":0.2831174504198479,"score_spread":0.23987685255797436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1837273114","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1748948,0.01860322,0.018188817,0.03288438,0.002078885,0.00015694798,0.00072821527,0.00034011804,0.75212467],"genre_scores_gemma":[0.8074405,0.009435992,0.010446983,0.00129968,0.000933615,0.00015404413,0.00033986047,0.0002778658,0.16967146],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9951568,0.001959359,0.00024492492,0.0006543027,0.0015734361,0.00041110956],"domain_scores_gemma":[0.9841706,0.0067536747,0.0019389819,0.0030351104,0.0032395527,0.0008620557],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0054868725,0.0005872698,0.00037309038,0.0065764715,0.007088457,0.012972683,0.0013966663,0.0020688726,0.012491817],"category_scores_gemma":[0.016907668,0.00027778058,0.0003758626,0.008031094,0.015223088,0.007188681,0.00429054,0.0029518984,0.0020106616],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012588111,0.00007928826,0.013002992,0.0010019626,0.000025418027,0.00060781377,0.21228644,0.00040174264,0.0045562456,0.4498668,0.039368533,0.27867687],"study_design_scores_gemma":[0.000007282406,0.00013706497,0.03656914,0.0015216811,0.000043192795,0.0010055325,0.08952598,0.00029325546,0.003448905,0.019572023,0.8478075,0.00006845107],"about_ca_topic_score_codex":0.02948645,"about_ca_topic_score_gemma":0.05503889,"teacher_disagreement_score":0.02948645,"about_ca_system_score_codex":0.0076032314,"about_ca_system_score_gemma":0.00595884,"threshold_uncertainty_score":0.058629632},"labels":[],"label_agreement":null},{"id":"W1838343721","doi":"10.7202/018558ar","title":"Le cinéma et les automates. Inquiétante étrangeté, distraction et arts machiniques","year":2008,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.058247125409374496,"score_gpt":0.291947892739612,"score_spread":0.23370076733023754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1838343721","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05255142,0.037287526,0.020068277,0.021656988,0.0015131892,0.00007042008,0.00011749832,0.00012311489,0.8666116],"genre_scores_gemma":[0.8660409,0.011917484,0.0054302304,0.0040719956,0.0011381041,0.000103835926,0.0000816607,0.000092197544,0.1111236],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976851,0.0013569102,0.00006320009,0.00036311676,0.00034932085,0.00018247133],"domain_scores_gemma":[0.9981668,0.0010876971,0.00023755623,0.0002051166,0.00016365318,0.00013918475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013813778,0.00055446645,0.00020945848,0.0009534445,0.0023508025,0.0057856613,0.0005395133,0.001781344,0.009439936],"category_scores_gemma":[0.0028050053,0.00021656965,0.00032977303,0.00073864707,0.01678401,0.0056513166,0.0027535276,0.0029137726,0.0011856586],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026396207,0.000011613307,0.00037507326,0.00015083188,0.000004457828,0.00009449158,0.018568987,0.00008208733,0.00063852145,0.960593,0.002563278,0.016891373],"study_design_scores_gemma":[0.000020514492,0.00006643501,0.0034094376,0.0004419242,0.000014765174,0.0006676959,0.015578391,0.00037464598,0.0009321777,0.20804709,0.77041584,0.00003107327],"about_ca_topic_score_codex":0.004171496,"about_ca_topic_score_gemma":0.0034066932,"teacher_disagreement_score":0.009439936,"about_ca_system_score_codex":0.0022806127,"about_ca_system_score_gemma":0.0011358443,"threshold_uncertainty_score":0.031579792},"labels":[],"label_agreement":null},{"id":"W1893867250","doi":"10.7202/1023109ar","title":"Réception critique et historique des technologies du son au cinéma 1","year":2014,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.025786703647583616,"score_gpt":0.2609988201769897,"score_spread":0.2352121165294061,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1893867250","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047592487,0.031086035,0.005727974,0.022952374,0.0026066247,0.00004485587,0.00011204342,0.00011365241,0.889764],"genre_scores_gemma":[0.67193913,0.022270348,0.0019930068,0.0019196889,0.0027791413,0.00006664169,0.00007402891,0.00017054852,0.29878742],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99767107,0.0015061765,0.000051474846,0.00025200268,0.0003735109,0.00014572435],"domain_scores_gemma":[0.9976229,0.0014383574,0.00020209386,0.00014467177,0.00045993473,0.00013214262],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001975208,0.00059487694,0.00026234984,0.0017303547,0.0043252977,0.008117062,0.0005771044,0.0012926807,0.0131098535],"category_scores_gemma":[0.0036325422,0.0002505594,0.00017784617,0.0012529697,0.012469859,0.0054184953,0.0020901721,0.0028362898,0.0020183877],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004485024,0.000016563554,0.00076084625,0.00029754845,0.0000044547173,0.00026858354,0.08944712,0.000119501674,0.00085452216,0.8420561,0.029044837,0.037085027],"study_design_scores_gemma":[0.000003969022,0.000038226015,0.00090607733,0.0003951939,0.000004580165,0.00032628071,0.016115671,0.00013280849,0.00058301137,0.010680728,0.97080404,0.000009387121],"about_ca_topic_score_codex":0.0079412805,"about_ca_topic_score_gemma":0.008963817,"teacher_disagreement_score":0.0131098535,"about_ca_system_score_codex":0.0056480486,"about_ca_system_score_gemma":0.002690492,"threshold_uncertainty_score":0.04385686},"labels":[],"label_agreement":null},{"id":"W1917539381","doi":"","title":"Jeff Wall : « Near Documentary ». Proche de l’image documentaire ","year":2009,"lang":"fr","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Art; Documentary evidence; Visual arts; Art history; History; Archaeology","score_opus":0.1486454245404833,"score_gpt":0.5291708682891135,"score_spread":0.38052544374863023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1917539381","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008952305,0.018887065,0.0030572833,0.072806016,0.0120978635,0.00007880785,0.00044228518,0.00023091455,0.8834475],"genre_scores_gemma":[0.10097509,0.00783629,0.0028541258,0.00780518,0.002927417,0.000076365824,0.00028904222,0.000409979,0.8768264],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993284,0.00020318165,0.000019530353,0.00008954161,0.00028388907,0.00007546088],"domain_scores_gemma":[0.9993381,0.0002472536,0.00006553268,0.00006379132,0.00016755913,0.00011774606],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006622034,0.00041692928,0.00016662339,0.0009814847,0.0040955916,0.0049506486,0.0005368392,0.0019276125,0.051222295],"category_scores_gemma":[0.0028254192,0.00021765688,0.0001918183,0.00089167285,0.0024028919,0.0034369912,0.0016722924,0.003530494,0.010558864],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088795445,0.000020429243,0.00032307766,0.00026277453,0.0000045064207,0.0006990127,0.023296535,0.00004963504,0.0017802126,0.110071495,0.8142768,0.04912671],"study_design_scores_gemma":[0.0000017790949,0.000005583564,0.0005335481,0.00009168798,0.0000011602855,0.00019685087,0.0034025111,0.000016130512,0.00027937946,0.0013671512,0.99409986,0.000004404999],"about_ca_topic_score_codex":0.020573752,"about_ca_topic_score_gemma":0.04881186,"teacher_disagreement_score":0.051222295,"about_ca_system_score_codex":0.0021903994,"about_ca_system_score_gemma":0.0013229701,"threshold_uncertainty_score":0.17135566},"labels":[],"label_agreement":null},{"id":"W1920561818","doi":"10.3138/topia.29.95","title":"Hometown Memories: Reading Memory and Materiality in <i>Welcome to Pine Point</i>","year":2013,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materiality (auditing); Narrative; Rhetorical question; Reading (process); Point (geometry); Context (archaeology); Subject (documents); Media studies; Visual arts; Social media; History; Sociology; Literature; Computer science; Art; World Wide Web; Aesthetics; Law; Political science; Archaeology","score_opus":0.043354412011932825,"score_gpt":0.26916056566374885,"score_spread":0.22580615365181603,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1920561818","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6625934,0.0055166786,0.001476642,0.0061859726,0.00025877234,0.0000425842,0.00009629071,0.000048917827,0.3237808],"genre_scores_gemma":[0.9810377,0.0010933868,0.00030219753,0.00036553873,0.0000590164,0.000014456868,0.000034014636,0.000035096855,0.01705852],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999161,0.00042710555,0.000019056955,0.00009785569,0.00014369156,0.00015136815],"domain_scores_gemma":[0.9970325,0.0019434467,0.00032920664,0.00018215661,0.00025338226,0.00025921842],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000996273,0.0003219349,0.00019962192,0.001546078,0.009580841,0.008625862,0.0010250038,0.0015788467,0.0068006776],"category_scores_gemma":[0.005681156,0.00020979546,0.00014384408,0.0012265835,0.015066258,0.0058811023,0.004453364,0.0025150664,0.00035277242],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004696257,0.000040463732,0.0017280676,0.00009966659,0.0000056529457,0.0012349059,0.9478129,0.00003035262,0.0004849185,0.03249452,0.002743058,0.013278535],"study_design_scores_gemma":[0.000009025988,0.000056234585,0.007458898,0.00031118642,0.000012009583,0.0007968272,0.86988604,0.000042931708,0.0009020921,0.007246246,0.11325502,0.00002337237],"about_ca_topic_score_codex":0.052761976,"about_ca_topic_score_gemma":0.11549362,"teacher_disagreement_score":0.947238,"about_ca_system_score_codex":0.0045523173,"about_ca_system_score_gemma":0.0017504892,"threshold_uncertainty_score":0.10490972},"labels":[],"label_agreement":null},{"id":"W1930214117","doi":"10.2752/175183408x376737","title":"Roman eyes visuality and subjectivity in art and text Elsner, Jaś","year":2008,"lang":"en","type":"article","venue":"Material Religion","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Subjectivity; Art; Visual arts; Art history; History; Philosophy; Epistemology","score_opus":0.021350201742883868,"score_gpt":0.24649378297392407,"score_spread":0.2251435812310402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1930214117","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17629221,0.019778144,0.0043164864,0.034481786,0.0006273626,0.000019330395,0.00015138902,0.000047595113,0.7642857],"genre_scores_gemma":[0.97292984,0.0039463085,0.0005732197,0.0012120176,0.0003289524,0.000019525363,0.000045492223,0.000039778366,0.020904921],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988129,0.00076374895,0.00003850057,0.00008398759,0.00020730014,0.00009362928],"domain_scores_gemma":[0.99747086,0.0016926723,0.0002907905,0.0001236212,0.00031370693,0.00010833329],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017045172,0.00016979015,0.0001655083,0.0010225635,0.0017010513,0.005502044,0.00027185818,0.0007617754,0.007235695],"category_scores_gemma":[0.005676224,0.00012487202,0.00017176454,0.0009118176,0.007612221,0.005968442,0.0023085417,0.0016165682,0.0005810864],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007333782,0.00003645592,0.0038598839,0.00010295212,0.000010606403,0.00016276138,0.08595203,0.00011215545,0.00043793535,0.8443774,0.025595494,0.039279073],"study_design_scores_gemma":[0.000045148765,0.00005648609,0.04197676,0.0010031629,0.000034715275,0.00078076794,0.14171913,0.00041029675,0.0019545811,0.44446772,0.36749324,0.000058088324],"about_ca_topic_score_codex":0.0029940144,"about_ca_topic_score_gemma":0.0038883882,"teacher_disagreement_score":0.007235695,"about_ca_system_score_codex":0.0011269732,"about_ca_system_score_gemma":0.0006632051,"threshold_uncertainty_score":0.024205863},"labels":[],"label_agreement":null},{"id":"W1938978210","doi":"10.22230/cjc.2000v25n1a1139","title":"The Beginnings of Communication Studies in Canada: Remembering and Narrating the Past","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University; Western University; University of Calgary; University of Saskatchewan","funders":"","keywords":"Tribute; Narrative; Journalism; Media studies; Sociology; Communication studies; History; Art; Art history; Social science; Literature","score_opus":0.05537892885708379,"score_gpt":0.2609244536870734,"score_spread":0.2055455248299896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1938978210","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5504801,0.03045673,0.0022408324,0.09123327,0.0019497321,0.00015827516,0.00078886806,0.00012557414,0.32256657],"genre_scores_gemma":[0.96958244,0.0063557387,0.0006689693,0.002745176,0.00010157511,0.000058122227,0.00014008718,0.00009479406,0.02025312],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9935456,0.002020353,0.00014892497,0.00039306484,0.0014234474,0.0024687164],"domain_scores_gemma":[0.9880201,0.004517887,0.00075382355,0.00029556974,0.0029117905,0.0035008495],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.004470729,0.0011780866,0.00094921305,0.004964861,0.08851986,0.02218427,0.0039043208,0.0047514825,0.0058058393],"category_scores_gemma":[0.015650414,0.00078922795,0.0004676687,0.009666295,0.037322268,0.007815394,0.010668117,0.0106082475,0.00059171004],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.000021495116,0.0000065140225,0.0009945851,0.00004450996,0.0000042159368,0.00068909716,0.975312,0.000051096857,0.00010973927,0.012708097,0.0063758492,0.0036827247],"study_design_scores_gemma":[0.0000023932914,0.0000043325463,0.0014168598,0.00020117934,0.000008747787,0.00017192427,0.901973,0.00005649825,0.00011178952,0.0011146559,0.094909996,0.000028679606],"about_ca_topic_score_codex":0.98517865,"about_ca_topic_score_gemma":0.99310887,"teacher_disagreement_score":0.9114801,"about_ca_system_score_codex":0.16969392,"about_ca_system_score_gemma":0.15700674,"threshold_uncertainty_score":0.9630374},"labels":[],"label_agreement":null},{"id":"W1941569913","doi":"10.22230/cjc.2000v25n1a1143","title":"The Beginnings of Communication Studies in Canada: Royal Commissions, Journalism, and Communication Studies","year":2000,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Journalism; Tribute; Narrative; Media studies; Communication studies; Sociology; Political science; Social science; Art; Law; Literature","score_opus":0.07410267637254177,"score_gpt":0.2992784407244169,"score_spread":0.22517576435187514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1941569913","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1963806,0.061971948,0.0020119553,0.27813762,0.0019094717,0.0001725517,0.00044441337,0.00012604988,0.45884547],"genre_scores_gemma":[0.9474304,0.009091584,0.0009089385,0.009005114,0.00015164369,0.000064530184,0.000072094634,0.000099849225,0.03317586],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98057073,0.0041811424,0.00046354602,0.00085236237,0.005975028,0.007957182],"domain_scores_gemma":[0.96222234,0.01213457,0.002018844,0.0009319246,0.009494062,0.013198231],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.010233101,0.0005827828,0.0007209902,0.005989441,0.07948872,0.030075712,0.0029298796,0.0061298367,0.0063115493],"category_scores_gemma":[0.02819925,0.00082491233,0.00037713407,0.013479456,0.058082845,0.008062719,0.009745667,0.009322872,0.00054755027],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.000057264588,0.000030938158,0.0027149483,0.00020252653,0.000012718032,0.00090943015,0.53410697,0.0002163528,0.00021532411,0.37863505,0.055012032,0.027886521],"study_design_scores_gemma":[0.000015084607,0.000011375778,0.010413884,0.0006026562,0.000016444967,0.00022127847,0.37299922,0.00016833415,0.00023157452,0.016314318,0.598883,0.00012295136],"about_ca_topic_score_codex":0.9934623,"about_ca_topic_score_gemma":0.99650574,"teacher_disagreement_score":0.9205113,"about_ca_system_score_codex":0.32384357,"about_ca_system_score_gemma":0.4232526,"threshold_uncertainty_score":0.7842456},"labels":[],"label_agreement":null},{"id":"W1964173649","doi":"10.3138/utq.80.3.680","title":"Dante Gabriel Rossetti's ‘Inner Standing-Point’ and ‘Jenny’ Reconstrued","year":2011,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Point (geometry); Literature; Empathy; Period (music); Art; Philosophy; Aesthetics; Psychology; Social psychology","score_opus":0.022397726567533006,"score_gpt":0.1901260199708052,"score_spread":0.1677282934032722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964173649","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052712917,0.016342277,0.005712267,0.10696735,0.0028569126,0.000031513537,0.00004360721,0.00010762659,0.8152256],"genre_scores_gemma":[0.7976655,0.0029880947,0.0022372517,0.0115343295,0.0009053925,0.00007267737,0.000019862542,0.00013846355,0.18443842],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984301,0.0008337187,0.000030763353,0.00021288688,0.00029812698,0.00019441813],"domain_scores_gemma":[0.99904567,0.00043033145,0.00012045239,0.0000983476,0.0001620507,0.00014310147],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014707806,0.0006382941,0.00025534607,0.0008198126,0.0050641126,0.005346534,0.00079566956,0.002424656,0.004384401],"category_scores_gemma":[0.0040208967,0.00016545704,0.00017318675,0.00038050415,0.024554972,0.0036447798,0.0037792642,0.004256737,0.00090810756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022806193,0.000007339297,0.00036643524,0.00005273274,0.0000027323135,0.00022128217,0.08904721,0.00004286156,0.0003897927,0.85968786,0.037809294,0.012349558],"study_design_scores_gemma":[0.0000062855947,0.000018001121,0.0009824465,0.00020217395,0.000004349426,0.00056481,0.01585428,0.000106401116,0.0005265156,0.046243574,0.9354714,0.000019760939],"about_ca_topic_score_codex":0.024188176,"about_ca_topic_score_gemma":0.044906985,"teacher_disagreement_score":0.024188176,"about_ca_system_score_codex":0.005006991,"about_ca_system_score_gemma":0.0021074493,"threshold_uncertainty_score":0.04809475},"labels":[],"label_agreement":null},{"id":"W1967454847","doi":"10.1525/hsns.2008.38.3.405","title":"Icons and Electronics","year":2008,"lang":"en","type":"article","venue":"Historical Studies in the Natural Sciences","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Electronics; Function (biology); Symbol (formal); Forcing (mathematics); Ontology; Transistor; Computer science; Epistemology; Sociology; Electrical engineering; Physics; Philosophy; Engineering","score_opus":0.11995075630567259,"score_gpt":0.3174260131795718,"score_spread":0.19747525687389922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967454847","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011717221,0.019458676,0.0063683586,0.0076606628,0.0011349275,0.000015201412,0.00004975304,0.000080097525,0.95351505],"genre_scores_gemma":[0.72293097,0.02226641,0.00470351,0.0029620253,0.0015503993,0.000045713754,0.000114897084,0.00021740701,0.24520876],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910104,0.00049196696,0.000027389855,0.00010917966,0.00016259238,0.00010783525],"domain_scores_gemma":[0.9988011,0.00076143636,0.00007328306,0.00013061814,0.00015930911,0.00007424737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007214061,0.00056230085,0.00023415725,0.001767914,0.0029586004,0.007909277,0.00059078645,0.0018071309,0.021412667],"category_scores_gemma":[0.0031438326,0.00016332169,0.0002115196,0.0013673166,0.016033381,0.0064024953,0.0019415295,0.0018465988,0.002133252],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000062921117,0.0000027599842,0.00007507528,0.000039781637,0.0000013783433,0.00004767218,0.004916867,0.000088834735,0.000074159885,0.9797289,0.00444598,0.010572269],"study_design_scores_gemma":[0.000007885104,0.000015506042,0.00030535788,0.00024830227,0.000004566409,0.00031570936,0.0043695783,0.00023006106,0.0002736815,0.37493765,0.6192814,0.000010279586],"about_ca_topic_score_codex":0.0033999858,"about_ca_topic_score_gemma":0.0036555333,"teacher_disagreement_score":0.021412667,"about_ca_system_score_codex":0.0028851028,"about_ca_system_score_gemma":0.00073429325,"threshold_uncertainty_score":0.071632504},"labels":[],"label_agreement":null},{"id":"W1968476285","doi":"10.1353/mos.2012.0032","title":"Ekphrasis Refigured: Writing Seeing in Siri Hustvedt’s What I Loved","year":2012,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Order (exchange); Art; Literature; Aesthetics; Philosophy; Art history; Economics","score_opus":0.045555093348621456,"score_gpt":0.2667074664537626,"score_spread":0.22115237310514113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968476285","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44517124,0.004860051,0.008203519,0.042562585,0.0059656403,0.000049227656,0.0000856292,0.000146098,0.492956],"genre_scores_gemma":[0.9704929,0.0006337872,0.0009659995,0.0019397587,0.00024954198,0.000010019589,0.000021577953,0.00011944027,0.025567012],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886525,0.00060872675,0.000027274918,0.00013671172,0.00020485882,0.00015731026],"domain_scores_gemma":[0.99871325,0.0007713156,0.00012976215,0.00009886642,0.00014045025,0.00014632929],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026292708,0.0003586405,0.00032175265,0.00044486567,0.009256134,0.0073505463,0.00046000982,0.001571413,0.0034999596],"category_scores_gemma":[0.0048621288,0.0002467873,0.00020452935,0.0003659947,0.018631712,0.0066346987,0.00373349,0.004821803,0.00065071014],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000596115,0.000026243659,0.00060809706,0.00007206474,0.0000055185465,0.0012519797,0.8223126,0.000062118066,0.0011325941,0.14816108,0.01284225,0.01346588],"study_design_scores_gemma":[0.000013449192,0.000041894295,0.00095410366,0.00022235859,0.000010561206,0.0015014488,0.6835878,0.00020238085,0.0016224373,0.019358937,0.29245684,0.000027731081],"about_ca_topic_score_codex":0.004182943,"about_ca_topic_score_gemma":0.009297795,"teacher_disagreement_score":0.009256134,"about_ca_system_score_codex":0.002618575,"about_ca_system_score_gemma":0.0020669578,"threshold_uncertainty_score":0.018999219},"labels":[],"label_agreement":null},{"id":"W1970781168","doi":"10.1177/1470412905050637","title":"Visual Studies, Historiography and Aesthetics","year":2005,"lang":"en","type":"article","venue":"Journal of Visual Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Historiography; Hegelianism; History of art; Context (archaeology); Visual culture; Aesthetics; Queer; Contemporary art; Conversation; Art; Art history; History; Sociology; Philosophy; Epistemology; Visual arts; Psychoanalysis; Psychology; Performance art","score_opus":0.031279664461204594,"score_gpt":0.3098157757790747,"score_spread":0.2785361113178701,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1970781168","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011844912,0.068272345,0.00237437,0.0867981,0.0062786723,0.000022681354,0.000053369262,0.00010104274,0.8242545],"genre_scores_gemma":[0.7617134,0.03277524,0.0014764176,0.016107706,0.008597188,0.00008364228,0.000062116356,0.00036983922,0.17881446],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99661463,0.00236303,0.00006345848,0.0002308021,0.00047185304,0.0002561812],"domain_scores_gemma":[0.99749386,0.0014449821,0.0001828631,0.00037064144,0.00024253351,0.0002651008],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025688647,0.00056201493,0.00035229616,0.0027109473,0.0066582756,0.01585105,0.0011455831,0.0021711478,0.011650381],"category_scores_gemma":[0.005838203,0.00020164532,0.0002613009,0.0027616813,0.043785945,0.005473925,0.004445633,0.0039207223,0.0009681613],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000145574495,0.000011429576,0.00018122664,0.000111835805,0.0000035135351,0.00008276597,0.03569283,0.00006391213,0.00008444749,0.9001822,0.047890656,0.015680643],"study_design_scores_gemma":[0.000008081385,0.000012677312,0.000326712,0.0005471397,0.000003750188,0.00015572978,0.027933186,0.00007359698,0.00010641829,0.11055981,0.86026454,0.000008402462],"about_ca_topic_score_codex":0.012032209,"about_ca_topic_score_gemma":0.015626837,"teacher_disagreement_score":0.01585105,"about_ca_system_score_codex":0.008510112,"about_ca_system_score_gemma":0.0034847853,"threshold_uncertainty_score":0.061745465},"labels":[],"label_agreement":null},{"id":"W1971924716","doi":"10.1034/j.1600-0730.2001.d01-31.x","title":"Interpreting Art, Interpreting Literature","year":2001,"lang":"en","type":"article","venue":"Orbis Litterarum","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Epistemology; Context (archaeology); Action (physics); Ontology; Work of art; Sociology; Philosophy; History; Aesthetics","score_opus":0.014346627631465032,"score_gpt":0.23916738323000272,"score_spread":0.2248207555985377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1971924716","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035598297,0.04695085,0.038903352,0.061656486,0.0027738223,0.000065344975,0.00014220345,0.00016390714,0.81374586],"genre_scores_gemma":[0.92671853,0.022356885,0.013034029,0.0049100225,0.003051943,0.00018403615,0.00017412298,0.00028567645,0.029284785],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9900857,0.0068271644,0.00030810188,0.00087714504,0.0013180146,0.00058390235],"domain_scores_gemma":[0.9919531,0.0055539734,0.0006350972,0.000869311,0.0007572683,0.000231248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011071091,0.0010714015,0.00069911964,0.008115119,0.010421554,0.025756735,0.0018722188,0.0044718324,0.005364764],"category_scores_gemma":[0.017447814,0.0004454296,0.00060684996,0.0066737914,0.065611295,0.025863137,0.0071026366,0.0037980317,0.00094352616],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000055686082,0.0000040830696,0.00015274365,0.000095566946,0.0000034263387,0.00008016521,0.03521799,0.00010983566,0.000055571094,0.9562203,0.0025445467,0.0055101947],"study_design_scores_gemma":[0.000011486138,0.000011860754,0.0003899524,0.0008013251,0.000015406575,0.00019857202,0.06286746,0.00028387248,0.00024155647,0.71015996,0.22500385,0.000014665741],"about_ca_topic_score_codex":0.006790845,"about_ca_topic_score_gemma":0.0061459364,"teacher_disagreement_score":0.025756735,"about_ca_system_score_codex":0.008573326,"about_ca_system_score_gemma":0.005373139,"threshold_uncertainty_score":0.062204123},"labels":[],"label_agreement":null},{"id":"W1974118758","doi":"10.7202/1005506ar","title":"Le travail de la caméra : une pratique intermédiale. La conception de l’image du caméraman Eugen Schüfftan (1886–1977)","year":2011,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.02678128917025728,"score_gpt":0.2844349879469879,"score_spread":0.2576536987767306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1974118758","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062015064,0.056798745,0.014464512,0.050074816,0.0020525851,0.0000888649,0.00014387186,0.00007866517,0.8142829],"genre_scores_gemma":[0.756401,0.019965142,0.0031837039,0.004799437,0.0008575327,0.00010142653,0.00006208528,0.00017002488,0.21445967],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99866307,0.0006741582,0.000030294806,0.00024249752,0.00023401252,0.00015595346],"domain_scores_gemma":[0.9989705,0.0005900154,0.000094734256,0.00005762407,0.00016972325,0.00011736402],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016579311,0.00053969614,0.00021020292,0.0013489852,0.007325389,0.006954595,0.00061843806,0.002021707,0.009788755],"category_scores_gemma":[0.003656551,0.00036045068,0.00017162554,0.001100698,0.018262176,0.007770265,0.0033097272,0.004435763,0.0008389689],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004544707,0.000008279005,0.0005667902,0.000087732784,0.00000342708,0.00023879581,0.15085205,0.00007006805,0.00048638633,0.7986502,0.020353321,0.028637476],"study_design_scores_gemma":[0.0000065516365,0.000024651923,0.0011711785,0.0005229512,0.0000051460984,0.00041670343,0.040511344,0.00012670997,0.00078161707,0.027641026,0.928769,0.000023141647],"about_ca_topic_score_codex":0.032216825,"about_ca_topic_score_gemma":0.04742849,"teacher_disagreement_score":0.032216825,"about_ca_system_score_codex":0.007540019,"about_ca_system_score_gemma":0.0036316689,"threshold_uncertainty_score":0.0640586},"labels":[],"label_agreement":null},{"id":"W1975374410","doi":"10.7202/044673ar","title":"Picture Policies in Documents","year":2010,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Postmodernism; Idealism; Dynamics (music); Plane (geometry); Epistemology; Sociology; Philosophy; Geometry","score_opus":0.029123108561101396,"score_gpt":0.3042837866556281,"score_spread":0.2751606780945267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1975374410","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018861687,0.00390905,0.010825004,0.04612632,0.0012765559,0.00013563619,0.00038676095,0.00025178154,0.9182272],"genre_scores_gemma":[0.7018123,0.0037027088,0.0061948923,0.013189491,0.001226071,0.00055266335,0.0005334344,0.0009063898,0.27188215],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.97679764,0.008155085,0.0015589764,0.003043995,0.007923084,0.0025212993],"domain_scores_gemma":[0.967171,0.015047172,0.0027319281,0.0072401417,0.006318211,0.0014915324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013442387,0.0005025635,0.00048635158,0.0025022703,0.011016059,0.02060432,0.0019547252,0.0066873217,0.04103812],"category_scores_gemma":[0.065540455,0.0006726291,0.00045336786,0.003944933,0.02009495,0.028394185,0.010393065,0.006989103,0.006129168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008915017,0.0000037547998,0.0001200879,0.000021575506,0.0000012185599,0.0000216162,0.002083796,0.000042411444,0.00005876952,0.9838282,0.008117685,0.0056920485],"study_design_scores_gemma":[0.000024106645,0.000019759362,0.0004256541,0.00037457974,0.000007129541,0.00010375444,0.0043197884,0.00013462377,0.00071706926,0.20950623,0.7843458,0.000021656757],"about_ca_topic_score_codex":0.015336496,"about_ca_topic_score_gemma":0.007555174,"teacher_disagreement_score":0.04103812,"about_ca_system_score_codex":0.015947647,"about_ca_system_score_gemma":0.0141258,"threshold_uncertainty_score":0.13728619},"labels":[],"label_agreement":null},{"id":"W1977190468","doi":"10.1080/14791420802239685","title":"Dressing Down Hillary","year":2008,"lang":"en","type":"article","venue":"Communication and Critical/Cultural Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"PARRY; Rhetoric; Politics; Art; Media studies; Postmodernism; Art history; Popular culture; Feminism; Performance art; Sociology; Gender studies; Literature; Political science; Law; Philosophy; Theology","score_opus":0.16678609913337997,"score_gpt":0.36414426169238423,"score_spread":0.19735816255900426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977190468","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0050812727,0.0011978858,0.0013411439,0.006219664,0.012810434,0.00023860148,0.0014466075,0.0041944315,0.96747],"genre_scores_gemma":[0.01075741,0.0006955803,0.0012960923,0.0032003196,0.0011347351,0.00007658333,0.00054541946,0.0012690276,0.98102486],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975675,0.000024225441,0.000008282397,0.0000445292,0.00008801198,0.000078297395],"domain_scores_gemma":[0.9993253,0.00007198706,0.00003630648,0.0000724514,0.00018349453,0.00031055833],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023890017,0.0005873112,0.00043407423,0.0007636215,0.0018871669,0.0028704503,0.0007330247,0.0013878642,0.7566554],"category_scores_gemma":[0.0016194214,0.00025598545,0.00054583227,0.00035579898,0.00034804773,0.0022664864,0.0022272407,0.001978291,0.3935378],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007015283,0.00004649599,0.00017301751,0.00010535205,0.000003674729,0.00018295879,0.0002609822,0.000012697337,0.00063327263,0.000929277,0.95518297,0.042399142],"study_design_scores_gemma":[0.0000074388076,0.000018298391,0.000575079,0.00004729641,0.0000028384964,0.00009922071,0.00035872924,0.00002541636,0.0002469619,0.00020675606,0.9984047,0.0000072735043],"about_ca_topic_score_codex":0.0023489012,"about_ca_topic_score_gemma":0.008691892,"teacher_disagreement_score":0.7566554,"about_ca_system_score_codex":0.00042282394,"about_ca_system_score_gemma":0.000411065,"threshold_uncertainty_score":0.3471015},"labels":[],"label_agreement":null},{"id":"W1980028846","doi":"10.1353/mos.2012.0038","title":"Magritte's La clef de verre and Hammett's The Glass Key: An Interarts Dialogue","year":2012,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Clef; Dynamism; Key (lock); Poetry; Visibility; Art; Literature; Philosophy; Computer science; Optics; Physics; Epistemology; Economics; Management","score_opus":0.026142306378587943,"score_gpt":0.24946612298581133,"score_spread":0.2233238166072234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1980028846","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.059052788,0.010101045,0.0062198336,0.0667349,0.0036660677,0.00002978845,0.00004045025,0.00017667,0.85397834],"genre_scores_gemma":[0.85576165,0.0012669022,0.0013796901,0.003973367,0.0006740361,0.000030324089,0.000011671795,0.00019278096,0.13670956],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99668807,0.002142947,0.000023423348,0.00026154457,0.00046744192,0.0004166107],"domain_scores_gemma":[0.99874926,0.00078152237,0.000053505086,0.00010408231,0.00009756893,0.00021414735],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003003799,0.0005156541,0.00031574108,0.0008124251,0.010869304,0.011483304,0.00083435414,0.0035216475,0.00921031],"category_scores_gemma":[0.0049264687,0.00029627274,0.000322399,0.00047920903,0.019447966,0.0060504144,0.003716867,0.0037554281,0.0008495394],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063143845,0.000018762801,0.0001818098,0.000024888792,0.000004668529,0.00034409759,0.15968743,0.00011192487,0.00053298794,0.76217043,0.063404426,0.013455461],"study_design_scores_gemma":[0.000010590161,0.000017647853,0.0005790274,0.00012378303,0.0000036074875,0.0002245649,0.046926904,0.0001626399,0.00029095935,0.025447695,0.92619437,0.000018232524],"about_ca_topic_score_codex":0.0350263,"about_ca_topic_score_gemma":0.052714225,"teacher_disagreement_score":0.0350263,"about_ca_system_score_codex":0.010542239,"about_ca_system_score_gemma":0.0022403265,"threshold_uncertainty_score":0.07648969},"labels":[],"label_agreement":null},{"id":"W1980934271","doi":"10.7202/039820ar","title":"Récrire l’Amérique : la peinture d’Edward Hopper mise en fiction","year":2010,"lang":"fr","type":"article","venue":"Études françaises","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.012319466514651456,"score_gpt":0.2415831779330052,"score_spread":0.22926371141835375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1980934271","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21254303,0.05562634,0.0036911222,0.13891599,0.010481069,0.00005508348,0.00031328373,0.00013916008,0.57823485],"genre_scores_gemma":[0.7449861,0.011638293,0.0011529973,0.00976548,0.00081930764,0.000038688893,0.00007747367,0.00015342362,0.2313683],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967265,0.00011779705,0.0000051425977,0.00004230361,0.00008530648,0.00007684772],"domain_scores_gemma":[0.99965596,0.00015573499,0.000019877163,0.000014469773,0.00009290398,0.000061015373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005638142,0.0005565542,0.0001334307,0.00051029975,0.007909245,0.0025117656,0.00047417555,0.0011281854,0.0028851717],"category_scores_gemma":[0.0011799437,0.00016878532,0.00012181769,0.0005085066,0.006234977,0.0021423092,0.0013234101,0.003308013,0.0005688418],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006477949,0.000021534319,0.0018947652,0.00010566659,0.000007971764,0.0017551042,0.60197264,0.00013623846,0.0015808274,0.13664953,0.22545187,0.030359114],"study_design_scores_gemma":[0.0000025382922,0.00001106952,0.0021751297,0.00015714958,0.0000043218174,0.00042799715,0.08219799,0.0000900968,0.00036600206,0.0028879012,0.911665,0.000014827948],"about_ca_topic_score_codex":0.30873916,"about_ca_topic_score_gemma":0.491587,"teacher_disagreement_score":0.30873916,"about_ca_system_score_codex":0.00929819,"about_ca_system_score_gemma":0.005007188,"threshold_uncertainty_score":0.6138842},"labels":[],"label_agreement":null},{"id":"W1981024687","doi":"10.1177/0959354307079301","title":"Special Section: Phantoms Limn","year":2007,"lang":"en","type":"article","venue":"Theory & Psychology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Poetry; Affect theory; Uncanny; Affect (linguistics); Feeling; Phenomenon; Psychology; Psychoanalysis; Romance; Literature; Photography; Aesthetics; Art; Visual arts; Philosophy; Epistemology; Social psychology; Communication","score_opus":0.042038588035718354,"score_gpt":0.32788784749273414,"score_spread":0.2858492594570158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1981024687","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005428494,0.029783774,0.0016233528,0.100775845,0.7813801,0.00012805582,0.000178652,0.0004660645,0.08023559],"genre_scores_gemma":[0.04061472,0.029175717,0.0008037853,0.04619922,0.6682892,0.00014690564,0.00026030425,0.00023733567,0.21427275],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940336,0.000104025006,0.00007593696,0.00014247729,0.00015882353,0.0001154981],"domain_scores_gemma":[0.9983708,0.00075195456,0.00013656172,0.00011650849,0.0002716587,0.0003524747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085279456,0.0010413175,0.0009234045,0.00160924,0.0026268137,0.0019684948,0.0012524502,0.0060943984,0.04301905],"category_scores_gemma":[0.0049796514,0.0003457506,0.0008609847,0.00054291956,0.0016063566,0.002006715,0.0020774247,0.0039700307,0.00757027],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000987997,0.00006372026,0.0006629213,0.00049086753,0.000016148695,0.00594768,0.0003837089,0.00007454941,0.0007066869,0.008507658,0.91714156,0.06590565],"study_design_scores_gemma":[0.000010643248,0.00007210045,0.0009375433,0.00024110319,0.000011799564,0.012352242,0.00026960875,0.00006757216,0.00030514388,0.0018384675,0.98388124,0.000012479428],"about_ca_topic_score_codex":0.0006430927,"about_ca_topic_score_gemma":0.0013688196,"teacher_disagreement_score":0.04301905,"about_ca_system_score_codex":0.0008494229,"about_ca_system_score_gemma":0.0009125172,"threshold_uncertainty_score":0.14391309},"labels":[],"label_agreement":null},{"id":"W1986943351","doi":"10.3138/utq.72.4.817","title":"<i>Oedipus</i> and the Riddle of the New Media: François Girard at the Canadian Opera Company","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Art; Art history","score_opus":0.012268507249588601,"score_gpt":0.17291419261537855,"score_spread":0.16064568536578994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1986943351","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011443784,0.16277996,0.0006927782,0.5482197,0.009440416,0.00002809302,0.00011864795,0.00008377626,0.26719284],"genre_scores_gemma":[0.30458918,0.06828732,0.00071455294,0.068960905,0.005342924,0.000045347704,0.000049434286,0.00035951278,0.5516509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976926,0.0006187176,0.00003224658,0.00022668287,0.00060386304,0.0008259727],"domain_scores_gemma":[0.9973701,0.0008896496,0.000088694724,0.00005892878,0.0007255114,0.00086708844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026064296,0.0009296634,0.0006578038,0.0016489075,0.032879747,0.012475005,0.0015300383,0.0069580534,0.011339257],"category_scores_gemma":[0.0039784685,0.00058515527,0.00031500263,0.0023448083,0.0278345,0.0057533444,0.002955644,0.009082269,0.0012454807],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033633398,0.000013509178,0.00039442646,0.00006398655,0.000006829021,0.00019949787,0.026542863,0.00010914602,0.000121813086,0.22755015,0.73254687,0.012417319],"study_design_scores_gemma":[0.000004606076,0.000004598509,0.0007193049,0.0001266886,0.0000035661835,0.00009291694,0.017343467,0.000031645734,0.00006892204,0.0060142265,0.9755609,0.000029182203],"about_ca_topic_score_codex":0.92280036,"about_ca_topic_score_gemma":0.9575769,"teacher_disagreement_score":0.07719964,"about_ca_system_score_codex":0.03788872,"about_ca_system_score_gemma":0.03061427,"threshold_uncertainty_score":0.27490318},"labels":[],"label_agreement":null},{"id":"W1987918638","doi":"10.7202/013054ar","title":"La femme et le type : le stéréotype comme vecteur narratif dans le cinéma des attractions","year":2006,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.05566340137687537,"score_gpt":0.27990229997158406,"score_spread":0.2242388985947087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987918638","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3565194,0.005750053,0.010552578,0.022407858,0.0011569022,0.000036137386,0.00020739621,0.000064156324,0.60330546],"genre_scores_gemma":[0.9698098,0.0008087201,0.000677063,0.00085226406,0.0001559312,0.000020296311,0.00002469758,0.000028107997,0.027623083],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99856,0.0010622191,0.00001857211,0.00011009306,0.0001028618,0.00014622245],"domain_scores_gemma":[0.99928206,0.00037015186,0.000074500225,0.000046488298,0.00010144743,0.00012532416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015177954,0.00034369083,0.00018854183,0.0006303849,0.0047720596,0.0035459509,0.00023937147,0.0009202325,0.0065105734],"category_scores_gemma":[0.0024068719,0.00017281163,0.00014819865,0.00048618982,0.0069516916,0.0027012264,0.0015575116,0.0015226383,0.0006215154],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012794587,0.000017615885,0.0062747193,0.00017216864,0.000012944028,0.00062666874,0.6014108,0.00008408726,0.0016209289,0.34076738,0.017220102,0.031664655],"study_design_scores_gemma":[0.00001585426,0.000098268145,0.015295871,0.0007290193,0.00002578134,0.0015781808,0.36680502,0.0002557276,0.00083249353,0.025083438,0.58923775,0.000042575462],"about_ca_topic_score_codex":0.0091143735,"about_ca_topic_score_gemma":0.014684594,"teacher_disagreement_score":0.0091143735,"about_ca_system_score_codex":0.0014419971,"about_ca_system_score_gemma":0.000703002,"threshold_uncertainty_score":0.021780074},"labels":[],"label_agreement":null},{"id":"W1987931198","doi":"10.7202/501043ar","title":"Problématique de l’enseignement du scénario comme objet de création et de construction","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.027409044301055688,"score_gpt":0.26936734636119875,"score_spread":0.24195830206014307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987931198","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.082931995,0.0030232517,0.24648128,0.048196033,0.0008391933,0.0003144197,0.00023679768,0.00025033465,0.61772674],"genre_scores_gemma":[0.8836908,0.001684714,0.044540294,0.00077342195,0.0001694675,0.00034670916,0.00015835957,0.0002702871,0.06836589],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9885507,0.0071574757,0.00042364903,0.0015005018,0.0016298528,0.00073780335],"domain_scores_gemma":[0.99072623,0.004998735,0.00064337224,0.0015701536,0.0014783174,0.00058312167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008630961,0.0008658585,0.00050055864,0.0018754757,0.008377973,0.018058725,0.0023631158,0.00518235,0.014741151],"category_scores_gemma":[0.019956576,0.0007720403,0.00085526105,0.0017217943,0.031122712,0.018832011,0.006632747,0.005309785,0.001753585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007895824,0.000007493089,0.0002343438,0.000047428788,0.0000028878212,0.00013682939,0.01819329,0.00039762264,0.00023439902,0.9737671,0.0012790987,0.005691536],"study_design_scores_gemma":[0.000013494861,0.000028617787,0.0012361021,0.0003363878,0.000012828838,0.00071477535,0.060999922,0.0032418186,0.0011123164,0.66914254,0.2631197,0.000041414045],"about_ca_topic_score_codex":0.008727644,"about_ca_topic_score_gemma":0.007234082,"teacher_disagreement_score":0.018058725,"about_ca_system_score_codex":0.00675675,"about_ca_system_score_gemma":0.0058729113,"threshold_uncertainty_score":0.04931408},"labels":[],"label_agreement":null},{"id":"W1988045123","doi":"10.7202/1026193ar","title":"Impurely Applied: The Architecture and Landscape Architecture of Vito Acconci","year":2014,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Architecture; Art; Visual arts","score_opus":0.007692395533693541,"score_gpt":0.18646474245132771,"score_spread":0.17877234691763416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1988045123","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03690622,0.0040118475,0.0052325977,0.013227172,0.0006106417,0.00003150311,0.000029874112,0.000045151173,0.939905],"genre_scores_gemma":[0.865168,0.0018310711,0.0025764154,0.0013622122,0.00030508646,0.000054686625,0.00004165599,0.00015949547,0.1285014],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983398,0.0008343425,0.000024043742,0.00023448377,0.00033189054,0.0002354599],"domain_scores_gemma":[0.99932826,0.00026004657,0.000047353526,0.0001444232,0.00012552146,0.000094494724],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012840452,0.00036372337,0.00025288618,0.001298888,0.008583059,0.0103828,0.0008335384,0.001866417,0.011488806],"category_scores_gemma":[0.0031001316,0.0002500642,0.00021990223,0.0011912999,0.021390188,0.0034937419,0.0041098786,0.0031825032,0.00089646043],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017524848,0.000012028351,0.00061812636,0.00004045655,0.0000030654207,0.00010450109,0.045792706,0.00029890495,0.00018479089,0.9251207,0.009498078,0.018309021],"study_design_scores_gemma":[0.000007702035,0.000024885012,0.0027461473,0.00022289397,0.000007903453,0.00028423683,0.028170904,0.0007319244,0.00034217007,0.11104985,0.85638857,0.000022841019],"about_ca_topic_score_codex":0.03172963,"about_ca_topic_score_gemma":0.06296891,"teacher_disagreement_score":0.96827036,"about_ca_system_score_codex":0.0072705103,"about_ca_system_score_gemma":0.0026452157,"threshold_uncertainty_score":0.06308991},"labels":[],"label_agreement":null},{"id":"W1988310705","doi":"10.1353/rhe.2012.0028","title":"Imag(in)ing the University: Visual Sociology and Higher Education","year":2012,"lang":"en","type":"article","venue":"Review of higher education/˜The œreview of higher education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Sociology; Higher education; Sociology of Education; Reproduction; Visual research; Sociology of knowledge; Social science; Epistemology; Visual arts; Political science; Art","score_opus":0.025780301139383652,"score_gpt":0.33073773214248336,"score_spread":0.3049574310030997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1988310705","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034253825,0.599095,0.004866419,0.051525295,0.0029570532,0.000023178454,0.000047379468,0.000055269684,0.30717662],"genre_scores_gemma":[0.7081281,0.24266562,0.0024494173,0.005784157,0.0037161168,0.000043655007,0.00004780479,0.000056964505,0.037108075],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9990206,0.00070143683,0.000027822629,0.00006011832,0.00013253753,0.000057431425],"domain_scores_gemma":[0.99847597,0.0010245445,0.00015905734,0.00008762478,0.00011728948,0.00013559457],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001378962,0.0003210029,0.00023146563,0.0030855017,0.002178588,0.0090096,0.00032636765,0.0014062679,0.005783445],"category_scores_gemma":[0.0021643364,0.000118987264,0.00015282298,0.0032275687,0.008055474,0.005848219,0.0023418586,0.001226226,0.0006543919],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031259962,0.00003967773,0.0032951846,0.00136576,0.00001874447,0.0004044501,0.04187294,0.0002696969,0.00041126023,0.55819523,0.043870583,0.35022524],"study_design_scores_gemma":[0.000008088161,0.000040563016,0.0045529394,0.0019423132,0.0000147169785,0.0010524216,0.05241706,0.00018624694,0.0002289518,0.16753592,0.77200204,0.000018788256],"about_ca_topic_score_codex":0.0034166898,"about_ca_topic_score_gemma":0.006899351,"teacher_disagreement_score":0.0090096,"about_ca_system_score_codex":0.0016739882,"about_ca_system_score_gemma":0.0019082578,"threshold_uncertainty_score":0.019347548},"labels":[],"label_agreement":null},{"id":"W1989083330","doi":"10.7202/1005505ar","title":"Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality","year":2011,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":908,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Intertextuality; Perspective (graphical); Meaning (existential); The arts; Sociology; Epistemology; Value (mathematics); Heuristic; Linguistics; Art; Computer science; Philosophy; Visual arts","score_opus":0.06259446995588089,"score_gpt":0.3118129440987804,"score_spread":0.24921847414289952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989083330","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16818507,0.013221469,0.12189092,0.023118453,0.0009436735,0.00010752558,0.0000759971,0.00023567415,0.67222124],"genre_scores_gemma":[0.9836574,0.0013805968,0.004833122,0.00032695834,0.0002941061,0.00005136798,0.000019442385,0.00007062775,0.009366317],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9950781,0.0032684635,0.00020886003,0.00039566256,0.000705977,0.00034299016],"domain_scores_gemma":[0.995053,0.002945976,0.0006015691,0.0008730203,0.0003124798,0.00021405201],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004563984,0.00070561835,0.0005450238,0.004796084,0.0065709194,0.013808079,0.0017340578,0.002541389,0.0044086333],"category_scores_gemma":[0.00803435,0.00031292028,0.00059336674,0.002865511,0.0620949,0.017935982,0.010372453,0.0046783574,0.0004995117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012249672,0.0000050986123,0.00010918596,0.00002969821,0.0000021056824,0.00008431776,0.023672689,0.00008657839,0.000180364,0.97321653,0.00018461708,0.0024164899],"study_design_scores_gemma":[0.000023740271,0.000063822474,0.0006442335,0.0003999046,0.000025916535,0.00065401656,0.046322487,0.0012519434,0.0014682207,0.85699356,0.09212474,0.000027398833],"about_ca_topic_score_codex":0.00090367283,"about_ca_topic_score_gemma":0.0009937354,"teacher_disagreement_score":0.013808079,"about_ca_system_score_codex":0.0032537142,"about_ca_system_score_gemma":0.0019135143,"threshold_uncertainty_score":0.02413696},"labels":[],"label_agreement":null},{"id":"W1989672362","doi":"10.1057/sth.2014.9","title":"The aesthetic rationality of the popular expressive arts: Lifeworld communication among breast cancer survivors living with lymphedema","year":2014,"lang":"en","type":"article","venue":"Social Theory & Health","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal University Hospital; University of Ottawa; Saskatchewan Cancer Agency; University of Saskatchewan","funders":"","keywords":"Lifeworld; Communicative action; Rationality; Reflexivity; The arts; Sociology; Lymphedema; Action (physics); Critical theory; Aesthetics; Psychology; Epistemology; Social psychology; Breast cancer; Visual arts; Social science; Medicine; Art","score_opus":0.022680641247486227,"score_gpt":0.2804516502940591,"score_spread":0.2577710090465729,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989672362","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9723716,0.0013775124,0.0015300526,0.004581776,0.00009666168,0.000034513872,0.000016745986,0.000019025427,0.019972198],"genre_scores_gemma":[0.997747,0.00042051042,0.00025582736,0.00027133312,0.000019143954,0.00001597176,0.0000051803586,0.000008705469,0.0012564253],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9963576,0.0027157296,0.000090245296,0.00016030562,0.0003819898,0.00029407852],"domain_scores_gemma":[0.9949409,0.0038533749,0.00055809756,0.00026041493,0.00016661771,0.00022067493],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004153247,0.00043180707,0.00032585743,0.0010989363,0.007089034,0.0060347775,0.0008040147,0.0014277556,0.003038706],"category_scores_gemma":[0.010943272,0.00027341966,0.00025162185,0.0007153514,0.016890801,0.003449102,0.008738351,0.0023413475,0.00021605445],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034375553,0.000029531928,0.0031046486,0.00009972646,0.000008015,0.00061533425,0.9757848,0.000044838063,0.0007165386,0.005322807,0.0006321797,0.013607269],"study_design_scores_gemma":[0.000005141371,0.00004668496,0.002415546,0.0000967762,0.000012414115,0.0008058998,0.9839346,0.00009484159,0.00034177554,0.0019960066,0.0102353105,0.000014945221],"about_ca_topic_score_codex":0.002164401,"about_ca_topic_score_gemma":0.0037403887,"teacher_disagreement_score":0.007089034,"about_ca_system_score_codex":0.0012706418,"about_ca_system_score_gemma":0.0010778486,"threshold_uncertainty_score":0.021964729},"labels":[],"label_agreement":null},{"id":"W1992038474","doi":"10.1353/fch.2011.0034","title":"\"A sign that we are related to you\": The Transatlantic Gifts of the Hurons of the Jesuit Mission of Lorette, 1650–1750","year":2011,"lang":"fr","type":"article","venue":"French Colonial History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sign (mathematics); Political science; Geography; Ancient history; History; Mathematics","score_opus":0.050210451105366045,"score_gpt":0.2180176670005777,"score_spread":0.16780721589521166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992038474","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7934669,0.004945577,0.00068272563,0.017363181,0.00058498955,0.000023406968,0.00010074324,0.000047707337,0.18278463],"genre_scores_gemma":[0.9721024,0.0006924425,0.00011659365,0.0007290009,0.00006112861,0.000009253999,0.000022669868,0.000025122135,0.02624138],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989046,0.00058400125,0.000009433471,0.000068513924,0.00012922655,0.0003043102],"domain_scores_gemma":[0.99910456,0.00017506338,0.00019041609,0.0000310726,0.00014723958,0.00035157608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012446649,0.00025936737,0.00019837893,0.0007820655,0.016398793,0.0044294377,0.00041063887,0.0008389218,0.0049018315],"category_scores_gemma":[0.0029897813,0.00019017508,0.00011184587,0.0006739275,0.010753768,0.0025889003,0.0033613897,0.0024741632,0.00055944215],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067595654,0.000019164469,0.0049337847,0.000042495492,0.0000051275065,0.0005847219,0.9347232,0.000024401992,0.00030730307,0.034854196,0.012211612,0.0122263655],"study_design_scores_gemma":[0.0000059488893,0.00003924702,0.020930538,0.00017749613,0.000006599719,0.00040472782,0.77605957,0.000025001014,0.00015575215,0.0011403251,0.2010317,0.00002311766],"about_ca_topic_score_codex":0.13692118,"about_ca_topic_score_gemma":0.31734407,"teacher_disagreement_score":0.86307883,"about_ca_system_score_codex":0.00828416,"about_ca_system_score_gemma":0.0034095887,"threshold_uncertainty_score":0.2722484},"labels":[],"label_agreement":null},{"id":"W1992774196","doi":"10.3138/sem.50.4.461","title":"Are There Painful Images? Ernst Jünger and Beholding Pain in Photography","year":2014,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Feeling; Weimar Republic; Certainty; Existentialism; Globe; Nothing; Psychoanalysis; Aesthetics; Art history; Psychology; Philosophy; Art; Law; Politics; Political science; Social psychology; Epistemology","score_opus":0.038033325517323094,"score_gpt":0.2779964767321984,"score_spread":0.23996315121487533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992774196","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01705458,0.305387,0.0018796533,0.5739641,0.011780493,0.000037483962,0.00007992218,0.000051219413,0.08976549],"genre_scores_gemma":[0.5004213,0.25838327,0.0035831905,0.14755282,0.022547081,0.00018244867,0.000069515365,0.0002120361,0.06704833],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99798644,0.0010934534,0.000060831328,0.00018422927,0.00047522617,0.00019975464],"domain_scores_gemma":[0.9971553,0.0018547295,0.0002407446,0.000118978365,0.00037056016,0.00025974307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028765653,0.00047523147,0.00043677966,0.0020388723,0.0068175523,0.0062497263,0.000609822,0.004365954,0.0054518417],"category_scores_gemma":[0.0103400955,0.00038331994,0.00023393857,0.00096155406,0.019470854,0.01426734,0.003114665,0.007868855,0.0011895683],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006737862,0.000057274803,0.0012143591,0.00032553336,0.000016885799,0.0010887621,0.1345754,0.000054383352,0.00056833506,0.3375637,0.44620264,0.07826534],"study_design_scores_gemma":[0.0000232578,0.000042191536,0.0019017599,0.0015576904,0.000013507544,0.0015988939,0.06714802,0.000084242565,0.00031745122,0.077167585,0.85009444,0.000050964154],"about_ca_topic_score_codex":0.00786433,"about_ca_topic_score_gemma":0.013471775,"teacher_disagreement_score":0.00786433,"about_ca_system_score_codex":0.0029765435,"about_ca_system_score_gemma":0.0014965992,"threshold_uncertainty_score":0.021596372},"labels":[],"label_agreement":null},{"id":"W1993573680","doi":"10.1525/ae.2001.28.3.735","title":"Picturing Culture: Explorations of Film and Anthropology","year":2001,"lang":"en","type":"article","venue":"American Ethnologist","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":287,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Anthropology; Index (typography); Visual anthropology; Sociology; Art history; Art; Ethnography; Computer science","score_opus":0.04976974496102506,"score_gpt":0.30307577699518684,"score_spread":0.2533060320341618,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1993573680","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062628366,0.7019939,0.008747738,0.038836684,0.002079669,0.00009767898,0.00011599146,0.00010162472,0.18539833],"genre_scores_gemma":[0.51202697,0.445841,0.008708355,0.003068131,0.0015979492,0.00029134666,0.00007069866,0.00017610133,0.028219545],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99704033,0.002361196,0.00008775693,0.00013833438,0.00023969743,0.0001326667],"domain_scores_gemma":[0.99319035,0.0059524127,0.00021662794,0.0002008204,0.00021673353,0.00022297709],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004496546,0.0009813005,0.0006649427,0.0058386787,0.0046836114,0.010818724,0.0010015306,0.0020985324,0.0051760776],"category_scores_gemma":[0.007991751,0.00076608214,0.00036145461,0.0064906394,0.020969132,0.017686564,0.00507395,0.0026470227,0.00027956173],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000105662104,0.00015529324,0.0020250552,0.002340073,0.00004249248,0.00080558076,0.34835532,0.0003072728,0.00097024045,0.33132854,0.052095637,0.26146877],"study_design_scores_gemma":[0.00003973084,0.00013392876,0.008008189,0.0060112444,0.00005030411,0.0027482298,0.37232298,0.00047174134,0.0010395144,0.10899212,0.50012565,0.000056415884],"about_ca_topic_score_codex":0.00516704,"about_ca_topic_score_gemma":0.008747649,"teacher_disagreement_score":0.010818724,"about_ca_system_score_codex":0.0028089054,"about_ca_system_score_gemma":0.0017513552,"threshold_uncertainty_score":0.023780286},"labels":[],"label_agreement":null},{"id":"W1994074414","doi":"10.7202/018144ar","title":"“A Logic of Its Own”: Repetition in Coleridge’s “Christabel”","year":2008,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Repetition (rhetorical device); Poetry; Creativity; Philosophy; Literature; Psychology; Linguistics; Art; Social psychology","score_opus":0.04254876860066939,"score_gpt":0.23691086566850184,"score_spread":0.19436209706783245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994074414","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10329691,0.0030036506,0.027535168,0.025952557,0.000636846,0.000033098535,0.000020842437,0.00015008259,0.8393707],"genre_scores_gemma":[0.95344734,0.00040220216,0.0024722144,0.0016287519,0.00011081655,0.000023445493,0.0000073268006,0.00010328312,0.041804608],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99751365,0.0013651391,0.00004201016,0.00024223712,0.00056151376,0.00027543702],"domain_scores_gemma":[0.9981877,0.0010828777,0.00014670013,0.00022248596,0.00023500746,0.00012521486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017758227,0.00027488702,0.00022812419,0.0006211503,0.006080853,0.0055358363,0.00074437854,0.0016145894,0.0038247127],"category_scores_gemma":[0.0057831653,0.00021866843,0.00020020484,0.0004678317,0.030352397,0.006020071,0.0032460669,0.003940382,0.0005383178],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014965535,0.0000051507554,0.00013901835,0.00001662039,0.0000012399584,0.000151796,0.05257673,0.0000648892,0.00021475885,0.9361761,0.0049647316,0.0056739505],"study_design_scores_gemma":[0.000022555421,0.00004646624,0.0005542842,0.00019036513,0.000008978218,0.0010356813,0.06222106,0.00065768574,0.0014635748,0.468798,0.46495306,0.00004842672],"about_ca_topic_score_codex":0.0070362436,"about_ca_topic_score_gemma":0.0117364405,"teacher_disagreement_score":0.0070362436,"about_ca_system_score_codex":0.0030754313,"about_ca_system_score_gemma":0.0019474401,"threshold_uncertainty_score":0.022313952},"labels":[],"label_agreement":null},{"id":"W1995579993","doi":"10.3138/carto.42.4.335","title":"Iconic Maps in American Political Discourse","year":2007,"lang":"en","type":"article","venue":"Cartographica The International Journal for Geographic Information and Geovisualization","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of Washington; National Endowment for the Humanities","keywords":"Politics; Political communication; Logos Bible Software; Ideology; Representation (politics); Democracy; Meaning (existential); Globe; Media studies; Sociology; Political science; Law; Epistemology; Computer science; Psychology","score_opus":0.014138866524757763,"score_gpt":0.3076530584398816,"score_spread":0.29351419191512385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995579993","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1913313,0.007919718,0.0044325627,0.027845433,0.0008273856,0.00006609962,0.00015946053,0.00012796832,0.76729],"genre_scores_gemma":[0.9795838,0.0029986394,0.0012896839,0.0013259873,0.00038224776,0.000059251895,0.000089563735,0.000070777816,0.014200135],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9965569,0.0022087407,0.000121584635,0.00019892727,0.0005856424,0.00032832145],"domain_scores_gemma":[0.9945814,0.0038088853,0.0003824389,0.00029109267,0.0007027956,0.00023327378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034662965,0.0005750993,0.00023844597,0.006711031,0.012094846,0.013446214,0.0005309565,0.0018305165,0.004704524],"category_scores_gemma":[0.007921586,0.0002988834,0.00011313422,0.008712534,0.015519377,0.0065779523,0.0034557562,0.0024435122,0.00051631755],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024317622,0.00002341857,0.0009421026,0.00008094017,0.000002527819,0.00016664469,0.40121138,0.00009532127,0.0003809031,0.5644073,0.011663875,0.021001277],"study_design_scores_gemma":[0.000008553839,0.000016755082,0.004024498,0.00030434428,0.0000107613,0.00022748271,0.27431977,0.00072736386,0.00046272128,0.049167868,0.67070276,0.000027132193],"about_ca_topic_score_codex":0.022548167,"about_ca_topic_score_gemma":0.017725645,"teacher_disagreement_score":0.022548167,"about_ca_system_score_codex":0.009329591,"about_ca_system_score_gemma":0.0025635227,"threshold_uncertainty_score":0.06769121},"labels":[],"label_agreement":null},{"id":"W199621156","doi":"","title":"Journey to the Centre of Visual Thought","year":2003,"lang":"es","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.022994955825334996,"score_gpt":0.263038939221537,"score_spread":0.24004398339620198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W199621156","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04660241,0.037617493,0.007922158,0.079734035,0.0012833925,0.000030575993,0.00008877266,0.000111129026,0.82661],"genre_scores_gemma":[0.9308926,0.009123573,0.0022445659,0.0047869775,0.0005175456,0.000045003853,0.00003661154,0.00014500403,0.0522081],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9967423,0.0020913037,0.000053300602,0.00035310257,0.0003460613,0.00041396476],"domain_scores_gemma":[0.99651766,0.0015215096,0.00026841927,0.00045158138,0.0005968827,0.00064386195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003579697,0.00041583597,0.00037582158,0.0024035492,0.009365464,0.01972182,0.0012029542,0.002682233,0.016105443],"category_scores_gemma":[0.0065527107,0.0002699513,0.00042514654,0.002320102,0.046146743,0.013477472,0.0060104313,0.0059218355,0.001876166],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001669765,0.000018354247,0.0004490194,0.000071707254,0.0000032037572,0.00009850256,0.09463644,0.000037103906,0.00009764787,0.87886333,0.010507241,0.015200826],"study_design_scores_gemma":[0.000017076396,0.000017229328,0.0014414574,0.0006813984,0.0000072954394,0.00023012454,0.16940568,0.00021166794,0.00019634176,0.43370005,0.39407277,0.000018968389],"about_ca_topic_score_codex":0.037350565,"about_ca_topic_score_gemma":0.029842285,"teacher_disagreement_score":0.037350565,"about_ca_system_score_codex":0.013550366,"about_ca_system_score_gemma":0.008894407,"threshold_uncertainty_score":0.09831524},"labels":[],"label_agreement":null},{"id":"W1996495437","doi":"10.1353/utq.2007.0072","title":"How Images Think (review)","year":2007,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subjectivity; Agency (philosophy); Subtitle; Epistemology; Sociology; Aesthetics; Philosophy; Linguistics","score_opus":0.014057214310828335,"score_gpt":0.2120954586439972,"score_spread":0.19803824433316886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1996495437","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000054287535,0.9817931,0.00010240595,0.0067219315,0.0052531376,0.000031774416,0.00021158425,0.000037864414,0.0057940097],"genre_scores_gemma":[0.00080721173,0.9806433,0.00015405523,0.008547772,0.003559969,0.00006685804,0.00038541682,0.000021820671,0.0058135767],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998982,0.00019110655,0.0001822498,0.0001610341,0.00038574595,0.000097856355],"domain_scores_gemma":[0.9961504,0.0012519218,0.0005055526,0.0001148109,0.001633616,0.00034373556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012087442,0.00090995023,0.0019571073,0.002808044,0.00060271967,0.004116285,0.002247273,0.002616027,0.060783237],"category_scores_gemma":[0.009179349,0.0005975711,0.0010544946,0.0038697384,0.0008091531,0.003960848,0.0015438602,0.0037657784,0.027919961],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050390878,0.000015540196,0.000097759825,0.0216799,0.000078412864,0.00008673034,0.000105795545,0.000047410766,0.00009418898,0.00086511264,0.6266196,0.3502591],"study_design_scores_gemma":[0.000020710946,0.000018878676,0.000494247,0.013059436,0.00010307491,0.00043671357,0.00008730344,0.000009646165,0.000041497,0.00048062342,0.985233,0.000014958337],"about_ca_topic_score_codex":0.0036081227,"about_ca_topic_score_gemma":0.005887559,"teacher_disagreement_score":0.060783237,"about_ca_system_score_codex":0.0016830764,"about_ca_system_score_gemma":0.0044075553,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W1998462630","doi":"10.7202/1005504ar","title":"Phantasia and Technè at the Fin-de-siècle","year":2011,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Liveness; Subject (documents); Object (grammar); Movie theater; Representation (politics); Sociology; Aesthetics; Epistemology; Simultaneity; Art; Philosophy; Art history; Computer science; Political science","score_opus":0.051505801851628744,"score_gpt":0.286747676868405,"score_spread":0.2352418750167763,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998462630","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05346224,0.0073871003,0.007922681,0.0153524345,0.0007661115,0.000015640868,0.000026217092,0.00010902318,0.9149584],"genre_scores_gemma":[0.9388356,0.0016634078,0.0011410186,0.0008044278,0.00017650487,0.000022585402,0.000011033353,0.000056436136,0.057289027],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9976356,0.0015461224,0.000051385905,0.00023751291,0.00032761408,0.00020175846],"domain_scores_gemma":[0.9991756,0.00048615647,0.00007100827,0.00013047285,0.000070184615,0.000066583554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024887684,0.0004321,0.000298645,0.0011474666,0.005612053,0.008610992,0.0005359823,0.0021430913,0.0045454362],"category_scores_gemma":[0.0034704236,0.00020372977,0.000267554,0.0008168673,0.04108129,0.007976339,0.0038148365,0.004311311,0.00072538614],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008407518,0.0000055058563,0.000097279364,0.000014746636,0.0000015355478,0.00008388549,0.022880262,0.000034074976,0.00010975604,0.97148854,0.0011161068,0.0041599623],"study_design_scores_gemma":[0.000033669112,0.000057958146,0.0008255591,0.00031517117,0.0000096752165,0.0010621629,0.034761198,0.0004277711,0.0006788448,0.44000605,0.52179885,0.000023195078],"about_ca_topic_score_codex":0.0041529373,"about_ca_topic_score_gemma":0.0053088707,"teacher_disagreement_score":0.008610992,"about_ca_system_score_codex":0.006250887,"about_ca_system_score_gemma":0.0019604445,"threshold_uncertainty_score":0.04535359},"labels":[],"label_agreement":null},{"id":"W2000799787","doi":"10.11606/issn.2238-7714.no.2013.57041","title":"Além do Flashback: Estéticas Audiovisuais do Fenômeno da Lembrança","year":2013,"lang":"pt","type":"article","venue":"Novos Olhares","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Discovery Air (Canada)","funders":"","keywords":"Narrative; Naturalism; Realism; Ideology; Representation (politics); Aesthetics; Movie theater; Sociology; Epistemology; Art; Philosophy; Art history; Literature; Politics; Political science","score_opus":0.04169366439535946,"score_gpt":0.28014414615716476,"score_spread":0.2384504817618053,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000799787","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21603219,0.00830919,0.04111161,0.009119082,0.0009497957,0.00010355781,0.000107338165,0.00034425213,0.72392297],"genre_scores_gemma":[0.9645296,0.002068974,0.005179808,0.00051194703,0.00021593897,0.00006682955,0.000027259872,0.00009022818,0.027309608],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913245,0.00048742138,0.000022179816,0.000105543695,0.00016151334,0.00009096821],"domain_scores_gemma":[0.99860054,0.0008586483,0.000111846675,0.00020640061,0.00013493407,0.00008767918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013822945,0.00045546395,0.00031857518,0.0011517846,0.003370549,0.0058268807,0.0007957341,0.0011264887,0.008795964],"category_scores_gemma":[0.005202081,0.00017018223,0.00028024463,0.0007011239,0.008926777,0.004816561,0.0032048617,0.0021209528,0.00064241304],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014544626,0.000050887178,0.0009911119,0.00040213,0.000013908359,0.0009051135,0.19909084,0.00038819588,0.0044506537,0.7037148,0.0047357264,0.085111186],"study_design_scores_gemma":[0.00006980139,0.00023448777,0.004030098,0.0010772431,0.00006565644,0.0027236573,0.16809717,0.0018186881,0.006729798,0.13863438,0.6764481,0.00007085937],"about_ca_topic_score_codex":0.0022240153,"about_ca_topic_score_gemma":0.0033241794,"teacher_disagreement_score":0.008795964,"about_ca_system_score_codex":0.0016879805,"about_ca_system_score_gemma":0.00077143946,"threshold_uncertainty_score":0.029425502},"labels":[],"label_agreement":null},{"id":"W2001612432","doi":"10.7202/044069ar","title":"Le dispositif de l’icône dans la peinture américaine de l’après-Deuxième Guerre mondiale","year":2010,"lang":"fr","type":"article","venue":"Théologiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.014233860409862804,"score_gpt":0.2456413942955033,"score_spread":0.2314075338856405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001612432","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31475526,0.009849734,0.0030040147,0.007052965,0.00037465352,0.000023610328,0.00010609263,0.00003209048,0.66480166],"genre_scores_gemma":[0.94889224,0.0025928319,0.0010958296,0.00033132697,0.00010179815,0.00001813979,0.00003671411,0.00003107067,0.046900023],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996753,0.00012208252,0.0000062318186,0.00006071535,0.000051212115,0.00008452764],"domain_scores_gemma":[0.99981946,0.000073820825,0.00002966026,0.000020497444,0.000031638076,0.000024968485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042780946,0.00029169527,0.000160574,0.0009728873,0.0049930345,0.0033817932,0.0002837183,0.0006342152,0.0061937557],"category_scores_gemma":[0.0006608879,0.00017057927,0.00012287947,0.0011196705,0.0073191877,0.0019111597,0.0016746232,0.0014806476,0.00034571797],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058918067,0.000010993009,0.0044096676,0.00013260587,0.000006994329,0.0005858824,0.28551513,0.0001376388,0.0016151882,0.6563579,0.0045514293,0.046617646],"study_design_scores_gemma":[0.0000066667753,0.000030808456,0.019942423,0.0002716459,0.000011175506,0.00057480624,0.07253583,0.00012143845,0.0008296264,0.013602213,0.8920525,0.000020941348],"about_ca_topic_score_codex":0.057544228,"about_ca_topic_score_gemma":0.15309587,"teacher_disagreement_score":0.057544228,"about_ca_system_score_codex":0.0043283077,"about_ca_system_score_gemma":0.0017203433,"threshold_uncertainty_score":0.114418566},"labels":[],"label_agreement":null},{"id":"W2001648208","doi":"10.17742/image.inaugural.1-1.7","title":"On the Undecidability of Images (in communication)","year":2010,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Humanities; Philosophy; Psychology","score_opus":0.05409811025999836,"score_gpt":0.4047247134161983,"score_spread":0.3506266031562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001648208","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11432297,0.016100816,0.36719948,0.15487657,0.0028243791,0.00036374433,0.00051033415,0.0006765812,0.3431252],"genre_scores_gemma":[0.903731,0.0063846693,0.042045247,0.008009919,0.002305084,0.00075851823,0.00034857995,0.00027921709,0.03613775],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98968154,0.00545926,0.0005299467,0.0013848945,0.0020607628,0.00088359707],"domain_scores_gemma":[0.9421041,0.049403455,0.0015721691,0.0025595967,0.003427169,0.0009334286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009816151,0.0011243653,0.0010474016,0.002009295,0.0056855245,0.0068217353,0.002048541,0.005748976,0.005303137],"category_scores_gemma":[0.037351154,0.00082845165,0.0020004401,0.0013785982,0.033182584,0.019955784,0.006334709,0.013615238,0.00088142225],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017588101,0.000019067904,0.0001181364,0.000038203132,0.000005752818,0.00013119589,0.0008337462,0.00087705033,0.00011035735,0.9923354,0.0023210142,0.0031925514],"study_design_scores_gemma":[0.000012973887,0.000007504186,0.0000893121,0.000030837396,0.0000039724086,0.000054844782,0.00015247542,0.002064214,0.00013374872,0.9930617,0.004376108,0.000012335694],"about_ca_topic_score_codex":0.007893247,"about_ca_topic_score_gemma":0.002712798,"teacher_disagreement_score":0.009816151,"about_ca_system_score_codex":0.009216482,"about_ca_system_score_gemma":0.002709513,"threshold_uncertainty_score":0.06687063},"labels":[],"label_agreement":null},{"id":"W2001809089","doi":"10.7202/024846ar","title":"Comment éditer Eisenstein? Problème de Méthode (extraits inédits)","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.050133430831083264,"score_gpt":0.2820539288486515,"score_spread":0.23192049801756823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001809089","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005173167,0.09408329,0.22805603,0.43055826,0.086157866,0.00026863336,0.0012178546,0.0023847672,0.15210016],"genre_scores_gemma":[0.15209343,0.06732589,0.22438422,0.10022909,0.049921397,0.0016231583,0.0008573721,0.006505323,0.39706013],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9822134,0.01111087,0.0009822352,0.0018463214,0.003500506,0.00034667307],"domain_scores_gemma":[0.9358278,0.049902584,0.0016313397,0.0053974167,0.006678581,0.00056221243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.020726465,0.0009064638,0.0007993524,0.0025385935,0.0021443295,0.0064121457,0.0026410136,0.0032548883,0.028335998],"category_scores_gemma":[0.10303214,0.00076595804,0.0007906891,0.0030247981,0.0065240045,0.012295023,0.0036135607,0.005241064,0.01412171],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039889823,0.00003735727,0.00056797045,0.0006010724,0.000044683773,0.0001465059,0.0025032551,0.00047329947,0.00034022407,0.50686795,0.38292977,0.10544804],"study_design_scores_gemma":[0.000018510073,0.000020044072,0.00041875892,0.000592012,0.000024715979,0.00025815036,0.00058897614,0.0011115045,0.0006607751,0.21673898,0.7795248,0.000042827003],"about_ca_topic_score_codex":0.004177645,"about_ca_topic_score_gemma":0.0048635663,"teacher_disagreement_score":0.028335998,"about_ca_system_score_codex":0.0030282352,"about_ca_system_score_gemma":0.0031250014,"threshold_uncertainty_score":0.1096133},"labels":[],"label_agreement":null},{"id":"W2001889659","doi":"10.7202/011067ar","title":"Interprétation et description d’une oeuvre d’art","year":2005,"lang":"fr","type":"article","venue":"Philosophiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Philosophy; Humanities","score_opus":0.18092093517818084,"score_gpt":0.3470079907274757,"score_spread":0.16608705554929484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001889659","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04093288,0.0064997682,0.17491052,0.018370902,0.0015025713,0.000082736056,0.00024546988,0.00021619155,0.7572389],"genre_scores_gemma":[0.82158893,0.0027924508,0.044066366,0.0024603875,0.0005261765,0.00017402657,0.00024377719,0.00040722804,0.12774071],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99170095,0.0048770597,0.00036354805,0.0010629604,0.0015629723,0.0004325641],"domain_scores_gemma":[0.99563795,0.002460138,0.00027585038,0.0007343883,0.0007556336,0.00013618493],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004098125,0.0008363306,0.0005931785,0.0020984446,0.004907864,0.009848545,0.0014068654,0.0037521166,0.007807074],"category_scores_gemma":[0.006253041,0.0006255559,0.0013327904,0.0015423336,0.032455314,0.0125171,0.0045725857,0.005023328,0.001448498],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013832411,0.000003860814,0.00012699395,0.00004920013,0.0000051091224,0.000078396595,0.009829902,0.000115021096,0.00027904572,0.9848567,0.0013815677,0.0032602],"study_design_scores_gemma":[0.000022876035,0.00002840056,0.0006646502,0.00030015112,0.00002782077,0.00064845476,0.012559188,0.0011694146,0.001706561,0.690566,0.29223585,0.00007059033],"about_ca_topic_score_codex":0.009356797,"about_ca_topic_score_gemma":0.010951708,"teacher_disagreement_score":0.009848545,"about_ca_system_score_codex":0.005856498,"about_ca_system_score_gemma":0.002899836,"threshold_uncertainty_score":0.04249209},"labels":[],"label_agreement":null},{"id":"W2004806967","doi":"10.7202/008960ar","title":"Le cinématographe comme nouvelle technologie","year":2004,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.0497789610475921,"score_gpt":0.2633294114236454,"score_spread":0.2135504503760533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2004806967","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052184243,0.022126827,0.028112821,0.01943882,0.0011247694,0.00010215335,0.00017130046,0.00012027474,0.8766187],"genre_scores_gemma":[0.8185504,0.024082726,0.015683973,0.0025618158,0.0011201696,0.00011997683,0.00009607671,0.00017966173,0.13760512],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9979292,0.0010860341,0.00004506464,0.0003242316,0.00045929957,0.00015608888],"domain_scores_gemma":[0.9966203,0.0020817285,0.000286085,0.00036342588,0.0003921681,0.00025625963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020270804,0.00062954344,0.00026764124,0.0013428873,0.0020548855,0.013618702,0.00060969446,0.0017723013,0.018378349],"category_scores_gemma":[0.004099896,0.00027101013,0.00051187887,0.0011725198,0.0072608213,0.007770125,0.0029607238,0.0024006984,0.0017431048],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000073551324,0.000057004334,0.0023564354,0.0006552161,0.000039886403,0.00037201447,0.023968285,0.00058303005,0.0065493905,0.87027425,0.008877393,0.08619359],"study_design_scores_gemma":[0.000019219797,0.00016769761,0.007695243,0.0010377588,0.000062386745,0.0014129442,0.020170929,0.00082835904,0.0050318376,0.09541725,0.8681126,0.000043791955],"about_ca_topic_score_codex":0.003104777,"about_ca_topic_score_gemma":0.00419686,"teacher_disagreement_score":0.018378349,"about_ca_system_score_codex":0.002716689,"about_ca_system_score_gemma":0.0019989233,"threshold_uncertainty_score":0.061481714},"labels":[],"label_agreement":null},{"id":"W2006622794","doi":"10.1080/14681360903556889","title":"The study of touch unfolds","year":2010,"lang":"en","type":"article","venue":"Pedagogy Culture and Society","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"The arts; Visual arts; Field (mathematics); Art; Art history; Sociology","score_opus":0.025101002043776067,"score_gpt":0.3061150656799213,"score_spread":0.28101406363614523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2006622794","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07891613,0.23414575,0.029734584,0.09662607,0.0058923387,0.00021653746,0.00067562953,0.00039456802,0.55339843],"genre_scores_gemma":[0.7839213,0.04396421,0.0099501945,0.008784919,0.0011538917,0.00030252206,0.0002356805,0.000511813,0.1511754],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983884,0.0009352609,0.000034380002,0.00027936767,0.00024556095,0.00011709758],"domain_scores_gemma":[0.998451,0.00095625344,0.00011439263,0.00020350804,0.000107104235,0.00016774441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019875027,0.0005747676,0.00053064735,0.0008985072,0.004759702,0.011343845,0.000797976,0.0021474927,0.010861751],"category_scores_gemma":[0.0046973936,0.00056070194,0.00062787643,0.0013695934,0.025365952,0.016317733,0.008615035,0.0051346347,0.002277088],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014710044,0.000043336753,0.001461576,0.00093211466,0.00005455485,0.0007910041,0.364159,0.00022814127,0.0033957895,0.48976403,0.059843976,0.079179354],"study_design_scores_gemma":[0.000019767527,0.000063955544,0.0024679678,0.0012846554,0.000017702692,0.0009499355,0.11947272,0.00013972385,0.0006044979,0.14433104,0.7306002,0.000047832098],"about_ca_topic_score_codex":0.0024780768,"about_ca_topic_score_gemma":0.0033502546,"teacher_disagreement_score":0.011343845,"about_ca_system_score_codex":0.0017371161,"about_ca_system_score_gemma":0.0015261656,"threshold_uncertainty_score":0.036336184},"labels":[],"label_agreement":null},{"id":"W2017089365","doi":"10.1177/1206331205280158","title":"Pneumothorax Then and Now","year":2005,"lang":"en","type":"article","venue":"Space and Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Pneumothorax; Context (archaeology); Thoracoscopy; Tuberculosis; Medicine; Surgery; History; Pathology; Archaeology","score_opus":0.01397840343615811,"score_gpt":0.23162169984409905,"score_spread":0.21764329640794094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017089365","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022373252,0.0626274,0.0023810298,0.1998084,0.023271356,0.000039701787,0.000288238,0.00024997574,0.68896073],"genre_scores_gemma":[0.46089682,0.03218759,0.0016960457,0.050425604,0.0063040084,0.00005200418,0.00020830179,0.00012976784,0.44809988],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992812,0.00011640451,0.00002092223,0.000111105735,0.00021556123,0.0002547241],"domain_scores_gemma":[0.9995454,0.00006287457,0.000049964274,0.000056005487,0.00011071451,0.0001750436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057248655,0.00039018516,0.00025003462,0.00048622087,0.004538143,0.0041961623,0.00055590074,0.0021596095,0.02641182],"category_scores_gemma":[0.0024868594,0.0001487074,0.0004664884,0.00040710907,0.006191086,0.0044959593,0.001969253,0.0043980703,0.0032340519],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001194461,0.000050403753,0.0038103687,0.00029135132,0.000026681706,0.006496669,0.027610276,0.000096568736,0.0020100768,0.4654687,0.35327947,0.14073998],"study_design_scores_gemma":[0.000009552529,0.000022818414,0.001332447,0.00022807095,0.0000074212358,0.0031205593,0.006583764,0.000017482695,0.00026641393,0.007979311,0.9804151,0.000017026516],"about_ca_topic_score_codex":0.091775514,"about_ca_topic_score_gemma":0.097338915,"teacher_disagreement_score":0.091775514,"about_ca_system_score_codex":0.0069381385,"about_ca_system_score_gemma":0.005267397,"threshold_uncertainty_score":0.1824826},"labels":[],"label_agreement":null},{"id":"W2017208982","doi":"10.1353/utq.2005.0171","title":"Treasures of the National Gallery of Canada (review)","year":2004,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Painting; Art history; Art; Portrait; Meaning (existential); Palette (painting); History; Visual arts; Philosophy","score_opus":0.015195221718731737,"score_gpt":0.19588478696113062,"score_spread":0.18068956524239888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017208982","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000081798535,0.97983176,0.000030807903,0.005269415,0.0040396247,0.000032635533,0.0010179054,0.000033318778,0.009662833],"genre_scores_gemma":[0.0019456253,0.96569353,0.00012673684,0.0071934857,0.0018595472,0.000060432816,0.0015382139,0.000029487168,0.021552905],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99834776,0.0001034948,0.00012393582,0.00013692566,0.0009765066,0.00031143206],"domain_scores_gemma":[0.99580574,0.00032972102,0.00037920265,0.00008683383,0.0023450737,0.0010534592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015159481,0.0013381431,0.0023676632,0.004424245,0.0015454965,0.004965535,0.0022810716,0.0016328007,0.060181253],"category_scores_gemma":[0.0048224893,0.00052015326,0.001096648,0.008195011,0.0015735218,0.0018259985,0.0015304514,0.0029468602,0.015014156],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004030435,0.0000063614634,0.00013815785,0.007841034,0.00006203529,0.00005026871,0.00004060702,0.000030225452,0.00006281348,0.0006223056,0.88835025,0.102755524],"study_design_scores_gemma":[0.000018635554,0.00000815011,0.0013759085,0.0085182255,0.00007973307,0.0001432541,0.00008021356,0.00000743117,0.000026175836,0.00012079599,0.9896047,0.000016720676],"about_ca_topic_score_codex":0.3837246,"about_ca_topic_score_gemma":0.5044382,"teacher_disagreement_score":0.6162754,"about_ca_system_score_codex":0.012148337,"about_ca_system_score_gemma":0.042557813,"threshold_uncertainty_score":0.76298213},"labels":[],"label_agreement":null},{"id":"W2022305028","doi":"10.7202/044955ar","title":"Image industrielle et dispositif symbolique","year":2010,"lang":"fr","type":"article","venue":"Protée","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.018671386529082765,"score_gpt":0.2725829979506077,"score_spread":0.2539116114215249,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2022305028","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053034242,0.002552226,0.011652475,0.009227577,0.0003911439,0.000021168016,0.00010565363,0.000108136635,0.9229074],"genre_scores_gemma":[0.8677081,0.0023536696,0.006967587,0.00083029707,0.00018437755,0.000058806592,0.00009343675,0.00011625464,0.12168746],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991985,0.00024227909,0.00002346464,0.00014588777,0.0002783556,0.00011148181],"domain_scores_gemma":[0.99935704,0.00022518662,0.00008781584,0.000119342556,0.000127495,0.00008315775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009280386,0.00036925948,0.00020548618,0.0013880756,0.0025108089,0.008040912,0.0004778753,0.0012305974,0.016082436],"category_scores_gemma":[0.0019325367,0.0001438862,0.00025206342,0.0010584419,0.012468345,0.004537139,0.0027842924,0.0016787067,0.0016028121],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028186221,0.000015828175,0.0010143991,0.000078784906,0.0000057885763,0.00018703807,0.027279591,0.00018632344,0.0015299977,0.9377693,0.00602153,0.02588317],"study_design_scores_gemma":[0.000021862354,0.00006483108,0.00813936,0.000384086,0.000018946688,0.0010272647,0.031357873,0.00076923094,0.0023903796,0.23257309,0.7232031,0.000049991675],"about_ca_topic_score_codex":0.004434342,"about_ca_topic_score_gemma":0.004350779,"teacher_disagreement_score":0.016082436,"about_ca_system_score_codex":0.0021566893,"about_ca_system_score_gemma":0.001503066,"threshold_uncertainty_score":0.05380112},"labels":[],"label_agreement":null},{"id":"W2023319792","doi":"10.7202/038761ar","title":"Nerves, Vibration and the Aeolian Harp","year":2009,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":27,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"HARP; Materialism; Romance; Criticism; Aeolian processes; Poetics; Philosophy; Aesthetics; Poetry; Literature; Epistemology; History; Art; Art history; Geology","score_opus":0.0163039217336236,"score_gpt":0.21629963068213923,"score_spread":0.19999570894851562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2023319792","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28415036,0.04017869,0.01180169,0.019749898,0.0012937316,0.000015511348,0.000030308609,0.000060674563,0.6427192],"genre_scores_gemma":[0.9550253,0.0044440753,0.0010129265,0.0008119045,0.00015890566,0.0000069220987,0.0000063238663,0.000015957774,0.03851757],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959797,0.00017990924,0.0000127544035,0.0000560476,0.00009720474,0.00005609214],"domain_scores_gemma":[0.9997595,0.00014051885,0.000030310486,0.000022128137,0.000029374738,0.000018233834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000730557,0.00021754815,0.00014467422,0.0005022539,0.0023005502,0.0029817796,0.00030249284,0.0011215546,0.002811491],"category_scores_gemma":[0.0012171493,0.00011305205,0.00011386596,0.000249574,0.013915577,0.0030137443,0.0022441372,0.0016501554,0.00048664722],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003698899,0.000008286477,0.0005982393,0.000053256124,0.0000030930478,0.00018476143,0.025703458,0.000220492,0.0007709282,0.9467648,0.0022175813,0.023438087],"study_design_scores_gemma":[0.000024411744,0.0001214467,0.004424844,0.0005234151,0.000008929994,0.0010446627,0.027038533,0.0005545992,0.0013182141,0.35931203,0.60559785,0.000031056465],"about_ca_topic_score_codex":0.0018559669,"about_ca_topic_score_gemma":0.0027026436,"teacher_disagreement_score":0.0029817796,"about_ca_system_score_codex":0.0012078971,"about_ca_system_score_gemma":0.00060815417,"threshold_uncertainty_score":0.0094053745},"labels":[],"label_agreement":null},{"id":"W2024017097","doi":"10.7202/900479ar","title":"La télévision et les valeurs chez les étudiants à l’université","year":2009,"lang":"fr","type":"article","venue":"Revue des sciences de l éducation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Rimouski","funders":"","keywords":"Humanities; Art","score_opus":0.2646861546870529,"score_gpt":0.3680759139856099,"score_spread":0.10338975929855698,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2024017097","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99564195,0.0004213138,0.00015429275,0.0002662342,0.000011289261,0.0000053055555,0.00004618239,0.0000035322437,0.003449964],"genre_scores_gemma":[0.9962006,0.0007241485,0.00015168499,0.00006170289,0.000020008436,0.000014249995,0.000044686367,0.0000041766098,0.0027787136],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9990478,0.00041316595,0.000055710578,0.000080599144,0.00018556525,0.00021709844],"domain_scores_gemma":[0.99522567,0.0022071558,0.0011246016,0.00012696684,0.0007223646,0.0005931857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009784866,0.00026150304,0.0002641565,0.0015061005,0.001495636,0.0023441236,0.00031911628,0.00072147785,0.010472258],"category_scores_gemma":[0.008102666,0.00023344059,0.00025135977,0.0015916069,0.0009780318,0.00096875,0.00090601697,0.0010604291,0.0011132996],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029432165,0.0003020083,0.7920769,0.00019754622,0.00006322705,0.0009834197,0.15101978,0.00012460831,0.0047529414,0.0019098436,0.0009065214,0.04736895],"study_design_scores_gemma":[0.000010138998,0.00035060602,0.85577565,0.00010286105,0.00004078079,0.0010056101,0.13184787,0.00022885931,0.0008501614,0.00033949653,0.009401496,0.000046448746],"about_ca_topic_score_codex":0.016154531,"about_ca_topic_score_gemma":0.015589317,"teacher_disagreement_score":0.016154531,"about_ca_system_score_codex":0.0008738118,"about_ca_system_score_gemma":0.00049148826,"threshold_uncertainty_score":0.035033226},"labels":[],"label_agreement":null},{"id":"W2024858886","doi":"10.7202/044587ar","title":"Photography as a Witness of Theatre","year":2010,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Photography; Witness; Representation (politics); Visual arts; Framing (construction); Art; Construct (python library); Computer science; History","score_opus":0.0769423324400871,"score_gpt":0.3243514743456377,"score_spread":0.24740914190555063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2024858886","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29196736,0.0063936785,0.010218808,0.0108423,0.0012059724,0.00006847627,0.00010791976,0.00006464761,0.67913085],"genre_scores_gemma":[0.97467405,0.0009344701,0.00085113687,0.00028238486,0.0001420527,0.00001738972,0.000019362484,0.00003702805,0.023042187],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965237,0.0024686644,0.000058137397,0.00025782734,0.0003892505,0.00030236642],"domain_scores_gemma":[0.99691075,0.0017735087,0.00046262643,0.00035632745,0.00025316243,0.00024369809],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023714246,0.00031589405,0.00026422727,0.0012562554,0.005625318,0.0058915964,0.0007794522,0.0012057069,0.011097595],"category_scores_gemma":[0.007112005,0.0002546148,0.00025845968,0.0009280386,0.018139841,0.0053290226,0.006173232,0.002929544,0.0007059429],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008447126,0.000017385177,0.0012315505,0.0001772119,0.000008784203,0.00079400005,0.4514422,0.0001168798,0.0012419213,0.5231902,0.0061572064,0.015538173],"study_design_scores_gemma":[0.000020115773,0.00012259108,0.004569539,0.00059578614,0.000019932997,0.0016328107,0.39443263,0.00026966503,0.0022416925,0.03199132,0.56405866,0.000045180364],"about_ca_topic_score_codex":0.004834826,"about_ca_topic_score_gemma":0.007132027,"teacher_disagreement_score":0.011097595,"about_ca_system_score_codex":0.0027733727,"about_ca_system_score_gemma":0.0012326075,"threshold_uncertainty_score":0.03712511},"labels":[],"label_agreement":null},{"id":"W2033356715","doi":"10.1177/0268580901016002002","title":"Thinking About Tourists","year":2001,"lang":"en","type":"article","venue":"International Sociology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":38,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Trent University","funders":"","keywords":"Pleasure; Aesthetics; Meaning (existential); Irony; Consumption (sociology); Sociology; Experiential learning; Tourism; State (computer science); Perception; Subjectivity; Art; Psychology; Epistemology; Political science; Literature; Philosophy; Law","score_opus":0.034413643275847144,"score_gpt":0.2996108503578302,"score_spread":0.265197207081983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2033356715","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27321085,0.008838861,0.0045952965,0.07212088,0.0014590436,0.00009221949,0.00016306023,0.00011710776,0.6394027],"genre_scores_gemma":[0.94808,0.0023394357,0.00067934167,0.007281211,0.0002217625,0.00003711084,0.000057200497,0.000050817667,0.041253153],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9973037,0.0012639139,0.00003336005,0.0002443523,0.0003634057,0.00079119205],"domain_scores_gemma":[0.99841547,0.0004933764,0.00019812465,0.00005118759,0.00027060503,0.0005710903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019754206,0.00071234116,0.00030263304,0.0014996292,0.01842875,0.0118701,0.001262087,0.0032894334,0.008572856],"category_scores_gemma":[0.0028764,0.00031654828,0.00040722065,0.0011191117,0.03221217,0.0059333383,0.0045950934,0.005639873,0.0008952087],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014023402,0.000007647053,0.0013194319,0.000061299856,0.0000054863253,0.00052804314,0.90873104,0.00006762478,0.00021499865,0.072292194,0.012257548,0.0045006447],"study_design_scores_gemma":[0.0000026109697,0.000008339165,0.00084475783,0.0001152931,0.0000045262013,0.00022177723,0.8341924,0.000038896786,0.000052047715,0.0065763365,0.15793137,0.000011601848],"about_ca_topic_score_codex":0.18306912,"about_ca_topic_score_gemma":0.2198988,"teacher_disagreement_score":0.18306912,"about_ca_system_score_codex":0.013307373,"about_ca_system_score_gemma":0.006038718,"threshold_uncertainty_score":0.36400706},"labels":[],"label_agreement":null},{"id":"W2039384798","doi":"10.7202/045691ar","title":"La photographie d’architecture, un art de la traduction ?","year":2011,"lang":"fr","type":"article","venue":"Meta Journal des traducteurs","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.04424966162949887,"score_gpt":0.2544552073126495,"score_spread":0.2102055456831506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2039384798","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035383612,0.020271305,0.15018457,0.035638366,0.0027538752,0.00009723644,0.00023350316,0.00042926546,0.7550083],"genre_scores_gemma":[0.7244095,0.01525022,0.057353016,0.0033447272,0.0013862523,0.00019176997,0.00023344513,0.00067421386,0.19715679],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99686193,0.0015786015,0.00009157248,0.00062113715,0.0006594534,0.00018727967],"domain_scores_gemma":[0.9964567,0.0016396891,0.00022544907,0.0010819895,0.00045026198,0.00014581943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032621718,0.00080119935,0.00044431852,0.0021910686,0.0040859017,0.013989867,0.001597329,0.0025668326,0.016357167],"category_scores_gemma":[0.0065768613,0.00042867527,0.00068200094,0.002212822,0.026805699,0.016611192,0.0040410724,0.0041840873,0.0028796855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012932932,0.0000042068687,0.00025496833,0.00009140459,0.0000044299773,0.00006163869,0.0077003725,0.00014808243,0.00041434588,0.9713967,0.0023334727,0.01757758],"study_design_scores_gemma":[0.000013046695,0.00003082675,0.0011761017,0.00047052835,0.000013357897,0.0004766445,0.018398508,0.00080836756,0.0013088414,0.45525852,0.52201176,0.000033479868],"about_ca_topic_score_codex":0.008409434,"about_ca_topic_score_gemma":0.010843225,"teacher_disagreement_score":0.016357167,"about_ca_system_score_codex":0.005740095,"about_ca_system_score_gemma":0.0029006938,"threshold_uncertainty_score":0.054720104},"labels":[],"label_agreement":null},{"id":"W2042681591","doi":"10.7202/1001179ar","title":"Musicalité ou oralité? (Réflexions d’un cinéaste qui voulait « faire comme un musicien »)","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.10338859164943692,"score_gpt":0.27324031384362624,"score_spread":0.16985172219418931,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2042681591","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036871143,0.012473715,0.008058581,0.027580239,0.003923126,0.000039442424,0.00010075646,0.00009930938,0.91085374],"genre_scores_gemma":[0.78554314,0.0067569376,0.0025837005,0.0056376,0.0016753448,0.00008810015,0.000056863286,0.0001741979,0.19748405],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985079,0.000731921,0.00004180532,0.00025786023,0.00026098866,0.00019943631],"domain_scores_gemma":[0.9990803,0.00040918397,0.00012326948,0.000103643855,0.00014982844,0.00013374168],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017776765,0.00043667498,0.0002435942,0.0009242063,0.0033508663,0.0107668135,0.00068449386,0.0022620556,0.012253463],"category_scores_gemma":[0.0050815,0.00018214885,0.0002802938,0.00067260786,0.0157381,0.0066433437,0.0035914246,0.0028257295,0.0019537087],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044880766,0.000014932766,0.0005895767,0.00018470825,0.000008016431,0.00020759346,0.11612927,0.000048145484,0.0011197375,0.8336045,0.020334803,0.027713826],"study_design_scores_gemma":[0.000022534736,0.000055445358,0.00229083,0.00063590397,0.000017824334,0.0008029768,0.0902237,0.00014954236,0.0010047688,0.07123074,0.8335338,0.000031872492],"about_ca_topic_score_codex":0.006384221,"about_ca_topic_score_gemma":0.0064048106,"teacher_disagreement_score":0.012253463,"about_ca_system_score_codex":0.001673518,"about_ca_system_score_gemma":0.0010466325,"threshold_uncertainty_score":0.040991902},"labels":[],"label_agreement":null},{"id":"W2045506670","doi":"10.7202/006745ar","title":"Le bercail et la voix. À propos de The Thin Red Line de Terrence Malick","year":2003,"lang":"fr","type":"article","venue":"Études françaises","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.024459233350744077,"score_gpt":0.2677117341490743,"score_spread":0.24325250079833022,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045506670","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25397834,0.009315443,0.0060988055,0.009659646,0.00044320014,0.00006566908,0.000103022314,0.000061406885,0.7202744],"genre_scores_gemma":[0.8719067,0.0016984653,0.0012185061,0.00042189172,0.000048921745,0.0000213316,0.000031762087,0.000044405824,0.12460806],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996543,0.00011646562,0.000006980963,0.000049859373,0.000089146684,0.00008320795],"domain_scores_gemma":[0.99978846,0.00008144842,0.000030545198,0.000021166436,0.000035664973,0.00004278923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004523631,0.0006579806,0.00017152395,0.00077422,0.0029140313,0.005135,0.00059589726,0.0008366674,0.013113457],"category_scores_gemma":[0.0010246241,0.00021960634,0.00014523679,0.00044985025,0.006402799,0.0031872613,0.0027823627,0.0019999347,0.0006311571],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015496321,0.00002257054,0.0021659806,0.00025731482,0.000013554657,0.0017929026,0.12903826,0.000657608,0.0058093034,0.813579,0.005477381,0.041031245],"study_design_scores_gemma":[0.000021262504,0.0001514309,0.018703382,0.00085111277,0.000045141987,0.0017078955,0.18019308,0.0011725998,0.0060307565,0.06033429,0.73072207,0.00006691344],"about_ca_topic_score_codex":0.022960039,"about_ca_topic_score_gemma":0.04295801,"teacher_disagreement_score":0.022960039,"about_ca_system_score_codex":0.0037442695,"about_ca_system_score_gemma":0.0011086124,"threshold_uncertainty_score":0.045652807},"labels":[],"label_agreement":null},{"id":"W2046378302","doi":"10.1080/17460654.2013.783148","title":"The grand opening of the movie theatre in the second birth of cinema","year":2013,"lang":"en","type":"article","venue":"Early Popular Visual Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Movie theater; Realm; Newspaper; Exhibition; Entertainment; Media studies; Visual arts; Parade; Publicity; Art; History; Sociology; Art history; Archaeology; Political science; Law","score_opus":0.017871785776903494,"score_gpt":0.2479810109776457,"score_spread":0.2301092252007422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046378302","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18853888,0.018573068,0.0052251006,0.024743922,0.0021610223,0.0000521581,0.0002052874,0.00007077743,0.76042974],"genre_scores_gemma":[0.95575833,0.0028809162,0.0007622774,0.0009383789,0.000409491,0.00002043717,0.00004698109,0.000054557884,0.03912857],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981865,0.000615479,0.000034956258,0.00020997012,0.0004446479,0.0005083276],"domain_scores_gemma":[0.9979553,0.0006491116,0.00020895617,0.00019061979,0.00038748723,0.0006085755],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019272537,0.00028498896,0.0003031135,0.0012599966,0.0075758854,0.010026261,0.00063563214,0.001332374,0.006148183],"category_scores_gemma":[0.0042150235,0.00036560238,0.00021307175,0.00068018056,0.015693342,0.004535925,0.0042381287,0.0036125223,0.00050221867],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007228901,0.000019530164,0.004295653,0.00011397717,0.000005277559,0.00071304454,0.25382975,0.00007800474,0.0006676421,0.694399,0.019208377,0.026597394],"study_design_scores_gemma":[0.000008858573,0.000036630994,0.014876691,0.00045869817,0.000007341424,0.00094285904,0.068416625,0.000087500215,0.00057805027,0.017131189,0.89742064,0.000034951972],"about_ca_topic_score_codex":0.15778498,"about_ca_topic_score_gemma":0.21775262,"teacher_disagreement_score":0.15778498,"about_ca_system_score_codex":0.013394387,"about_ca_system_score_gemma":0.0051167603,"threshold_uncertainty_score":0.31373316},"labels":[],"label_agreement":null},{"id":"W2051472268","doi":"10.1177/0191453703029003004","title":"Cultural Paths and Aesthetic Signs","year":2003,"lang":"en","type":"article","venue":"Philosophy & Social Criticism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Institute for Christian Studies","funders":"","keywords":"Hegelianism; Philosophy; Interpretation (philosophy); Aesthetics; Epistemology; Linguistics","score_opus":0.061988530836276055,"score_gpt":0.28259092109738954,"score_spread":0.22060239026111347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2051472268","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17541985,0.0033506749,0.019490434,0.012599788,0.0003022431,0.000039116163,0.00003410429,0.00007545535,0.7886883],"genre_scores_gemma":[0.9909406,0.00041007387,0.0017925492,0.00023947061,0.000030467343,0.000017664403,0.00000907925,0.000038448827,0.006521687],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9952885,0.002914851,0.00011741238,0.00036146838,0.00091064605,0.00040712356],"domain_scores_gemma":[0.9956994,0.0025885566,0.00041798205,0.00059385534,0.00050308247,0.00019718324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00434866,0.0005957848,0.000298013,0.002342419,0.0063273804,0.013838364,0.0009540088,0.0023264925,0.0059236065],"category_scores_gemma":[0.010690233,0.00035010817,0.00034035943,0.0016788497,0.05614778,0.009816609,0.008606201,0.0037585155,0.00038233763],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013920244,0.000007729737,0.0005270238,0.00003060414,0.000004276614,0.00010194835,0.033392556,0.00019368625,0.00017431106,0.9565918,0.0005498506,0.008412268],"study_design_scores_gemma":[0.000012151763,0.000019990592,0.0009113467,0.00013082092,0.000010293434,0.00022143178,0.041170467,0.00041922502,0.00045967923,0.9101343,0.046495914,0.000014398695],"about_ca_topic_score_codex":0.0014323866,"about_ca_topic_score_gemma":0.0016160952,"teacher_disagreement_score":0.013838364,"about_ca_system_score_codex":0.004288171,"about_ca_system_score_gemma":0.0020403797,"threshold_uncertainty_score":0.031112969},"labels":[],"label_agreement":null},{"id":"W2052755554","doi":"10.17742/image.inaugural.1-1.8","title":"Images of a Sound: Portraits and Pictures of Jazz","year":2010,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Jazz; Visual arts; Art; Portrait; Action (physics); Musical; Painting; The arts; Aesthetics","score_opus":0.03397458963215182,"score_gpt":0.38291675692184746,"score_spread":0.3489421672896956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052755554","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025555808,0.10101556,0.004422483,0.024878629,0.014309215,0.00010722766,0.001223281,0.00061849627,0.82786936],"genre_scores_gemma":[0.3274772,0.047767464,0.005695532,0.00595576,0.0076771467,0.000105506115,0.0011001194,0.00073329476,0.60348797],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998826,0.00003736088,0.000003481047,0.000021037271,0.000037465354,0.00001816062],"domain_scores_gemma":[0.999874,0.000034368102,0.000008388536,0.000012284046,0.000028532839,0.000042535303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024056282,0.0009847474,0.0001852434,0.00087592995,0.0022252104,0.0023211706,0.00044158616,0.0010566864,0.032825947],"category_scores_gemma":[0.0006375982,0.00029619533,0.00032621957,0.00070298725,0.0012916138,0.0019270336,0.0013639338,0.0018505289,0.0072671077],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023687896,0.00004026314,0.00080531975,0.00049280864,0.000030574523,0.0018139499,0.022739884,0.00023452016,0.006558774,0.025001507,0.8648316,0.077214],"study_design_scores_gemma":[0.0000067719616,0.000018719698,0.002375879,0.00013276501,0.000007924402,0.0012381506,0.005829504,0.00008315087,0.00025352076,0.0011310859,0.9889114,0.000011141783],"about_ca_topic_score_codex":0.0067639663,"about_ca_topic_score_gemma":0.029586684,"teacher_disagreement_score":0.032825947,"about_ca_system_score_codex":0.00072145555,"about_ca_system_score_gemma":0.00021025464,"threshold_uncertainty_score":0.10981375},"labels":[],"label_agreement":null},{"id":"W2053370759","doi":"10.3138/md.51.4.501","title":"Resonating Bodies and the Poetics of Aurality; Or, Gertrude Stein's Theatre","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; Perception; Drama; Poetics; Modernism (music); Mode (computer interface); Art; Aesthetics; Gaze; Visual arts; Literature; Psychology; Poetry; Computer science; Psychoanalysis; Philosophy; Epistemology","score_opus":0.04706074036300138,"score_gpt":0.2542243590953191,"score_spread":0.2071636187323177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053370759","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056491233,0.015248607,0.021049555,0.017279234,0.0012892751,0.000028130671,0.000034190016,0.00014312484,0.8884368],"genre_scores_gemma":[0.91341203,0.004944882,0.0025122757,0.0013046598,0.00033205346,0.00003135915,0.00001505866,0.000103853534,0.07734373],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905676,0.0004949324,0.000024545636,0.000092870345,0.00019814173,0.00013273003],"domain_scores_gemma":[0.9996049,0.00018794728,0.000047742007,0.000048378446,0.000055333498,0.000055708373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008164825,0.0006460232,0.00018494549,0.0009304357,0.0029625248,0.005932275,0.00047206832,0.0011212319,0.0034949074],"category_scores_gemma":[0.0022248514,0.00015333369,0.00018471674,0.0005996633,0.020590324,0.005130408,0.0041028974,0.0017140467,0.0007443804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025180374,0.000008152448,0.00016352034,0.0000517509,0.000003103698,0.00011154968,0.024565957,0.00018575619,0.0005176233,0.9511571,0.00690245,0.016307862],"study_design_scores_gemma":[0.000012683543,0.000051502753,0.0008540434,0.00026518552,0.000013055522,0.0006299526,0.029654728,0.0005321164,0.0013530242,0.36571476,0.6008921,0.000026782876],"about_ca_topic_score_codex":0.0020713748,"about_ca_topic_score_gemma":0.0019566193,"teacher_disagreement_score":0.005932275,"about_ca_system_score_codex":0.0017660225,"about_ca_system_score_gemma":0.0008823398,"threshold_uncertainty_score":0.012813449},"labels":[],"label_agreement":null},{"id":"W2053445281","doi":"10.1300/j054v15n01_04","title":"Image Repair: Research, Consensus, and Strategies: A Study of the University College of Cape Breton","year":2006,"lang":"en","type":"article","venue":"Journal of Nonprofit & Public Sector Marketing","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Cape Breton University","funders":"","keywords":"Institution; Nova scotia; Cape; Identity (music); Construct (python library); Community college; Political science; Sociology; Geography; Archaeology; Medical education; Computer science; Social science; Art; Ethnology","score_opus":0.04804442080622681,"score_gpt":0.27082139721454973,"score_spread":0.22277697640832292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053445281","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9952153,0.00010443569,0.00012609188,0.0010900013,0.0000127626345,0.00007052368,0.0000111454065,0.0000033287733,0.0033664275],"genre_scores_gemma":[0.99509627,0.00013504644,0.00020870395,0.00031124597,0.00000718476,0.000053436026,0.000010072903,0.000009252058,0.0041687484],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99397606,0.0032471723,0.00012958994,0.00060526707,0.0007031399,0.001338732],"domain_scores_gemma":[0.9739105,0.0136645455,0.0030102306,0.0011530902,0.0025803398,0.0056812535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007923228,0.0004800576,0.0007795915,0.0023662522,0.025640005,0.007702102,0.0032637583,0.002657962,0.008432396],"category_scores_gemma":[0.025576454,0.00094344304,0.0002680984,0.0026092206,0.01397681,0.0032894365,0.0059247864,0.004401776,0.00062033714],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052922955,0.00045366545,0.010874984,0.000039916013,0.0000045113347,0.0010304139,0.9783012,0.000032486696,0.00040962241,0.0018340442,0.0012064655,0.005759857],"study_design_scores_gemma":[0.000009996341,0.000049605136,0.0094982395,0.000038557944,0.0000023133687,0.00007156627,0.9854536,0.00008386877,0.0001247982,0.00017801525,0.004478627,0.000010820193],"about_ca_topic_score_codex":0.28801796,"about_ca_topic_score_gemma":0.48448244,"teacher_disagreement_score":0.711982,"about_ca_system_score_codex":0.020744469,"about_ca_system_score_gemma":0.018813614,"threshold_uncertainty_score":0.572683},"labels":[],"label_agreement":null},{"id":"W2053745316","doi":"10.12927/cjnl.2005.17828","title":"A Sabbatical Journey of Discovery: The Liberation of Nursing","year":2005,"lang":"en","type":"article","venue":"Nursing leadership","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University Health Network","funders":"","keywords":"Nursing; Psychology; Medicine","score_opus":0.28890059837355153,"score_gpt":0.3271587154829758,"score_spread":0.03825811710942428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2053745316","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02213691,0.031179665,0.018408975,0.42219305,0.010637595,0.000086541615,0.00008780641,0.00023742169,0.4950321],"genre_scores_gemma":[0.8114218,0.010525541,0.009992195,0.036765035,0.0041746027,0.00018942993,0.00006102764,0.0005026054,0.12636764],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98836344,0.008441287,0.00015691247,0.00058858964,0.0012905553,0.0011592179],"domain_scores_gemma":[0.9807052,0.011172102,0.0007747402,0.0025297538,0.0012492165,0.0035689797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.015779754,0.0006282532,0.0009934712,0.0014692107,0.022094717,0.022236794,0.0021691436,0.0067442004,0.013761929],"category_scores_gemma":[0.02572313,0.00038618452,0.00074734684,0.000860125,0.10397777,0.018447572,0.02057303,0.01589068,0.002645227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037900074,0.000029352335,0.000113202346,0.0000750967,0.0000074337577,0.00011212352,0.035044014,0.000083137624,0.0001261726,0.9127236,0.0377042,0.013943741],"study_design_scores_gemma":[0.000026624068,0.000039550378,0.00016527045,0.00038520992,0.000005050253,0.00023100695,0.030710824,0.00016536757,0.00023703923,0.59117687,0.37682563,0.00003159221],"about_ca_topic_score_codex":0.0034301388,"about_ca_topic_score_gemma":0.006377854,"teacher_disagreement_score":0.022236794,"about_ca_system_score_codex":0.00620096,"about_ca_system_score_gemma":0.015076493,"threshold_uncertainty_score":0.083452284},"labels":[],"label_agreement":null},{"id":"W2054449136","doi":"10.1080/00043079.2013.10786104","title":"Notes from the Field: Materiality","year":2013,"lang":"en","type":"article","venue":"The Art Bulletin","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":25,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Empire; History; Materiality (auditing); Art; Visual arts; Archaeology","score_opus":0.023568891760213765,"score_gpt":0.22954196331753776,"score_spread":0.205973071557324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054449136","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003360727,0.001946394,0.0004907401,0.009390043,0.017174412,0.00012901641,0.0030814335,0.0008104935,0.9666414],"genre_scores_gemma":[0.0021293373,0.0013505518,0.00035326532,0.0016344173,0.002396544,0.0000718008,0.0012113032,0.0007713033,0.9900815],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99942696,0.000050238665,0.000031926484,0.0000714641,0.00031860493,0.00010085678],"domain_scores_gemma":[0.998154,0.0003362815,0.00006371233,0.0003154785,0.00073057454,0.00039996006],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006615262,0.0007529387,0.0005291886,0.002799923,0.0042395173,0.007408257,0.0011662118,0.0014702247,0.79303354],"category_scores_gemma":[0.004354261,0.0004160217,0.0005848051,0.002785851,0.0008080189,0.005563173,0.0038633728,0.0025447905,0.51713866],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008666925,0.0000058330384,0.000015840455,0.00004620938,3.5193423e-7,0.000023095141,0.00007185986,0.0000034158538,0.00006569112,0.001592143,0.9766747,0.021492153],"study_design_scores_gemma":[0.0000014784441,0.0000015187733,0.00005133577,0.0000417029,2.260529e-7,0.000014420717,0.00006178461,0.0000017214093,0.000021604748,0.00019166876,0.9996112,0.0000013228291],"about_ca_topic_score_codex":0.0056684106,"about_ca_topic_score_gemma":0.010598818,"teacher_disagreement_score":0.79303354,"about_ca_system_score_codex":0.001737275,"about_ca_system_score_gemma":0.0019083496,"threshold_uncertainty_score":0.2952125},"labels":[],"label_agreement":null},{"id":"W2054886555","doi":"10.7202/019263ar","title":"The Visual and the Self in Contemporary Poetry","year":2008,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Romance; Literature; Romanticism; Inflection; Reading (process); Art; Philosophy; History; Aesthetics; Art history; Linguistics","score_opus":0.030343105668359037,"score_gpt":0.23901410239540705,"score_spread":0.208670996727048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054886555","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14747533,0.037452634,0.010954753,0.01500893,0.0010530774,0.00004078917,0.000023868886,0.000063533495,0.787927],"genre_scores_gemma":[0.9788673,0.005708879,0.0011610712,0.00070258585,0.0003429722,0.000030194436,0.000009233969,0.000025508401,0.01315222],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972922,0.0018765809,0.000066722925,0.00017223922,0.0004139947,0.0001782456],"domain_scores_gemma":[0.9976272,0.0016784972,0.00020100296,0.00018328427,0.00015328043,0.00015673695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018895322,0.00039746423,0.000255451,0.002414191,0.0056884093,0.009297302,0.0005234485,0.0014620348,0.002795376],"category_scores_gemma":[0.005070262,0.00017550528,0.00016750893,0.002189201,0.04773843,0.0074203084,0.0032609797,0.002107591,0.0002877912],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012069365,0.000016736418,0.00040534072,0.000114491835,0.000003495237,0.00013319096,0.12042634,0.00009584113,0.00019150639,0.8608171,0.0017036609,0.016080247],"study_design_scores_gemma":[0.0000155873,0.00006920666,0.002175285,0.0007341895,0.000009697232,0.00073785457,0.15177621,0.00040652292,0.00041284677,0.56117266,0.28246406,0.000025866857],"about_ca_topic_score_codex":0.002351355,"about_ca_topic_score_gemma":0.0028720691,"teacher_disagreement_score":0.009297302,"about_ca_system_score_codex":0.0029424964,"about_ca_system_score_gemma":0.0015771638,"threshold_uncertainty_score":0.02134943},"labels":[],"label_agreement":null},{"id":"W2057270677","doi":"10.7202/038759ar","title":"The Designer’s Eye: Ancient Spanish Ballads, Poetry, and the Rise of Decorative Design","year":2009,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ballad; Ornaments; Style (visual arts); Poetry; Broadside; Art; Decorum; Choir; Literature; Exhibition; Art history; Visual arts; History; Classics","score_opus":0.02370549187621259,"score_gpt":0.2410948073993966,"score_spread":0.217389315523184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2057270677","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021195808,0.03664635,0.006923948,0.019730842,0.0034698406,0.000027591157,0.00005698464,0.0002154965,0.9117331],"genre_scores_gemma":[0.46265864,0.015900636,0.0045522894,0.0054497025,0.001328322,0.000055688088,0.000074210395,0.0008127074,0.50916785],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99744105,0.0014497289,0.00004390701,0.00019717768,0.00055424817,0.00031394148],"domain_scores_gemma":[0.9987961,0.0005410713,0.00006034316,0.0001374719,0.0003430597,0.0001218977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031833155,0.00079729117,0.00044783336,0.0013391479,0.008580677,0.012647283,0.0010566748,0.0021555843,0.0069194566],"category_scores_gemma":[0.0038376315,0.00044244743,0.00033844,0.001450943,0.023847407,0.0028818618,0.0028017529,0.0035009475,0.0019014222],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010184012,0.000030805288,0.0004350094,0.00026483336,0.0000062910995,0.00036077475,0.1518018,0.00032979515,0.00045220755,0.6827893,0.10738599,0.05604141],"study_design_scores_gemma":[0.000012053245,0.000017432532,0.00026864817,0.00019572643,0.0000034008506,0.00019574288,0.011399319,0.00012987496,0.0001505875,0.019055113,0.9685579,0.000014132181],"about_ca_topic_score_codex":0.040813774,"about_ca_topic_score_gemma":0.057213947,"teacher_disagreement_score":0.040813774,"about_ca_system_score_codex":0.010155786,"about_ca_system_score_gemma":0.003949648,"threshold_uncertainty_score":0.08115244},"labels":[],"label_agreement":null},{"id":"W2061223006","doi":"10.1017/s0269889712000142","title":"Loose Coordinations: Theater and Thinking in Gertrude Stein","year":2012,"lang":"en","type":"article","venue":"Science in Context","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"University of British Columbia","keywords":"Argument (complex analysis); Context (archaeology); Reading (process); Psychology; Psychoanalysis; Epistemology; Aesthetics; Art; Philosophy; History; Linguistics","score_opus":0.04032254801654691,"score_gpt":0.28479398633059055,"score_spread":0.24447143831404364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2061223006","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06431033,0.0037435063,0.020052439,0.04680777,0.001158239,0.00004384569,0.000036398327,0.00012318988,0.86372423],"genre_scores_gemma":[0.9614004,0.00090526935,0.0022159894,0.001970596,0.00018764441,0.000042848296,0.000012483153,0.00010625971,0.033158626],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9963264,0.0020516557,0.000098686585,0.00046114117,0.00056940975,0.0004926618],"domain_scores_gemma":[0.99812037,0.0010551478,0.00018726679,0.00020533055,0.00021180925,0.00022008993],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0037503096,0.0006885244,0.00037777383,0.0018679143,0.007699959,0.008993105,0.0009749621,0.0029911036,0.0070454446],"category_scores_gemma":[0.0074413368,0.00035821754,0.00032153158,0.0010340982,0.039996557,0.010402329,0.0066937865,0.0039177774,0.0011271483],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008584805,0.0000049202476,0.00006345285,0.00000858867,0.0000014299961,0.00006693806,0.01654005,0.00009322323,0.000046211117,0.9787291,0.0027050944,0.0017323685],"study_design_scores_gemma":[0.000014523987,0.0000145994345,0.00019972226,0.00012287294,0.0000060296234,0.00016554588,0.02492141,0.0005709081,0.00025254532,0.7601685,0.21354826,0.0000151734985],"about_ca_topic_score_codex":0.004294245,"about_ca_topic_score_gemma":0.0034193713,"teacher_disagreement_score":0.99230003,"about_ca_system_score_codex":0.0073670074,"about_ca_system_score_gemma":0.0023353838,"threshold_uncertainty_score":0.053451598},"labels":[],"label_agreement":null},{"id":"W2062044363","doi":"10.1111/j.2151-6952.2007.tb00266.x","title":"Reading Weil: A Premature Appreciation","year":2007,"lang":"en","type":"article","venue":"Curator The Museum Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Peter's Hospital","funders":"","keywords":"Realm; Rhetorical question; Reading (process); Politics; Field (mathematics); Sociology; Aesthetics; History; Media studies; Art; Law; Political science; Literature","score_opus":0.029681901788721626,"score_gpt":0.2634061216831659,"score_spread":0.23372421989444428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2062044363","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011619006,0.019653093,0.0017692723,0.8716837,0.02112401,0.000011059998,0.00007927079,0.00010564515,0.07395495],"genre_scores_gemma":[0.6069488,0.02544864,0.0020472978,0.18675728,0.05237815,0.00010929338,0.000084461986,0.0004976357,0.12572841],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971831,0.0013699,0.00012003009,0.0003481858,0.0007283641,0.0002505106],"domain_scores_gemma":[0.9907184,0.0064413464,0.0006633738,0.00047124096,0.0011403385,0.00056534784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041951644,0.00048486478,0.000550735,0.001497178,0.0041398164,0.009453443,0.0009985141,0.004700692,0.0066192984],"category_scores_gemma":[0.027350867,0.00023766156,0.00026891017,0.0011307988,0.011704559,0.011817101,0.0037725682,0.007446194,0.001488313],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002314422,0.000013725974,0.000315293,0.00008163238,0.0000059385675,0.00030073422,0.018352468,0.00006137737,0.00013239583,0.4157622,0.5417289,0.023222174],"study_design_scores_gemma":[0.000004793274,0.000013902057,0.00024021276,0.0002631959,0.0000052278992,0.00023552039,0.0075983317,0.00012830274,0.00019812443,0.037107732,0.95419025,0.000014471273],"about_ca_topic_score_codex":0.0024675757,"about_ca_topic_score_gemma":0.0025198453,"teacher_disagreement_score":0.009453443,"about_ca_system_score_codex":0.0032251978,"about_ca_system_score_gemma":0.002573781,"threshold_uncertainty_score":0.023400545},"labels":[],"label_agreement":null},{"id":"W2062678377","doi":"10.1558/jasr.v21i3.277","title":"Re-visiting Denys Arcand’s Jesus of Montreal (1989)","year":2009,"lang":"en","type":"article","venue":"Journal for the Academic Study of Religion","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gospel; Parallels; Narrative; Portrait; Literature; Representation (politics); Meaning (existential); Art; Event (particle physics); Philosophy; History; Art history; Epistemology; Politics","score_opus":0.04563637061870603,"score_gpt":0.3218928587759831,"score_spread":0.2762564881572771,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2062678377","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30131382,0.018331826,0.0032862516,0.06842695,0.0028148554,0.000114388684,0.0006413831,0.0002192867,0.6048511],"genre_scores_gemma":[0.8541767,0.0038059433,0.0013402337,0.001875361,0.00013553532,0.000019131441,0.00008137041,0.000077701225,0.1384881],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999673,0.00013282317,0.000002987504,0.000042767035,0.00006997769,0.00007843589],"domain_scores_gemma":[0.99970204,0.000094123374,0.000024152694,0.000017563787,0.00006872711,0.00009324762],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050672167,0.00030595157,0.00010707385,0.00033487027,0.007192303,0.0019410397,0.00060055155,0.0007481428,0.007248249],"category_scores_gemma":[0.0016838346,0.00012511363,0.00009728094,0.00044097434,0.004353899,0.0011423668,0.0011140418,0.0014979893,0.00032595996],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019507973,0.000052406293,0.0035615298,0.00021067193,0.000028544811,0.00256615,0.35200205,0.0005830862,0.005531145,0.2000557,0.35547778,0.07973587],"study_design_scores_gemma":[0.0000057229845,0.000016620112,0.0053780237,0.0000820603,0.0000071030913,0.00028732247,0.036494363,0.000102151986,0.0008252935,0.0013474274,0.9554342,0.000019628804],"about_ca_topic_score_codex":0.80726516,"about_ca_topic_score_gemma":0.941201,"teacher_disagreement_score":0.80726516,"about_ca_system_score_codex":0.013944404,"about_ca_system_score_gemma":0.005624854,"threshold_uncertainty_score":0.38773978},"labels":[],"label_agreement":null},{"id":"W2063032925","doi":"10.7202/029791ar","title":"Proust as Translator of Ruskin","year":2009,"lang":"en","type":"article","venue":"Meta Journal des traducteurs","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Allegory; Trope (literature); Rhetorical question; Art; Symbol (formal); Literature; Rhetoric; Philosophy; Linguistics","score_opus":0.052722438116554436,"score_gpt":0.27249888688378915,"score_spread":0.2197764487672347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063032925","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16524528,0.006960445,0.045232788,0.035953946,0.0030158355,0.0000544456,0.00008047958,0.00083961035,0.7426172],"genre_scores_gemma":[0.9113916,0.00093019044,0.003917406,0.0018379537,0.0002636248,0.000026357387,0.000023522249,0.00046392478,0.08114542],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99643755,0.0023634012,0.000077432145,0.00035732967,0.000522925,0.0002414408],"domain_scores_gemma":[0.99754506,0.0013370343,0.00021922863,0.00039111407,0.00036753085,0.00013994443],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020702158,0.00035895623,0.00023744459,0.00071319053,0.004221535,0.0042269947,0.00042982103,0.0011961466,0.0043326765],"category_scores_gemma":[0.006877844,0.00024279377,0.00016208335,0.0005072008,0.012649147,0.004876438,0.0028519535,0.003368847,0.0012880254],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006025173,0.0000085325155,0.0002799846,0.00008454332,0.0000043790337,0.0003769849,0.10800609,0.00021593853,0.0013771964,0.8624624,0.010490276,0.01663334],"study_design_scores_gemma":[0.000018852492,0.00008474036,0.00046454812,0.0002682367,0.000013960195,0.0012613693,0.027869804,0.0010546022,0.0031850617,0.15740871,0.80832535,0.0000448145],"about_ca_topic_score_codex":0.0017915828,"about_ca_topic_score_gemma":0.0026049663,"teacher_disagreement_score":0.0043326765,"about_ca_system_score_codex":0.0022453717,"about_ca_system_score_gemma":0.0018028532,"threshold_uncertainty_score":0.01629138},"labels":[],"label_agreement":null},{"id":"W2063692271","doi":"10.7202/1005542ar","title":"Visage et ornement. Remarques sur une préhistoire de la visagéité photographique dans la modernité allemande chez Simmel et George","year":2011,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities; George (robot); Philosophy; Art history","score_opus":0.034472819852109954,"score_gpt":0.28790609640424425,"score_spread":0.2534332765521343,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063692271","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35466695,0.021864846,0.01634834,0.036742326,0.0016028512,0.000046206438,0.00015850362,0.0001543008,0.5684157],"genre_scores_gemma":[0.90517884,0.0035684889,0.0017646198,0.0007592684,0.00013929482,0.000016466993,0.0000184706,0.000055006676,0.08849957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999718,0.0001225871,0.0000063214907,0.000061846215,0.000050609822,0.000040612067],"domain_scores_gemma":[0.9996904,0.00018975454,0.000036887894,0.000028711998,0.0000344521,0.000019724925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006133342,0.00023015006,0.000107810374,0.0008129807,0.002763401,0.0020401264,0.00020896635,0.0008772998,0.0063254414],"category_scores_gemma":[0.0013778422,0.0001389025,0.00015294076,0.00071582024,0.008352085,0.0025856763,0.0012196063,0.0018035871,0.0004420807],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038742295,0.000007040628,0.0012672823,0.00007578765,0.000003017758,0.00025468357,0.08588138,0.00012079686,0.0021738657,0.8676644,0.006537741,0.035975304],"study_design_scores_gemma":[0.000008764188,0.00006391513,0.010082514,0.0003836349,0.000013661865,0.0006851602,0.052005548,0.00038628813,0.0030777184,0.05381963,0.8794403,0.000032859207],"about_ca_topic_score_codex":0.01236432,"about_ca_topic_score_gemma":0.03837992,"teacher_disagreement_score":0.01236432,"about_ca_system_score_codex":0.0021387017,"about_ca_system_score_gemma":0.0008818918,"threshold_uncertainty_score":0.02458471},"labels":[],"label_agreement":null},{"id":"W2069083622","doi":"10.7202/012266ar","title":"Dérivations de l'allégorie dans la photographie contemporaine","year":2006,"lang":"fr","type":"article","venue":"Protée","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.013904559546742785,"score_gpt":0.23862713740007466,"score_spread":0.22472257785333188,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069083622","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029685535,0.0025335543,0.017618297,0.0030931768,0.00039223002,0.000036155758,0.00014029582,0.000073455056,0.9464273],"genre_scores_gemma":[0.71157116,0.0036468848,0.013063329,0.0007098539,0.00028207654,0.000087608576,0.00024072563,0.00026888133,0.27012944],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984877,0.00064158114,0.00006268801,0.0002959812,0.00037680476,0.00013509677],"domain_scores_gemma":[0.99871886,0.00046355897,0.00009271391,0.0002386798,0.0004192548,0.00006694218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017657744,0.0004271079,0.00020105131,0.0016024344,0.0043844967,0.0065097567,0.00061905343,0.0008289653,0.018447042],"category_scores_gemma":[0.004494896,0.000326659,0.00023240014,0.001661322,0.011681543,0.0046234685,0.0029417847,0.0028139104,0.002800598],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011619056,0.0000046497353,0.00042746388,0.000040539686,0.000002689085,0.000073977346,0.024942577,0.000054407046,0.00029959544,0.9592931,0.0022611567,0.012588142],"study_design_scores_gemma":[0.000014433582,0.000025962861,0.004880365,0.00024244876,0.000014711327,0.0004223134,0.016446589,0.0003085124,0.0013535854,0.2266836,0.74957514,0.00003229131],"about_ca_topic_score_codex":0.020283649,"about_ca_topic_score_gemma":0.040504362,"teacher_disagreement_score":0.020283649,"about_ca_system_score_codex":0.005946456,"about_ca_system_score_gemma":0.0034128698,"threshold_uncertainty_score":0.06171149},"labels":[],"label_agreement":null},{"id":"W2069709824","doi":"10.3828/qs.55.1.3","title":"Immixtion du réel dans <i>La noirceur</i> de Marie Brassard","year":2013,"lang":"fr","type":"article","venue":"Quebec Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Trois-Rivières","funders":"","keywords":"Philosophy","score_opus":0.02212655873054657,"score_gpt":0.2560878292923513,"score_spread":0.23396127056180474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2069709824","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06207476,0.12040672,0.0053683612,0.19398332,0.012027342,0.00007464388,0.00087224186,0.0002893591,0.60490334],"genre_scores_gemma":[0.39600122,0.018835455,0.0017431471,0.008671989,0.0012069931,0.00008547733,0.00017579384,0.00036469926,0.5729152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99701834,0.0012371562,0.000055580233,0.00033272564,0.00074287626,0.0006133407],"domain_scores_gemma":[0.9972807,0.0009806957,0.00013462923,0.0001397745,0.0010222354,0.0004419621],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021977718,0.0012026781,0.00077432144,0.0019631183,0.016174605,0.010620933,0.0014170995,0.003306432,0.027873792],"category_scores_gemma":[0.004771059,0.000535154,0.00074155256,0.0022641108,0.007672468,0.0033118166,0.0021711292,0.007125327,0.0019138476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015187862,0.000057384594,0.001920095,0.0002390708,0.000050277635,0.00084117136,0.040544935,0.00060214155,0.0010024686,0.65556407,0.24308935,0.055937197],"study_design_scores_gemma":[0.000012407833,0.000009305232,0.0025573021,0.00021255825,0.00000930533,0.00019483837,0.009203281,0.0001672593,0.00036233768,0.0038643787,0.9833776,0.000029388437],"about_ca_topic_score_codex":0.95952314,"about_ca_topic_score_gemma":0.97208494,"teacher_disagreement_score":0.07423073,"about_ca_system_score_codex":0.07423073,"about_ca_system_score_gemma":0.033032216,"threshold_uncertainty_score":0.5385842},"labels":[],"label_agreement":null},{"id":"W2070014460","doi":"10.7202/027363ar","title":"La dialectique du beau et du sublime : l’héritage kantien d’Adorno","year":2007,"lang":"fr","type":"article","venue":"Philosophiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Sublime; Art; Philosophy; Art history","score_opus":0.10936239701070527,"score_gpt":0.3290008972498166,"score_spread":0.21963850023911136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070014460","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10927375,0.014385053,0.016985144,0.012491695,0.0007563831,0.000012037473,0.000031943204,0.000043168533,0.84602076],"genre_scores_gemma":[0.9619425,0.0020078095,0.0011322491,0.0007513247,0.00015121157,0.00001130934,0.000011603543,0.000047016987,0.033944935],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99834025,0.0009494597,0.000035660854,0.00016721568,0.000253443,0.00025381136],"domain_scores_gemma":[0.9992894,0.0004221545,0.00006883916,0.00008393363,0.00007154059,0.00006406255],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015962434,0.00029293206,0.0002550616,0.0008763232,0.004502529,0.006807793,0.00047143854,0.0011875893,0.0044091754],"category_scores_gemma":[0.0014713759,0.00017752613,0.00020340992,0.00084227626,0.022807226,0.0055155004,0.0029717854,0.003147511,0.00036731877],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001214879,0.0000046179644,0.00022738297,0.000022130847,0.00000151558,0.00003711536,0.034448043,0.000044186138,0.00010944699,0.959044,0.00082700525,0.005222422],"study_design_scores_gemma":[0.00002047036,0.000038891656,0.0024945815,0.00031481654,0.000014341045,0.00050721405,0.056086484,0.00039415472,0.0008334083,0.41089976,0.5283584,0.00003751419],"about_ca_topic_score_codex":0.0059194975,"about_ca_topic_score_gemma":0.011106627,"teacher_disagreement_score":0.006807793,"about_ca_system_score_codex":0.0032557733,"about_ca_system_score_gemma":0.0012831881,"threshold_uncertainty_score":0.023622394},"labels":[],"label_agreement":null},{"id":"W2072591756","doi":"10.1177/1470357212462962","title":"Visual optics: interpreting body art, three ways","year":2013,"lang":"en","type":"article","venue":"Visual Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Semiotics; Visual literacy; Narrative; Identity (music); Multimodality; Relation (database); Conjunction (astronomy); Visual arts; Computer science; Sociology; Aesthetics; Psychology; Art; Epistemology; Literature; Mathematics education","score_opus":0.03392019348599962,"score_gpt":0.28256546553973766,"score_spread":0.24864527205373804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2072591756","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14348058,0.014396103,0.44269332,0.03085384,0.0017408716,0.00082272646,0.00029387872,0.00041436704,0.36530435],"genre_scores_gemma":[0.9001713,0.004420493,0.0769032,0.0017803606,0.00027973912,0.00095442357,0.00007791201,0.00033184665,0.015080723],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9849282,0.011586814,0.00048001192,0.00088634226,0.0015584077,0.0005601842],"domain_scores_gemma":[0.9895195,0.0075512417,0.0007779298,0.0011509658,0.0006212773,0.0003790026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013842939,0.0012978906,0.00069479167,0.006060925,0.005822598,0.021034725,0.0017876363,0.0033732445,0.003863448],"category_scores_gemma":[0.019716173,0.00075744634,0.0007607014,0.0036525493,0.067797475,0.022199098,0.0123531865,0.0041964254,0.0005091652],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040102364,0.000013436851,0.00072044996,0.00037399842,0.000015546255,0.00021522513,0.36262277,0.00013507393,0.0009598362,0.61504704,0.001196079,0.018660525],"study_design_scores_gemma":[0.000034963112,0.00006815518,0.001412364,0.0016710083,0.00003488414,0.0006631609,0.43463504,0.0009559212,0.0021447896,0.44146296,0.11684806,0.00006864128],"about_ca_topic_score_codex":0.0034533858,"about_ca_topic_score_gemma":0.003764904,"teacher_disagreement_score":0.021034725,"about_ca_system_score_codex":0.003730311,"about_ca_system_score_gemma":0.0032911429,"threshold_uncertainty_score":0.073209345},"labels":[],"label_agreement":null},{"id":"W2072599919","doi":"10.7202/1026202ar","title":"Les « portraits de portrait » de Jim Campbell : ambiguïté et traitement de l’information","year":2014,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Portrait; Reinterpretation; Representation (politics); Ambiguity; Art; Psychology; Aesthetics; Sociology; Epistemology; Art history; Philosophy; Linguistics","score_opus":0.019161856186629658,"score_gpt":0.22495269771495896,"score_spread":0.2057908415283293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2072599919","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1282361,0.043273162,0.0263465,0.124365166,0.0061836587,0.00008567248,0.00019699738,0.00034769948,0.67096496],"genre_scores_gemma":[0.858113,0.01130852,0.008845105,0.007585841,0.0019413974,0.00004713303,0.00006077125,0.0002410466,0.11185712],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993623,0.00029546453,0.000009665198,0.00008046889,0.00020734018,0.000044822205],"domain_scores_gemma":[0.99860233,0.0009934865,0.00008535218,0.00010012932,0.00013610563,0.00008270101],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008399864,0.0003791752,0.00015988907,0.0005745928,0.003245493,0.004920696,0.00040475323,0.0015447491,0.004303525],"category_scores_gemma":[0.004876693,0.00020422961,0.00017053715,0.00048409382,0.005660456,0.0035961168,0.0013085402,0.0033146937,0.00065070397],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002048348,0.000043045566,0.0010948355,0.0002725005,0.00002231131,0.0015747899,0.13212417,0.0011846672,0.01351509,0.5831091,0.19192345,0.07493129],"study_design_scores_gemma":[0.000012780793,0.000053894095,0.0015669008,0.00017797668,0.000012843941,0.0016544467,0.02115878,0.0013011463,0.0053465613,0.03754101,0.9311125,0.00006109902],"about_ca_topic_score_codex":0.008570919,"about_ca_topic_score_gemma":0.009490781,"teacher_disagreement_score":0.9914291,"about_ca_system_score_codex":0.0016511455,"about_ca_system_score_gemma":0.00059538236,"threshold_uncertainty_score":0.01704204},"labels":[],"label_agreement":null},{"id":"W2073316222","doi":"10.7202/013892ar","title":"L’art in extremis: le monochrome chez Theodor W. Adorno et Yves Klein","year":2006,"lang":"fr","type":"article","venue":"Philosophiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Monochrome; Philosophy; Art history; Physics","score_opus":0.12230704145479027,"score_gpt":0.3163999603322728,"score_spread":0.19409291887748253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2073316222","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040068712,0.07033101,0.010912092,0.092405275,0.0018436718,0.000020821859,0.00007263164,0.000055872515,0.7842899],"genre_scores_gemma":[0.8108978,0.019078385,0.003993423,0.007180532,0.001114853,0.00007368985,0.000029779694,0.00011731698,0.15751433],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994167,0.0002815981,0.0000141759965,0.0000948357,0.000110498266,0.00008223893],"domain_scores_gemma":[0.99966025,0.0001892708,0.00003833863,0.00004604393,0.000038045142,0.000028077566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008799411,0.00033126696,0.0002662455,0.0007176631,0.003882514,0.004459317,0.0003635963,0.0017971847,0.004320969],"category_scores_gemma":[0.0015484432,0.00021357046,0.00020323852,0.00076925626,0.0122591555,0.0062023797,0.0021422512,0.0025888854,0.0005689193],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005999639,0.0000018142869,0.000047153386,0.000009810646,9.619905e-7,0.000021321786,0.0021298926,0.000037327663,0.000051666808,0.9879766,0.0063120355,0.0034055165],"study_design_scores_gemma":[0.000010979619,0.000011891583,0.0005715774,0.0001410982,0.000006070187,0.00017255658,0.0037742537,0.00023908175,0.00026845382,0.65243125,0.34235927,0.000013409499],"about_ca_topic_score_codex":0.0064949673,"about_ca_topic_score_gemma":0.009744296,"teacher_disagreement_score":0.0064949673,"about_ca_system_score_codex":0.0032804706,"about_ca_system_score_gemma":0.0011080834,"threshold_uncertainty_score":0.023801625},"labels":[],"label_agreement":null},{"id":"W2074615637","doi":"10.1177/1740774514562917","title":"Clinician-trialist rounds: 26. Sabbaticals. Part 1: Should I take a sabbatical?","year":2014,"lang":"en","type":"article","venue":"Clinical Trials","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Michael's Hospital","funders":"","keywords":"Psychology; Computer science; Operations management; Medical education; Medicine; Economics","score_opus":0.5907408930440093,"score_gpt":0.500459405324484,"score_spread":0.09028148771952538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2074615637","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007852535,0.0053145583,0.00416289,0.6884063,0.10418209,0.008951061,0.00421968,0.004384818,0.1725261],"genre_scores_gemma":[0.031492494,0.0025583534,0.0039409515,0.4183562,0.07840087,0.0064002066,0.0015355382,0.0013503527,0.45596495],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99341536,0.0025821743,0.0006396253,0.00050688046,0.0013949746,0.0014610622],"domain_scores_gemma":[0.9676958,0.00783604,0.0023799466,0.0014169972,0.0056149815,0.015056256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011442138,0.0012041631,0.001928831,0.0010969677,0.0050027664,0.004706992,0.001712683,0.0209898,0.21649483],"category_scores_gemma":[0.034170985,0.0010409703,0.002022727,0.00048928196,0.0014810913,0.0025589399,0.0035706342,0.017045997,0.10528638],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007289481,0.00010521477,0.00024770564,0.00008955976,0.00001170875,0.0003412452,0.000060694427,0.000050612754,0.00029548706,0.0005325866,0.9901129,0.0074233008],"study_design_scores_gemma":[0.00081799796,0.00047164693,0.002442842,0.00036828202,0.000018851937,0.00026558392,0.0003150598,0.00036024238,0.00031218195,0.003516708,0.9910368,0.000073839365],"about_ca_topic_score_codex":0.0032142513,"about_ca_topic_score_gemma":0.012229329,"teacher_disagreement_score":0.21649483,"about_ca_system_score_codex":0.0030544053,"about_ca_system_score_gemma":0.0048485287,"threshold_uncertainty_score":0.72424734},"labels":[],"label_agreement":null},{"id":"W2076658221","doi":"10.3138/jrpc.13.1.001","title":"Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate?","year":2006,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Parallels; Appropriation; Character (mathematics); Typology; Dialogical self; Jesus christ; Philosophy; Field (mathematics); Epistemology; Sociology; Theology; Aesthetics; Anthropology","score_opus":0.041461237160270115,"score_gpt":0.3076385495040522,"score_spread":0.26617731234378206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2076658221","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065402694,0.01327231,0.006155028,0.72754264,0.006374881,0.000042732994,0.00006160945,0.000083275176,0.18106487],"genre_scores_gemma":[0.91169876,0.00481739,0.0014350503,0.06078304,0.0031032418,0.00007553937,0.000023089147,0.0002657617,0.017798096],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98666096,0.009845474,0.00023657343,0.00096172927,0.0012565764,0.0010388019],"domain_scores_gemma":[0.96965414,0.024564536,0.0012246107,0.0013705993,0.0021963483,0.0009897773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.015139407,0.0006071054,0.0004798243,0.0014241468,0.012674701,0.016486466,0.0027528573,0.010544164,0.005759873],"category_scores_gemma":[0.036693815,0.000477046,0.0003531523,0.0010835939,0.06389364,0.018297842,0.0064858445,0.019406604,0.00071875035],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033840468,0.000021074518,0.00034923988,0.000101711696,0.000006730966,0.00025399798,0.29409343,0.00004970547,0.00028444035,0.6639395,0.03431125,0.006555078],"study_design_scores_gemma":[0.000021238076,0.00002558129,0.00080506474,0.00069350307,0.000011312918,0.00041469012,0.38432133,0.00021669966,0.0008534367,0.101429366,0.5111687,0.000039110888],"about_ca_topic_score_codex":0.011496026,"about_ca_topic_score_gemma":0.013979859,"teacher_disagreement_score":0.016486466,"about_ca_system_score_codex":0.007114039,"about_ca_system_score_gemma":0.0029173987,"threshold_uncertainty_score":0.08006579},"labels":[],"label_agreement":null},{"id":"W2078936419","doi":"10.7202/501134ar","title":"La représentation de l’irreprésentable : l’image cinématographique dans Neige noire de Hubert Aquin","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.016453431597386752,"score_gpt":0.27852264559263,"score_spread":0.26206921399524324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2078936419","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28287664,0.011736399,0.034580022,0.03656699,0.0010213634,0.00005735078,0.00015812136,0.00021916117,0.6327839],"genre_scores_gemma":[0.9313856,0.0020659696,0.0030396401,0.0005257685,0.00012251051,0.000024097195,0.00002761669,0.00008863515,0.06272015],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995202,0.00024294325,0.000010845316,0.00007690337,0.00008738445,0.000061800914],"domain_scores_gemma":[0.99935,0.00039815603,0.000059502396,0.00006467874,0.0000819935,0.000045686204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086080877,0.0002936468,0.00019703072,0.0006719899,0.0028209197,0.0046936697,0.0003979,0.0010230561,0.0035921345],"category_scores_gemma":[0.0025288442,0.00020363928,0.00015871957,0.0004566699,0.008695484,0.004202661,0.0016424186,0.0019452984,0.00024259662],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035322173,0.00000866886,0.00038014157,0.00006233809,0.0000046997384,0.00042015323,0.14620613,0.00022162826,0.001846441,0.8328756,0.006315746,0.011623206],"study_design_scores_gemma":[0.000012935323,0.00003967547,0.0034525394,0.00035273863,0.000029431882,0.0012353988,0.08017296,0.0017349311,0.0046242177,0.16867413,0.73962134,0.000049732305],"about_ca_topic_score_codex":0.0099154245,"about_ca_topic_score_gemma":0.011535716,"teacher_disagreement_score":0.0099154245,"about_ca_system_score_codex":0.0024048393,"about_ca_system_score_gemma":0.000777572,"threshold_uncertainty_score":0.019715369},"labels":[],"label_agreement":null},{"id":"W2079091358","doi":"10.1353/tech.0.0172","title":"Collapse and Expand: Architecture and Tuberculosis Therapy in Montreal, 1909, 1933, 1954","year":2008,"lang":"en","type":"article","venue":"Technology and Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":27,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Tuberculosis; Architecture; Reflexivity; Disease; Medicine; History; Resource (disambiguation); Engineering; Sociology; Internal medicine; Computer science; Social science; Pathology; Archaeology","score_opus":0.01363218721977964,"score_gpt":0.2212573052638473,"score_spread":0.20762511804406766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079091358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27081347,0.11065998,0.0019413474,0.05615432,0.0011212631,0.000094125244,0.0012581251,0.00012195381,0.55783546],"genre_scores_gemma":[0.8924944,0.020658111,0.0006013083,0.0017737412,0.0004057757,0.000030448291,0.00016616838,0.00005168573,0.08381841],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99901795,0.0002455963,0.000021715417,0.000110536894,0.00022198806,0.00038221103],"domain_scores_gemma":[0.99942774,0.00017174844,0.000111168665,0.000026530375,0.00009646553,0.00016625188],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0008598751,0.00049872627,0.0003043805,0.0017823592,0.011494401,0.0038340532,0.0009991213,0.001481716,0.0118173575],"category_scores_gemma":[0.0020959796,0.00036361866,0.00022825277,0.0028599221,0.018755693,0.0017822939,0.0025274819,0.0025678729,0.00064966973],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015416168,0.000068583504,0.011458091,0.00027429988,0.000032729175,0.0016496312,0.24851866,0.0017784482,0.0008285173,0.5716051,0.05164779,0.11198399],"study_design_scores_gemma":[0.000016909258,0.000045152072,0.03953731,0.00026186564,0.000016424297,0.00034890402,0.023098063,0.00017056034,0.00038703778,0.009515396,0.92654717,0.000055223747],"about_ca_topic_score_codex":0.89726716,"about_ca_topic_score_gemma":0.9571039,"teacher_disagreement_score":0.9885056,"about_ca_system_score_codex":0.087109946,"about_ca_system_score_gemma":0.025484905,"threshold_uncertainty_score":0.6320299},"labels":[],"label_agreement":null},{"id":"W2081934088","doi":"10.7202/500815ar","title":"La synchronisation interne dans le cinéma de S. M. Eisenstein","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.01704651464478392,"score_gpt":0.24770402210276282,"score_spread":0.23065750745797892,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081934088","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08550531,0.047691703,0.21352471,0.022253932,0.004268353,0.0000501927,0.00010089018,0.0002488804,0.62635607],"genre_scores_gemma":[0.85226625,0.014829019,0.03190335,0.001534226,0.002390278,0.00009739925,0.00005513722,0.00017989262,0.09674443],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993691,0.00025868512,0.0000192958,0.00014969919,0.0001556462,0.00004769298],"domain_scores_gemma":[0.9991486,0.000547573,0.0000665815,0.00007294953,0.00011616838,0.00004810481],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012620474,0.0004501995,0.00023015689,0.0007887468,0.00096548954,0.002650734,0.00041689034,0.0012005938,0.0037293737],"category_scores_gemma":[0.0037518796,0.00029380893,0.00031142682,0.00058371614,0.004403189,0.003285215,0.0012730677,0.0027057827,0.00069905],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021314427,0.000005924297,0.00010302359,0.000031660755,0.0000021030244,0.000034258293,0.0014356913,0.00069355645,0.00066019065,0.98394173,0.0017064026,0.01136409],"study_design_scores_gemma":[0.000026926988,0.000054287044,0.00096447655,0.00018926767,0.000018064913,0.0002679303,0.0007632373,0.0043424135,0.0019909341,0.82084835,0.17049819,0.000035872687],"about_ca_topic_score_codex":0.0034133645,"about_ca_topic_score_gemma":0.0022110392,"teacher_disagreement_score":0.0037293737,"about_ca_system_score_codex":0.0019679405,"about_ca_system_score_gemma":0.0008828052,"threshold_uncertainty_score":0.0142784715},"labels":[],"label_agreement":null},{"id":"W2082862524","doi":"10.1353/wfs.2014.0022","title":"Literary Borderlessness and Crossings: Marie HéLène Poitras’s Early Fictions","year":2014,"lang":"en","type":"article","venue":"Women in French studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Intertextuality; Art; Literature; Narrative; Art history","score_opus":0.023906331597157902,"score_gpt":0.264865311238183,"score_spread":0.2409589796410251,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082862524","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45414537,0.031777017,0.0047776205,0.045470033,0.0031173853,0.000075058975,0.00015569008,0.00026087085,0.46022087],"genre_scores_gemma":[0.9382449,0.0026936375,0.0005975833,0.0015578743,0.00024733745,0.000022288537,0.000026352762,0.00008882885,0.056521405],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984281,0.0007133959,0.000021875752,0.00016472065,0.00038814842,0.0002838073],"domain_scores_gemma":[0.9984499,0.00082458643,0.00011733576,0.000073909636,0.0003085124,0.00022573207],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014157413,0.0006670414,0.00045152515,0.0015918653,0.015549033,0.0079269055,0.0008921177,0.0020504422,0.0031178216],"category_scores_gemma":[0.0037555813,0.00023692762,0.0003103592,0.001080853,0.016976228,0.0021177027,0.0025513105,0.0036409395,0.0004244571],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009504344,0.000037559428,0.0016520532,0.0001319365,0.000020920708,0.0048290314,0.6807001,0.00035687324,0.0015811106,0.24216226,0.043084037,0.025349077],"study_design_scores_gemma":[0.0000070734004,0.00004001336,0.0040567773,0.00037432226,0.000012001192,0.0024317382,0.1566889,0.00026864404,0.0009898582,0.005431269,0.8296507,0.00004876659],"about_ca_topic_score_codex":0.27769735,"about_ca_topic_score_gemma":0.3898776,"teacher_disagreement_score":0.27769735,"about_ca_system_score_codex":0.022658434,"about_ca_system_score_gemma":0.00488891,"threshold_uncertainty_score":0.55216193},"labels":[],"label_agreement":null},{"id":"W2085307597","doi":"10.3138/jrpc.26.1.71","title":"The Islamic Framing in Donald Moffitt’s Science Fiction Series<i>The Mechanical Sky</i>","year":2014,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Islam; Framing (construction); Caliphate; Television series; Dominance (genetics); Sociology; Sky; Media studies; Literature; History; Epistemology; Philosophy; Art; Geography; Archaeology","score_opus":0.011448333134652143,"score_gpt":0.24152952442945722,"score_spread":0.23008119129480506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085307597","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15730995,0.0045717903,0.0023347326,0.058382597,0.0033334456,0.00003106722,0.00006372421,0.000045204557,0.7739275],"genre_scores_gemma":[0.9607907,0.0010221307,0.0006076212,0.0024135907,0.0009003388,0.0000182984,0.00002600117,0.00003500402,0.034186356],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905044,0.00062468456,0.000014438684,0.0000573871,0.00017999308,0.00007308775],"domain_scores_gemma":[0.99774843,0.0016187046,0.00013083073,0.000110350964,0.00026161966,0.00012998268],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014782139,0.00020691688,0.000112995025,0.0010852742,0.0053653945,0.004796259,0.0004671098,0.0011382771,0.003368658],"category_scores_gemma":[0.0033220267,0.00009833514,0.00009907296,0.0008716671,0.011086204,0.001692919,0.0012102287,0.0017738721,0.00027177294],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031139887,0.000042396918,0.0007864061,0.000052791194,0.0000031557606,0.00027052106,0.11386441,0.00014513377,0.00040127983,0.78684026,0.079579785,0.017982699],"study_design_scores_gemma":[0.000010772926,0.000033708715,0.0031060306,0.00024550394,0.0000050272247,0.00022767698,0.044846732,0.00037120772,0.0008421467,0.045699246,0.9045957,0.000016345739],"about_ca_topic_score_codex":0.011630071,"about_ca_topic_score_gemma":0.021789905,"teacher_disagreement_score":0.011630071,"about_ca_system_score_codex":0.0061081047,"about_ca_system_score_gemma":0.0011246572,"threshold_uncertainty_score":0.044317603},"labels":[],"label_agreement":null},{"id":"W2086174773","doi":"10.1353/mos.2013.0023","title":"Vicariates of the Eye: Blindness, Sense Substitution, and Writing Devices in the Nineteenth Century","year":2013,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Substitution (logic); Blindness; Optometry; Sense (electronics); History; Psychology; Art; Philosophy; Medicine; Engineering; Linguistics","score_opus":0.019121366806689306,"score_gpt":0.2358928538266551,"score_spread":0.2167714870199658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2086174773","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5011877,0.016217917,0.0047578756,0.014074971,0.0005157443,0.000021029737,0.0000300719,0.00006759064,0.46312723],"genre_scores_gemma":[0.9883409,0.0016491609,0.00045708366,0.0003003037,0.00003223751,0.00000633535,0.000004273292,0.000012617817,0.009196991],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9984432,0.00068077346,0.000083860075,0.00017282704,0.00032948636,0.00028987776],"domain_scores_gemma":[0.99878985,0.00072812533,0.00014485161,0.000103807986,0.00012749046,0.00010587338],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020803805,0.00032204817,0.00029462547,0.0017565247,0.006038208,0.005938493,0.00052454585,0.0013652835,0.0023222652],"category_scores_gemma":[0.003464498,0.00027384385,0.00018040913,0.0009686793,0.03400457,0.0051969504,0.0040166597,0.0027775867,0.00024158401],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046355133,0.000024754325,0.0013179027,0.00004533191,0.000003401703,0.0003590611,0.3571303,0.000120010496,0.0005257779,0.61976874,0.0010910706,0.019567313],"study_design_scores_gemma":[0.000052935633,0.00015590746,0.008799725,0.00059410237,0.000022016427,0.0019842149,0.26012275,0.000524479,0.002279047,0.3772116,0.34817043,0.000082771985],"about_ca_topic_score_codex":0.009473512,"about_ca_topic_score_gemma":0.012533589,"teacher_disagreement_score":0.009473512,"about_ca_system_score_codex":0.0041524996,"about_ca_system_score_gemma":0.002195585,"threshold_uncertainty_score":0.030128658},"labels":[],"label_agreement":null},{"id":"W2087126742","doi":"10.7202/1001075ar","title":"The Long Journey of the Icononaut","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Constitution; Lexicon; History; Geography; Computer science; Artificial intelligence; Political science; Law","score_opus":0.06802252384446111,"score_gpt":0.2464097882934561,"score_spread":0.178387264448995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2087126742","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11442636,0.03168605,0.008497454,0.042781536,0.0039124372,0.00006715804,0.00013358584,0.00014199135,0.79835343],"genre_scores_gemma":[0.8780014,0.009192607,0.0038695605,0.0038845204,0.0010417751,0.000056851357,0.000079083096,0.00019216817,0.10368203],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99851936,0.0006383308,0.000040068782,0.0003603337,0.00022319287,0.00021873799],"domain_scores_gemma":[0.9987733,0.00037204596,0.00009936645,0.00019989534,0.00024858877,0.00030673557],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017637402,0.00067867927,0.0005197894,0.002091372,0.016852109,0.013599814,0.00081158045,0.0026919602,0.011258656],"category_scores_gemma":[0.0043010474,0.00041454053,0.00024383097,0.0018265418,0.027735634,0.010599213,0.005524875,0.005141274,0.0014092689],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080213205,0.000020582958,0.0009907456,0.00010504794,0.0000068915747,0.00023383292,0.07693686,0.00008951622,0.00035297583,0.88646567,0.008859567,0.02585805],"study_design_scores_gemma":[0.000011419048,0.00007063297,0.0017967332,0.0006643328,0.000012912063,0.0006108569,0.06918026,0.0002103589,0.0004089381,0.089952216,0.8370342,0.000047091835],"about_ca_topic_score_codex":0.026586825,"about_ca_topic_score_gemma":0.02686126,"teacher_disagreement_score":0.026586825,"about_ca_system_score_codex":0.005876883,"about_ca_system_score_gemma":0.0037211766,"threshold_uncertainty_score":0.052864134},"labels":[],"label_agreement":null},{"id":"W2088036620","doi":"10.3138/jrpc.14.1.002","title":"Keeping the Fidelity in Stereo Catechesis: Opportunities and Dangers Inherent in Transmediation of the Gospel as Illustrated in <i>Sister Act I</i> and <i>II</i>","year":2006,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gospel; Sister; Fidelity; Aesthetics; Sociology; Focus (optics); Law; Computer science; Art; Literature; Political science; Telecommunications","score_opus":0.03295275844730017,"score_gpt":0.24573712492736294,"score_spread":0.21278436648006277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088036620","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4350379,0.0026824798,0.04442109,0.022996655,0.0008179323,0.00007436397,0.000050364943,0.00021217097,0.493707],"genre_scores_gemma":[0.99264234,0.00018870481,0.0017097662,0.00043652538,0.000057098234,0.000018484565,0.0000090848225,0.000054520162,0.0048833685],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99409,0.004347044,0.000097756594,0.00028693982,0.0007807811,0.0003973891],"domain_scores_gemma":[0.9950216,0.0028190592,0.00039024782,0.0010406678,0.00040618615,0.00032235926],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052050822,0.0004491146,0.00029858266,0.0012522629,0.010469901,0.009462744,0.00086683215,0.0020568136,0.0032190764],"category_scores_gemma":[0.010948837,0.00025921062,0.00029202638,0.0006544452,0.044426594,0.009237467,0.008818367,0.0046410197,0.0004424179],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007814227,0.00001820889,0.0010250183,0.00007275406,0.0000075010175,0.00062497606,0.41893977,0.00013521928,0.0012727564,0.5590098,0.0018264502,0.01698938],"study_design_scores_gemma":[0.00004009486,0.00016459833,0.0031618222,0.00044955185,0.000036956986,0.0023311805,0.53282565,0.0010570526,0.004370378,0.2272199,0.22826156,0.00008122613],"about_ca_topic_score_codex":0.0034540126,"about_ca_topic_score_gemma":0.004659336,"teacher_disagreement_score":0.010469901,"about_ca_system_score_codex":0.002372334,"about_ca_system_score_gemma":0.0014781646,"threshold_uncertainty_score":0.027527452},"labels":[],"label_agreement":null},{"id":"W2088709865","doi":"10.7202/016699ar","title":"Iconic Destiny and “The Lady of Shalott”: Living in a World of Images","year":2007,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Destiny (ISS module); Representation (politics); Context (archaeology); Poetry; Power (physics); History; Literature; Point (geometry); Art history; Sociology; Art; Law; Political science","score_opus":0.01744319120561611,"score_gpt":0.2346348288760711,"score_spread":0.217191637670455,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088709865","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17631419,0.0026667959,0.0068528904,0.018145328,0.0006925997,0.000016376527,0.000022694137,0.00006720859,0.79522187],"genre_scores_gemma":[0.96711737,0.00047703632,0.0005593112,0.0006027754,0.00008277368,0.000009352454,0.000008235286,0.000042892076,0.031100241],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887234,0.0007512411,0.000015441052,0.000078299854,0.00015637444,0.00012624048],"domain_scores_gemma":[0.9991097,0.00042658194,0.00010669477,0.000098997014,0.00013017801,0.00012779],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012171072,0.00034459244,0.00016748736,0.00082616473,0.007339675,0.009422203,0.00046442595,0.0013414301,0.005146838],"category_scores_gemma":[0.0035060283,0.000145873,0.00014117248,0.00060016016,0.026108244,0.004713819,0.0029270046,0.0023929714,0.0005246431],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021723654,0.000012530445,0.0003108091,0.000035863522,0.0000022553497,0.00027478486,0.29596922,0.00006472874,0.00036901076,0.6880444,0.0065604174,0.008334198],"study_design_scores_gemma":[0.00001627896,0.00004878696,0.0010616027,0.00026607074,0.0000091254105,0.000957151,0.36751026,0.00048343797,0.0010752988,0.113814704,0.5147273,0.000030045454],"about_ca_topic_score_codex":0.007373744,"about_ca_topic_score_gemma":0.011878739,"teacher_disagreement_score":0.009422203,"about_ca_system_score_codex":0.0032533496,"about_ca_system_score_gemma":0.0011925459,"threshold_uncertainty_score":0.02360487},"labels":[],"label_agreement":null},{"id":"W2088852353","doi":"10.7202/1001181ar","title":"Le rôle de la musique dans la définition du cinéma comme art : à propos de l’avant-garde des années 20","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.04619452426681967,"score_gpt":0.25158093956172783,"score_spread":0.20538641529490817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088852353","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07215678,0.03067223,0.049305975,0.06603004,0.002176279,0.00013854308,0.00007164307,0.0000631738,0.77938527],"genre_scores_gemma":[0.8966639,0.0077102,0.009453872,0.0033311953,0.0007310477,0.00019188425,0.000034024884,0.00010844624,0.08177538],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9967213,0.002213842,0.00009287353,0.0003115902,0.00041799172,0.00024236602],"domain_scores_gemma":[0.99551207,0.0031456235,0.0002325749,0.00023399339,0.0005201108,0.00035558935],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004274223,0.00061258266,0.00042131197,0.0017914608,0.005525451,0.008331408,0.0008578332,0.002917912,0.0050796056],"category_scores_gemma":[0.0062605483,0.0003640049,0.00042716254,0.0007547835,0.026347015,0.007199662,0.004432151,0.006905489,0.00049153226],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010814918,0.000006191697,0.00016945701,0.000037925558,0.0000022033719,0.00007635201,0.0417889,0.000055093657,0.00020885315,0.9527924,0.0014889353,0.003362769],"study_design_scores_gemma":[0.000016374504,0.000061020943,0.0019844638,0.00073316705,0.000012835382,0.00074731203,0.03903211,0.000874557,0.00087534013,0.27704507,0.67857695,0.000040843785],"about_ca_topic_score_codex":0.010996698,"about_ca_topic_score_gemma":0.014010101,"teacher_disagreement_score":0.010996698,"about_ca_system_score_codex":0.005226,"about_ca_system_score_gemma":0.0028659224,"threshold_uncertainty_score":0.037917495},"labels":[],"label_agreement":null},{"id":"W208988191","doi":"10.1353/mos.2022.a948450","title":"The Surplus Value of Images","year":2022,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Criticism; Value (mathematics); MAGIC (telescope); Aesthetics; Sociology; Semiotics; Epistemology; Philosophy; Literature; Art","score_opus":0.01863608489095297,"score_gpt":0.2345663769870178,"score_spread":0.21593029209606482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W208988191","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35303974,0.00432324,0.033710603,0.013350303,0.00031172065,0.000037357975,0.00019717074,0.00006640227,0.59496343],"genre_scores_gemma":[0.99582446,0.0003400946,0.0011395692,0.00015027296,0.000054967844,0.000008369282,0.000025614961,0.000021123127,0.0024356525],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9967332,0.0015404738,0.00009399245,0.00029324068,0.0011001409,0.00023894789],"domain_scores_gemma":[0.9926345,0.0033790113,0.0009975552,0.00095490663,0.0015958861,0.00043815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031074246,0.00032257763,0.0003675335,0.0028473309,0.0021893857,0.008556162,0.00066189584,0.0009989191,0.006925889],"category_scores_gemma":[0.016717045,0.0002170563,0.00020341767,0.0015471537,0.018453086,0.008932094,0.00390225,0.0015284168,0.00041345463],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005431419,0.000009083929,0.0032145695,0.00008101702,0.000016095963,0.00009162762,0.008154856,0.00050420914,0.00042756269,0.9642579,0.0016162229,0.021572571],"study_design_scores_gemma":[0.000018535342,0.000056408946,0.007508164,0.0004344748,0.00004052706,0.00045369935,0.020409526,0.0032988023,0.0012791912,0.9177111,0.048755407,0.000034132932],"about_ca_topic_score_codex":0.002963939,"about_ca_topic_score_gemma":0.0025355695,"teacher_disagreement_score":0.008556162,"about_ca_system_score_codex":0.0037053123,"about_ca_system_score_gemma":0.0011272685,"threshold_uncertainty_score":0.02688402},"labels":[],"label_agreement":null},{"id":"W2094250446","doi":"10.1080/15240657.2014.911053","title":"Through the Lens of Psychoanalysis: The Photographic Portraiture of Robert Giard—A Panel Discussion","year":2014,"lang":"en","type":"article","venue":"Studies in Gender and Sexuality","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Liminality; Portrait; Queer; Psychoanalysis; Sociology; Vulnerability (computing); Art history; Art; Psychology; Anthropology; Computer science","score_opus":0.1448112796377794,"score_gpt":0.3462012560325643,"score_spread":0.2013899763947849,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2094250446","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06761427,0.02374735,0.0045830025,0.47383308,0.0134873865,0.00016245613,0.00015999522,0.0001502735,0.41626218],"genre_scores_gemma":[0.701223,0.009925052,0.0027193993,0.06368689,0.004096513,0.00018194981,0.00008964732,0.00031890915,0.21775869],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983364,0.0011641801,0.000013901582,0.0001365251,0.00016160411,0.00018744027],"domain_scores_gemma":[0.9992567,0.0004358315,0.00003994657,0.000049223298,0.00009780179,0.00012059289],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002112973,0.00053058536,0.0002590723,0.0009163477,0.013624615,0.0060082157,0.0010680575,0.00390903,0.007621408],"category_scores_gemma":[0.003123512,0.00025822542,0.00037353646,0.0008386728,0.009931152,0.002835734,0.0031748172,0.008056472,0.001149709],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074726755,0.000027018128,0.00030955544,0.000113961425,0.000012914132,0.0019548505,0.30489907,0.00025467537,0.00180029,0.17209019,0.50235444,0.016108325],"study_design_scores_gemma":[0.0000040334817,0.0000118456355,0.0005574938,0.0001347898,0.0000045877746,0.0003150928,0.093536526,0.0000798093,0.0003800116,0.004472953,0.900487,0.000015952028],"about_ca_topic_score_codex":0.043736223,"about_ca_topic_score_gemma":0.086157896,"teacher_disagreement_score":0.043736223,"about_ca_system_score_codex":0.006217037,"about_ca_system_score_gemma":0.0018954609,"threshold_uncertainty_score":0.086963296},"labels":[],"label_agreement":null},{"id":"W2095336627","doi":"10.1177/0163443705055731","title":"Interpretability and social power, or, why postmodern advertising works","year":2005,"lang":"en","type":"article","venue":"Media Culture & Society","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Postmodernism; Commodification; Sociology; Aesthetics; Epistemology; Art; Economics; Philosophy","score_opus":0.018456764878332328,"score_gpt":0.25285046285925145,"score_spread":0.2343936979809191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2095336627","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19320506,0.007979679,0.04443908,0.07339232,0.001066865,0.00008848168,0.00005137059,0.00028430924,0.67949283],"genre_scores_gemma":[0.985269,0.000964123,0.002439037,0.0013083356,0.00039972956,0.00004694686,0.000011668748,0.00013407812,0.009427134],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.97916645,0.012756189,0.00061224925,0.0022344564,0.0040564495,0.0011742249],"domain_scores_gemma":[0.953819,0.034253594,0.0025249505,0.006837275,0.0018438358,0.00072144455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02371889,0.0010727727,0.0007444201,0.0032425495,0.0058268644,0.021867286,0.001776762,0.004801547,0.009621141],"category_scores_gemma":[0.032861635,0.0007783452,0.0009043369,0.0018804774,0.097271465,0.029384049,0.008708379,0.005588067,0.0014388881],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037648693,0.00004505787,0.0010848761,0.00009848163,0.000014507599,0.00021216842,0.09822552,0.0001380809,0.00049079326,0.88208276,0.0012035806,0.016366431],"study_design_scores_gemma":[0.000059891823,0.000059529317,0.0011628247,0.00024003496,0.000020547333,0.00051923364,0.02634456,0.00090739917,0.0015274091,0.91422445,0.05489861,0.000035551497],"about_ca_topic_score_codex":0.0014327536,"about_ca_topic_score_gemma":0.0009443751,"teacher_disagreement_score":0.02371889,"about_ca_system_score_codex":0.0044299234,"about_ca_system_score_gemma":0.0019843914,"threshold_uncertainty_score":0.12543899},"labels":[],"label_agreement":null},{"id":"W2096457061","doi":"10.7202/012263ar","title":"Fond et forme dans l'image allégorique","year":2006,"lang":"fr","type":"article","venue":"Protée","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.014432246575821641,"score_gpt":0.25507289865806515,"score_spread":0.2406406520822435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2096457061","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06388788,0.0035232992,0.01256648,0.014471069,0.00048034426,0.000022349195,0.00006228677,0.00011286509,0.9048734],"genre_scores_gemma":[0.8662386,0.0013624238,0.0028261025,0.0007485485,0.0001616736,0.000048099533,0.000030311932,0.00013683282,0.12844743],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897206,0.0004134732,0.000018796385,0.00015184059,0.00024649312,0.00019735986],"domain_scores_gemma":[0.9995142,0.00019857247,0.00005651106,0.000081252634,0.000069403155,0.000080125166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012046105,0.00046296045,0.00024394889,0.0013454466,0.005809942,0.008738008,0.00050076575,0.0014809486,0.012383033],"category_scores_gemma":[0.0022163908,0.00020967507,0.00023105108,0.0009207627,0.024476256,0.005838336,0.0042562014,0.0028907903,0.0009337145],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013078879,0.0000056101235,0.00029585752,0.000029553812,0.0000020435116,0.00007386083,0.0514897,0.000048438098,0.0003460398,0.9338614,0.004121061,0.009713487],"study_design_scores_gemma":[0.000013327453,0.000033903812,0.0030128607,0.000245036,0.0000094895395,0.00043965605,0.05240091,0.00034269603,0.0007905854,0.17871544,0.76397103,0.000025170702],"about_ca_topic_score_codex":0.009251084,"about_ca_topic_score_gemma":0.016616654,"teacher_disagreement_score":0.012383033,"about_ca_system_score_codex":0.003704003,"about_ca_system_score_gemma":0.002004324,"threshold_uncertainty_score":0.041425407},"labels":[],"label_agreement":null},{"id":"W2101652303","doi":"10.26522/vp.v11i1.917","title":"Ekphrasis : au lieu de décrire ce qu’ils voyaient, ils réalisèrent ce qui était décrit","year":2014,"lang":"fr","type":"article","venue":"Voix Plurielles","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.018900909786568897,"score_gpt":0.25215900555221055,"score_spread":0.23325809576564166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2101652303","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20959911,0.005034998,0.07107145,0.013532557,0.002513161,0.00039514064,0.00036281798,0.0006288201,0.6968618],"genre_scores_gemma":[0.66511923,0.0037052124,0.0285272,0.001810313,0.00041762428,0.00024663858,0.0002558943,0.00074964185,0.29916823],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9969081,0.0014073378,0.00011381419,0.000438665,0.00083290366,0.0002991293],"domain_scores_gemma":[0.9962334,0.0018196002,0.00029227103,0.0004991552,0.0006887934,0.0004667317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035156056,0.000687208,0.00031456866,0.001220808,0.00441438,0.009713745,0.0008717399,0.0015167942,0.017904017],"category_scores_gemma":[0.008350146,0.0002973991,0.00040004074,0.0009213243,0.0094677415,0.006577877,0.0052755927,0.0032987583,0.0045560813],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001967408,0.00009084119,0.0060430528,0.0008250281,0.000025842548,0.0010744081,0.5263491,0.0002233905,0.012841114,0.26556185,0.023800481,0.16296804],"study_design_scores_gemma":[0.000018159826,0.00008999901,0.005273433,0.0007083067,0.000020488094,0.0009913606,0.1697133,0.0003204231,0.0041095275,0.021708999,0.79699373,0.000052199768],"about_ca_topic_score_codex":0.0044422387,"about_ca_topic_score_gemma":0.009763105,"teacher_disagreement_score":0.017904017,"about_ca_system_score_codex":0.0024243584,"about_ca_system_score_gemma":0.003623825,"threshold_uncertainty_score":0.05989492},"labels":[],"label_agreement":null},{"id":"W2102454139","doi":"10.1177/1354067x0281002","title":"Remembering and Forgetting: Narrative as Cultural Memory","year":2002,"lang":"en","type":"article","venue":"Culture & Psychology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":326,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Forgetting; Narrative; Mnemonic; Performative utterance; Memory work; Symbol (formal); Semiotics; Cultural memory; Meaning (existential); Sociology; Dialectic; Perspective (graphical); Linguistics; Aesthetics; Epistemology; Psychology; Cognitive science; Cognitive psychology; Anthropology; Philosophy; Art; Visual arts","score_opus":0.06667530090114647,"score_gpt":0.3276022919488641,"score_spread":0.2609269910477176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2102454139","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33434153,0.05254881,0.05444373,0.019921247,0.0010814854,0.000110860106,0.00016450761,0.00011079743,0.5372771],"genre_scores_gemma":[0.9820526,0.0066321804,0.003811313,0.0004962119,0.00019720169,0.000037221722,0.00003222537,0.000023675633,0.0067175133],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979912,0.0014701765,0.000061011084,0.00012485207,0.00021520392,0.00013754438],"domain_scores_gemma":[0.99561113,0.0029244456,0.00057713577,0.00035138172,0.0002565958,0.00027924226],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002439609,0.0005102302,0.00027593656,0.0020590797,0.0031269852,0.010388648,0.0011485985,0.0016206778,0.002659125],"category_scores_gemma":[0.0065074475,0.00020450963,0.00028245064,0.0016674784,0.021561528,0.0116581805,0.003870632,0.0016475094,0.00020734189],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003697229,0.000017473003,0.0011118064,0.00018168784,0.000010149836,0.00047129203,0.24076042,0.00031196655,0.00034454244,0.7327172,0.001027652,0.023008863],"study_design_scores_gemma":[0.00003366884,0.00017035019,0.0031899365,0.0012916133,0.000060281796,0.0025913035,0.2702261,0.0013269372,0.0017328488,0.44680816,0.27249667,0.00007220796],"about_ca_topic_score_codex":0.0026616885,"about_ca_topic_score_gemma":0.002909001,"teacher_disagreement_score":0.010388648,"about_ca_system_score_codex":0.0021808667,"about_ca_system_score_gemma":0.0015600147,"threshold_uncertainty_score":0.015823305},"labels":[],"label_agreement":null},{"id":"W2103757508","doi":"10.7202/006534ar","title":"Constructing Power Architecturally","year":2003,"lang":"en","type":"article","venue":"Ethnologies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Inscribed figure; Negotiation; Ideology; Power (physics); Identity (music); Style (visual arts); Capital (architecture); Sociology; Architecture; Political science; Media studies; Politics; Aesthetics; Art; Social science; Law; Visual arts","score_opus":0.03698004723973447,"score_gpt":0.2661440372864727,"score_spread":0.2291639900467382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2103757508","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1460178,0.0019023035,0.05407191,0.0057932055,0.00035566746,0.000080367776,0.000053756678,0.0001408509,0.79158413],"genre_scores_gemma":[0.970769,0.0004613509,0.006185692,0.00022329057,0.000032750217,0.00003895922,0.000026055925,0.00006858978,0.022194413],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997726,0.0013491604,0.00006861619,0.0002599051,0.0002564231,0.00033985366],"domain_scores_gemma":[0.9989473,0.0003298291,0.00012089855,0.00032494147,0.00016098582,0.00011606216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002232164,0.0005658889,0.00027621054,0.002252996,0.009091461,0.00956326,0.00094231335,0.0009321648,0.0069033806],"category_scores_gemma":[0.0034691854,0.00044164216,0.00028375917,0.001274929,0.036532145,0.008196112,0.007945399,0.0015302583,0.0008153364],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000533626,0.000006103885,0.000773057,0.000025047368,0.0000054489237,0.000084297295,0.05039642,0.00041413595,0.00019581382,0.93864477,0.0009271894,0.008522373],"study_design_scores_gemma":[0.000013811745,0.000033964465,0.0012865285,0.00024837762,0.000020256482,0.00019806773,0.10399532,0.0009330498,0.00070104876,0.4809514,0.41159672,0.00002142676],"about_ca_topic_score_codex":0.008395679,"about_ca_topic_score_gemma":0.015368811,"teacher_disagreement_score":0.00956326,"about_ca_system_score_codex":0.0047935816,"about_ca_system_score_gemma":0.0040182527,"threshold_uncertainty_score":0.034780025},"labels":[],"label_agreement":null},{"id":"W2104501601","doi":"10.1111/j.1531-314x.2006.00077.x","title":"Architectural Reenactments at 1:1 Scale","year":2006,"lang":"en","type":"article","venue":"Journal of Architectural Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Dalhousie University","keywords":"Architecture; Action (physics); Speculation; Architectural design; Architectural engineering; Scale (ratio); History of architecture; Verb; Projection (relational algebra); Computer science; Linguistics; Visual arts; Aesthetics; Engineering; Art; Artificial intelligence; Philosophy; Business","score_opus":0.011551948980358606,"score_gpt":0.2492141815894479,"score_spread":0.23766223260908928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104501601","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47947106,0.000439566,0.09712909,0.0024621175,0.00053428364,0.00032771018,0.00029200732,0.0028763637,0.41646767],"genre_scores_gemma":[0.94617426,0.00009699162,0.023370458,0.00021483241,0.000058647624,0.00009560654,0.00015249773,0.0004120114,0.029424706],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978255,0.0011050308,0.00007198734,0.00031964044,0.0004936389,0.00018423716],"domain_scores_gemma":[0.99680054,0.0010109668,0.0002527015,0.0011026396,0.00066428864,0.00016888171],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013818028,0.00036664898,0.0002528435,0.0010073142,0.0018847676,0.003964876,0.0010666853,0.0012525569,0.018605296],"category_scores_gemma":[0.008311706,0.00026087125,0.00028969673,0.0007119763,0.0030221187,0.0050427318,0.0033628037,0.0022790441,0.0024396137],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030055895,0.00014987479,0.0042687864,0.00032171857,0.00002429709,0.0018809604,0.28960222,0.0021287398,0.032185096,0.4119385,0.013076446,0.24412285],"study_design_scores_gemma":[0.00004526282,0.00030199238,0.012025454,0.00029975257,0.0000421887,0.0015689774,0.083189964,0.011624,0.016775643,0.075438134,0.79858106,0.0001075222],"about_ca_topic_score_codex":0.0015666501,"about_ca_topic_score_gemma":0.002666985,"teacher_disagreement_score":0.018605296,"about_ca_system_score_codex":0.0009973524,"about_ca_system_score_gemma":0.00057514076,"threshold_uncertainty_score":0.0622409},"labels":[],"label_agreement":null},{"id":"W2104582942","doi":"10.1177/147041290200100111","title":"Obscure imaginings: visual culture and the anatomy of caves","year":2002,"lang":"en","type":"article","venue":"Journal of Visual Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Cave; Visual culture; Representation (politics); Art; Hegemony; Art history; Visual arts; History; Archaeology","score_opus":0.018864576730625554,"score_gpt":0.2907694123024786,"score_spread":0.2719048355718531,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104582942","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2360541,0.0054627582,0.017271196,0.011326824,0.0002819675,0.000025029905,0.000048108293,0.000102121485,0.72942793],"genre_scores_gemma":[0.9921678,0.00060739735,0.0011174853,0.00021734038,0.00003647336,0.000010105797,0.000008186928,0.000030193332,0.0058050836],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99787366,0.0014140235,0.000033971402,0.00017762606,0.00025360278,0.00024707522],"domain_scores_gemma":[0.9978655,0.0013380691,0.00019639476,0.00031017215,0.00013185032,0.0001581282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016054652,0.0004066014,0.00024195354,0.0015441793,0.0061686644,0.009557278,0.0010433428,0.001783892,0.006051602],"category_scores_gemma":[0.005946583,0.00024901875,0.00033470016,0.0010890871,0.045411848,0.006980504,0.0056956983,0.0030091428,0.00029180042],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025526797,0.000008775011,0.0006455828,0.000053623466,0.0000057060624,0.00041004605,0.1607856,0.00025554918,0.00030408776,0.8271788,0.0015054721,0.008821282],"study_design_scores_gemma":[0.0000392343,0.00006549476,0.0036473651,0.00066582736,0.000027955011,0.0028050137,0.21754985,0.0014512403,0.0010294691,0.5241551,0.24849942,0.00006406012],"about_ca_topic_score_codex":0.00871575,"about_ca_topic_score_gemma":0.011383545,"teacher_disagreement_score":0.009557278,"about_ca_system_score_codex":0.0028751993,"about_ca_system_score_gemma":0.0018271904,"threshold_uncertainty_score":0.02086109},"labels":[],"label_agreement":null},{"id":"W2104801900","doi":"10.1017/s0012217300001785","title":"Two Ways of Seeing <i>Ways of Seeing</i>","year":2007,"lang":"en","type":"article","venue":"Dialogue","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Aesthetics; Epistemology; Psychology; Sociology; Philosophy","score_opus":0.06906098920426103,"score_gpt":0.25923440204193676,"score_spread":0.19017341283767575,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104801900","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016453745,0.0050453227,0.038312085,0.04698514,0.0014388744,0.00005578419,0.00011811282,0.00024689332,0.891344],"genre_scores_gemma":[0.8186666,0.0031437736,0.025736462,0.006554099,0.00051100575,0.00022264996,0.00015897256,0.0003978237,0.14460859],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9947739,0.003458923,0.00013939764,0.0004017764,0.00071351416,0.0005125535],"domain_scores_gemma":[0.9963431,0.0014376928,0.0002993526,0.00080609473,0.00060332526,0.00051040953],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038548692,0.0006366631,0.00039983066,0.0016779437,0.0075709005,0.022490675,0.0015085764,0.0045574354,0.029288461],"category_scores_gemma":[0.007051061,0.00054822344,0.0010588428,0.001335292,0.031090409,0.01845271,0.009683281,0.006601579,0.003781732],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034858193,0.000012672858,0.0002438806,0.000101027734,0.0000069790085,0.00012236582,0.05805512,0.000047951504,0.0005375707,0.9190606,0.012807437,0.008969545],"study_design_scores_gemma":[0.00004627969,0.000052916916,0.0012668283,0.0006971364,0.000028037275,0.000987688,0.121871956,0.0005047203,0.0015242201,0.43332583,0.43960553,0.00008892494],"about_ca_topic_score_codex":0.0046957354,"about_ca_topic_score_gemma":0.006789241,"teacher_disagreement_score":0.029288461,"about_ca_system_score_codex":0.0032481211,"about_ca_system_score_gemma":0.0021555698,"threshold_uncertainty_score":0.097979724},"labels":[],"label_agreement":null},{"id":"W2108823690","doi":"10.1353/vcr.2001.0015","title":"The Face as Legible Text: Gazing at the Portraits of George Eliot","year":2001,"lang":"en","type":"article","venue":"Victorian review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; George (robot); Art; Art history; Shadow (psychology); Fantasy; White (mutation); Photography; Face (sociological concept); Representation (politics); Visual arts; Literature; Philosophy; Psychoanalysis; Psychology; Politics","score_opus":0.028716451806143597,"score_gpt":0.28004265027333064,"score_spread":0.25132619846718707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2108823690","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09054135,0.010830775,0.0019360954,0.059959847,0.0030560195,0.000028624674,0.000106067535,0.0001439738,0.8333972],"genre_scores_gemma":[0.67262095,0.007149954,0.002034746,0.01505217,0.0009471874,0.000024236366,0.00007264835,0.00029517576,0.301803],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9997482,0.00011529854,0.0000022567103,0.000026267966,0.000061917075,0.00004606362],"domain_scores_gemma":[0.9998789,0.000042823434,0.0000073275537,0.000010629143,0.00002642682,0.000033925524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032410384,0.00034423993,0.00008902862,0.00037631148,0.0028903286,0.002410004,0.00035055555,0.0010929024,0.011878632],"category_scores_gemma":[0.0010272436,0.0001218135,0.00013513856,0.00023635925,0.0037382287,0.0016081341,0.0014377458,0.0024278585,0.002392415],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008562977,0.000035471625,0.0020352136,0.00012057909,0.000013313219,0.0073899343,0.43658993,0.00019972638,0.004991163,0.086898975,0.39320102,0.06843905],"study_design_scores_gemma":[0.000007440191,0.000022810425,0.0030709587,0.00022700823,0.0000063160937,0.0024929754,0.11707811,0.00009008914,0.0006960264,0.0043575023,0.87193334,0.000017410099],"about_ca_topic_score_codex":0.019437779,"about_ca_topic_score_gemma":0.06761126,"teacher_disagreement_score":0.019437779,"about_ca_system_score_codex":0.0019333618,"about_ca_system_score_gemma":0.00040240044,"threshold_uncertainty_score":0.039738},"labels":[],"label_agreement":null},{"id":"W2111846733","doi":"","title":"The Evident Need for Specialization in Visual Art Studies","year":2011,"lang":"en","type":"article","venue":"The Journal of Macrodynamic Analysis (Memorial University of Newfoundland)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Saint Mary's University","funders":"","keywords":"Craft; Contemporary art; Fine art; Visual arts; Art criticism; History of art; Modern art; Art; Criticism; Postmodernism; Art history; The arts; Art methodology; Literature; Architecture; Performance art","score_opus":0.04458881231361878,"score_gpt":0.2671935382676652,"score_spread":0.2226047259540464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2111846733","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19797236,0.029096257,0.006263069,0.25323868,0.003379747,0.00014781652,0.00043707964,0.00049253996,0.5089725],"genre_scores_gemma":[0.8834449,0.0085231345,0.005137258,0.029347451,0.0016496399,0.00015768071,0.00029940665,0.000215013,0.07122545],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955552,0.0010630967,0.00014577535,0.0007571649,0.0007037437,0.0017749744],"domain_scores_gemma":[0.953761,0.011818763,0.0019357823,0.0034709359,0.00495289,0.024060627],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055134506,0.0002886169,0.00052777515,0.0024298101,0.0052487534,0.0068347803,0.0018164702,0.0030008145,0.038835283],"category_scores_gemma":[0.009577194,0.00039213206,0.000586196,0.0018376267,0.0068926923,0.004739899,0.007528442,0.0052814367,0.0054070847],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002260482,0.0005034916,0.030939909,0.0027476908,0.000040831215,0.0016995112,0.03808226,0.0005622514,0.007247525,0.3440011,0.20090644,0.3730429],"study_design_scores_gemma":[0.000048874732,0.00024828498,0.106770866,0.0024711164,0.000013510114,0.0053341184,0.031699825,0.00078375847,0.00095607934,0.067907326,0.7836999,0.00006635702],"about_ca_topic_score_codex":0.017362611,"about_ca_topic_score_gemma":0.0733367,"teacher_disagreement_score":0.038835283,"about_ca_system_score_codex":0.006437279,"about_ca_system_score_gemma":0.020912003,"threshold_uncertainty_score":0.12991697},"labels":[],"label_agreement":null},{"id":"W2126145866","doi":"10.1215/03335372-2007-015","title":"Introduction: Photographic Interventions","year":2008,"lang":"en","type":"article","venue":"Poetics Today","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":28,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Psychological intervention; History; Psychology","score_opus":0.05719597299329486,"score_gpt":0.26812623074075,"score_spread":0.2109302577474551,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2126145866","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019174874,0.0127914185,0.018985804,0.03359208,0.01808436,0.00883801,0.0060802684,0.001716401,0.88073677],"genre_scores_gemma":[0.18842846,0.019794134,0.045852385,0.028911632,0.0056702946,0.017280404,0.004299465,0.0008662315,0.68889695],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990632,0.00031582007,0.00006736726,0.00020913886,0.0002114601,0.0001328844],"domain_scores_gemma":[0.99885094,0.00039087274,0.00006791151,0.00024674073,0.00026005303,0.00018356493],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018122138,0.00080630946,0.00054014236,0.0012515164,0.0021929657,0.0018247309,0.0013209513,0.0025465772,0.31618363],"category_scores_gemma":[0.0070793675,0.00029656495,0.00070128834,0.0005521957,0.0011606285,0.0018549,0.002803716,0.002964683,0.071085945],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007780225,0.0018631263,0.0006685791,0.0020674227,0.000022675013,0.0006442908,0.003769995,0.00010459463,0.0014977182,0.026810208,0.50231457,0.45945874],"study_design_scores_gemma":[0.0002201966,0.00031762122,0.0021465663,0.001308366,0.000024819812,0.00073323905,0.0020403503,0.00005074263,0.0010844888,0.0072291982,0.98481977,0.00002463432],"about_ca_topic_score_codex":0.0016101971,"about_ca_topic_score_gemma":0.0024046048,"teacher_disagreement_score":0.31618363,"about_ca_system_score_codex":0.0011703394,"about_ca_system_score_gemma":0.0019871274,"threshold_uncertainty_score":0.9753811},"labels":[],"label_agreement":null},{"id":"W2126965568","doi":"10.5195/ahea.2014.159","title":"Kirkham, Pat, ed. 2013. Eva Zeisel: Life, Design, and Beauty. San Francisco: Chronicle Books. 255 pp. Illus.","year":2015,"lang":"en","type":"article","venue":"Hungarian Cultural Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Beauty; Art; Art history; Aesthetics","score_opus":0.10774527714259899,"score_gpt":0.2960318875532987,"score_spread":0.1882866104106997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2126965568","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037873845,0.88024414,0.0012470271,0.01592045,0.002523955,0.000015772786,0.00034333827,0.0001821285,0.09914449],"genre_scores_gemma":[0.016632631,0.73200345,0.003156633,0.005113556,0.0014670339,0.0001320085,0.0003767191,0.00045459226,0.24066338],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994548,0.00011683738,0.000040300976,0.000079243706,0.00023398038,0.00007490982],"domain_scores_gemma":[0.99906415,0.00041236434,0.00009610341,0.000055336277,0.00025148728,0.000120567594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008654523,0.0013637196,0.0010723982,0.0026660375,0.0024574858,0.0041381395,0.0012246141,0.0026665374,0.07545079],"category_scores_gemma":[0.0027852894,0.0011930118,0.00053970545,0.002951486,0.0023754993,0.008547781,0.0020668919,0.0035270518,0.040824536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000362699,0.000012284509,0.00016529975,0.00070445007,0.000008178231,0.00007814308,0.0015660024,0.000110162524,0.00013920007,0.018478908,0.81486833,0.16383277],"study_design_scores_gemma":[0.0000040109485,0.0000056520626,0.0006317964,0.0013188345,0.0000066872385,0.00018615894,0.0008297235,0.000024572217,0.000078682104,0.006187901,0.990715,0.0000109550965],"about_ca_topic_score_codex":0.013367942,"about_ca_topic_score_gemma":0.03906285,"teacher_disagreement_score":0.07545079,"about_ca_system_score_codex":0.0027551635,"about_ca_system_score_gemma":0.0034983417,"threshold_uncertainty_score":0.25240803},"labels":[],"label_agreement":null},{"id":"W2134919370","doi":"10.3138/md.45.1.35","title":"Anus Mundi: Jews, the Holocaust, and Excremental Assault in Michel Vinaver's <i>Overboard (Par-dessus bord)</i>","year":2002,"lang":"en","type":"article","venue":"Modern Drama","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The Holocaust; Judaism; Art; Representation (politics); Literature; Art history; History; Philosophy; Theology; Law; Archaeology; Politics; Political science","score_opus":0.03570328724398847,"score_gpt":0.23481590365472607,"score_spread":0.1991126164107376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2134919370","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64143133,0.0029952296,0.0010459754,0.006667527,0.00058438047,0.000009689059,0.00002180169,0.000048492817,0.34719566],"genre_scores_gemma":[0.9760233,0.00031304604,0.00022111957,0.00040045765,0.00006267265,0.0000035702221,0.000006991476,0.00002450325,0.022944225],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963796,0.00017963116,0.0000042767883,0.000023478362,0.00006787705,0.00008673515],"domain_scores_gemma":[0.9998442,0.0000628469,0.000030210573,0.000011669451,0.000016930071,0.00003423238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041046573,0.00034570013,0.00014303834,0.00044930493,0.0054424177,0.0035374777,0.00032773986,0.0009195265,0.0032302744],"category_scores_gemma":[0.0007723586,0.00012605955,0.00012072294,0.0003465622,0.0064459606,0.0010245382,0.0020305773,0.0012820093,0.0002468972],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001671997,0.000044175842,0.0029257738,0.00008712791,0.000013998458,0.0022251026,0.6885029,0.00015129628,0.0024243677,0.25827903,0.023428988,0.021750009],"study_design_scores_gemma":[0.000017645543,0.000102251695,0.009490821,0.00019013982,0.000020832616,0.0019396795,0.38615623,0.00028720003,0.0017906746,0.008948354,0.5910205,0.000035621597],"about_ca_topic_score_codex":0.013894909,"about_ca_topic_score_gemma":0.036680337,"teacher_disagreement_score":0.013894909,"about_ca_system_score_codex":0.0019536698,"about_ca_system_score_gemma":0.00040662562,"threshold_uncertainty_score":0.027628064},"labels":[],"label_agreement":null},{"id":"W2138241497","doi":"10.7202/1023112ar","title":"Phonographie, cinéma et musique rock. Autour d’un impensé théorique chez Walter Benjamin","year":2014,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art","score_opus":0.017619082522064258,"score_gpt":0.2429388040927568,"score_spread":0.22531972157069255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2138241497","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043150038,0.06555377,0.035853524,0.07978287,0.0025758068,0.000054393073,0.00017891974,0.00017969318,0.77267104],"genre_scores_gemma":[0.81102353,0.020133788,0.006938519,0.0051826574,0.0020371585,0.00010483568,0.000076210395,0.0002688566,0.15423445],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864835,0.0006872474,0.000025706566,0.00021545656,0.00030799364,0.00011522378],"domain_scores_gemma":[0.9984206,0.0011531182,0.00012287997,0.00010223565,0.000115430536,0.00008577913],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011387668,0.0005604941,0.0003080545,0.001344706,0.0022857506,0.0046209237,0.0007490702,0.0024306204,0.009311108],"category_scores_gemma":[0.0035639987,0.00023140208,0.0002517118,0.0010482895,0.015815185,0.004756848,0.0024976043,0.0032121742,0.0011357059],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020092648,0.000005949534,0.00023247041,0.000089735324,0.000002882142,0.00007879767,0.011675032,0.00009446454,0.00045045867,0.9651438,0.0062749274,0.015931305],"study_design_scores_gemma":[0.00001990452,0.000041375417,0.0023820142,0.0005382602,0.000013814374,0.00058828626,0.01236661,0.0007391151,0.0010952036,0.30359685,0.6785773,0.000041166655],"about_ca_topic_score_codex":0.01224417,"about_ca_topic_score_gemma":0.013984113,"teacher_disagreement_score":0.01224417,"about_ca_system_score_codex":0.0035622704,"about_ca_system_score_gemma":0.0014450138,"threshold_uncertainty_score":0.031148791},"labels":[],"label_agreement":null},{"id":"W2138489183","doi":"10.1111/j.0141-6790.2004.00439.x","title":"MAKING SENSE OUT/OF THE VISUAL: ABORIGINAL PRESENTATIONS AND REPRESENTATIONS IN NINETEENTH‐CENTURY CANADA","year":2004,"lang":"en","type":"article","venue":"Art History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Colonialism; Performative utterance; Amateur; Representation (politics); Visual arts; Visual culture; Modernity; Power (physics); Aesthetics; Art; Agency (philosophy); History; Sociology; Politics; Archaeology; Social science; Epistemology; Law; Philosophy","score_opus":0.03220655144078391,"score_gpt":0.2892483786866101,"score_spread":0.25704182724582614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2138489183","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5483451,0.0057542566,0.0014357023,0.015487228,0.00053480524,0.000058326277,0.0001408916,0.00010195019,0.4281418],"genre_scores_gemma":[0.9592099,0.0022157044,0.00043566193,0.0004990513,0.000041435287,0.000014586759,0.000033564953,0.00006813586,0.037481967],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976241,0.0006081797,0.000035531062,0.0001548738,0.0007029051,0.00087440596],"domain_scores_gemma":[0.9981621,0.00044623515,0.00013253797,0.00010274905,0.0005700086,0.0005864034],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017468268,0.0007120621,0.00033094498,0.0021604656,0.037010502,0.014017862,0.0019711272,0.0016647681,0.0072887363],"category_scores_gemma":[0.0039655967,0.00040483617,0.00032040518,0.0028919615,0.026938068,0.002608007,0.0067453543,0.004462267,0.00040221118],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028301392,0.0000137171755,0.0012316912,0.000051990377,0.000006086281,0.00053484493,0.9414907,0.00009262923,0.00033276583,0.040235613,0.005380955,0.010600687],"study_design_scores_gemma":[0.0000051341726,0.000011336518,0.0028333392,0.0001506243,0.000017412282,0.00026425885,0.807727,0.00013103987,0.00032153967,0.002206939,0.18629405,0.00003739665],"about_ca_topic_score_codex":0.9802136,"about_ca_topic_score_gemma":0.9888481,"teacher_disagreement_score":0.074591085,"about_ca_system_score_codex":0.074591085,"about_ca_system_score_gemma":0.07442375,"threshold_uncertainty_score":0.54119873},"labels":[],"label_agreement":null},{"id":"W2140428017","doi":"10.7202/024745ar","title":"En deçà et au-delà du cinéma moderne. Visconti, mélancolie et néo-baroque","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Baroque; Art history","score_opus":0.03130557921976789,"score_gpt":0.2802713990106428,"score_spread":0.2489658197908749,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2140428017","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04151568,0.100058265,0.0067528603,0.07675592,0.009054744,0.00004692318,0.00017768136,0.000104075625,0.76553375],"genre_scores_gemma":[0.6672639,0.030210271,0.0034265087,0.008231558,0.005013543,0.00008314954,0.00011081315,0.00018303361,0.28547713],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949884,0.00022873255,0.000011324707,0.00009036575,0.00011283843,0.000057949357],"domain_scores_gemma":[0.99949,0.00022925377,0.00006122678,0.000048372844,0.00009155841,0.000079598016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091331656,0.00045575667,0.00016823708,0.0007600974,0.0027077806,0.004957169,0.00033120852,0.0014417123,0.00839035],"category_scores_gemma":[0.0022994638,0.00018169769,0.00017772378,0.0007113073,0.005337648,0.0038121864,0.0019148536,0.0034790838,0.0008117224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006487303,0.000015361069,0.0008622295,0.00017899995,0.000009166121,0.00016388235,0.03549543,0.00008034407,0.0012158155,0.8614353,0.06097394,0.039504584],"study_design_scores_gemma":[0.000006362565,0.000018540582,0.00229644,0.00022367467,0.0000064438973,0.00027984224,0.0065668607,0.00011467792,0.00039287773,0.030540219,0.9595427,0.000011428449],"about_ca_topic_score_codex":0.006587415,"about_ca_topic_score_gemma":0.015055203,"teacher_disagreement_score":0.00839035,"about_ca_system_score_codex":0.0033838798,"about_ca_system_score_gemma":0.0013826729,"threshold_uncertainty_score":0.028068483},"labels":[],"label_agreement":null},{"id":"W2144876666","doi":"10.7202/044595ar","title":"On Photography. The Medium, The Scandal and The Silence","year":2010,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Photography; Snapshot (computer storage); Silence; Photojournalism; Art; Visual arts; Object (grammar); Art history; History; Aesthetics; Philosophy; Computer science","score_opus":0.05631509007379161,"score_gpt":0.29710059456674126,"score_spread":0.24078550449294966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2144876666","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041271184,0.03493698,0.0026581043,0.061114553,0.0021036842,0.000028302306,0.00011149458,0.00004148059,0.85773414],"genre_scores_gemma":[0.85357046,0.023825878,0.0007874028,0.009275621,0.0022260589,0.00006776889,0.00006579118,0.00014585753,0.110035144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765813,0.0014561454,0.000041481617,0.00019461903,0.00037810765,0.00027152023],"domain_scores_gemma":[0.99771535,0.0014096048,0.00023758673,0.0002729799,0.00020781759,0.00015670297],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017319716,0.00048899313,0.00030181993,0.0014287559,0.009488039,0.008801536,0.00058274117,0.0023490374,0.00970558],"category_scores_gemma":[0.0043132664,0.00020875824,0.00022406061,0.0016720368,0.04615659,0.008965807,0.0056620855,0.00427499,0.0014746148],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036053414,0.000012483395,0.00064405514,0.00014196252,0.0000058765277,0.0003120325,0.08777599,0.00005163536,0.00030566883,0.8497044,0.034165885,0.026843973],"study_design_scores_gemma":[0.000010146617,0.00004059316,0.0035354095,0.0010574182,0.000011429447,0.00052563305,0.13099149,0.00006694666,0.00040412758,0.07754536,0.78578603,0.000025366722],"about_ca_topic_score_codex":0.013847849,"about_ca_topic_score_gemma":0.021285193,"teacher_disagreement_score":0.013847849,"about_ca_system_score_codex":0.004333793,"about_ca_system_score_gemma":0.0022344699,"threshold_uncertainty_score":0.03246838},"labels":[],"label_agreement":null},{"id":"W2147058392","doi":"10.2979/vic.2009.52.1.31","title":"Vernon Lee in the Vatican: The Uneasy Alliance of Aestheticism and Archaeology","year":2009,"lang":"en","type":"article","venue":"Victorian Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Aestheticism; Sublime; Alliance; Power (physics); Sculpture; Criticism; Art; Object (grammar); Archaeology; Sociology; Art history; Literature; History; Philosophy","score_opus":0.04960596238800859,"score_gpt":0.29536418025775324,"score_spread":0.24575821786974467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2147058392","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17324597,0.12500946,0.0030594305,0.26154202,0.005606715,0.00003294462,0.00003212433,0.000058868867,0.4314125],"genre_scores_gemma":[0.914007,0.009824948,0.0010659466,0.012034479,0.00096963765,0.000029104625,0.000010728151,0.00006884746,0.061989322],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978635,0.0014362806,0.000036381585,0.00018122519,0.0003362596,0.0001463923],"domain_scores_gemma":[0.99847513,0.0011713557,0.0000785334,0.00007651485,0.00009734014,0.00010104557],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001852555,0.00019519839,0.0003223231,0.00071257364,0.0057622436,0.007583106,0.0006268513,0.0022528386,0.001416638],"category_scores_gemma":[0.003751502,0.00025546222,0.00012502454,0.000733983,0.020654812,0.004183527,0.0032559652,0.0048869476,0.00017997515],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035142897,0.000021109974,0.0010639278,0.000120310324,0.000006503126,0.00074067945,0.22049698,0.00014031777,0.00068715605,0.70197356,0.047570117,0.02714422],"study_design_scores_gemma":[0.00000852235,0.000024514622,0.0019550077,0.0006967265,0.0000039454458,0.00058818323,0.08328909,0.00021354046,0.00042310415,0.12417858,0.78858906,0.000029787368],"about_ca_topic_score_codex":0.014204927,"about_ca_topic_score_gemma":0.04806314,"teacher_disagreement_score":0.014204927,"about_ca_system_score_codex":0.0038422772,"about_ca_system_score_gemma":0.0017876934,"threshold_uncertainty_score":0.028244495},"labels":[],"label_agreement":null},{"id":"W2149022270","doi":"10.7202/017589ar","title":"Visualizing Acoustic Space","year":2008,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pavilion; Narrative; Loudspeaker; Dialectic; Art; Opposition (politics); Acoustic space; Movie theater; Sound (geography); Space (punctuation); Composition (language); Visual arts; Literature; Acoustics; History; Linguistics; Philosophy; Epistemology; Politics; Physics","score_opus":0.09523611401718286,"score_gpt":0.2679860456899967,"score_spread":0.17274993167281383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149022270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07292198,0.016090143,0.34054905,0.010904742,0.0035317047,0.00008212169,0.00095997204,0.0028820192,0.55207825],"genre_scores_gemma":[0.82343394,0.010278891,0.07954422,0.0012843395,0.001406973,0.00011793614,0.0005170222,0.0011222193,0.08229441],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995635,0.00017796115,0.00001175181,0.000076728174,0.00011538768,0.00005459799],"domain_scores_gemma":[0.99950576,0.00025948003,0.00003775526,0.00006750904,0.00006740772,0.00006208924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006850359,0.00062985014,0.00022941176,0.0017056226,0.0016489994,0.0061392,0.0005794441,0.0010874677,0.021793785],"category_scores_gemma":[0.0026444423,0.00023532154,0.00035047336,0.0010412947,0.0027731366,0.006159294,0.0038240855,0.001177159,0.002168247],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015538116,0.00002844284,0.003001514,0.0005165979,0.000049010865,0.00077104295,0.062001385,0.0055912016,0.019552158,0.64779806,0.03733069,0.22320452],"study_design_scores_gemma":[0.000018450919,0.00005685739,0.002219604,0.0003904028,0.000029663015,0.00093978486,0.022992201,0.0039577326,0.003453736,0.16007474,0.8058033,0.000063556945],"about_ca_topic_score_codex":0.0021935543,"about_ca_topic_score_gemma":0.0037364992,"teacher_disagreement_score":0.021793785,"about_ca_system_score_codex":0.0008040273,"about_ca_system_score_gemma":0.0007109566,"threshold_uncertainty_score":0.07290745},"labels":[],"label_agreement":null},{"id":"W2150058354","doi":"","title":"\"England expects...\" and all that : the visual memory of Horatio Lord Nelson","year":2008,"lang":"en","type":"article","venue":"University Library - University of Saskatchewan (University of Saskatchewan)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Computer graphics (images); Cognitive science; Psychology","score_opus":0.019767460730065883,"score_gpt":0.17300708022470437,"score_spread":0.1532396194946385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2150058354","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19946776,0.045159023,0.0028224157,0.10224581,0.009659465,0.00002393954,0.00049985084,0.00022170256,0.6399001],"genre_scores_gemma":[0.88965344,0.0064151753,0.00042483862,0.004689787,0.0009831175,0.000013521026,0.000058922513,0.00014719316,0.097614],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966514,0.00015956131,0.0000057174893,0.000043119966,0.0000795181,0.000046942132],"domain_scores_gemma":[0.9994904,0.00024605385,0.000073365256,0.000040538245,0.0000850187,0.000064550215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003952501,0.0002843059,0.00016067507,0.0003796856,0.0045217494,0.0043830504,0.000412953,0.00076192647,0.0067257094],"category_scores_gemma":[0.0023012278,0.00013033794,0.000066398665,0.00049227267,0.0065361466,0.004249788,0.0016521653,0.001974664,0.000920496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032048224,0.000025656544,0.0017701403,0.00029485882,0.000011983914,0.0016031741,0.40757617,0.00017235038,0.001559696,0.23190251,0.30858228,0.046180747],"study_design_scores_gemma":[0.0000072785406,0.000023813758,0.0018204378,0.0003141212,0.0000055694845,0.0010047025,0.10214878,0.000079799014,0.0004107339,0.0079486165,0.88621247,0.000023734721],"about_ca_topic_score_codex":0.020451156,"about_ca_topic_score_gemma":0.06238213,"teacher_disagreement_score":0.020451156,"about_ca_system_score_codex":0.003279334,"about_ca_system_score_gemma":0.0008631973,"threshold_uncertainty_score":0.040664256},"labels":[],"label_agreement":null},{"id":"W2151796826","doi":"10.1162/lmj.2007.17.55","title":"From Stethoscopes to Headphones: An Acoustic Spatialization of Subjectivity","year":2007,"lang":"en","type":"article","venue":"Leonardo Music Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Yukon Department of Environment","funders":"","keywords":"Headphones; Spatialization; Stethoscope; Subjectivity; Context (archaeology); Acoustics; Active listening; Sound (geography); Aesthetics; Computer science; Art; History; Sociology; Literature; Communication; Philosophy; Epistemology; Physics","score_opus":0.042102898805189894,"score_gpt":0.2889500397481207,"score_spread":0.24684714094293084,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2151796826","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3288478,0.009343924,0.067547426,0.012128191,0.000857261,0.000054873464,0.000102259735,0.00020308683,0.5809153],"genre_scores_gemma":[0.9839468,0.001469945,0.0019672036,0.00040160088,0.00016644725,0.000025978916,0.000015934904,0.00008454207,0.011921571],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99857175,0.0010009691,0.00003314357,0.00012419627,0.00015795577,0.000111964786],"domain_scores_gemma":[0.99843305,0.0010672583,0.00012263938,0.00018849567,0.000116373056,0.00007223156],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093017734,0.00039457658,0.0002455218,0.0010691091,0.0024310227,0.0074737654,0.000702331,0.0013120314,0.0043737465],"category_scores_gemma":[0.0041254177,0.00019538852,0.0002540612,0.0009235726,0.0253025,0.007396811,0.0041652313,0.001903908,0.00040715217],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004367122,0.000010001034,0.00071861903,0.00012897665,0.0000062362697,0.000443404,0.44087493,0.00016611039,0.0025114163,0.53615093,0.0017231312,0.01722262],"study_design_scores_gemma":[0.000033768898,0.00014538935,0.0034440057,0.0005576969,0.000025688381,0.0014969291,0.4513236,0.00071803434,0.003914195,0.3110719,0.22721882,0.000050027134],"about_ca_topic_score_codex":0.001201279,"about_ca_topic_score_gemma":0.0009873487,"teacher_disagreement_score":0.0074737654,"about_ca_system_score_codex":0.0010222587,"about_ca_system_score_gemma":0.00068958296,"threshold_uncertainty_score":0.014631689},"labels":[],"label_agreement":null},{"id":"W2155563834","doi":"10.7202/1027439ar","title":"What Is Left of the Cinematic Apparatus, or Why We Should Retain (and Return to) It","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Computer science; Epistemology; Aesthetics; Sociology; History; Art; Philosophy","score_opus":0.20054460923216877,"score_gpt":0.35655326498175766,"score_spread":0.1560086557495889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2155563834","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.083345585,0.020012157,0.09379362,0.26006,0.0063792397,0.00010242056,0.00032341256,0.00071073085,0.53527284],"genre_scores_gemma":[0.9572068,0.003915311,0.008461546,0.0063998657,0.0013916176,0.00010234668,0.00008538567,0.0003826406,0.022054413],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9963074,0.0019474889,0.00016023181,0.0006345543,0.00049442257,0.00045595193],"domain_scores_gemma":[0.9930474,0.0030806018,0.0005455581,0.0017621784,0.0009861508,0.00057811924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00766128,0.0005151022,0.00054696086,0.0011365489,0.004838558,0.016347986,0.0019398773,0.0038552298,0.012217129],"category_scores_gemma":[0.015086268,0.0003886144,0.0005428091,0.00076086563,0.047334723,0.032511353,0.0050353943,0.006788691,0.002688323],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018675431,0.000009771756,0.00034700276,0.0001011614,0.0000074209615,0.000047498073,0.011806671,0.000070975504,0.00032353099,0.97413,0.0032843933,0.009852935],"study_design_scores_gemma":[0.000028547867,0.000063468084,0.0014391841,0.0008574281,0.000029682906,0.00027535067,0.032063197,0.00064062845,0.0011884355,0.7298699,0.23346753,0.00007657187],"about_ca_topic_score_codex":0.0048946356,"about_ca_topic_score_gemma":0.0028712607,"teacher_disagreement_score":0.016347986,"about_ca_system_score_codex":0.003611484,"about_ca_system_score_gemma":0.0028122212,"threshold_uncertainty_score":0.04087037},"labels":[],"label_agreement":null},{"id":"W2157142032","doi":"10.7202/024775ar","title":"Médiation ou modulation sonore ?","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Opposition (politics); Philosophy; Political science","score_opus":0.03997305212894803,"score_gpt":0.27939813264150537,"score_spread":0.23942508051255734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2157142032","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049321376,0.011422352,0.049349993,0.026364261,0.0021708065,0.000092890026,0.00019136256,0.000369843,0.86071706],"genre_scores_gemma":[0.9175309,0.004775913,0.008863353,0.0036743379,0.00087550853,0.00017198452,0.00011100471,0.0002102806,0.06378673],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99782795,0.0008324082,0.000073210824,0.0005850075,0.0003786043,0.00030285714],"domain_scores_gemma":[0.99777895,0.0009884447,0.00018992259,0.000589406,0.00028415778,0.00016912472],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002197366,0.00064921763,0.0007247391,0.0007469004,0.0013777326,0.0058217174,0.0015602636,0.0020705834,0.025200557],"category_scores_gemma":[0.0059450893,0.00036215896,0.00057827745,0.00062987953,0.011267725,0.011399757,0.0041355584,0.0031812915,0.0036162573],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008802721,0.00003365463,0.0005339961,0.00019997514,0.000019766827,0.0001958161,0.008340614,0.00014143463,0.0038465667,0.9525895,0.0024140342,0.031596582],"study_design_scores_gemma":[0.000073140975,0.00018197871,0.0022239215,0.0006229646,0.00007378552,0.000858623,0.010978977,0.0012508043,0.005130552,0.769514,0.20903105,0.000060169867],"about_ca_topic_score_codex":0.0019199866,"about_ca_topic_score_gemma":0.0013666854,"teacher_disagreement_score":0.025200557,"about_ca_system_score_codex":0.0016754647,"about_ca_system_score_gemma":0.0018573774,"threshold_uncertainty_score":0.08430421},"labels":[],"label_agreement":null},{"id":"W2159585163","doi":"10.1086/504138","title":"How Nothing Became Something: White Space, Rhetoric, History, and Meaning","year":2006,"lang":"en","type":"article","venue":"Journal of Consumer Research","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":173,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Nothing; Rhetoric; Meaning (existential); White (mutation); Space (punctuation); Sociology; Media studies; Philosophy; Epistemology; Linguistics","score_opus":0.11380084017821743,"score_gpt":0.3221266420646832,"score_spread":0.2083258018864658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2159585163","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18133505,0.015022233,0.048180092,0.038373377,0.0013242363,0.000073031675,0.00007627866,0.00008788307,0.7155277],"genre_scores_gemma":[0.9867909,0.0016491243,0.003053784,0.0010974635,0.00028528392,0.00003977288,0.000018437637,0.00004967236,0.007015449],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9958241,0.0030654278,0.000093622366,0.00029027107,0.00047019546,0.00025635838],"domain_scores_gemma":[0.9882924,0.0093539925,0.00075256143,0.00071026833,0.00051579543,0.0003749775],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006396926,0.00053626,0.0004559487,0.0029832644,0.006807454,0.0126829455,0.0010768202,0.002363506,0.004124599],"category_scores_gemma":[0.012781202,0.00028706476,0.00038409155,0.0022649094,0.053190716,0.015761347,0.0045443834,0.0034631288,0.00035443215],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013819907,0.000011582223,0.00034353358,0.00007001388,0.000003835381,0.000092850845,0.058975067,0.000084713,0.00019455368,0.93343616,0.0007123675,0.006061476],"study_design_scores_gemma":[0.000019999727,0.000067909925,0.000921235,0.0004798735,0.000020876743,0.00040387362,0.07927219,0.0007588912,0.0012586201,0.8270059,0.08975912,0.000031469026],"about_ca_topic_score_codex":0.002128803,"about_ca_topic_score_gemma":0.0024663378,"teacher_disagreement_score":0.0126829455,"about_ca_system_score_codex":0.003356028,"about_ca_system_score_gemma":0.0019551197,"threshold_uncertainty_score":0.033830523},"labels":[],"label_agreement":null},{"id":"W2163664463","doi":"","title":"KRESS, Gunther et VAN LEEUWEN, Theo (1996). Reading Images: The Grammar of Visual Design. Londres: Routledge. 288 p.","year":2008,"lang":"en","type":"article","venue":"Commposite","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Omnipresence; Art; Reading (process); Philosophy; Linguistics; Theology","score_opus":0.04937430609514941,"score_gpt":0.27935979808572925,"score_spread":0.22998549199057983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163664463","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047114417,0.6639575,0.014165865,0.036328662,0.0022926023,0.00011312307,0.0010332474,0.00036568884,0.2770319],"genre_scores_gemma":[0.25415024,0.52754194,0.025020353,0.008347976,0.00093256816,0.0006211206,0.0006421794,0.0009519033,0.18179175],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992693,0.00024138637,0.000096475436,0.00014159444,0.00017602128,0.00007513659],"domain_scores_gemma":[0.9975751,0.0015189811,0.000247956,0.00014948631,0.0003960121,0.00011251003],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015616757,0.0009923734,0.00064636715,0.0030872724,0.0030244659,0.008044184,0.0012146618,0.003883191,0.023045506],"category_scores_gemma":[0.005172278,0.0012847584,0.00050548115,0.004561552,0.006550132,0.014213971,0.0019466013,0.0032267696,0.0077660275],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008344459,0.000045912893,0.001389672,0.0016746802,0.000037298767,0.00043856684,0.06225288,0.00025717996,0.00066731585,0.38878247,0.29588246,0.24848813],"study_design_scores_gemma":[0.000023292801,0.000015151885,0.0028399792,0.002069948,0.00003778697,0.00042039252,0.010810244,0.000054813958,0.0003723651,0.106694214,0.8766318,0.000029938425],"about_ca_topic_score_codex":0.029681891,"about_ca_topic_score_gemma":0.050175935,"teacher_disagreement_score":0.029681891,"about_ca_system_score_codex":0.0034178314,"about_ca_system_score_gemma":0.0029825468,"threshold_uncertainty_score":0.07709491},"labels":[],"label_agreement":null},{"id":"W2163910165","doi":"10.7202/1027429ar","title":"Déclinaisons et figures ekphrastiques","year":2014,"lang":"fr","type":"article","venue":"Arborescences Revue d études françaises","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy; Art history","score_opus":0.02953981670774663,"score_gpt":0.27684247915234356,"score_spread":0.24730266244459692,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163910165","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049800064,0.027645148,0.041761402,0.035156976,0.0040640323,0.000057868314,0.00025786264,0.00021324337,0.8410435],"genre_scores_gemma":[0.7788196,0.011400208,0.010401609,0.0036274176,0.0019592342,0.00010231434,0.00015868443,0.00030133984,0.19322953],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99641126,0.0020175544,0.00014133658,0.00052516063,0.0005785754,0.00032612725],"domain_scores_gemma":[0.997677,0.0013401358,0.00021605688,0.00033490683,0.0003225412,0.000109263856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025848316,0.0007857595,0.0003334259,0.0017289674,0.005031485,0.011129137,0.00089760014,0.0019874563,0.010262251],"category_scores_gemma":[0.0046570413,0.00024357051,0.00043619442,0.0018129315,0.019420782,0.00781492,0.0029679986,0.005007323,0.0015922422],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000066661964,0.0000029001174,0.00014917781,0.000032201042,0.0000017329635,0.000053576834,0.014482422,0.000049486156,0.000094605675,0.978084,0.0032405613,0.0038025924],"study_design_scores_gemma":[0.0000067415385,0.00001952739,0.00073905196,0.00023828601,0.000006615869,0.00039029872,0.01914158,0.00033301694,0.00067136646,0.13702267,0.8414096,0.000021378946],"about_ca_topic_score_codex":0.013865227,"about_ca_topic_score_gemma":0.016523892,"teacher_disagreement_score":0.013865227,"about_ca_system_score_codex":0.006663409,"about_ca_system_score_gemma":0.002741849,"threshold_uncertainty_score":0.04834664},"labels":[],"label_agreement":null},{"id":"W2171861543","doi":"10.1111/j.1755-618x.2004.tb02179.x","title":"Reconstructing Colonialism: Graphic Layout and Design, and the Construction of Ideology*","year":2004,"lang":"fr","type":"article","venue":"Canadian Review of Sociology/Revue canadienne de sociologie","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Fredericton; University of New Brunswick","funders":"","keywords":"Ideology; Humanities; Colonialism; Sociology; Art history; Ethnology; Art; History; Political science; Politics; Law; Archaeology","score_opus":0.044659146971369426,"score_gpt":0.2500989347093873,"score_spread":0.2054397877380179,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171861543","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42857337,0.0034536382,0.025264358,0.0041292026,0.00035837977,0.00010885859,0.00011467612,0.00034643823,0.53765106],"genre_scores_gemma":[0.9718858,0.0008176386,0.009597626,0.00011853655,0.0000323689,0.000052393407,0.000033135562,0.00014438828,0.017318102],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986565,0.0010188995,0.000028824072,0.0000624251,0.00013771576,0.00009564872],"domain_scores_gemma":[0.9977042,0.0014784359,0.00019417694,0.00026984702,0.00019474071,0.00015855471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018445723,0.00046784148,0.00015340492,0.0016060462,0.0022011045,0.00901448,0.00056006183,0.0005814398,0.010252399],"category_scores_gemma":[0.0055962633,0.00027092514,0.00023184862,0.0012806602,0.008688467,0.002228714,0.0023775275,0.00073314796,0.00066172896],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002860046,0.000056051125,0.011179432,0.00082455965,0.000027117092,0.00078565505,0.47590992,0.0015822828,0.00981292,0.3288376,0.0062542735,0.16444422],"study_design_scores_gemma":[0.000077205135,0.0003074236,0.03514588,0.0015280227,0.0001238483,0.0011650365,0.31690285,0.0045679277,0.0057820696,0.067716144,0.5665703,0.00011333948],"about_ca_topic_score_codex":0.006448707,"about_ca_topic_score_gemma":0.012579776,"teacher_disagreement_score":0.010252399,"about_ca_system_score_codex":0.001923505,"about_ca_system_score_gemma":0.0016526012,"threshold_uncertainty_score":0.034297645},"labels":[],"label_agreement":null},{"id":"W2171997715","doi":"10.1177/1464884914558347","title":"Photographs of newsrooms: From the printing house to open space offices. Analyzing the transformation of workspaces and information production","year":2014,"lang":"en","type":"article","venue":"Journalism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Journalism; Dimension (graph theory); Workspace; Space (punctuation); Representation (politics); Value (mathematics); Production (economics); Computer science; Sociology; Public relations; Multimedia; Political science; Media studies; Artificial intelligence; Mathematics","score_opus":0.021834010517248738,"score_gpt":0.24707941662324295,"score_spread":0.22524540610599422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171997715","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79066604,0.015150183,0.006986161,0.0042290455,0.0009674368,0.00023998792,0.0047138785,0.00011974023,0.17692752],"genre_scores_gemma":[0.9775115,0.004095976,0.004388096,0.0003226798,0.00024930816,0.00008924702,0.00098251,0.000119278186,0.012241438],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99863833,0.000707078,0.00005362941,0.00020858909,0.000272922,0.00011938884],"domain_scores_gemma":[0.99665594,0.0019963933,0.00048343235,0.00037674172,0.00029164445,0.00019580046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011599349,0.00033715589,0.0001783711,0.0039915633,0.0043152575,0.004820995,0.0005216594,0.00069847895,0.0052530156],"category_scores_gemma":[0.0049589025,0.00032449028,0.00022702281,0.005431673,0.0056256754,0.004385394,0.0018660235,0.0012267961,0.00053497555],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002775402,0.000060115657,0.017923392,0.0010895473,0.000024864108,0.0021605322,0.79855704,0.0003214329,0.004315363,0.036719434,0.0216898,0.11686092],"study_design_scores_gemma":[0.00000945041,0.000044632936,0.081207834,0.0006207029,0.000025178078,0.0012784868,0.4682652,0.00013958738,0.0024136081,0.0021871591,0.44377705,0.000031069052],"about_ca_topic_score_codex":0.021902954,"about_ca_topic_score_gemma":0.075048454,"teacher_disagreement_score":0.021902954,"about_ca_system_score_codex":0.0033547014,"about_ca_system_score_gemma":0.0010499116,"threshold_uncertainty_score":0.04355091},"labels":[],"label_agreement":null},{"id":"W2174426659","doi":"","title":"Time-play-space: playing up the visual in writing","year":2004,"lang":"en","type":"article","venue":"Falmouth University Research Repository (FURR) (Falmouth University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Poetics; Theme (computing); Temporality; Relation (database); Value (mathematics); Poetry; Space (punctuation); Visual arts; Literature; History; Art; Linguistics; Computer science; Philosophy; Epistemology; World Wide Web","score_opus":0.04390407615574397,"score_gpt":0.26875805482831056,"score_spread":0.2248539786725666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2174426659","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060663782,0.013519088,0.06899805,0.06372389,0.011033951,0.00010881767,0.00009517894,0.000847757,0.7810095],"genre_scores_gemma":[0.82600373,0.0047828085,0.02194506,0.0069792694,0.0030650957,0.00018552745,0.000058888203,0.0010450431,0.13593467],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964637,0.002646152,0.000055435103,0.00023191814,0.000343088,0.00025974345],"domain_scores_gemma":[0.9958752,0.0026936787,0.00023376153,0.00031486034,0.0003066715,0.0005758661],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029575792,0.0007478693,0.0003276527,0.0013536536,0.008329648,0.016574552,0.001360825,0.0028307189,0.010109223],"category_scores_gemma":[0.007723868,0.00029657144,0.00043007534,0.00086997106,0.025591157,0.012240335,0.0061501726,0.0042539868,0.0016778487],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012537032,0.000044172855,0.000547257,0.00035313136,0.00001199776,0.0008569835,0.3390527,0.00012739027,0.0014364411,0.55967474,0.05059095,0.0471788],"study_design_scores_gemma":[0.00002589639,0.00007877414,0.00040978342,0.00049532804,0.00001387012,0.001079863,0.118805006,0.00030887386,0.00138368,0.08337537,0.7939903,0.00003318627],"about_ca_topic_score_codex":0.0023071407,"about_ca_topic_score_gemma":0.005572778,"teacher_disagreement_score":0.016574552,"about_ca_system_score_codex":0.00239309,"about_ca_system_score_gemma":0.0016485607,"threshold_uncertainty_score":0.03381872},"labels":[],"label_agreement":null},{"id":"W2181171173","doi":"","title":"Research Guides: Fine Arts - Canadian Painting: Websites","year":2008,"lang":"en","type":"libguides","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Painting; Art","score_opus":0.1653480888168898,"score_gpt":0.33744309667220734,"score_spread":0.17209500785531753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2181171173","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022448984,0.0035548103,0.0009542337,0.0046658544,0.00067494356,0.00061860855,0.13471478,0.0011286669,0.85144323],"genre_scores_gemma":[0.009140461,0.003384423,0.0018776599,0.00056405435,0.00009950825,0.00051051046,0.028302439,0.00054891955,0.9555719],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988638,0.000070696144,0.000046733807,0.00013934106,0.0006815462,0.00019793047],"domain_scores_gemma":[0.9891634,0.0013621121,0.00020862666,0.0003351035,0.007996261,0.00093461294],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018656834,0.00077445136,0.0006022617,0.007860015,0.0056352755,0.007071304,0.0014278984,0.0016491164,0.37101424],"category_scores_gemma":[0.00852234,0.00064160046,0.0003110624,0.017296059,0.0010930388,0.0031236247,0.0010059903,0.0018336568,0.10309336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016016016,0.000020521087,0.00039652915,0.00020774205,0.000001293039,0.000013100145,0.000346737,0.00004191147,0.000065604756,0.0049482244,0.96349573,0.030446604],"study_design_scores_gemma":[0.000008359715,0.000006119587,0.0058363834,0.000302189,0.0000074644913,0.00001626213,0.0012451195,0.00007855184,0.00019957309,0.00069337134,0.9915946,0.000012061409],"about_ca_topic_score_codex":0.8978311,"about_ca_topic_score_gemma":0.9563099,"teacher_disagreement_score":0.37101424,"about_ca_system_score_codex":0.02153339,"about_ca_system_score_gemma":0.04592403,"threshold_uncertainty_score":0.89717185},"labels":[],"label_agreement":null},{"id":"W2181661345","doi":"10.1162/lmj_a_00941","title":"The Instrumentality of Sense in Bruce Nauman’s <i>Audio Video Piece for London, Ontario</i> (1969–1970)","year":2015,"lang":"en","type":"article","venue":"Leonardo Music Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Phenomenology (philosophy); Politics; Semiotics; Art; Aesthetics; Depth sounding; Art history; Unrest; Sociology; Visual arts; Philosophy; Linguistics; Computer science; Law; Epistemology; Cartography","score_opus":0.06707581344098186,"score_gpt":0.2574679355143627,"score_spread":0.19039212207338085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2181661345","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14854223,0.0052549206,0.0027104835,0.03059177,0.001623294,0.00005241571,0.00021468154,0.000114338385,0.8108959],"genre_scores_gemma":[0.83905977,0.0015537495,0.0008509766,0.001236747,0.00016639369,0.00003377222,0.000042306325,0.00015600085,0.1569002],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916327,0.00025771643,0.000017981343,0.00010495353,0.00028360193,0.00017243768],"domain_scores_gemma":[0.99926716,0.00031913264,0.000060862767,0.00006143532,0.00013117328,0.00016027741],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007372311,0.00041647506,0.00017435454,0.00084680936,0.012667161,0.0061710505,0.00066347065,0.0009809737,0.007540779],"category_scores_gemma":[0.0019623665,0.0002569229,0.0001551132,0.000850575,0.024278287,0.002066121,0.0028730757,0.0018433076,0.0007196115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000884896,0.00001262514,0.0013516925,0.00011847271,0.0000061392975,0.00074552785,0.7374121,0.000099899604,0.0021928975,0.16207083,0.070013076,0.025888367],"study_design_scores_gemma":[0.000009016479,0.000016534193,0.004601361,0.00023712922,0.0000069671496,0.0002450259,0.21727698,0.00005599343,0.0007739738,0.004232776,0.772515,0.000029399756],"about_ca_topic_score_codex":0.60775316,"about_ca_topic_score_gemma":0.8542763,"teacher_disagreement_score":0.39224684,"about_ca_system_score_codex":0.021714035,"about_ca_system_score_gemma":0.0068296683,"threshold_uncertainty_score":0.7891137},"labels":[],"label_agreement":null},{"id":"W2202782062","doi":"10.4013/5771","title":"Talking objects - methodology for film analysis","year":2010,"lang":"en","type":"article","venue":"Americanae (AECID Library)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Object (grammar); Interpretation (philosophy); Relevance (law); German; Narrative; Context (archaeology); Film analysis; Film director; Film theory; Sociology; Style (visual arts); Order (exchange); Point (geometry); Epistemology; Computer science; Aesthetics; Visual arts; Art; Artificial intelligence; History; Philosophy; Linguistics; Movie theater; Political science; Mathematics; Literature; Law; Archaeology","score_opus":0.039445318313524484,"score_gpt":0.27994525282703214,"score_spread":0.24049993451350765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2202782062","genre_codex":"methods","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":"methods","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009515042,0.0028752359,0.92704207,0.0015869304,0.0004877647,0.0041004494,0.002134485,0.0006949815,0.051563025],"genre_scores_gemma":[0.07149976,0.0023993885,0.8940668,0.0006436261,0.00037373535,0.0145405475,0.0019613712,0.00070116285,0.013813552],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9777002,0.016606688,0.0010823928,0.002119696,0.0020445331,0.0004464932],"domain_scores_gemma":[0.96481454,0.026138395,0.0020914683,0.0038638422,0.0026458034,0.00044593995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.022896731,0.0014958704,0.0014010579,0.011198404,0.002956861,0.010307649,0.0034279192,0.0017521299,0.023732431],"category_scores_gemma":[0.03656163,0.0011481494,0.0021318833,0.010324308,0.007873812,0.008417434,0.0051167263,0.0036071881,0.0053865165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009151877,0.00019031648,0.0026003271,0.0022993262,0.00008781085,0.0003124527,0.034760088,0.0011777558,0.0015839203,0.7589504,0.012165193,0.18578088],"study_design_scores_gemma":[0.00007517709,0.00021532612,0.0051814965,0.002509895,0.00007948026,0.00047642703,0.03633911,0.007374952,0.0025676799,0.5892649,0.35581502,0.00010060631],"about_ca_topic_score_codex":0.0017031796,"about_ca_topic_score_gemma":0.0013552706,"teacher_disagreement_score":0.023732431,"about_ca_system_score_codex":0.003672394,"about_ca_system_score_gemma":0.0031643226,"threshold_uncertainty_score":0.12109095},"labels":[],"label_agreement":null},{"id":"W2205822712","doi":"10.3138/md.2015.58.4.524","title":"Amy Holzapfel, <i>Art, Vision, and the Nineteenth-Century Stage: Acts of Seeing</i>","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Art; History; Visual arts; Geology; Paleontology","score_opus":0.027474369210195772,"score_gpt":0.2524801891268979,"score_spread":0.22500581991670213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2205822712","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015640486,0.2556966,0.0032079692,0.42139545,0.0034524295,0.00006375745,0.0003342073,0.00011681161,0.30009225],"genre_scores_gemma":[0.5120681,0.1611532,0.004137422,0.08892994,0.0036857314,0.0003770774,0.00021159208,0.00020947706,0.22922751],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991974,0.00040155172,0.000028535647,0.00008491163,0.0001780297,0.00010944697],"domain_scores_gemma":[0.99777114,0.001713491,0.00012557124,0.000060336624,0.00020233005,0.00012716078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012533929,0.00067214976,0.00028166326,0.0011915716,0.0075812982,0.005255288,0.0018473028,0.005895558,0.00835796],"category_scores_gemma":[0.0033678305,0.00040542052,0.00023773135,0.0012854248,0.009925396,0.009540546,0.0022132369,0.005221238,0.0016583635],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006943455,0.0000623708,0.0008583124,0.00027617955,0.000011252227,0.00027190897,0.045065716,0.00016250073,0.00019646059,0.5651411,0.36546475,0.022420097],"study_design_scores_gemma":[0.00004531841,0.000027478565,0.003838976,0.0009925286,0.000014408185,0.00030118445,0.05865259,0.00019608786,0.00068730756,0.18271697,0.7524868,0.00004032437],"about_ca_topic_score_codex":0.0316043,"about_ca_topic_score_gemma":0.06264484,"teacher_disagreement_score":0.0316043,"about_ca_system_score_codex":0.0028126824,"about_ca_system_score_gemma":0.0019959405,"threshold_uncertainty_score":0.06284064},"labels":[],"label_agreement":null},{"id":"W221009038","doi":"10.1353/ren.2008.0493","title":": <i>Text/Image Mosaics in French Culture: Emblems and Comic Strips</i>","year":2006,"lang":"en","type":"article","venue":"Renaissance Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Emblem; Publishing; Comics; Index (typography); Comic strip; History; Transition (genetics); Media studies; Art history; Art; Sociology; Literature; Chemistry; Computer science; Archaeology","score_opus":0.011672464777725306,"score_gpt":0.22385562280502297,"score_spread":0.21218315802729767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W221009038","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028886108,0.45808324,0.0018462266,0.026674736,0.006169876,0.00005278459,0.002030706,0.0008542008,0.50139964],"genre_scores_gemma":[0.06047947,0.1521437,0.00230957,0.0060490137,0.005303102,0.00007307094,0.002429913,0.00075563835,0.7704565],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980956,0.000050917042,0.000011084071,0.000026856433,0.00007184098,0.00002973207],"domain_scores_gemma":[0.9996885,0.000113977825,0.000028385748,0.000019084335,0.00008992421,0.00006011883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031352974,0.0010380341,0.00035939334,0.0025328875,0.001221471,0.004180318,0.00058179104,0.0010538634,0.132925],"category_scores_gemma":[0.00075484434,0.0002298777,0.00026337715,0.0030147473,0.0011856057,0.0035177795,0.0007993079,0.0008520266,0.029293602],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017217519,0.000006656607,0.00012864069,0.00030434522,0.0000041503395,0.000064675165,0.0010285929,0.000027096412,0.00021521907,0.006170548,0.9270391,0.06499366],"study_design_scores_gemma":[0.000002792305,0.000008012201,0.002019164,0.00027432817,0.0000030678705,0.00017833535,0.0012310492,0.000023276567,0.00014835606,0.0011810861,0.9949249,0.0000057514726],"about_ca_topic_score_codex":0.03286928,"about_ca_topic_score_gemma":0.071777545,"teacher_disagreement_score":0.132925,"about_ca_system_score_codex":0.0021713276,"about_ca_system_score_gemma":0.00091312645,"threshold_uncertainty_score":0.44467843},"labels":[],"label_agreement":null},{"id":"W2213013249","doi":"10.18192/analyses.v7i1.393","title":"Littérature et dissolution des genres artistiques","year":2012,"lang":"fr","type":"article","venue":"Analyses Revue de littératures franco-canadiennes et québécoise","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy; Autonomy","score_opus":0.04281394810115765,"score_gpt":0.31462484165790594,"score_spread":0.2718108935567483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2213013249","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043441355,0.09534609,0.0120601915,0.010194417,0.0057371827,0.00012948978,0.0012597684,0.00024488158,0.8315865],"genre_scores_gemma":[0.3545237,0.06315501,0.017393658,0.0025277918,0.0048058345,0.0003654852,0.0031278604,0.0007867123,0.5533139],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9932927,0.0018801902,0.0006369661,0.0010709016,0.0026298529,0.0004893994],"domain_scores_gemma":[0.9912402,0.0032740305,0.00077878113,0.0019606526,0.0020676786,0.00067863695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042381207,0.00077112636,0.00081478775,0.0077202283,0.007745012,0.012331941,0.0014440805,0.0019136892,0.03395463],"category_scores_gemma":[0.011641265,0.0005672684,0.0008080531,0.007605376,0.006298166,0.0063521564,0.0042621633,0.0041188486,0.007970915],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000741286,0.000051373438,0.004062166,0.0007524632,0.00002888315,0.0006269403,0.03004803,0.00019652101,0.0014844679,0.70279074,0.053429075,0.20645522],"study_design_scores_gemma":[0.0000041746844,0.000014526431,0.0026476723,0.0005492692,0.000007678486,0.00087505655,0.0029066557,0.000110151996,0.00037956203,0.018938169,0.97355586,0.000011102456],"about_ca_topic_score_codex":0.012481945,"about_ca_topic_score_gemma":0.015768146,"teacher_disagreement_score":0.9875181,"about_ca_system_score_codex":0.005603773,"about_ca_system_score_gemma":0.00435704,"threshold_uncertainty_score":0.113589525},"labels":[],"label_agreement":null},{"id":"W2213427395","doi":"10.4000/erea.4628","title":"De l’intericonicité comme espace et temps (ré)créatif : les Video Portraits de Robert Wilson","year":2015,"lang":"fr","type":"article","venue":"E-rea","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Artificial Intelligence in Medicine (Canada)","funders":"","keywords":"Humanities; Art; Portrait; Philosophy; Art history","score_opus":0.06187249735152212,"score_gpt":0.2990593783549042,"score_spread":0.2371868810033821,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2213427395","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18665598,0.006356176,0.0074672434,0.025382882,0.0025564262,0.000057174435,0.00022984392,0.00035324515,0.770941],"genre_scores_gemma":[0.5852109,0.0030100737,0.003256043,0.0024360435,0.0005132905,0.000037733273,0.0001550868,0.0003770103,0.4050038],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995701,0.00017374071,0.0000067525,0.000066658016,0.00011126512,0.000071412935],"domain_scores_gemma":[0.9996803,0.00008873355,0.000032985226,0.000030393589,0.000074980904,0.00009264055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004927877,0.00038910276,0.00010823301,0.00065358565,0.004582256,0.0036893792,0.00045361317,0.0009006745,0.012973915],"category_scores_gemma":[0.0015078117,0.0001582327,0.00014355373,0.0005929874,0.003251071,0.0026762674,0.0013258379,0.0019388323,0.0024284858],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021956227,0.000057552203,0.0029387122,0.0001760072,0.000011621756,0.0039609047,0.39162028,0.00027383008,0.010411555,0.22244586,0.23920234,0.12868178],"study_design_scores_gemma":[0.000004742416,0.000020584228,0.0017104289,0.00009351195,0.0000048892107,0.00080849894,0.04853169,0.00011961,0.0015713467,0.0017203499,0.9453949,0.000019416404],"about_ca_topic_score_codex":0.03249147,"about_ca_topic_score_gemma":0.07796021,"teacher_disagreement_score":0.03249147,"about_ca_system_score_codex":0.002268647,"about_ca_system_score_gemma":0.0009217089,"threshold_uncertainty_score":0.0646047},"labels":[],"label_agreement":null},{"id":"W2242867346","doi":"10.22329/p.v6i2.3488","title":"Theodor W. Adorno, &lt;i&gt;Current of Music. Éléments pour une théorie de la radio&lt;/i&gt;","year":2011,"lang":"fr","type":"article","venue":"PhaenEx","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.045835401401676724,"score_gpt":0.27720868799010573,"score_spread":0.231373286588429,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2242867346","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045353207,0.120147705,0.004102091,0.12381219,0.0132573405,0.000071348775,0.00029175152,0.00008213744,0.73370016],"genre_scores_gemma":[0.06608376,0.06683216,0.0019242405,0.013465396,0.0036201726,0.000099311656,0.0001410209,0.00012734905,0.84770656],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99944085,0.00012395419,0.000032378648,0.00015037473,0.00017806762,0.00007433802],"domain_scores_gemma":[0.99943846,0.00020807645,0.00007340441,0.00003364457,0.000142796,0.00010354703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058589864,0.00047476287,0.00021274673,0.0014760913,0.0037199021,0.0057682646,0.00059054827,0.0017121956,0.033110723],"category_scores_gemma":[0.0016752636,0.00027339224,0.00016692457,0.0012931845,0.002702231,0.005347759,0.0016548242,0.003248487,0.0053714192],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007214331,0.0000337482,0.0011869464,0.00027251642,0.000006661036,0.00010269113,0.0035009393,0.000082451246,0.0005581722,0.5429412,0.3137224,0.13752015],"study_design_scores_gemma":[0.000006416221,0.000009601981,0.0009671206,0.00025356363,0.0000035462576,0.00008106011,0.0010743832,0.00009294412,0.00022438714,0.018698597,0.97857875,0.000009689794],"about_ca_topic_score_codex":0.017965367,"about_ca_topic_score_gemma":0.03171052,"teacher_disagreement_score":0.033110723,"about_ca_system_score_codex":0.0033152197,"about_ca_system_score_gemma":0.0020364125,"threshold_uncertainty_score":0.11076635},"labels":[],"label_agreement":null},{"id":"W2270320693","doi":"10.5840/cpsem200819","title":"Images of the Unseen","year":2008,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Geology; Geography","score_opus":0.03418345228635513,"score_gpt":0.2254816222395582,"score_spread":0.19129816995320306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2270320693","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007821628,0.0020050616,0.006374461,0.00498215,0.00060890766,0.000013951313,0.00008457628,0.00008034784,0.9780287],"genre_scores_gemma":[0.40835637,0.0023871122,0.0055590305,0.0024277375,0.00052715477,0.000052899322,0.0001638864,0.00048025372,0.58004546],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999508,0.00022393218,0.000007859916,0.000070454524,0.00012563793,0.000064161504],"domain_scores_gemma":[0.9996362,0.00012389806,0.000019963283,0.00009015658,0.00006998378,0.000059742073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005485579,0.0005619025,0.00027536968,0.0010494046,0.0038963251,0.0094819,0.0005606482,0.0015816332,0.028309293],"category_scores_gemma":[0.0018243134,0.00025897496,0.00027657158,0.0006144532,0.009656723,0.006919873,0.002894527,0.0036241845,0.004334668],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026231552,0.000009696469,0.000080004276,0.000051409115,0.000003896612,0.0001252487,0.022566222,0.00009619172,0.00070622785,0.93288976,0.029702935,0.0137422215],"study_design_scores_gemma":[0.000007685957,0.000015463289,0.00038647052,0.0001983738,0.0000065311297,0.00046711927,0.022710556,0.000386416,0.00080292294,0.21222375,0.76277506,0.000019668189],"about_ca_topic_score_codex":0.0024303948,"about_ca_topic_score_gemma":0.0050466256,"teacher_disagreement_score":0.028309293,"about_ca_system_score_codex":0.001356416,"about_ca_system_score_gemma":0.0008974536,"threshold_uncertainty_score":0.09470397},"labels":[],"label_agreement":null},{"id":"W2276431516","doi":"","title":"Mannerism, Medici, and Madmen: Christian Tagliavini’s Photographic Mise-en-scène. Christian Tagliavini, 1503 — Dame di cartone. Christian Tagliavini, 1503 — Dame di cartone","year":2014,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Theology; Philosophy","score_opus":0.017147811231051864,"score_gpt":0.23812003787046584,"score_spread":0.220972226639414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2276431516","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004023488,0.2817855,0.0004312079,0.4970018,0.032621395,0.000028086593,0.00011840493,0.000059175232,0.18393095],"genre_scores_gemma":[0.1650661,0.07731758,0.0009311312,0.12587929,0.020266397,0.00007953385,0.000085057545,0.00025576333,0.6101191],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992199,0.00032971875,0.000013718762,0.000099506215,0.00020689174,0.00013027982],"domain_scores_gemma":[0.99933654,0.00031784808,0.000033212385,0.000046228477,0.000097010976,0.00016917111],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015666321,0.0007165905,0.00040455072,0.0010634317,0.010010843,0.00508951,0.0009573823,0.0048466697,0.009958791],"category_scores_gemma":[0.0018508241,0.00043637765,0.00018204746,0.0010998762,0.008951651,0.003858005,0.0032545712,0.0077077937,0.0017228287],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015273543,0.000011244801,0.000087863744,0.000043624823,0.000002292372,0.00011575991,0.0058800494,0.000028545972,0.00007799754,0.09029689,0.8948503,0.008590139],"study_design_scores_gemma":[0.0000024215904,0.000002381568,0.00020768325,0.00008848687,9.812452e-7,0.000110763765,0.0018262537,0.0000138522655,0.000065788656,0.002901369,0.9947748,0.000005310949],"about_ca_topic_score_codex":0.055517964,"about_ca_topic_score_gemma":0.15934989,"teacher_disagreement_score":0.055517964,"about_ca_system_score_codex":0.009830162,"about_ca_system_score_gemma":0.0027307083,"threshold_uncertainty_score":0.11038965},"labels":[],"label_agreement":null},{"id":"W2282341227","doi":"10.17077/2326-7070.1484","title":"The Visual Memoir Project: Searching For An Art of Memory","year":2015,"lang":"en","type":"article","venue":"Marilyn Zurmuehlen Working Papers in Art Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Memoir; Narrative; Visual arts; Subject (documents); Aesthetics; Art; Sociology; Computer science; Art history; Literature; World Wide Web","score_opus":0.06931533293743825,"score_gpt":0.334258207314095,"score_spread":0.26494287437665676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2282341227","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16898382,0.029401863,0.04982889,0.07211204,0.008839717,0.0005567143,0.0003617472,0.0006122129,0.66930306],"genre_scores_gemma":[0.7196114,0.015570992,0.043500815,0.007618884,0.0017732122,0.0008929674,0.0003010311,0.0008255228,0.20990518],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9951627,0.0036415248,0.000089256,0.00032533423,0.0005184616,0.00026274988],"domain_scores_gemma":[0.9953406,0.0026456648,0.0002738036,0.0006202679,0.0003446092,0.0007750466],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006468293,0.0004311298,0.0003012102,0.0012904444,0.006410235,0.011409839,0.0015350714,0.0023592713,0.008292461],"category_scores_gemma":[0.01208759,0.00025065138,0.00027189113,0.0008966005,0.0132132005,0.008728819,0.0072656353,0.0028280078,0.0012689354],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008691712,0.0001533985,0.0011809453,0.00074426836,0.00001458576,0.0006099956,0.3512302,0.00017641332,0.0019191235,0.3617914,0.10264073,0.17945196],"study_design_scores_gemma":[0.000016031965,0.000057399422,0.00053180265,0.0006271796,0.0000061140036,0.00057515537,0.1356558,0.00011437457,0.0011587043,0.022555249,0.83868784,0.000014260728],"about_ca_topic_score_codex":0.0011084429,"about_ca_topic_score_gemma":0.0019001205,"teacher_disagreement_score":0.011409839,"about_ca_system_score_codex":0.0015641325,"about_ca_system_score_gemma":0.003176111,"threshold_uncertainty_score":0.034208},"labels":[],"label_agreement":null},{"id":"W2283851833","doi":"10.33137/q.i..v32i2.16309","title":"Leonardo’s &lt;i&gt;Profezia&lt;/i&gt;: Moral Writings of a Hybrid Kind","year":2012,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethos; Convention; Context (archaeology); Subject (documents); Order (exchange); Statement (logic); Period (music); Literature; Expression (computer science); Art; Philosophy; History; Aesthetics; Sociology; Linguistics; Computer science; Social science; Programming language","score_opus":0.04018618352308181,"score_gpt":0.26008985364206183,"score_spread":0.21990367011898002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2283851833","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36697254,0.024047406,0.0044943793,0.015123282,0.0009181067,0.000048593,0.0001516697,0.00015637724,0.5880876],"genre_scores_gemma":[0.9577191,0.0019728648,0.0012884893,0.00056829426,0.00020404911,0.000028634759,0.00005175496,0.00006133353,0.038105477],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935466,0.00027553854,0.000017560062,0.00010585994,0.00017222481,0.00007417809],"domain_scores_gemma":[0.9994325,0.00028143046,0.00006357984,0.00009081901,0.0000626468,0.00006893009],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014132876,0.00031604135,0.00026286964,0.0015214701,0.0037685884,0.0025197996,0.000360838,0.0007731034,0.0012266436],"category_scores_gemma":[0.00299676,0.00012521615,0.00014016782,0.0009903588,0.0062750443,0.0011967357,0.0020018436,0.0012895868,0.00017009463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000718083,0.00001668405,0.0038641873,0.0002514164,0.000018118586,0.0006409253,0.2615342,0.0001484678,0.0019467756,0.55472344,0.043999795,0.13278428],"study_design_scores_gemma":[0.0000066907774,0.000036449997,0.015118505,0.00033893195,0.000010810304,0.0009314436,0.023662305,0.00020284513,0.0010787889,0.014882709,0.9437099,0.00002070439],"about_ca_topic_score_codex":0.0054650875,"about_ca_topic_score_gemma":0.015875721,"teacher_disagreement_score":0.0054650875,"about_ca_system_score_codex":0.0027709934,"about_ca_system_score_gemma":0.0006534328,"threshold_uncertainty_score":0.020105064},"labels":[],"label_agreement":null},{"id":"W2287101026","doi":"10.4000/ifha.2107","title":"Ambos, Claus, Rösch, Petra, Schneidmüller, Bernd, Weinfurter, Stefan, Bild und Ritual. Visuelle Kulturen in historischer Perspektive","year":2013,"lang":"de","type":"article","venue":"Revue de l’Institut français d’histoire en Allemagne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Institut d'Histoire de l'Amérique Française","funders":"","keywords":"Art; Art history","score_opus":0.013518192264911124,"score_gpt":0.23103714556199184,"score_spread":0.2175189532970807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2287101026","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018498681,0.74282414,0.0032287734,0.12837395,0.0037887872,0.0000539524,0.0016023079,0.000109812114,0.10151967],"genre_scores_gemma":[0.3193746,0.5427347,0.004454398,0.011484388,0.0023063908,0.00022912257,0.0011264448,0.00033236665,0.1179577],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999401,0.0001996303,0.000039582876,0.000075325865,0.00018496218,0.000099483725],"domain_scores_gemma":[0.99633163,0.0023786428,0.00026643893,0.00012499931,0.00069468335,0.00020368626],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015085902,0.00074467907,0.00040958019,0.0039638965,0.0047322414,0.0064211995,0.0010600509,0.00273352,0.018770233],"category_scores_gemma":[0.005235312,0.0005347232,0.00029627667,0.0047540176,0.0024619752,0.010068796,0.002153451,0.0026654506,0.0046751234],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018858814,0.00008197865,0.004583354,0.0015280797,0.00004480038,0.00039688195,0.05148476,0.00024072842,0.00056756154,0.22025718,0.46749705,0.25312907],"study_design_scores_gemma":[0.000028808332,0.000022876455,0.018768655,0.001747557,0.000056729597,0.0003571637,0.0322622,0.00013633989,0.00066876574,0.06498419,0.88093424,0.000032404663],"about_ca_topic_score_codex":0.06021436,"about_ca_topic_score_gemma":0.12280644,"teacher_disagreement_score":0.06021436,"about_ca_system_score_codex":0.0035098884,"about_ca_system_score_gemma":0.0040513375,"threshold_uncertainty_score":0.11972779},"labels":[],"label_agreement":null},{"id":"W2293670935","doi":"","title":"L’image au corps : L’allégorie luxuriante des performances photos chez Annie Baillargeon","year":2006,"lang":"fr","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Photography; Visual arts; Sculpture; Video art; Narrative; Ephemera; Allegory; Art history; Literature; Performance art","score_opus":0.020309117194036285,"score_gpt":0.2361061208182489,"score_spread":0.2157970036242126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2293670935","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14748445,0.029367631,0.0035971554,0.10102372,0.005202709,0.000039465463,0.00011623941,0.00011514756,0.71305346],"genre_scores_gemma":[0.733491,0.00849499,0.001289912,0.0034757778,0.0020373592,0.000054518863,0.000026673932,0.0001523728,0.25097746],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920374,0.0003460449,0.000008652974,0.00011251642,0.00022046143,0.00010857076],"domain_scores_gemma":[0.99942183,0.00035816032,0.000042123615,0.000025879535,0.00006425908,0.00008778193],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081875117,0.0005645501,0.0002530806,0.0006828396,0.0069569303,0.0051475293,0.0005510308,0.0026121258,0.014832561],"category_scores_gemma":[0.002117331,0.00030065392,0.00023824918,0.00050652266,0.005635505,0.0027548897,0.0016179289,0.004576657,0.0010892837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019444266,0.00006262034,0.0014754982,0.00017212541,0.000013531031,0.0031455401,0.1621019,0.00036997747,0.0029062373,0.6428277,0.12127052,0.06546001],"study_design_scores_gemma":[0.00000890835,0.000023375103,0.0022035032,0.00012252563,0.0000029492946,0.0011847125,0.022054551,0.00014660286,0.0005798703,0.0045133336,0.9691403,0.000019343246],"about_ca_topic_score_codex":0.060245503,"about_ca_topic_score_gemma":0.07498667,"teacher_disagreement_score":0.060245503,"about_ca_system_score_codex":0.00551954,"about_ca_system_score_gemma":0.0012148457,"threshold_uncertainty_score":0.11978972},"labels":[],"label_agreement":null},{"id":"W2293827468","doi":"","title":"Description et olfaction de l'art contemporain : les mutations de la critique d'art","year":2014,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Olfaction; Art; Humanities; Philosophy; Biology; Neuroscience","score_opus":0.028705182425756374,"score_gpt":0.2683550406501568,"score_spread":0.23964985822440044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2293827468","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12386813,0.0057767,0.10569526,0.023110388,0.0022978345,0.000062281266,0.00021221147,0.00046960253,0.73850757],"genre_scores_gemma":[0.91152436,0.00091230305,0.009844898,0.00047221538,0.00059698743,0.000050176135,0.00007580722,0.00035352595,0.07616968],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99612457,0.0019585115,0.0001002024,0.00038622646,0.0011584375,0.00027208705],"domain_scores_gemma":[0.996555,0.001661655,0.0002675621,0.0006305382,0.0007248096,0.00016051653],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031474675,0.0008174038,0.0004457495,0.0030898417,0.005440379,0.013377749,0.0009595951,0.0030308475,0.0070728483],"category_scores_gemma":[0.008476471,0.0004036674,0.00070162525,0.002235697,0.020661885,0.008381547,0.003861808,0.005434031,0.0009795859],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013769648,0.0000032715639,0.00016601426,0.000014099252,0.0000036460615,0.00012998078,0.010078036,0.0001351505,0.0004151356,0.9831201,0.0012281676,0.0046926253],"study_design_scores_gemma":[0.000041585114,0.000028671886,0.0018278285,0.0001469891,0.000027505987,0.0017312127,0.019588523,0.0028528885,0.0034759305,0.4546529,0.51557213,0.000053818218],"about_ca_topic_score_codex":0.017081859,"about_ca_topic_score_gemma":0.013988728,"teacher_disagreement_score":0.017081859,"about_ca_system_score_codex":0.0069313347,"about_ca_system_score_gemma":0.002607067,"threshold_uncertainty_score":0.050290585},"labels":[],"label_agreement":null},{"id":"W2295488266","doi":"10.7202/1034167ar","title":"Conférence-projection et performance orale","year":2015,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.06963014838919603,"score_gpt":0.31477236170609807,"score_spread":0.24514221331690206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2295488266","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026301015,0.0024193688,0.0034068776,0.0046148165,0.0017932116,0.00005591516,0.00035132872,0.00014382863,0.9609138],"genre_scores_gemma":[0.5175551,0.0033238484,0.0027376714,0.0005561991,0.0008407139,0.00017315458,0.00041031386,0.00043391582,0.4739691],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981123,0.00074989814,0.00005658037,0.0002187166,0.0005700579,0.0002923758],"domain_scores_gemma":[0.9985959,0.0006087826,0.00011961728,0.0001969113,0.000289764,0.00018904296],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014924578,0.0007083525,0.0002645421,0.0014282403,0.0049190456,0.008591429,0.0007495772,0.00095987215,0.07533474],"category_scores_gemma":[0.006048259,0.00020058143,0.00024959017,0.0019150448,0.0047273417,0.0039500343,0.006078386,0.0027143685,0.0071752477],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022831114,0.000065364286,0.0012771048,0.0006235261,0.000014864745,0.00062933017,0.114598654,0.00045435462,0.003333051,0.63536584,0.10945029,0.13395931],"study_design_scores_gemma":[0.000013104388,0.000056694676,0.0030719521,0.00034464707,0.000006674645,0.00032120917,0.037644718,0.00012812729,0.0015991332,0.008464731,0.9483262,0.000022814804],"about_ca_topic_score_codex":0.006901164,"about_ca_topic_score_gemma":0.011462668,"teacher_disagreement_score":0.07533474,"about_ca_system_score_codex":0.0031363962,"about_ca_system_score_gemma":0.002221899,"threshold_uncertainty_score":0.25201982},"labels":[],"label_agreement":null},{"id":"W2297320541","doi":"10.1353/mos.2016.0010","title":"From Experiment to Epidemic: Embodiment in the Decadent Modernism of Arthur Machen’s “The Great God Pan” and “The Inmost Light”","year":2016,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dualism; Embodied cognition; Modernism (music); Art; Philosophy; Literature; Aesthetics; Art history; Epistemology","score_opus":0.03620103253016156,"score_gpt":0.26890780507117373,"score_spread":0.23270677254101219,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2297320541","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2825996,0.011623738,0.10164997,0.15153365,0.002517172,0.00038739882,0.00040835683,0.00068640255,0.4485937],"genre_scores_gemma":[0.95158476,0.0022700294,0.01980625,0.010033312,0.00018803231,0.0003457454,0.00006358913,0.00015447407,0.015553722],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9914153,0.006634224,0.00014346941,0.0008967587,0.0007173539,0.00019283728],"domain_scores_gemma":[0.9773491,0.018601883,0.0006303349,0.0026216134,0.00054114964,0.0002558949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.020606294,0.00047882274,0.00050900585,0.0005762156,0.0035692388,0.0061298423,0.001691721,0.0036524485,0.01088493],"category_scores_gemma":[0.036099847,0.00039137338,0.00038884324,0.0005368994,0.037516065,0.015195327,0.007114129,0.0047866185,0.000925082],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031610066,0.00020005758,0.0016580998,0.0003295037,0.000026316375,0.00018941972,0.081911035,0.0003130079,0.002313508,0.86970496,0.008156665,0.034881253],"study_design_scores_gemma":[0.00023303535,0.00038446725,0.001690981,0.00057178806,0.000055500594,0.00035059132,0.032539926,0.0015307855,0.003043541,0.7652119,0.19430882,0.00007871025],"about_ca_topic_score_codex":0.0018757007,"about_ca_topic_score_gemma":0.0019697074,"teacher_disagreement_score":0.020606294,"about_ca_system_score_codex":0.00278443,"about_ca_system_score_gemma":0.0020910515,"threshold_uncertainty_score":0.108977795},"labels":[],"label_agreement":null},{"id":"W2301710200","doi":"10.3368/m.108.1.142","title":"Transforming Kafka: Translation Effects. By Patrick ONeill. Toronto: University of Toronto Press, 2014. 224 pages. $55.00.","year":2016,"lang":"en","type":"article","venue":"Monatshefte","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Media studies; Translation (biology); Art history; Sociology; Chemistry","score_opus":0.014947310604341374,"score_gpt":0.20633492905692455,"score_spread":0.19138761845258317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2301710200","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018805793,0.7487541,0.011338813,0.045326833,0.011129367,0.00005731667,0.0017881432,0.0025103663,0.17721453],"genre_scores_gemma":[0.057349272,0.48353618,0.012907965,0.0061013596,0.0038108486,0.00018713306,0.002232283,0.0032414233,0.43063363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931955,0.0002286985,0.000055334902,0.000094584786,0.00021807542,0.00008374954],"domain_scores_gemma":[0.9980421,0.0010959381,0.00012834827,0.00014840631,0.0004519557,0.0001331763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018457341,0.0018550458,0.0007612174,0.0024186336,0.0019277472,0.0044647353,0.0011308134,0.0016576461,0.10828787],"category_scores_gemma":[0.004117949,0.0013629788,0.00057154795,0.0041838707,0.003484924,0.00833328,0.0024187658,0.0019905232,0.041140858],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006200534,0.000013954588,0.00014427208,0.00091645215,0.000011822398,0.000080745056,0.00241326,0.0001330535,0.0003022647,0.012010825,0.8148056,0.16910574],"study_design_scores_gemma":[0.000009579709,0.000010590299,0.0008478306,0.0006471196,0.00001602631,0.0001816938,0.0014599611,0.0000899037,0.00029100367,0.0046578664,0.9917715,0.00001687825],"about_ca_topic_score_codex":0.06793753,"about_ca_topic_score_gemma":0.10940769,"teacher_disagreement_score":0.10828787,"about_ca_system_score_codex":0.0039579594,"about_ca_system_score_gemma":0.0028330456,"threshold_uncertainty_score":0.36225903},"labels":[],"label_agreement":null},{"id":"W2306884168","doi":"10.3968/8231","title":"Aesthetic Multiplicity in Shakespeare's Sonnets","year":2016,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sonnet; Aesthetics; Poetry; Literature; Affection; Beauty; Art; Appeal; Feeling; Philosophy; Epistemology","score_opus":0.02897413248616683,"score_gpt":0.30071456222672077,"score_spread":0.27174042974055396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2306884168","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18841843,0.004469244,0.009321903,0.005823415,0.0010452365,0.00002940075,0.000037047343,0.00012583254,0.7907294],"genre_scores_gemma":[0.9611368,0.0005011145,0.0014494638,0.00029460102,0.00010269684,0.000016699581,0.000012747127,0.000072064664,0.036413766],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980059,0.0011931893,0.00004936074,0.00017096032,0.00035333852,0.0002272704],"domain_scores_gemma":[0.9993573,0.00033126195,0.000057679048,0.00008198033,0.00009093316,0.00008095889],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016580636,0.0005955912,0.00038844437,0.0014825157,0.006832738,0.0075279293,0.00045571124,0.0009511658,0.0049268054],"category_scores_gemma":[0.0023419133,0.00031351272,0.00023811293,0.00080524484,0.02496088,0.0050960095,0.0049086628,0.0018527737,0.0004483579],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041074938,0.000009924241,0.00032873426,0.000081393635,0.0000052386326,0.00041372664,0.11113283,0.00010982814,0.00036033778,0.87314147,0.0039087636,0.010466765],"study_design_scores_gemma":[0.000033851145,0.00009244866,0.0014148402,0.00041117865,0.000022304597,0.0022643844,0.123897724,0.0006512809,0.00151311,0.24466896,0.62497795,0.000051915755],"about_ca_topic_score_codex":0.0034049854,"about_ca_topic_score_gemma":0.0073600826,"teacher_disagreement_score":0.0075279293,"about_ca_system_score_codex":0.0031845898,"about_ca_system_score_gemma":0.0012056,"threshold_uncertainty_score":0.02310592},"labels":[],"label_agreement":null},{"id":"W2308322518","doi":"10.4000/communiquer.1582","title":"(Re) formulations disciplinaires : quelles orientations pour quelle(s) identité(s) ?","year":2010,"lang":"fr","type":"article","venue":"Revue internationale de communication sociale et publique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Political science; Philosophy","score_opus":0.03770401500020987,"score_gpt":0.3393477677885464,"score_spread":0.30164375278833655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2308322518","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018560095,0.038547527,0.120153815,0.1963686,0.0055783265,0.00014278635,0.00014260848,0.00019633048,0.62030995],"genre_scores_gemma":[0.80921924,0.019167898,0.059465572,0.021855565,0.003696807,0.0006345307,0.0001785925,0.0006473212,0.08513447],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.97251487,0.019226633,0.0009242647,0.0027707259,0.003602236,0.0009612468],"domain_scores_gemma":[0.98274696,0.007553702,0.0015045895,0.003491634,0.0037041393,0.0009989474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0171569,0.0012878597,0.0011019412,0.0033591224,0.008079024,0.018881595,0.0030675307,0.0053444495,0.009102891],"category_scores_gemma":[0.023260953,0.0005459309,0.0008946898,0.003073816,0.06248036,0.027225297,0.008349321,0.014224057,0.0025313124],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028472944,0.000005729433,0.000046288867,0.00003651178,0.0000028138916,0.00001498546,0.011855816,0.000022255394,0.000047673228,0.9826063,0.0018071041,0.00355174],"study_design_scores_gemma":[0.000014133561,0.000016645801,0.00020386645,0.00046067516,0.00001004657,0.00017302846,0.022937484,0.00029721193,0.0002682863,0.7806886,0.19491033,0.000019802208],"about_ca_topic_score_codex":0.0059532165,"about_ca_topic_score_gemma":0.0065509947,"teacher_disagreement_score":0.018881595,"about_ca_system_score_codex":0.010219486,"about_ca_system_score_gemma":0.008152442,"threshold_uncertainty_score":0.090735435},"labels":[],"label_agreement":null},{"id":"W231250324","doi":"","title":"Alfredo Cramerotti, Aesthetic Journalism. How to inform without informing, Bristol/Chicago, Intellect Ltd, 2009, 112p.Alfredo Cramerotti, Aesthetic Journalism. How to inform without informing, Bristol/Chicago, Intellect Ltd, 2009, 112p.","year":2011,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Intellect; Journalism; Sociology; Media studies; Art history; Art; Philosophy; Theology","score_opus":0.033750295491624956,"score_gpt":0.25695492618845606,"score_spread":0.2232046306968311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W231250324","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034157117,0.5969429,0.002632183,0.20545293,0.017411243,0.00006954027,0.00090703537,0.0004970061,0.17574565],"genre_scores_gemma":[0.012443735,0.4568271,0.0038716716,0.033885986,0.018951848,0.00020455988,0.0006711393,0.0008976204,0.47224635],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99688303,0.00077932666,0.0002854645,0.00032147625,0.0015099641,0.00022076983],"domain_scores_gemma":[0.9880618,0.0066759386,0.00064945436,0.00037281337,0.003506547,0.0007335099],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0046274313,0.0022226423,0.0010030207,0.006388841,0.00482454,0.007246716,0.0021005704,0.0066303792,0.068961255],"category_scores_gemma":[0.010574449,0.0013844386,0.0006070678,0.008692028,0.0038334373,0.012290079,0.0023263597,0.0061800084,0.048630442],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013418139,0.000007371785,0.00005081732,0.00023408046,0.000003545133,0.00004876625,0.00040741495,0.000028538901,0.000052172512,0.010504539,0.964098,0.024551334],"study_design_scores_gemma":[0.000008214895,0.000004753238,0.0006514487,0.00033990378,0.000005444804,0.00011467328,0.00046844827,0.000037999136,0.00008427165,0.008202953,0.9900637,0.000018053934],"about_ca_topic_score_codex":0.058046523,"about_ca_topic_score_gemma":0.111155294,"teacher_disagreement_score":0.068961255,"about_ca_system_score_codex":0.007181501,"about_ca_system_score_gemma":0.0044618538,"threshold_uncertainty_score":0.2306984},"labels":[],"label_agreement":null},{"id":"W2312568610","doi":"10.1177/2056305116641343","title":"Selfies of Ill Health: Online Autopathographic Photography and the Dramaturgy of the Everyday","year":2016,"lang":"en","type":"article","venue":"Social Media + Society","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":36,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Dramaturgy; Selfie; Performative utterance; Perspective (graphical); Construct (python library); Social media; Context (archaeology); Aesthetics; Agency (philosophy); Sociology; Psychology; Visual arts; Art; History; Social science; Computer science","score_opus":0.02140838010031908,"score_gpt":0.2376693902682978,"score_spread":0.21626101016797872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2312568610","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5812109,0.008088212,0.0065659443,0.024840381,0.0023115021,0.00010564591,0.00035203688,0.00021038711,0.37631497],"genre_scores_gemma":[0.9681843,0.0024876483,0.0015292289,0.0015809514,0.0005445057,0.0000414732,0.000082623694,0.00009373389,0.025455514],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998492,0.0010138798,0.00003115966,0.00010602061,0.00020394384,0.0001529635],"domain_scores_gemma":[0.99729246,0.0018412223,0.00024178854,0.00030333994,0.0000863236,0.000234835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017038925,0.00037116284,0.00017578043,0.0013170732,0.0039711436,0.0048712255,0.0005796214,0.0010847228,0.0083244415],"category_scores_gemma":[0.0041329158,0.00017170313,0.00027137756,0.0007292632,0.009384749,0.003955137,0.0058237268,0.0023380392,0.00059340976],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015308184,0.000091615926,0.007391388,0.00042918744,0.000019971967,0.0026626359,0.80055755,0.00015044416,0.0024566518,0.1014763,0.026918953,0.057692256],"study_design_scores_gemma":[0.000019587776,0.00010880152,0.011322861,0.0007021697,0.000020966412,0.0044638473,0.4720097,0.0003205982,0.0014946592,0.009623299,0.49986914,0.000044377266],"about_ca_topic_score_codex":0.0021242283,"about_ca_topic_score_gemma":0.0056348746,"teacher_disagreement_score":0.0083244415,"about_ca_system_score_codex":0.0015859546,"about_ca_system_score_gemma":0.0006776129,"threshold_uncertainty_score":0.027848065},"labels":[],"label_agreement":null},{"id":"W2312709982","doi":"10.2752/175470810x12863771378671","title":"“An Unused Esperanto”: Internationalism and Pictographic Design, 1930–70","year":2011,"lang":"en","type":"article","venue":"Design and Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Politics; Internationalism (politics); Graphic design; Visual arts; Engineering; History; Sociology; Media studies; Political science; Art; Law","score_opus":0.07363149803603547,"score_gpt":0.2486338535414204,"score_spread":0.17500235550538493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2312709982","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.051948763,0.014581857,0.01719904,0.009236998,0.00071422756,0.000043612516,0.000037406895,0.00010178426,0.90613633],"genre_scores_gemma":[0.9243142,0.0067566726,0.006852405,0.000845785,0.0003414925,0.000084510735,0.00003455286,0.00016917603,0.06060119],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99787223,0.0015139213,0.000070173926,0.00019700103,0.00021477521,0.00013184705],"domain_scores_gemma":[0.9986442,0.00084180105,0.0000809397,0.00022034849,0.00012940705,0.00008327718],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003731561,0.0006388159,0.0002703482,0.0025375288,0.006560656,0.009499441,0.00047515924,0.0012085285,0.00642262],"category_scores_gemma":[0.004568277,0.0003184504,0.00027360348,0.0015690544,0.034179956,0.005401702,0.0029411525,0.0020676581,0.00055635476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002189822,0.000007849204,0.00025098352,0.00003668157,0.0000028231648,0.00006711491,0.038697615,0.00015042814,0.0001254192,0.9399085,0.0028746373,0.01785604],"study_design_scores_gemma":[0.000016067279,0.00006244915,0.0013836614,0.0003989245,0.00001462828,0.00053670927,0.025726961,0.0005690516,0.00081314973,0.15750663,0.81294477,0.000027040778],"about_ca_topic_score_codex":0.0040299143,"about_ca_topic_score_gemma":0.0059598456,"teacher_disagreement_score":0.009499441,"about_ca_system_score_codex":0.0062799314,"about_ca_system_score_gemma":0.001643785,"threshold_uncertainty_score":0.045564294},"labels":[],"label_agreement":null},{"id":"W2313868901","doi":"10.7202/1035396ar","title":"Nationalism and Modernism: Rethinking Scandinavian Design in Canada, 1950–1970","year":2016,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Appropriation; Modernism (music); Nationalism; Political science; Ethnology; Art; Sociology; Art history; Philosophy; Law","score_opus":0.03464514449545966,"score_gpt":0.20970001063803387,"score_spread":0.1750548661425742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2313868901","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41043785,0.011842428,0.0023805832,0.0135423,0.00028684657,0.000051253053,0.00020285568,0.00006029602,0.5611955],"genre_scores_gemma":[0.9478049,0.003122509,0.0008104851,0.00059627526,0.000030144001,0.000022724784,0.000056198325,0.00006432143,0.047492288],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9959495,0.00072722655,0.00013560265,0.00043336165,0.001293692,0.0014606797],"domain_scores_gemma":[0.9963378,0.0010147602,0.00028284767,0.00029830995,0.001442206,0.00062414655],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033424746,0.0005508596,0.0005336964,0.0043611275,0.026524007,0.010191843,0.0010789395,0.0015366502,0.006807751],"category_scores_gemma":[0.0054057823,0.0005173943,0.00048180146,0.008427453,0.034474906,0.003041789,0.004465587,0.0029769782,0.000353016],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001337313,0.00004101185,0.0124462,0.00016945218,0.000026842237,0.00043794123,0.26998505,0.0008469337,0.000454923,0.63101447,0.010101237,0.07434226],"study_design_scores_gemma":[0.000023709894,0.0000500671,0.059302356,0.0007018791,0.000045783676,0.00022826156,0.15484625,0.00084565504,0.00087611773,0.024363644,0.7586096,0.0001067139],"about_ca_topic_score_codex":0.9807628,"about_ca_topic_score_gemma":0.9914784,"teacher_disagreement_score":0.18714729,"about_ca_system_score_codex":0.18714729,"about_ca_system_score_gemma":0.1416338,"threshold_uncertainty_score":0.9427939},"labels":[],"label_agreement":null},{"id":"W2314404184","doi":"10.3138/jrpc.2.1.003","title":"Saint Cinema: The Construction of St. Francis of Assisi in Franco Zeffirelli’s <i>Brother Sun Sister Moon</i> (1972)","year":2002,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Brother; Sister; Piety; SAINT; Mysticism; Criticism; Movie theater; Art; Art history; Materialism; Literature; Religious studies; Theology; Philosophy; Sociology; Anthropology","score_opus":0.017417737152474494,"score_gpt":0.22970743022174112,"score_spread":0.21228969306926662,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2314404184","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5803839,0.0071264287,0.0010094835,0.01914713,0.0018895459,0.000050991282,0.00014506087,0.00006790798,0.3901796],"genre_scores_gemma":[0.95746964,0.001126676,0.00029798772,0.0006923224,0.0002191962,0.0000100264115,0.00002699894,0.000035204055,0.040121984],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99969697,0.0001533195,0.000005122444,0.00003498559,0.000051528932,0.000058188474],"domain_scores_gemma":[0.9996117,0.00018201074,0.00004708107,0.000015908292,0.00007806811,0.00006532963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005719131,0.0002771206,0.00011709026,0.000698084,0.007276839,0.0028504964,0.0002781023,0.0011154233,0.003975975],"category_scores_gemma":[0.0014224985,0.00016253807,0.000103482016,0.0004643135,0.004409946,0.0013396771,0.0010398483,0.0015618511,0.00030212046],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015135272,0.00004935434,0.0029589694,0.00020644697,0.000011668253,0.0022073637,0.7346122,0.00011079518,0.0041977903,0.13129,0.087454006,0.03675009],"study_design_scores_gemma":[0.000007230896,0.00006257439,0.008401949,0.00023144107,0.000009844846,0.00082667754,0.1370051,0.00019698802,0.0015972679,0.0011197552,0.85051215,0.000029192053],"about_ca_topic_score_codex":0.0341599,"about_ca_topic_score_gemma":0.10349926,"teacher_disagreement_score":0.0341599,"about_ca_system_score_codex":0.005291165,"about_ca_system_score_gemma":0.0009817544,"threshold_uncertainty_score":0.067922115},"labels":[],"label_agreement":null},{"id":"W2315323173","doi":"10.1017/hor.2014.37","title":"The Eclipse and Recovery of Beauty: A Lonergan Approach. By John D. Dadosky. Buffalo, NY: University of Toronto Press, 2014. xv + 255 pages. $65.00.","year":2014,"lang":"en","type":"article","venue":"Horizons","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Beauty; Eclipse; Art; Art history; Aesthetics; Physics; Astrophysics","score_opus":0.01394898867572453,"score_gpt":0.19317037104157,"score_spread":0.17922138236584548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2315323173","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013929927,0.6902892,0.0070110206,0.06763396,0.004896339,0.00003418792,0.00009736799,0.00014699716,0.22849807],"genre_scores_gemma":[0.12507185,0.5668034,0.013318146,0.010521096,0.004540272,0.00015292631,0.00013911276,0.00043438902,0.27901882],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947745,0.0002418344,0.000023858458,0.000085086875,0.0001253164,0.000046515215],"domain_scores_gemma":[0.99921954,0.00043571164,0.00006110004,0.00005381323,0.00010541235,0.00012442793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017286359,0.0011266153,0.0005775746,0.0017339074,0.0029848872,0.0047277096,0.0011768686,0.0018915137,0.018330496],"category_scores_gemma":[0.0018709886,0.0006611733,0.00041517644,0.001322688,0.014117581,0.008674136,0.0029469414,0.004255755,0.0042132745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004003786,0.0000421037,0.0002301108,0.00086941523,0.00001961469,0.00014696842,0.010781357,0.00026749333,0.00022134477,0.36619604,0.42735437,0.1938312],"study_design_scores_gemma":[0.0000072487073,0.000017187962,0.00068207644,0.0010426161,0.000008874173,0.000396215,0.0048214514,0.00018191394,0.00010957603,0.11037075,0.8823453,0.00001676991],"about_ca_topic_score_codex":0.009475334,"about_ca_topic_score_gemma":0.028056722,"teacher_disagreement_score":0.018330496,"about_ca_system_score_codex":0.003924113,"about_ca_system_score_gemma":0.00219419,"threshold_uncertainty_score":0.061321557},"labels":[],"label_agreement":null},{"id":"W2315663064","doi":"10.1093/aesthj/ayt035","title":"Aesthetics beyond the Arts: New and Recent Essays","year":2013,"lang":"en","type":"article","venue":"The British Journal of Aesthetics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Aesthetics; Sensibility; Beauty; Everyday Aesthetics; Aesthetic theory; The arts; Theory of art; Aesthetic experience; Selection (genetic algorithm); Common ground; Art; Sociology; Visual arts; Computer science; Literature","score_opus":0.02363106205231497,"score_gpt":0.2325298276817114,"score_spread":0.20889876562939644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2315663064","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027216538,0.603326,0.0010857728,0.16719417,0.10455947,0.000020254034,0.00007503358,0.00003991671,0.12097766],"genre_scores_gemma":[0.060465097,0.53485906,0.0023672397,0.03009361,0.17815498,0.00008124023,0.00017353377,0.00027962215,0.19352563],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9958912,0.0013950738,0.00022827803,0.00038266106,0.0017957498,0.00030700595],"domain_scores_gemma":[0.99027866,0.0060272147,0.00040578016,0.0005773806,0.001743024,0.0009679695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052651986,0.0009493017,0.0008556149,0.004565678,0.004354918,0.010174863,0.0014439512,0.004613536,0.019604046],"category_scores_gemma":[0.014469467,0.0004256368,0.00073143543,0.0059267017,0.013923535,0.014632973,0.004852195,0.007771802,0.0033263003],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005317534,0.00007654109,0.00027651785,0.0012766378,0.000020297699,0.00020791047,0.00869019,0.00016088033,0.0003672112,0.11741789,0.7608058,0.11064689],"study_design_scores_gemma":[0.000005455655,0.000007828776,0.00046401093,0.001269162,0.0000055369096,0.00018140869,0.0045067724,0.000052185896,0.000046443747,0.012079966,0.9813679,0.0000134368975],"about_ca_topic_score_codex":0.0029725216,"about_ca_topic_score_gemma":0.010737984,"teacher_disagreement_score":0.019604046,"about_ca_system_score_codex":0.006446071,"about_ca_system_score_gemma":0.002769394,"threshold_uncertainty_score":0.0655821},"labels":[],"label_agreement":null},{"id":"W2320055625","doi":"10.7202/1035402ar","title":"The Inversion of Originality through Design","year":2016,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.04668830876086095,"score_gpt":0.23996614909570765,"score_spread":0.1932778403348467,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2320055625","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041830894,0.0029332438,0.22446135,0.018148102,0.000663831,0.000105718034,0.00008516024,0.00040423573,0.71136755],"genre_scores_gemma":[0.92136824,0.0011971169,0.03311599,0.000912278,0.00016969095,0.00017586755,0.000045062232,0.00038911478,0.04262663],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.986161,0.009809386,0.00033235413,0.0013812748,0.0016718982,0.0006440494],"domain_scores_gemma":[0.98139715,0.010187994,0.0007737039,0.0054526427,0.0016978022,0.00049074745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011501994,0.00078895723,0.0005988657,0.0023156242,0.005355569,0.013838097,0.0018676752,0.00227353,0.011767037],"category_scores_gemma":[0.019570211,0.00062465895,0.0009029847,0.0015777407,0.07682832,0.016771559,0.007849629,0.0034608932,0.0013820608],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011569522,0.0000050052076,0.00012608527,0.00004061391,0.0000037403925,0.000028003094,0.008270681,0.0002088444,0.00013473198,0.98456013,0.00052932353,0.0060811224],"study_design_scores_gemma":[0.000027156311,0.000040530413,0.00017774159,0.00012049098,0.000014548111,0.00013487146,0.004528332,0.0009548813,0.00077349076,0.8911843,0.10202676,0.000016833588],"about_ca_topic_score_codex":0.0040482082,"about_ca_topic_score_gemma":0.0036102005,"teacher_disagreement_score":0.9959518,"about_ca_system_score_codex":0.0088153165,"about_ca_system_score_gemma":0.0055486853,"threshold_uncertainty_score":0.0639599},"labels":[],"label_agreement":null},{"id":"W2320569791","doi":"10.4000/lisa.5073","title":"Memory, Metatextuality and the Music of War","year":2012,"lang":"en","type":"article","venue":"Revue LISA / LISA e-journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Novelis (Canada)","funders":"","keywords":"Art; Humanities","score_opus":0.0554449811830642,"score_gpt":0.2556061453612239,"score_spread":0.20016116417815968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2320569791","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56271946,0.008351336,0.0055819466,0.0035150445,0.0003218789,0.00001700602,0.00012110619,0.00006611638,0.4193062],"genre_scores_gemma":[0.9893695,0.0009160923,0.0004461281,0.000103234896,0.00008805677,0.000007275819,0.000028981547,0.000024817711,0.009015817],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996995,0.0001253502,0.000015207749,0.000050439954,0.000057001034,0.000052535906],"domain_scores_gemma":[0.99915695,0.00037967123,0.00015491412,0.00014125323,0.00008114028,0.00008604575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056685245,0.00024755107,0.00015217313,0.0010094945,0.0018312732,0.006955188,0.0004837354,0.00059488066,0.01028466],"category_scores_gemma":[0.002691219,0.00013876773,0.00016837382,0.0009095147,0.0049399864,0.004561757,0.0018045265,0.0007929168,0.0005144503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004228578,0.000064596556,0.01038767,0.00056006224,0.00005152941,0.0012062248,0.34249595,0.000627455,0.007619012,0.48642358,0.004581491,0.1455596],"study_design_scores_gemma":[0.0001035597,0.0003660258,0.05973257,0.0013684314,0.0001290804,0.003005298,0.3596508,0.0015968753,0.0058961427,0.20980072,0.35822952,0.000120943085],"about_ca_topic_score_codex":0.0031819919,"about_ca_topic_score_gemma":0.005325685,"teacher_disagreement_score":0.01028466,"about_ca_system_score_codex":0.0011220456,"about_ca_system_score_gemma":0.00054662075,"threshold_uncertainty_score":0.03440565},"labels":[],"label_agreement":null},{"id":"W2320709366","doi":"10.1177/001458580403800227","title":"Book Review: Painting with Words, Writing with Pictures. Word and Image in the Work of Italy Calvino","year":2004,"lang":"en","type":"article","venue":"Forum Italicum A Journal of Italian Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Painting; Art; Word (group theory); Visual arts; Linguistics; Literature; Work (physics); Art history; Philosophy; Engineering","score_opus":0.017657562289807364,"score_gpt":0.2614656182989339,"score_spread":0.24380805600912653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2320709366","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020484965,0.92351836,0.000109466106,0.021727731,0.034928247,0.00001997831,0.00009200362,0.000021405041,0.01937809],"genre_scores_gemma":[0.0039763344,0.8476851,0.0002764861,0.015789047,0.042626105,0.00006730155,0.0002173099,0.00007439685,0.08928793],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992536,0.00014559113,0.0000739247,0.00010667982,0.0003590675,0.00006117623],"domain_scores_gemma":[0.99725795,0.0011075608,0.00018761476,0.000075685544,0.0011436604,0.00022751887],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008409654,0.0009171906,0.0016276574,0.003869571,0.0010386375,0.0036657616,0.0011737501,0.0025709257,0.03503395],"category_scores_gemma":[0.0048779515,0.00044748516,0.00044375157,0.005961541,0.0014121156,0.0027137538,0.00088701985,0.002977979,0.012650813],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013802081,0.0000064168626,0.000046860954,0.0012306502,0.0000064115593,0.000037376845,0.00007181609,0.000020956855,0.00005233793,0.0010939671,0.95046204,0.04695734],"study_design_scores_gemma":[0.0000052219184,0.000010311973,0.00043501132,0.0013539859,0.000010193147,0.0002960895,0.00008189936,0.000009728698,0.000031804582,0.00025010633,0.99750984,0.0000057871634],"about_ca_topic_score_codex":0.009505375,"about_ca_topic_score_gemma":0.026024347,"teacher_disagreement_score":0.03503395,"about_ca_system_score_codex":0.0030010028,"about_ca_system_score_gemma":0.0035282534,"threshold_uncertainty_score":0.117200196},"labels":[],"label_agreement":null},{"id":"W2321382881","doi":"10.1386/pop.4.2.243_1","title":"Photography at a crossroads: Studio as genealogy, dispositif, spur","year":2013,"lang":"en","type":"article","venue":"Philosophy of Photography","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Studio; Allegory; Painting; Photography; Art; Art history; Visual arts; Order (exchange); Sociology","score_opus":0.024221672740122616,"score_gpt":0.24259002450104114,"score_spread":0.2183683517609185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2321382881","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08622075,0.00507104,0.009784067,0.010920939,0.00047538275,0.000030063631,0.000045862816,0.00009134699,0.88736045],"genre_scores_gemma":[0.96766245,0.001534399,0.0015509203,0.0004646263,0.0001567364,0.000019585352,0.000014994873,0.000052164192,0.02854412],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9989222,0.0006518957,0.000024868645,0.00013978472,0.00015805099,0.000103262835],"domain_scores_gemma":[0.9983889,0.00095278275,0.00014508513,0.00021097645,0.00010843537,0.00019391054],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014259001,0.00028701604,0.0002084901,0.0014865757,0.004330009,0.0076164515,0.00066699495,0.0009438881,0.009654475],"category_scores_gemma":[0.0034837786,0.000237051,0.00013589191,0.0009830733,0.024197605,0.0054887645,0.004173426,0.00220611,0.00053825695],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021115127,0.000014770864,0.0006821168,0.000038146165,0.0000025686084,0.00019758147,0.05089776,0.00009951084,0.00019264665,0.9307615,0.0035570585,0.0135353],"study_design_scores_gemma":[0.000028578952,0.00010145606,0.004525857,0.0007379914,0.00002393362,0.001095783,0.13100047,0.00067438517,0.0013535928,0.2713622,0.58906454,0.00003119512],"about_ca_topic_score_codex":0.0066211424,"about_ca_topic_score_gemma":0.009994567,"teacher_disagreement_score":0.009654475,"about_ca_system_score_codex":0.0036534918,"about_ca_system_score_gemma":0.001557964,"threshold_uncertainty_score":0.032297373},"labels":[],"label_agreement":null},{"id":"W2323080557","doi":"10.3138/jrpc.1.1.003","title":"They Refused Jesus Too","year":2002,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ambiguity; Recall; Literature; Art; Philosophy; Linguistics","score_opus":0.029564529659759822,"score_gpt":0.25128231045380955,"score_spread":0.22171778079404975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2323080557","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10762434,0.0060511474,0.005297374,0.08468405,0.006997971,0.00008339424,0.00031449166,0.00021112259,0.78873616],"genre_scores_gemma":[0.43815812,0.00135688,0.002042014,0.016858416,0.00025448608,0.00004780742,0.000098270204,0.00020193499,0.5409821],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985952,0.0005888579,0.000041278323,0.00017510918,0.00027328238,0.0003262634],"domain_scores_gemma":[0.9991153,0.00020524219,0.00008106435,0.000076174765,0.00025508017,0.0002670735],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011090286,0.00041722448,0.00041711592,0.00037855486,0.012104125,0.00349765,0.00044683917,0.0015652686,0.027560635],"category_scores_gemma":[0.003987969,0.00026778108,0.00020873854,0.00026430286,0.0054147677,0.0023954224,0.0030625914,0.0060454383,0.00823278],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026799698,0.000067985275,0.0036523894,0.00021501041,0.00004535279,0.0019987824,0.10292586,0.000102936356,0.0027295821,0.44845802,0.36888486,0.0706512],"study_design_scores_gemma":[0.0000070805,0.000032133732,0.0008776919,0.00008420672,0.0000074826007,0.0007892059,0.034663964,0.000050176695,0.00077712187,0.0064582163,0.95623064,0.000022102637],"about_ca_topic_score_codex":0.010897892,"about_ca_topic_score_gemma":0.027914621,"teacher_disagreement_score":0.027560635,"about_ca_system_score_codex":0.0018181518,"about_ca_system_score_gemma":0.0014538614,"threshold_uncertainty_score":0.092199445},"labels":[],"label_agreement":null},{"id":"W2323720258","doi":"10.1590/1982-25542016126462","title":"A arte do corpo relacional: do espelho-tátil ao corpo virtual","year":2016,"lang":"pt","type":"article","venue":"Galáxia (São Paulo)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy","score_opus":0.029280456433417687,"score_gpt":0.25057926694659366,"score_spread":0.22129881051317596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2323720258","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23419052,0.002921172,0.14440691,0.007027504,0.0006570029,0.00007849117,0.0002795413,0.00087328674,0.6095656],"genre_scores_gemma":[0.9563485,0.0006955104,0.0138694225,0.00033577453,0.00005621331,0.000040341845,0.00012218753,0.00019868223,0.028333327],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9989483,0.00037905108,0.000050377257,0.00019162406,0.00032520466,0.00010544164],"domain_scores_gemma":[0.9982571,0.0006782067,0.00017446824,0.00035399044,0.00038162392,0.00015459713],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010768741,0.00050182344,0.00024819034,0.0014821811,0.0024375094,0.008355767,0.0008838725,0.0012181178,0.011897233],"category_scores_gemma":[0.00396037,0.0003094377,0.0005043915,0.0011842579,0.011630482,0.0088612605,0.005298207,0.0013808156,0.0012641293],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046759746,0.00001481442,0.002024897,0.00020390964,0.000016024898,0.0007968158,0.062127594,0.0009857836,0.003975454,0.89704734,0.0033411053,0.029419484],"study_design_scores_gemma":[0.000031396867,0.00014429934,0.0071647926,0.00082598324,0.00010910686,0.0030050667,0.090260476,0.011376977,0.00628167,0.3861734,0.494487,0.00013981744],"about_ca_topic_score_codex":0.008383077,"about_ca_topic_score_gemma":0.0073023215,"teacher_disagreement_score":0.011897233,"about_ca_system_score_codex":0.0020071904,"about_ca_system_score_gemma":0.0015570229,"threshold_uncertainty_score":0.039800227},"labels":[],"label_agreement":null},{"id":"W2323740551","doi":"10.1177/1750635216636136","title":"Beyond Abu Ghraib: War trophy photography and commemorative violence","year":2016,"lang":"en","type":"article","venue":"Media War & Conflict","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Trophy; Photography; Photojournalism; Visual arts; Adversary; Representation (politics); Premise; History; Media studies; Sociology; Art; Law; Archaeology; Political science; Politics; Computer science","score_opus":0.025069119189870512,"score_gpt":0.23964264172664437,"score_spread":0.21457352253677386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2323740551","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5589651,0.012239573,0.0021326558,0.0128776925,0.00089523825,0.000047661302,0.0000753579,0.000040299576,0.41272637],"genre_scores_gemma":[0.98967594,0.001475152,0.00032142678,0.00038183155,0.00007850751,0.000013225799,0.000013829094,0.000020341746,0.008019662],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987552,0.00072388706,0.00001721669,0.00010084985,0.00012579367,0.00027697725],"domain_scores_gemma":[0.99897814,0.00062933855,0.00010528422,0.00007736868,0.00009085931,0.000119050455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016009057,0.00055283634,0.00025791198,0.0013378386,0.013968072,0.008140313,0.00088973914,0.001678312,0.006417808],"category_scores_gemma":[0.0027600888,0.00026484116,0.00019034778,0.0016776345,0.020335265,0.0046511437,0.0038352553,0.0029990117,0.00044133537],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001135533,0.000040194554,0.0017330026,0.00019251187,0.00000795977,0.0015728703,0.852046,0.0001118725,0.0009707974,0.11275423,0.003924447,0.026532572],"study_design_scores_gemma":[0.000009073821,0.00006227055,0.0058196704,0.00053716387,0.00001686935,0.0013262293,0.82608294,0.00013207918,0.0009115705,0.011222635,0.15385179,0.000027728394],"about_ca_topic_score_codex":0.037017632,"about_ca_topic_score_gemma":0.061888594,"teacher_disagreement_score":0.037017632,"about_ca_system_score_codex":0.004689268,"about_ca_system_score_gemma":0.0022451323,"threshold_uncertainty_score":0.073604345},"labels":[],"label_agreement":null},{"id":"W2327880114","doi":"10.17742/image.tgvc.5-2.2","title":"AUSSTEIGEN (GETTING OUT) IMPOSSIBLE—MONTAGE AND LIFE SCENARIOS IN ANDRES VEIEL’S FILM BLACK BOX BRD","year":2014,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Black box; Materials science; Computer science; Artificial intelligence","score_opus":0.04157159565440699,"score_gpt":0.36888494476975364,"score_spread":0.32731334911534665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2327880114","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45762503,0.004336678,0.005412275,0.06503752,0.0014716088,0.000058773305,0.00012975073,0.00007697659,0.4658513],"genre_scores_gemma":[0.9719215,0.0008384292,0.00092036254,0.0018453246,0.000118728596,0.00003157422,0.000034291283,0.000069024,0.02422067],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.997285,0.002006967,0.000033750308,0.00017025943,0.00024070084,0.00026321854],"domain_scores_gemma":[0.9987877,0.000751982,0.00009962874,0.00007621584,0.00007717303,0.00020725538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020785816,0.0005289029,0.0002449366,0.0007115626,0.010220248,0.006941606,0.00077246124,0.0027849162,0.004207627],"category_scores_gemma":[0.003852431,0.00037765538,0.00028855584,0.0004071828,0.019502027,0.0063191867,0.0052982173,0.005390462,0.00042049304],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006436652,0.000032649896,0.0005091182,0.0000489151,0.0000050025324,0.001619244,0.8139222,0.00011069032,0.00074527,0.1643211,0.01321792,0.0054035545],"study_design_scores_gemma":[0.000017356064,0.00004567745,0.0015829817,0.000278473,0.0000072324347,0.0013523215,0.6752056,0.00021612694,0.00054888765,0.014046137,0.3066654,0.00003379485],"about_ca_topic_score_codex":0.013713088,"about_ca_topic_score_gemma":0.029411381,"teacher_disagreement_score":0.013713088,"about_ca_system_score_codex":0.0042029466,"about_ca_system_score_gemma":0.0007766292,"threshold_uncertainty_score":0.03049463},"labels":[],"label_agreement":null},{"id":"W2329653820","doi":"10.1017/s1479244314000213","title":"HISTORY PAINTING REDISTANCED: FROM BENJAMIN WEST TO DAVID WILKIE","year":2014,"lang":"en","type":"article","venue":"Modern Intellectual History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Painting; Representation (politics); Ideology; Space (punctuation); Field (mathematics); Art history; History; Aesthetics; Art; Philosophy; Politics; Linguistics; Mathematics; Law","score_opus":0.045379367424179196,"score_gpt":0.21179164430242614,"score_spread":0.16641227687824695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329653820","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.112433955,0.0496931,0.0036589974,0.19077261,0.003558045,0.00002699764,0.000076466,0.000093377945,0.6396864],"genre_scores_gemma":[0.7293655,0.02071561,0.0011917662,0.012919228,0.0007811814,0.00003863275,0.000035815727,0.00018308933,0.23476912],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992337,0.00037119904,0.000013591161,0.0000860989,0.00017118012,0.00012417718],"domain_scores_gemma":[0.9993255,0.00042615703,0.000053434862,0.000036623496,0.000075300064,0.00008300135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014096837,0.00034546113,0.00030663895,0.001108708,0.009207377,0.006193803,0.00067021314,0.0017474656,0.0075835334],"category_scores_gemma":[0.0027950346,0.00030050575,0.00010502379,0.0011072593,0.011093524,0.00728914,0.0028349457,0.0040917094,0.0010313748],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045410892,0.00003997142,0.0004631067,0.00009736236,0.0000049039973,0.00042001597,0.19244254,0.0000719944,0.0003920464,0.65244436,0.10531665,0.048261683],"study_design_scores_gemma":[0.0000064250376,0.000009846854,0.0004638036,0.00021465468,0.0000038652106,0.00027740657,0.053669076,0.000089731,0.00035109976,0.040775463,0.9041228,0.000015843312],"about_ca_topic_score_codex":0.022983415,"about_ca_topic_score_gemma":0.039369583,"teacher_disagreement_score":0.022983415,"about_ca_system_score_codex":0.005546576,"about_ca_system_score_gemma":0.0014476859,"threshold_uncertainty_score":0.04569924},"labels":[],"label_agreement":null},{"id":"W2332810470","doi":"10.7202/1035393ar","title":"Design Studies in Canada?","year":2016,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.078588597341391,"score_gpt":0.24801396018297592,"score_spread":0.16942536284158494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2332810470","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027728189,0.098920956,0.02258728,0.2154259,0.00492593,0.0006721964,0.0012629424,0.000387251,0.62808937],"genre_scores_gemma":[0.69527876,0.05782729,0.033445336,0.048830055,0.0006863489,0.0018880978,0.0007169128,0.0005197255,0.16080743],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9632147,0.018754661,0.0015170489,0.0032256185,0.008824223,0.0044636833],"domain_scores_gemma":[0.9357115,0.0249336,0.002339545,0.0047581266,0.02587487,0.006382345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.027449768,0.00077478716,0.001277971,0.004526027,0.017808342,0.01904403,0.003212883,0.0043399376,0.032024555],"category_scores_gemma":[0.055541296,0.0008270584,0.0008366207,0.009574051,0.020384168,0.006831871,0.0061884983,0.0049806363,0.0020254548],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017046808,0.00011876542,0.003569542,0.0015995097,0.000070097136,0.0002245501,0.023752367,0.00092310784,0.00034333958,0.7328757,0.0722003,0.16415232],"study_design_scores_gemma":[0.00009824928,0.00010504343,0.00759106,0.003621247,0.00005534296,0.00011793907,0.029244311,0.00047682304,0.0005571273,0.05187805,0.90616524,0.00008972981],"about_ca_topic_score_codex":0.95857435,"about_ca_topic_score_gemma":0.96379274,"teacher_disagreement_score":0.19324948,"about_ca_system_score_codex":0.19324948,"about_ca_system_score_gemma":0.31559733,"threshold_uncertainty_score":0.9357163},"labels":[],"label_agreement":null},{"id":"W2398673418","doi":"10.7202/1069621ar","title":"From Flatness to Space and Back Again: Concepts of Representation in the Work of Gerhard Richter and Sigmar Polke","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history; Painting","score_opus":0.03477612495204769,"score_gpt":0.2548731670403187,"score_spread":0.22009704208827102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2398673418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11247175,0.036695845,0.033661135,0.05121876,0.0009945248,0.000045100558,0.00008624581,0.00013757813,0.7646891],"genre_scores_gemma":[0.9573613,0.0042056614,0.0030546503,0.0012546187,0.00020435177,0.000054316748,0.000031424373,0.00011088311,0.033722732],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9966814,0.0022371127,0.00006514837,0.00031556815,0.00037537562,0.00032546208],"domain_scores_gemma":[0.99794716,0.0013641157,0.00013917309,0.00026108374,0.00014443282,0.00014409794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026603306,0.00059870986,0.0004084463,0.0019586773,0.006962754,0.01214911,0.0008773462,0.0021679632,0.0040024277],"category_scores_gemma":[0.004461576,0.0003891814,0.0003774236,0.0021905755,0.038090646,0.010685635,0.0051712138,0.00400407,0.00073695404],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020514199,0.000005375038,0.00012243708,0.000022404794,0.000002212221,0.00006219377,0.060137402,0.00015589029,0.000061030983,0.9309728,0.0032218075,0.0052160244],"study_design_scores_gemma":[0.000020711816,0.00003709628,0.00085858203,0.00034351897,0.000011036319,0.0003216264,0.064144544,0.00082384347,0.00034663294,0.61368793,0.3193681,0.00003643158],"about_ca_topic_score_codex":0.011382166,"about_ca_topic_score_gemma":0.008995557,"teacher_disagreement_score":0.01214911,"about_ca_system_score_codex":0.0067664753,"about_ca_system_score_gemma":0.0021219775,"threshold_uncertainty_score":0.04909438},"labels":[],"label_agreement":null},{"id":"W2400872970","doi":"10.4000/studifrancesi.1620","title":"Caroline Surmann, Cinéma et théâtre chez Jean Cocteau. Intermédialité et esthétique","year":2014,"lang":"fr","type":"article","venue":"Studi Francesi","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.01830183385878327,"score_gpt":0.2807875568075348,"score_spread":0.26248572294875155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2400872970","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00958217,0.4442737,0.0022366396,0.37972188,0.012988675,0.0000418559,0.00016874333,0.00011261223,0.15087368],"genre_scores_gemma":[0.36552775,0.19108833,0.003687812,0.08036816,0.015377704,0.00020921402,0.00012360029,0.0005407373,0.3430767],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990375,0.00045049618,0.000017770022,0.00015493046,0.00024936366,0.000089945475],"domain_scores_gemma":[0.9988147,0.0007741111,0.00009767216,0.000022462365,0.00017468043,0.000116440744],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092551316,0.00071713835,0.0003431845,0.00095800473,0.006407144,0.0049393913,0.0006866549,0.0033776155,0.0073831384],"category_scores_gemma":[0.0025811533,0.00027288316,0.00017676638,0.0011551847,0.005397482,0.0049963524,0.0011968081,0.0048661907,0.0013962135],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010543221,0.000037733418,0.000628657,0.00032586596,0.000009097344,0.0006178161,0.0403703,0.0002038204,0.00037943345,0.40658712,0.5113655,0.03936915],"study_design_scores_gemma":[0.0000072090365,0.000009005884,0.00091471133,0.00026182912,0.0000021892333,0.0001976469,0.0061593195,0.0001335741,0.00017672892,0.0149076795,0.97721195,0.000018158811],"about_ca_topic_score_codex":0.11578019,"about_ca_topic_score_gemma":0.14765632,"teacher_disagreement_score":0.11578019,"about_ca_system_score_codex":0.0051281694,"about_ca_system_score_gemma":0.0029635825,"threshold_uncertainty_score":0.23021251},"labels":[],"label_agreement":null},{"id":"W2410408535","doi":"10.1093/obo/9780195399301-0035","title":"Art Literature and Theory of Art","year":2013,"lang":"en","type":"reference-entry","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Painting; Literal and figurative language; Rhetoric; The arts; Humanism; Art; Poetry; Literature; Italian Renaissance; Visual arts; Art history; The Renaissance; Philosophy; Linguistics","score_opus":0.02194494148377612,"score_gpt":0.23515384811299406,"score_spread":0.21320890662921793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2410408535","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029121921,0.12205103,0.018651713,0.023352016,0.0019636126,0.000048414604,0.00022855322,0.000109973975,0.8306824],"genre_scores_gemma":[0.57829493,0.16748573,0.024640733,0.01134692,0.014287529,0.0004886019,0.00065554614,0.00031490604,0.20248516],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966371,0.0016434939,0.00016860604,0.00061398617,0.0007300082,0.00020678485],"domain_scores_gemma":[0.99603146,0.0027232736,0.00022368938,0.00046965736,0.0004181105,0.00013387442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029455058,0.0011474327,0.0012716819,0.0060842773,0.0039981985,0.011422823,0.0021723867,0.0037562612,0.019615507],"category_scores_gemma":[0.0040530656,0.0003430368,0.0007204902,0.0059277355,0.028324282,0.007989582,0.0028288446,0.0041055386,0.0053523895],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018188632,0.0000042789193,0.000025937381,0.000066943525,0.0000023093805,0.000018226337,0.00047285558,0.00014014664,0.000007862215,0.99184775,0.0036912512,0.0037206702],"study_design_scores_gemma":[0.0000058053497,0.0000065255736,0.00009017921,0.00028381887,0.0000031789311,0.00007639853,0.00042480216,0.00028845022,0.000018525776,0.8322291,0.16656823,0.000004969278],"about_ca_topic_score_codex":0.0029931306,"about_ca_topic_score_gemma":0.0021965653,"teacher_disagreement_score":0.019615507,"about_ca_system_score_codex":0.006972853,"about_ca_system_score_gemma":0.0032416696,"threshold_uncertainty_score":0.06562036},"labels":[],"label_agreement":null},{"id":"W2414772882","doi":"10.7202/1035286ar","title":"Processes of Imaging and Imagining: Toward a Pragmatic Clarification of the Image","year":2016,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pragmatism; Materiality (auditing); Doctrine; Unconscious mind; Epistemology; Process (computing); Aesthetics; Pragmatic theory of truth; Psychology; Sociology; Cognitive science; Philosophy; Computer science","score_opus":0.09127037235384383,"score_gpt":0.31745209296210253,"score_spread":0.2261817206082587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2414772882","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042876314,0.0088849375,0.6159332,0.095503196,0.0026544428,0.00030710953,0.00009487154,0.0003661594,0.23337983],"genre_scores_gemma":[0.84787047,0.002805047,0.1278189,0.0042854943,0.0011253349,0.00047580563,0.00008258971,0.00046524173,0.015071196],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9744907,0.019845003,0.0010392623,0.0016212076,0.0023029493,0.000700949],"domain_scores_gemma":[0.971476,0.021155851,0.0017349358,0.0031250594,0.0018606375,0.0006475585],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.020871574,0.0012159605,0.0010817203,0.002700217,0.0062030875,0.014486359,0.002955378,0.0062707877,0.0030872459],"category_scores_gemma":[0.033340942,0.00082334684,0.0011665568,0.001148993,0.077323176,0.032208137,0.011189744,0.012149608,0.00072427857],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012830906,0.000009483148,0.00006491312,0.00008270477,0.0000037753564,0.00010952663,0.06522075,0.00013506932,0.00045053242,0.9287724,0.0007838231,0.004354195],"study_design_scores_gemma":[0.000029529212,0.00005364006,0.00027238877,0.0005007818,0.000015112021,0.0005736112,0.05312783,0.0014970179,0.0019922054,0.76991653,0.17195815,0.00006325529],"about_ca_topic_score_codex":0.0017705593,"about_ca_topic_score_gemma":0.0013314924,"teacher_disagreement_score":0.020871574,"about_ca_system_score_codex":0.003838614,"about_ca_system_score_gemma":0.0037540758,"threshold_uncertainty_score":0.11038077},"labels":[],"label_agreement":null},{"id":"W2417147779","doi":"10.7202/1035283ar","title":"Perception, Dreams, Films: Iconicity and Indexicality in Peirce's Theory of Perception","year":2016,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Iconicity; Indexicality; Perception; Movie theater; Feeling; Phenomenology (philosophy); Realism; Context (archaeology); Psychology; Interpretation (philosophy); Aesthetics; Epistemology; Linguistics; Cognitive psychology; Philosophy; Art; Social psychology; Literature; History","score_opus":0.1171561279236455,"score_gpt":0.3262126926693171,"score_spread":0.20905656474567158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2417147779","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.101594664,0.059920307,0.093230866,0.039576937,0.0018966788,0.00019529698,0.00014561678,0.00014907682,0.7032905],"genre_scores_gemma":[0.9618443,0.010841116,0.011642073,0.0018845514,0.00089283386,0.00013807455,0.000048243404,0.00005311666,0.012655598],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9983954,0.0009111869,0.00006601828,0.00022268914,0.00028368598,0.000120965145],"domain_scores_gemma":[0.99763787,0.001696695,0.000172474,0.00014174018,0.00021317246,0.00013815379],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026393812,0.00063104765,0.00038866457,0.002977901,0.0024897961,0.008420392,0.000934877,0.0020776915,0.002345624],"category_scores_gemma":[0.004570006,0.0003969837,0.00062542834,0.001689758,0.029708136,0.011400145,0.0028928625,0.0045554866,0.00029260383],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013299522,0.000013033893,0.000179363,0.000078083234,0.0000031405002,0.0001354753,0.016857103,0.00009160879,0.00014701216,0.97771287,0.0007473645,0.004021646],"study_design_scores_gemma":[0.000018150244,0.000048245212,0.0009670506,0.00017061451,0.000011071261,0.00040072203,0.00801868,0.0008770609,0.00028366805,0.94912404,0.040051863,0.000028771683],"about_ca_topic_score_codex":0.0036883294,"about_ca_topic_score_gemma":0.0012753456,"teacher_disagreement_score":0.008420392,"about_ca_system_score_codex":0.0038440207,"about_ca_system_score_gemma":0.0010369587,"threshold_uncertainty_score":0.027890444},"labels":[],"label_agreement":null},{"id":"W242918478","doi":"","title":"Discouraging Vandalism in Schoolyard Habitats.","year":2000,"lang":"en","type":"article","venue":"Green teacher","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Outdoor education; Environmental education; Habitat; Geography; Ecology; Environmental planning; Sociology; Pedagogy; Biology","score_opus":0.02745445811550054,"score_gpt":0.25291381694968823,"score_spread":0.2254593588341877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W242918478","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50078136,0.0009845755,0.012940242,0.029006613,0.0005322405,0.0003256358,0.00015221775,0.0009128615,0.45436418],"genre_scores_gemma":[0.96542245,0.00018703922,0.0035408153,0.0016876416,0.000051947434,0.00009856913,0.00004859469,0.0000921904,0.028870672],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99536973,0.0024628267,0.00012283369,0.0002983491,0.0010976472,0.00064854336],"domain_scores_gemma":[0.98352987,0.0071831853,0.0022669297,0.0021073853,0.0031069901,0.0018056382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003207163,0.0002800128,0.00021700993,0.00083736883,0.006957345,0.003090785,0.0013997343,0.0023369284,0.01794992],"category_scores_gemma":[0.03124134,0.00019781492,0.00021995674,0.00049771275,0.0027339335,0.0026657167,0.0032283848,0.0022347195,0.002696365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028067615,0.0020261956,0.122019805,0.00074817217,0.000066921995,0.0015656174,0.08737521,0.0017874729,0.010936016,0.07366048,0.24136749,0.458166],"study_design_scores_gemma":[0.00012934365,0.00072203425,0.20245087,0.0012461994,0.000091889895,0.0011126883,0.1431649,0.0045806374,0.011064595,0.030779807,0.60455716,0.00009986975],"about_ca_topic_score_codex":0.016686838,"about_ca_topic_score_gemma":0.06730691,"teacher_disagreement_score":0.01794992,"about_ca_system_score_codex":0.0016779534,"about_ca_system_score_gemma":0.004039054,"threshold_uncertainty_score":0.0600484},"labels":[],"label_agreement":null},{"id":"W244737343","doi":"10.33137/q.i..v29i1.8504","title":"Poussin and the Poetics of Painting. Pictorial Narrative and the Legacy of Tasso","year":2008,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetics; Painting; Art; Mythology; Narrative; Art history; The arts; Literature; Poetry; Visual arts","score_opus":0.027465507615689534,"score_gpt":0.24328611287476815,"score_spread":0.21582060525907862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W244737343","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038667552,0.036619443,0.0025873652,0.020113893,0.0019264926,0.000024836785,0.000092358736,0.00010746219,0.89986056],"genre_scores_gemma":[0.86068004,0.009804907,0.0010499357,0.0014916398,0.0006795444,0.00002856572,0.000054047054,0.00008925941,0.12612206],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995505,0.00024231036,0.000008775535,0.000059728125,0.000066261906,0.00007230716],"domain_scores_gemma":[0.99977404,0.000096592776,0.000037079863,0.000025995287,0.000030240248,0.00003608737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006045791,0.0004790501,0.00018046265,0.0009644741,0.004757947,0.0040749167,0.00038412123,0.0009430035,0.010255491],"category_scores_gemma":[0.0014151091,0.00018403392,0.00017038778,0.0015573893,0.012968512,0.002653351,0.001622597,0.0016135798,0.00066409877],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039336566,0.000006964731,0.00025831512,0.000093172945,0.0000030040528,0.00018850085,0.052018594,0.00008866045,0.00030344952,0.89885056,0.034649517,0.013499953],"study_design_scores_gemma":[0.0000094646275,0.000028557895,0.0018200261,0.00020065845,0.00000669718,0.00041343775,0.02032673,0.00011838194,0.000203514,0.04556156,0.93130213,0.000008734745],"about_ca_topic_score_codex":0.015511795,"about_ca_topic_score_gemma":0.027202558,"teacher_disagreement_score":0.015511795,"about_ca_system_score_codex":0.0035822901,"about_ca_system_score_gemma":0.0013773043,"threshold_uncertainty_score":0.034308016},"labels":[],"label_agreement":null},{"id":"W2476526270","doi":"10.1017/cbo9780511485497.002","title":"When travelers swarm forth: antebellum urban aesthetics and the contours of the political","year":2003,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Crowds; Polity; Politics; Democracy; Charisma; Gentrification; Suffrage; Political economy; History; Political science; Law; Economic history; Sociology; Engineering","score_opus":0.0251577722552105,"score_gpt":0.18721779425275817,"score_spread":0.16206002199754765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2476526270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12634487,0.0061083795,0.0030872857,0.02854717,0.0011230438,0.000027513226,0.000077336976,0.00014836802,0.8345361],"genre_scores_gemma":[0.92858094,0.0010150864,0.00058408483,0.001424973,0.00024398274,0.000041233,0.000027412589,0.00019028307,0.067892104],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999012,0.00062530575,0.000008402985,0.0000650905,0.00007284695,0.00021629338],"domain_scores_gemma":[0.99966097,0.00012417723,0.000037085327,0.00004144421,0.00004155253,0.00009481348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009987216,0.0007220443,0.00019232943,0.001180797,0.018742178,0.01212793,0.0007275497,0.0015453972,0.009460621],"category_scores_gemma":[0.0011823728,0.0002537673,0.00023749736,0.00091124524,0.02768044,0.0041542253,0.0041205348,0.0035563093,0.00082498975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004810591,0.00001874557,0.000616156,0.000045146524,0.0000042520396,0.00034155606,0.35272342,0.000108683285,0.0001813899,0.60525995,0.032472406,0.008180212],"study_design_scores_gemma":[0.000015652537,0.000024182256,0.0016932333,0.0001329896,0.000007896438,0.0002757337,0.37907442,0.00020098993,0.00020382406,0.036883608,0.5814704,0.000017066377],"about_ca_topic_score_codex":0.019984402,"about_ca_topic_score_gemma":0.059956886,"teacher_disagreement_score":0.019984402,"about_ca_system_score_codex":0.0061799907,"about_ca_system_score_gemma":0.0014022553,"threshold_uncertainty_score":0.044839144},"labels":[],"label_agreement":null},{"id":"W2486361904","doi":"10.5840/cpsem200114","title":"Semiotics, Theatre, and Liturgy","year":2001,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Liturgy; Semiotics; Art; Sociology; Linguistics; Philosophy; Theology","score_opus":0.03147611326658708,"score_gpt":0.23484251206831555,"score_spread":0.20336639880172847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2486361904","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005309384,0.015375876,0.010608994,0.0033910198,0.000691959,0.000019749632,0.000040889732,0.000048015576,0.964514],"genre_scores_gemma":[0.64469564,0.012571305,0.0060378136,0.001265551,0.00092207175,0.0001768592,0.00012195497,0.00018463413,0.33402425],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894327,0.0007221112,0.000029990964,0.00007131122,0.00015300096,0.000080350816],"domain_scores_gemma":[0.99942493,0.00035785433,0.000031569092,0.000059362887,0.000065125045,0.000061161634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007000276,0.00058413664,0.00044198628,0.0012924925,0.0033880312,0.008511034,0.000537566,0.0012495683,0.012438361],"category_scores_gemma":[0.0015977321,0.00022951327,0.00024600193,0.0014285218,0.014734711,0.004556399,0.0017767763,0.002431713,0.0016695831],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006172923,0.000005170662,0.000020202651,0.000035103614,6.016133e-7,0.000018887902,0.002057851,0.000051755098,0.000057943227,0.9878243,0.004380923,0.005541083],"study_design_scores_gemma":[0.000007767327,0.0000178996,0.00020980397,0.00022942795,0.0000026202795,0.00023391789,0.007927533,0.00030568073,0.00022646654,0.6838806,0.30694854,0.000009673058],"about_ca_topic_score_codex":0.0020709194,"about_ca_topic_score_gemma":0.0030830107,"teacher_disagreement_score":0.012438361,"about_ca_system_score_codex":0.0022960312,"about_ca_system_score_gemma":0.0012790449,"threshold_uncertainty_score":0.04161042},"labels":[],"label_agreement":null},{"id":"W2486587941","doi":"10.5749/9780816678419-002","title":"1. Joris Hoefnagel’S Imaginary Insects","year":2010,"lang":"en","type":"book-chapter","venue":"University of Minnesota Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Renaissance; Painting; The Imaginary; Art; Quarter (Canadian coin); Natural (archaeology); Art history; Visual arts; Literature; History; Archaeology; Psychology","score_opus":0.03188635353778546,"score_gpt":0.19366350438471697,"score_spread":0.1617771508469315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2486587941","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005193503,0.044085413,0.0012844405,0.0078087463,0.0015918519,0.000018493422,0.00006142549,0.000077352495,0.93987876],"genre_scores_gemma":[0.10774498,0.026273048,0.0020437636,0.003925333,0.0013715051,0.000034938806,0.0000766782,0.0001567579,0.858373],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997644,0.000040993316,0.0000046250807,0.000058034333,0.000095584124,0.00003631564],"domain_scores_gemma":[0.9999157,0.000035226225,0.0000084456215,0.0000070325173,0.000017810833,0.00001576331],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022606074,0.00049670803,0.00013146746,0.0006121076,0.0021999802,0.0026888524,0.00028363283,0.000953604,0.012674839],"category_scores_gemma":[0.00047099273,0.00016716891,0.00013145755,0.00038512092,0.0034732844,0.002657819,0.000981862,0.0021390682,0.0037624189],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003172447,0.000028489125,0.0002718201,0.00016189273,0.000002881924,0.0002780473,0.020500487,0.000101564874,0.001216121,0.6165395,0.2795913,0.081276104],"study_design_scores_gemma":[9.82234e-7,0.0000071543977,0.00023397652,0.000093485825,6.0405284e-7,0.00014419632,0.000499393,0.000020830723,0.00010571715,0.0046544815,0.9942363,0.0000030569213],"about_ca_topic_score_codex":0.008657689,"about_ca_topic_score_gemma":0.020018622,"teacher_disagreement_score":0.012674839,"about_ca_system_score_codex":0.0022068678,"about_ca_system_score_gemma":0.0010262473,"threshold_uncertainty_score":0.042401552},"labels":[],"label_agreement":null},{"id":"W2490104535","doi":"10.5840/cpsem200935","title":"Icons and Semiotic Implicature","year":2009,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Implicature; Semiotics; Linguistics; Art; Philosophy; Pragmatics","score_opus":0.026608202222590308,"score_gpt":0.23714098762236221,"score_spread":0.2105327853997719,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2490104535","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003989208,0.0032367269,0.023689242,0.0014434388,0.00062310754,0.000023395685,0.000037514525,0.00008907299,0.9668683],"genre_scores_gemma":[0.57356954,0.005272435,0.017082404,0.0008663258,0.0010238198,0.00021568823,0.00021080037,0.0005687057,0.40119022],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99872005,0.00079155207,0.000049477952,0.00013164987,0.00022109399,0.00008616567],"domain_scores_gemma":[0.99891067,0.00065131026,0.000040875275,0.00018502382,0.00016663065,0.000045572797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084770063,0.0010774204,0.00044581192,0.0016812611,0.0029634882,0.009865321,0.00080963207,0.0016273096,0.017555233],"category_scores_gemma":[0.0021337029,0.00044211143,0.00035484764,0.0015354129,0.01631168,0.007554248,0.002081965,0.0036595766,0.002718038],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030997173,0.000001841592,0.000008028562,0.00002037789,6.341876e-7,0.000022818478,0.001981982,0.000034950397,0.00007980664,0.9927222,0.0021140627,0.0030100849],"study_design_scores_gemma":[0.000008162892,0.000011539619,0.00007142772,0.00013770102,0.0000042575057,0.00031909667,0.0033803533,0.0004461011,0.00055610755,0.7232534,0.27180105,0.0000107851965],"about_ca_topic_score_codex":0.0021406077,"about_ca_topic_score_gemma":0.0025064144,"teacher_disagreement_score":0.017555233,"about_ca_system_score_codex":0.0025771114,"about_ca_system_score_gemma":0.0009915252,"threshold_uncertainty_score":0.0587281},"labels":[],"label_agreement":null},{"id":"W2495980355","doi":"10.7202/1074313ar","title":"Mémoire et survivance en art contemporain","year":2020,"lang":"fr","type":"article","venue":"Frontières","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Art; Humanities; TRACE (psycholinguistics); Art history; Philosophy","score_opus":0.032163731150993205,"score_gpt":0.2588350709237734,"score_spread":0.2266713397727802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2495980355","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10503275,0.011207098,0.0033158164,0.015810933,0.001412771,0.000014297438,0.0000517188,0.00005696288,0.8630976],"genre_scores_gemma":[0.8272382,0.0046884576,0.0008962648,0.0009388807,0.00058632414,0.000017834642,0.000033727178,0.00008656822,0.16551366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977362,0.0012249182,0.00005701118,0.00028869786,0.00042405538,0.00026919995],"domain_scores_gemma":[0.9985253,0.0007300943,0.00018056727,0.00019182973,0.00020647483,0.00016570352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023375645,0.0004060444,0.00035388872,0.0013399209,0.011273193,0.007888181,0.0007245751,0.0017731264,0.013478746],"category_scores_gemma":[0.005167096,0.00018401814,0.00023373256,0.0013171241,0.017047035,0.006007313,0.005132884,0.0042262925,0.00096567173],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028617975,0.000016377066,0.0006183308,0.00005088183,0.0000045514867,0.0003480737,0.19426513,0.00007617673,0.00016480636,0.77750796,0.0064724977,0.02044659],"study_design_scores_gemma":[0.0000073729702,0.000025738713,0.0010914725,0.00021644331,0.0000063996667,0.000691374,0.081576146,0.000095207506,0.00034366577,0.045530546,0.87040085,0.000014875045],"about_ca_topic_score_codex":0.015980389,"about_ca_topic_score_gemma":0.02888704,"teacher_disagreement_score":0.015980389,"about_ca_system_score_codex":0.0044952803,"about_ca_system_score_gemma":0.0021886316,"threshold_uncertainty_score":0.045090914},"labels":[],"label_agreement":null},{"id":"W2504567224","doi":"10.1093/oxfordhb/9780199279456.003.0009","title":"Medium in Art","year":2009,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Gesture; Mediation; Tone (literature); Natural (archaeology); Communication; Content (measure theory); Art; Visual arts; Linguistics; Psychology; Literature; History; Sociology; Mathematics; Philosophy; Archaeology","score_opus":0.02795973566349457,"score_gpt":0.2055591303215603,"score_spread":0.17759939465806573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2504567224","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00084803154,0.016849408,0.0026283297,0.0015569776,0.00088425126,0.000018244364,0.00003772724,0.00006904543,0.9771081],"genre_scores_gemma":[0.1537103,0.027891861,0.0053647677,0.0034877278,0.0031446167,0.00017195988,0.00016475386,0.00039307444,0.8056709],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888545,0.0003767802,0.00004895217,0.00017054111,0.0003587268,0.0001595088],"domain_scores_gemma":[0.9992847,0.00035492165,0.000042403823,0.00014911676,0.00008791398,0.0000809727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007343727,0.0009494473,0.0005160745,0.0024396437,0.004010815,0.012547892,0.0011494538,0.0021130485,0.02610967],"category_scores_gemma":[0.0018767419,0.00031086648,0.0005442991,0.0024262078,0.012325554,0.008218892,0.0038824603,0.0035356446,0.00691531],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009479799,0.0000071947866,0.000046829806,0.00008780991,0.0000021358646,0.000050834537,0.0019607472,0.000068774396,0.0001044088,0.95580757,0.022153137,0.019701092],"study_design_scores_gemma":[0.0000047397843,0.000011519395,0.00016525979,0.00026317552,0.0000039495417,0.00021654875,0.00080700766,0.00007716992,0.00012807632,0.14614771,0.85216653,0.000008321843],"about_ca_topic_score_codex":0.003003806,"about_ca_topic_score_gemma":0.0043729865,"teacher_disagreement_score":0.02610967,"about_ca_system_score_codex":0.0033339902,"about_ca_system_score_gemma":0.0020442186,"threshold_uncertainty_score":0.08734554},"labels":[],"label_agreement":null},{"id":"W2509010837","doi":"10.1093/oxfordhb/9780199841547.013.40","title":"Sculpting Image and Sound","year":2016,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Relation (database); Movie theater; Visual arts; Performativity; Multimedia; Sound (geography); Surround sound; Digital media; Sound recording and reproduction; Computer science; Art; Sociology; Acoustics; History; World Wide Web","score_opus":0.029862642249453265,"score_gpt":0.21092627107049253,"score_spread":0.18106362882103927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2509010837","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011476712,0.0061140168,0.0076742,0.0010510351,0.0005237464,0.000023762683,0.000040243824,0.0001919272,0.9729043],"genre_scores_gemma":[0.23567371,0.009032603,0.0073603382,0.00093027146,0.0005275757,0.00004198312,0.00010181443,0.00029600866,0.74603575],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972945,0.000040656945,0.0000054447646,0.000036111443,0.00015267941,0.00003565984],"domain_scores_gemma":[0.9998153,0.00008810607,0.0000083995465,0.000028173792,0.000032157663,0.000027995551],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027028378,0.00050004147,0.0002487793,0.0014415969,0.0016681476,0.004825481,0.0005581854,0.00073536753,0.013141825],"category_scores_gemma":[0.0008251215,0.00013885403,0.00029577347,0.0010302647,0.006091072,0.0024905067,0.0025919913,0.0014056427,0.002889922],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050379258,0.000033447097,0.00036264106,0.0005069627,0.000016513515,0.000591684,0.032632798,0.0006500767,0.008310058,0.66340756,0.055645533,0.23779233],"study_design_scores_gemma":[0.000010940368,0.000043740154,0.0012067131,0.00045816498,0.000011947177,0.0010068557,0.008335164,0.0006563561,0.0029874854,0.06419874,0.92106473,0.000019140702],"about_ca_topic_score_codex":0.002977942,"about_ca_topic_score_gemma":0.005475194,"teacher_disagreement_score":0.013141825,"about_ca_system_score_codex":0.00094519835,"about_ca_system_score_gemma":0.000859,"threshold_uncertainty_score":0.04396373},"labels":[],"label_agreement":null},{"id":"W2512151258","doi":"10.4000/communication.6955","title":"Jean-Pierre MEUNIER (2015), Des images et des mots. Cognition et réflexivité dans la communication","year":2016,"lang":"fr","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.059854663964691614,"score_gpt":0.32685462535628423,"score_spread":0.2669999613915926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2512151258","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029623514,0.34850776,0.035757385,0.2578066,0.008727064,0.000088066095,0.0004423626,0.00024558385,0.3188016],"genre_scores_gemma":[0.6130012,0.12016381,0.012413626,0.026576601,0.0039943634,0.00019773618,0.0002249264,0.00035791367,0.22306982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9983309,0.0008917304,0.000047288224,0.00024929378,0.00036354884,0.00011727165],"domain_scores_gemma":[0.9980404,0.0012674979,0.00016791545,0.00008142233,0.00031040524,0.00013248541],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021124824,0.0010983187,0.00033483387,0.001856922,0.004311121,0.006860301,0.0008026505,0.003455843,0.009907077],"category_scores_gemma":[0.0052718585,0.00032667798,0.00049547054,0.0013179096,0.006610631,0.009068341,0.002069892,0.0047619157,0.0023192435],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011467035,0.000051143674,0.0020545071,0.00070446037,0.000041410894,0.00043849865,0.07071506,0.00023075477,0.0013811797,0.73413956,0.09937505,0.09075382],"study_design_scores_gemma":[0.000023776918,0.000044794255,0.005073396,0.0009141702,0.000029018182,0.00092737604,0.021472018,0.00035561298,0.0018665425,0.16913189,0.80010456,0.00005690887],"about_ca_topic_score_codex":0.013633321,"about_ca_topic_score_gemma":0.0134856785,"teacher_disagreement_score":0.013633321,"about_ca_system_score_codex":0.0039247693,"about_ca_system_score_gemma":0.0033530758,"threshold_uncertainty_score":0.033142447},"labels":[],"label_agreement":null},{"id":"W2516036449","doi":"10.3138/cjh.ach.51.2.05","title":"“The Delight and Torment of the World” — Aesthetics and its History","year":2016,"lang":"en","type":"article","venue":"Journal of History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Aesthetics","score_opus":0.02714138808855985,"score_gpt":0.21345363346182508,"score_spread":0.18631224537326524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2516036449","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047849864,0.64468914,0.003044873,0.048174575,0.010641093,0.00002989939,0.00008006613,0.00013071379,0.28842467],"genre_scores_gemma":[0.31169146,0.27997875,0.004493791,0.01457516,0.0138751445,0.000115657844,0.00014916046,0.0008167032,0.37430415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9986671,0.0006991097,0.000048455502,0.00015383097,0.00031305416,0.000118412565],"domain_scores_gemma":[0.9993783,0.00027571592,0.00005409338,0.00008402744,0.00010860858,0.00009920776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016398552,0.0009920591,0.00051340496,0.0014225318,0.004356204,0.008580247,0.0008698256,0.0014511696,0.012570102],"category_scores_gemma":[0.0019305319,0.0005168407,0.000474576,0.0017277062,0.018123962,0.006735008,0.0029594093,0.0046563162,0.0034102094],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005253802,0.000028387254,0.00030443713,0.00048525704,0.00001603952,0.00019942876,0.02259211,0.0001904307,0.0002764438,0.44218343,0.40825468,0.12541683],"study_design_scores_gemma":[0.000003995259,0.000015355728,0.0005134057,0.00073115283,0.0000031954544,0.00027626334,0.0048417733,0.00007580242,0.00007902948,0.056400113,0.9370462,0.000013795169],"about_ca_topic_score_codex":0.005266752,"about_ca_topic_score_gemma":0.011028779,"teacher_disagreement_score":0.012570102,"about_ca_system_score_codex":0.0043132664,"about_ca_system_score_gemma":0.0024558697,"threshold_uncertainty_score":0.042051196},"labels":[],"label_agreement":null},{"id":"W2528966707","doi":"","title":"Qu’est-ce qu’une dette esthétique ? Hitchcock/Truffaut de Kent JonesHitchcock/Truffaut de Kent Jones","year":2016,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.016995181551748267,"score_gpt":0.24731839763297345,"score_spread":0.2303232160812252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2528966707","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025581323,0.018109003,0.0035902094,0.25116572,0.010330662,0.000025012148,0.00011689484,0.000061040024,0.69102013],"genre_scores_gemma":[0.6816287,0.012410603,0.0020008467,0.035151288,0.0027037938,0.000063268424,0.000091034875,0.00034423044,0.2656063],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956043,0.0022839452,0.00011347407,0.0004883459,0.0009304185,0.0005795749],"domain_scores_gemma":[0.9946548,0.0016125157,0.0004316145,0.000515008,0.0020167916,0.0007692948],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005931657,0.0005596984,0.0005387502,0.0015670506,0.008924533,0.016546022,0.00088645,0.004147368,0.034632068],"category_scores_gemma":[0.014995796,0.00037279312,0.0003780397,0.0015149803,0.027031668,0.016672168,0.0048345434,0.006726512,0.0047308784],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053448868,0.000038082155,0.0013247211,0.00016930544,0.000016121785,0.00021176606,0.048935592,0.00003284641,0.00039271027,0.83495885,0.08418973,0.02967673],"study_design_scores_gemma":[0.000017297596,0.000023872979,0.0023076518,0.00065753836,0.000016227272,0.0006247573,0.104679614,0.00007761809,0.00044584906,0.099268414,0.79184324,0.000037933092],"about_ca_topic_score_codex":0.030808887,"about_ca_topic_score_gemma":0.036391143,"teacher_disagreement_score":0.034632068,"about_ca_system_score_codex":0.0053325063,"about_ca_system_score_gemma":0.004486063,"threshold_uncertainty_score":0.11585575},"labels":[],"label_agreement":null},{"id":"W2530404959","doi":"","title":"Frankenstein ou la mélancolie sous ordonnance. Christian Saint-Germain, Mélancolie Ink, Montréal, Bayard Canada Livres, « Les inclassables », 2007Christian Saint-Germain, Mélancolie Ink, Montréal, Bayard Canada Livres, « Les inclassables », 2007","year":2008,"lang":"fr","type":"article","venue":"Contre-jour : Cahiers littéraires","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"SAINT; Art; Humanities; Art history","score_opus":0.011394472831218123,"score_gpt":0.19615580493669132,"score_spread":0.1847613321054732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2530404959","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033165645,0.54753315,0.00082139595,0.09107519,0.017802766,0.000012854934,0.00023189769,0.00013630325,0.33906987],"genre_scores_gemma":[0.07526068,0.12473964,0.00094184733,0.010192159,0.0059610633,0.00003480509,0.0001572669,0.00023230063,0.7824802],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992586,0.00016248082,0.000029062001,0.00016807904,0.00021560918,0.00016615573],"domain_scores_gemma":[0.99954873,0.0001303038,0.000049263,0.000045389825,0.00010877358,0.00011751194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078566215,0.0008953729,0.00057589746,0.0010800888,0.003904096,0.003497612,0.00082104857,0.0028151914,0.0700455],"category_scores_gemma":[0.0018608929,0.00037028245,0.00027688133,0.0011202332,0.0029015655,0.003413019,0.0019019652,0.0029836898,0.008800525],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061551946,0.000020972053,0.00035905585,0.00018261814,0.0000095929745,0.00017289227,0.002384103,0.000036871148,0.0001715164,0.23400883,0.6741393,0.08845261],"study_design_scores_gemma":[0.0000034012262,0.0000029067076,0.0004313591,0.000109057175,0.0000019016134,0.000104599174,0.00038966033,0.0000129749105,0.00005983607,0.0022872973,0.99659353,0.0000034169457],"about_ca_topic_score_codex":0.17230971,"about_ca_topic_score_gemma":0.27924424,"teacher_disagreement_score":0.17230971,"about_ca_system_score_codex":0.00442833,"about_ca_system_score_gemma":0.0037029244,"threshold_uncertainty_score":0.34261346},"labels":[],"label_agreement":null},{"id":"W2542011704","doi":"10.4000/ces.8319","title":"Circumscribing the Horizon in Jane Urquhart’s The Underpainter","year":2010,"lang":"en","type":"article","venue":"Commonwealth Essays and Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gaze; Painting; Horizon; Representation (politics); Politics; The arts; Motif (music); Aesthetics; Visual arts; Psychology; Art; Sociology; Psychoanalysis; Political science; Mathematics; Law","score_opus":0.08839379087625332,"score_gpt":0.3126260893066408,"score_spread":0.2242322984303875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2542011704","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.103644006,0.0106436815,0.0060137403,0.117400154,0.0015489529,0.00002927459,0.000049138944,0.00008406991,0.76058704],"genre_scores_gemma":[0.94676226,0.0014663871,0.0006892713,0.0051842895,0.00019331413,0.000012975892,0.0000068029576,0.00006478215,0.04561997],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99820757,0.0007530062,0.00001900048,0.00014808791,0.00041286787,0.00045941453],"domain_scores_gemma":[0.9989354,0.00057932956,0.00006969323,0.00007721647,0.00019325789,0.00014516275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016801698,0.0002591207,0.00022709143,0.0006838304,0.012730478,0.00788526,0.0007708652,0.0019685754,0.004077079],"category_scores_gemma":[0.0037954145,0.00020714193,0.00014745328,0.00062452594,0.03140204,0.0051335925,0.0041820076,0.004520071,0.00025331814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018962377,0.0000061399883,0.00012022483,0.000020287824,0.0000014573268,0.00016971631,0.13835235,0.00008225813,0.00024292893,0.8337411,0.020719342,0.006525179],"study_design_scores_gemma":[0.000008251909,0.000017094831,0.0006144481,0.00015917681,0.0000044864764,0.00024149744,0.124326944,0.0001662132,0.00055155356,0.08831932,0.78555965,0.000031386335],"about_ca_topic_score_codex":0.24857244,"about_ca_topic_score_gemma":0.3795918,"teacher_disagreement_score":0.24857244,"about_ca_system_score_codex":0.010689123,"about_ca_system_score_gemma":0.00489311,"threshold_uncertainty_score":0.4942512},"labels":[],"label_agreement":null},{"id":"W2548963763","doi":"10.15353/cjds.v5i3.302","title":"Review of Sanchez, Deafening Modernism: Embodied Language and Visual Poetics in American Literature","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetics; Embodied cognition; Modernism (music); Queer; American literature; Literature; Art; Philosophy; Psychoanalysis; Poetry; Psychology; Epistemology","score_opus":0.03637429722819394,"score_gpt":0.3151612630548459,"score_spread":0.2787869658266519,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2548963763","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010719743,0.99320674,0.000039445284,0.0043148994,0.00092474534,0.000001901716,0.000012497886,0.0000018540381,0.0013908106],"genre_scores_gemma":[0.0017700375,0.9921937,0.00009528528,0.003146259,0.0022210076,0.000008337798,0.000021893262,0.0000050580365,0.0005384645],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990877,0.00028028546,0.00012911447,0.0000858615,0.00036268937,0.000054343018],"domain_scores_gemma":[0.98917925,0.006466441,0.0004492308,0.00015602332,0.0034696937,0.0002793605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021620258,0.00058348785,0.0014186038,0.007605016,0.0013413861,0.0032410966,0.0010226133,0.001929066,0.0036032007],"category_scores_gemma":[0.009448626,0.00031783647,0.00029809144,0.011714968,0.002718082,0.004311473,0.0013947835,0.0023979044,0.0012339172],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005806192,0.000038404196,0.00043828465,0.021231042,0.000076510725,0.00014814675,0.0019209012,0.00012494912,0.0002796741,0.022029549,0.39878806,0.5548663],"study_design_scores_gemma":[0.0000068173053,0.000013667385,0.0017236832,0.018260628,0.00006072166,0.00028114926,0.000866879,0.000021395654,0.00007551551,0.001873258,0.9767973,0.000018851604],"about_ca_topic_score_codex":0.028359624,"about_ca_topic_score_gemma":0.05971618,"teacher_disagreement_score":0.028359624,"about_ca_system_score_codex":0.0025475381,"about_ca_system_score_gemma":0.006812476,"threshold_uncertainty_score":0.056389093},"labels":[],"label_agreement":null},{"id":"W2554231394","doi":"","title":"Little Gods in the Hellenistic Home","year":2016,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sculpture; Altar; Meaning (existential); Context (archaeology); Greeks; Art; History; Period (music); Aesthetics; Ancient history; Classics; Archaeology; Philosophy; Epistemology","score_opus":0.03083063126995903,"score_gpt":0.22500462046108027,"score_spread":0.19417398919112125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2554231394","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1339738,0.024464132,0.00085717253,0.06405499,0.0030765014,0.000031052532,0.0001641564,0.000102618345,0.7732755],"genre_scores_gemma":[0.81667256,0.0030366292,0.00032439243,0.0023911002,0.0002903526,0.0000069588086,0.00003470103,0.00011995804,0.17712346],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993305,0.00019140364,0.000012063327,0.00007682442,0.00013770466,0.0002515596],"domain_scores_gemma":[0.99944013,0.000096895834,0.00002671172,0.000050234055,0.00012389502,0.0002621275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010751673,0.00025216799,0.00040641904,0.00093487,0.026999146,0.009988638,0.00082351407,0.0013393429,0.01212331],"category_scores_gemma":[0.0017212975,0.00022911404,0.00014118473,0.0013158101,0.028443806,0.003630173,0.0042812196,0.0047966284,0.00059703656],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075515985,0.00003383725,0.0008481593,0.000049472812,0.000007785299,0.00024829432,0.13734029,0.000058447524,0.0001374769,0.7743882,0.07261723,0.01419526],"study_design_scores_gemma":[0.0000141385935,0.000011035001,0.002401166,0.00015127723,0.000009050996,0.00014564612,0.097009264,0.000042494637,0.00019432978,0.03342052,0.8665832,0.00001773201],"about_ca_topic_score_codex":0.5373767,"about_ca_topic_score_gemma":0.82296425,"teacher_disagreement_score":0.5373767,"about_ca_system_score_codex":0.02406223,"about_ca_system_score_gemma":0.020475697,"threshold_uncertainty_score":0.93069553},"labels":[],"label_agreement":null},{"id":"W2555493865","doi":"10.1093/jcr/ucw069","title":"Souvenirs to Forget","year":2016,"lang":"en","type":"article","venue":"Journal of Consumer Research","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":44,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"HEC Montréal","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Forgetting; Memory work; Semiotics; Ethnography; World trade center; Aesthetics; Sociology; Psychology; Terrorism; History; Cognitive psychology; Epistemology; Art; Anthropology; Archaeology","score_opus":0.17498810140274615,"score_gpt":0.40150299189293426,"score_spread":0.2265148904901881,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2555493865","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9148417,0.0035149937,0.004807378,0.0034147368,0.00028555188,0.000026962962,0.000057254998,0.000087751025,0.07296373],"genre_scores_gemma":[0.98520064,0.00074129726,0.0011399935,0.0002943131,0.000053139876,0.000008005563,0.000021799162,0.000028169401,0.012512733],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99879444,0.0005759406,0.00006765564,0.00017649995,0.0002670415,0.00011839423],"domain_scores_gemma":[0.99555945,0.0018758134,0.0009650004,0.0008441663,0.00050304725,0.00025244558],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018411723,0.00037889517,0.00024530748,0.0010003434,0.003345801,0.0039290795,0.0006804052,0.000766226,0.009115644],"category_scores_gemma":[0.0076450887,0.00023147445,0.0003716146,0.0006007519,0.0080027515,0.004405851,0.0029408366,0.001437552,0.0007074114],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027653092,0.00015093412,0.045738336,0.0005279231,0.00010612313,0.0018401662,0.73535657,0.00021133121,0.0060576345,0.055939086,0.008420783,0.14537457],"study_design_scores_gemma":[0.000030016012,0.00037170932,0.04088152,0.0009744564,0.00013803388,0.0032810916,0.56083935,0.00053575326,0.0062535955,0.023968363,0.36260659,0.0001195133],"about_ca_topic_score_codex":0.005815059,"about_ca_topic_score_gemma":0.009502039,"teacher_disagreement_score":0.009115644,"about_ca_system_score_codex":0.0014386203,"about_ca_system_score_gemma":0.0007897877,"threshold_uncertainty_score":0.030494869},"labels":[],"label_agreement":null},{"id":"W2560132475","doi":"10.7202/1038081ar","title":"Vernon Hyde Minor, Baroque Visual Rhetoric, Toronto, University of Toronto Press, 2016, 288 pp., 51 b/w illus., $ 85, Cloth, ISBN 9781442648791","year":2016,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Baroque; Rhetoric; Art; Minor (academic); Art history; Media studies; Humanities; Theology; Sociology; Philosophy","score_opus":0.012132394473079549,"score_gpt":0.20130988716313233,"score_spread":0.1891774926900528,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560132475","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034755017,0.82832265,0.0008753824,0.0414278,0.0069219233,0.000023117092,0.0007469071,0.00014667105,0.121188],"genre_scores_gemma":[0.017572973,0.5720749,0.0013009377,0.011414792,0.005695429,0.00007656528,0.0008680216,0.0004418592,0.39055446],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895585,0.00025188702,0.000074354684,0.00013702553,0.00046519085,0.00011576534],"domain_scores_gemma":[0.99864024,0.0006497667,0.0001453387,0.00006120513,0.00035688723,0.00014652581],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011799915,0.001630056,0.0008664056,0.0026399223,0.003351401,0.0070449812,0.0016357049,0.003229312,0.07825617],"category_scores_gemma":[0.0029789433,0.0011433113,0.00039734828,0.005177622,0.0038954497,0.009659089,0.0018398454,0.0037171622,0.029126981],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013694027,0.0000060147536,0.00008434413,0.0005016948,0.0000049433283,0.000048249614,0.0017601348,0.000041225787,0.00008365664,0.018680636,0.9544037,0.02437188],"study_design_scores_gemma":[0.0000035479247,0.000002348681,0.0005699009,0.0005029434,0.0000036346255,0.000056884885,0.00086311373,0.000020878877,0.000043228592,0.0031022497,0.9948236,0.000007650139],"about_ca_topic_score_codex":0.21953224,"about_ca_topic_score_gemma":0.47276527,"teacher_disagreement_score":0.21953224,"about_ca_system_score_codex":0.010962669,"about_ca_system_score_gemma":0.008928009,"threshold_uncertainty_score":0.43650883},"labels":[],"label_agreement":null},{"id":"W2560247951","doi":"10.7202/1038069ar","title":"La menace des oiseaux : l’iconicité et la ressemblance des images à l’ère du relativisme","year":2016,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Anecdote; Imitation; Relation (database); Painting; Mythology; Perception; Humanities; Art; Philosophy; Epistemology; Psychology; Art history; Literature; Social psychology; Computer science","score_opus":0.021178970037607683,"score_gpt":0.2325360534748914,"score_spread":0.2113570834372837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560247951","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1358409,0.015380627,0.04513791,0.037345078,0.0021021701,0.000043340886,0.00009431898,0.000118431526,0.7639373],"genre_scores_gemma":[0.9782527,0.0018302405,0.0046423343,0.0009715413,0.0005975608,0.00003129881,0.000024792524,0.000077674056,0.013571826],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99570626,0.002405306,0.00011611701,0.0007489499,0.00073471264,0.00028865284],"domain_scores_gemma":[0.9932886,0.0038095578,0.00074603775,0.0011532307,0.0007578107,0.0002447761],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041804076,0.00052168703,0.00042209847,0.002438822,0.0050775507,0.008202285,0.00084353844,0.0023725722,0.0061509744],"category_scores_gemma":[0.016311428,0.00034451258,0.0004707966,0.0013625318,0.045049448,0.0129440045,0.0042080325,0.004464466,0.00055677886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001691228,0.0000040425825,0.00030950896,0.000031811116,0.00000532402,0.000056882447,0.013940429,0.000098664124,0.00019114814,0.9792939,0.0010078483,0.005043439],"study_design_scores_gemma":[0.00003510759,0.00005905507,0.0030831432,0.0002548447,0.000028813409,0.00072747504,0.02274803,0.0011387392,0.0010567876,0.811978,0.15882716,0.00006281016],"about_ca_topic_score_codex":0.008710915,"about_ca_topic_score_gemma":0.004858425,"teacher_disagreement_score":0.008710915,"about_ca_system_score_codex":0.0044382145,"about_ca_system_score_gemma":0.0010061192,"threshold_uncertainty_score":0.032201707},"labels":[],"label_agreement":null},{"id":"W2560706941","doi":"","title":"Picturing Russia: Explorations in Visual Culture, edited by Valerie A. Kivelson and Joan Neuberger.","year":2016,"lang":"en","type":"article","venue":"Journal of History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art history; Art; Media studies; Sociology","score_opus":0.0271724350375193,"score_gpt":0.23766102321854507,"score_spread":0.21048858818102578,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560706941","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009871223,0.83337444,0.003300973,0.020123973,0.0068409718,0.000025336738,0.00033548297,0.00014579853,0.12598184],"genre_scores_gemma":[0.15733062,0.7403817,0.0060159136,0.0018894275,0.0042141317,0.00008114876,0.0003482828,0.00033916993,0.08939966],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995951,0.00024856214,0.000018606423,0.000049539678,0.00006359474,0.000024621193],"domain_scores_gemma":[0.9994592,0.00035486752,0.00004815364,0.00003282904,0.000049432194,0.000055579803],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079443736,0.0011691677,0.0006090779,0.0030083216,0.002088481,0.0063491627,0.0006454207,0.0017927224,0.010994687],"category_scores_gemma":[0.0018497814,0.0006169077,0.00038105552,0.0033906584,0.0038702858,0.0065344684,0.002290235,0.0026587625,0.0017203416],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010572241,0.00006790372,0.0011899088,0.0020277363,0.00005661142,0.00047897382,0.059062913,0.0007881722,0.00165218,0.2456956,0.37029904,0.31857532],"study_design_scores_gemma":[0.000009327852,0.000025824875,0.006170858,0.0030571392,0.000016427395,0.0011513083,0.01791995,0.00024712508,0.00053234183,0.046205625,0.9246358,0.000028231572],"about_ca_topic_score_codex":0.008413244,"about_ca_topic_score_gemma":0.019556023,"teacher_disagreement_score":0.010994687,"about_ca_system_score_codex":0.0017614579,"about_ca_system_score_gemma":0.0017896198,"threshold_uncertainty_score":0.036780834},"labels":[],"label_agreement":null},{"id":"W2562279021","doi":"10.1163/23523085-00203003","title":"Mirror on the Wall: Photography, Logos, and the Problem of Writing in Ken Lum","year":2016,"lang":"en","type":"article","venue":"Asian Diasporic Visual Cultures and the Americas","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Manitoba","funders":"","keywords":"Logos Bible Software; Mirroring; Portrait; Situated; Deconstruction (building); Motif (music); Photography; Identity (music); Visual arts; Art; Sociology; Aesthetics; Philosophy; Computer science; Communication; Artificial intelligence; Engineering","score_opus":0.01562319178588061,"score_gpt":0.2591248251612503,"score_spread":0.24350163337536967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2562279021","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.661697,0.0028714512,0.001272989,0.01317779,0.00019936611,0.000024773837,0.000038571194,0.000058380898,0.32065976],"genre_scores_gemma":[0.9823766,0.0004811646,0.00027263365,0.0003404325,0.000018404167,0.0000060338693,0.000008062052,0.000026411168,0.016470216],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982864,0.0010081391,0.000026345231,0.000101057114,0.00029010573,0.00028793488],"domain_scores_gemma":[0.9984534,0.0009106291,0.00011243214,0.0001276778,0.00019546918,0.00020038856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001315738,0.00034587405,0.00022450517,0.0011921898,0.020598112,0.010270143,0.00088107376,0.0015203288,0.003846185],"category_scores_gemma":[0.003720284,0.00025187217,0.00011584708,0.0011505383,0.027597694,0.002707034,0.003837774,0.002575423,0.0003424578],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026321579,0.000014067497,0.0015986197,0.000045931876,0.0000034244972,0.00078096514,0.91793585,0.000069895555,0.00052023795,0.061444838,0.004354142,0.013205649],"study_design_scores_gemma":[0.000003764952,0.000011947343,0.0022891292,0.00012635124,0.0000050798435,0.00040715327,0.9074498,0.00008939195,0.00054026407,0.0047833878,0.08428107,0.00001281577],"about_ca_topic_score_codex":0.27607858,"about_ca_topic_score_gemma":0.562646,"teacher_disagreement_score":0.27607858,"about_ca_system_score_codex":0.012587077,"about_ca_system_score_gemma":0.006383186,"threshold_uncertainty_score":0.5489433},"labels":[],"label_agreement":null},{"id":"W2570461711","doi":"10.33137/q.i..v30i2.11905","title":"Calvino’s Encounter with the Animal: Anthropomorphism, Cognition and Ethics in &lt;i&gt;Palomar&lt;/i&gt;","year":2009,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Reading (process); Representation (politics); Root (linguistics); Cognition; Key (lock); Literature; Philosophy; Aesthetics; Psychology; Art; Linguistics; Law; Computer science; Political science","score_opus":0.035143044672164864,"score_gpt":0.27440242757921346,"score_spread":0.2392593829070486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2570461711","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09185414,0.01049862,0.008430211,0.09094085,0.0009548377,0.000027375909,0.000026123944,0.000048609,0.7972193],"genre_scores_gemma":[0.97062665,0.0014675029,0.0011462228,0.0035355068,0.00029363707,0.000019203682,0.000008588746,0.000030229328,0.022872416],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981616,0.0013339709,0.000017841994,0.00017426765,0.00017940384,0.00013285529],"domain_scores_gemma":[0.9986324,0.0010576128,0.00010466763,0.00008578424,0.000057555422,0.00006208434],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016155306,0.00030633624,0.00019533823,0.0006123101,0.0050149863,0.0055135577,0.0006358269,0.002527287,0.0021036542],"category_scores_gemma":[0.003294736,0.0001510781,0.00014549431,0.00044440114,0.033277865,0.0034676096,0.002192076,0.0039703837,0.00022820142],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011123026,0.000008008231,0.00025891658,0.000030631803,0.0000017316207,0.00023691099,0.109543875,0.00010291322,0.00016280294,0.8667569,0.014946394,0.007939662],"study_design_scores_gemma":[0.000009279981,0.000026290687,0.0010269692,0.00020080512,0.0000047860085,0.0007968223,0.047935806,0.00039788126,0.00046368613,0.19257268,0.7565457,0.000019334891],"about_ca_topic_score_codex":0.0067622242,"about_ca_topic_score_gemma":0.008345737,"teacher_disagreement_score":0.0067622242,"about_ca_system_score_codex":0.0041004587,"about_ca_system_score_gemma":0.0009638012,"threshold_uncertainty_score":0.029751062},"labels":[],"label_agreement":null},{"id":"W2578318562","doi":"10.7202/1044404ar","title":"Le selfie","year":2016,"lang":"fr","type":"article","venue":"Sens public","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Selfie; Humanities; Art; Philosophy","score_opus":0.03379414874460743,"score_gpt":0.23437441998819739,"score_spread":0.20058027124358996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2578318562","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018443367,0.0031885148,0.005212176,0.009163589,0.001461855,0.000035072575,0.0000945019,0.000084684056,0.9623163],"genre_scores_gemma":[0.5805343,0.00403413,0.0031931498,0.0052970517,0.00069539074,0.00008383827,0.00015869128,0.00023352461,0.40577003],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979506,0.0008048648,0.00007637525,0.00033700315,0.00061353523,0.00021763051],"domain_scores_gemma":[0.99862766,0.0005243348,0.00015571207,0.00023651998,0.00030732565,0.00014841977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014974482,0.00039440583,0.00027281136,0.0012409041,0.004913284,0.00817984,0.0005125717,0.0016780859,0.02091879],"category_scores_gemma":[0.00380257,0.00016047603,0.0003345547,0.0008741732,0.012336187,0.0058595245,0.004550529,0.003013571,0.00405434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001772801,0.0000110251585,0.00046895328,0.00006166741,0.0000040017094,0.00014107602,0.026847914,0.00003945634,0.00028049975,0.9358615,0.013957611,0.022308502],"study_design_scores_gemma":[0.0000066136713,0.000025737729,0.0008061878,0.0002078793,0.0000053087992,0.0004984638,0.014215013,0.00009011615,0.0004992076,0.061546076,0.922087,0.000012454821],"about_ca_topic_score_codex":0.0038699992,"about_ca_topic_score_gemma":0.00484624,"teacher_disagreement_score":0.02091879,"about_ca_system_score_codex":0.0033794476,"about_ca_system_score_gemma":0.0025979178,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2586923734","doi":"10.1017/s030747220000016x","title":"<i>IAINBAXTER&amp;raisonnE</i>: Catalogues raisonnés and the ontological turn","year":2015,"lang":"en","type":"article","venue":"Art Libraries Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Categorical variable; Sociology; Aesthetics; Visual arts; Art; Psychology; Computer science","score_opus":0.08476788502021493,"score_gpt":0.25231292846949427,"score_spread":0.16754504344927934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2586923734","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008977121,0.023280093,0.03433027,0.17905478,0.0046243933,0.00007890551,0.0002019411,0.0006374014,0.7488151],"genre_scores_gemma":[0.43048945,0.016518489,0.03284727,0.032983523,0.0028288425,0.00041794524,0.00029566744,0.0016561527,0.4819627],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99719906,0.0014738403,0.00012178673,0.00036669036,0.00068826537,0.00015043029],"domain_scores_gemma":[0.9948025,0.0032622933,0.00029679944,0.0006921344,0.0006267749,0.00031958235],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003849645,0.000377021,0.0003774155,0.0028300823,0.0075683463,0.023939038,0.0012308276,0.0038961526,0.021470606],"category_scores_gemma":[0.008742181,0.000562345,0.00033666703,0.0034221136,0.018787242,0.021717167,0.0056342976,0.005068908,0.0039984337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010679688,0.000009932543,0.000111308356,0.000056996178,0.000002166222,0.000048716138,0.011168882,0.000048404145,0.00014902547,0.87790734,0.09817314,0.012313488],"study_design_scores_gemma":[0.000004568544,0.0000066400767,0.00020804138,0.00020359048,0.000002851616,0.00012201068,0.005765927,0.0001583642,0.0003958533,0.059549306,0.933567,0.000015894178],"about_ca_topic_score_codex":0.015375494,"about_ca_topic_score_gemma":0.025321195,"teacher_disagreement_score":0.023939038,"about_ca_system_score_codex":0.008493953,"about_ca_system_score_gemma":0.0026330699,"threshold_uncertainty_score":0.07182634},"labels":[],"label_agreement":null},{"id":"W2587528998","doi":"","title":"To relate, to read, to separate : a poetics of the collection and a poetics of diffraction","year":2014,"lang":"en","type":"article","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetics; Art; Literature; Philosophy; Poetry","score_opus":0.020888976669663266,"score_gpt":0.25585652668096,"score_spread":0.2349675500112967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2587528998","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15626493,0.009751338,0.12052392,0.03421608,0.0015731911,0.0002202087,0.00022114415,0.00035202908,0.6768771],"genre_scores_gemma":[0.9291354,0.0011941186,0.011300562,0.0015118673,0.00026996926,0.00012659565,0.00006644512,0.0002598669,0.056135166],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99421245,0.0035829379,0.000099075936,0.0004981345,0.0009624595,0.0006449267],"domain_scores_gemma":[0.9949405,0.0027003442,0.00034685156,0.00069344614,0.0007773917,0.0005415707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004214539,0.0008661836,0.0005238261,0.0032384342,0.017357241,0.014592072,0.0015327111,0.0024117944,0.006009574],"category_scores_gemma":[0.010407371,0.00035967457,0.00061208743,0.0029849794,0.06765677,0.013031733,0.0063918997,0.00520688,0.000668797],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003600608,0.000013410218,0.000535211,0.00008043829,0.0000075906087,0.00023087543,0.30862263,0.00015940443,0.0005511466,0.6715644,0.004128783,0.014070077],"study_design_scores_gemma":[0.000033099135,0.00006655158,0.002328684,0.00045777348,0.000025380723,0.0007803601,0.2749998,0.00081284996,0.001292211,0.24664709,0.47246683,0.00008940211],"about_ca_topic_score_codex":0.11338936,"about_ca_topic_score_gemma":0.13693197,"teacher_disagreement_score":0.11338936,"about_ca_system_score_codex":0.014514734,"about_ca_system_score_gemma":0.008632683,"threshold_uncertainty_score":0.22545874},"labels":[],"label_agreement":null},{"id":"W2589032926","doi":"","title":"\"Iconic Features in Charles Simic's Dime-Store Alchemy\", International Symposium on Iconicity in Language and Literature, Universität Toronto, Juni 2009","year":2009,"lang":"en","type":"article","venue":"Bern Open Repository and Information System (University of Bern)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Iconicity; Alchemy; Art history; Linguistics; Art; History; Media studies; Sociology; Philosophy","score_opus":0.006998204523197556,"score_gpt":0.20126107697614914,"score_spread":0.1942628724529516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2589032926","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025580758,0.0048218174,0.024435917,0.028085377,0.0020506838,0.00007026396,0.00025064967,0.000549329,0.91415507],"genre_scores_gemma":[0.52064294,0.0024150258,0.014424684,0.003165727,0.00066807854,0.00006262012,0.00020778696,0.00082561857,0.4575875],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996214,0.00017126792,0.000013990383,0.000044262037,0.00010047009,0.000048706217],"domain_scores_gemma":[0.99950445,0.0002432698,0.000016682632,0.000060711285,0.00012892084,0.000045949204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060145376,0.0004540246,0.00017596624,0.001234822,0.0044965586,0.00569166,0.0006555089,0.0013921083,0.019263376],"category_scores_gemma":[0.0024979727,0.00026555467,0.00018803196,0.00092623255,0.006251965,0.0057570958,0.002240302,0.0022707183,0.0016477478],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035540135,0.000009167713,0.00016119996,0.00003482389,0.000002008735,0.00013346446,0.016282747,0.00013995002,0.00033916358,0.87580335,0.074320726,0.03273792],"study_design_scores_gemma":[0.000014274902,0.000013701408,0.0004448002,0.0001119801,0.000007981984,0.00027234544,0.008775423,0.0008234946,0.0014947249,0.0973143,0.8907066,0.000020388577],"about_ca_topic_score_codex":0.028939612,"about_ca_topic_score_gemma":0.080978505,"teacher_disagreement_score":0.028939612,"about_ca_system_score_codex":0.0025346894,"about_ca_system_score_gemma":0.0013958067,"threshold_uncertainty_score":0.064442456},"labels":[],"label_agreement":null},{"id":"W2596360860","doi":"10.1353/mou.2002.0000","title":"The Face of Tragedy: From Theatrical Mask to Cinematic Close-up","year":2002,"lang":"fr","type":"article","venue":"Mouseion Journal of the Classical Association of Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Medicine","score_opus":0.015060364504692534,"score_gpt":0.21335281925274782,"score_spread":0.1982924547480553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2596360860","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28228468,0.010005053,0.004533922,0.034684446,0.0011887487,0.000036661357,0.00009503313,0.0001042349,0.6670672],"genre_scores_gemma":[0.961031,0.0014993112,0.0004695437,0.0009299976,0.00018523612,0.00001781467,0.00001818928,0.000051851734,0.035797033],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989278,0.00052975793,0.000013582285,0.00009662235,0.0001903951,0.00024182131],"domain_scores_gemma":[0.9990746,0.00038968647,0.00010030812,0.00009757298,0.0001332045,0.00020466388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010030173,0.0003947308,0.0002464245,0.00082876714,0.011383228,0.0090294955,0.00095011014,0.0019875444,0.010568094],"category_scores_gemma":[0.003098838,0.00023755645,0.0001885303,0.00069601304,0.01910696,0.005929408,0.0052561183,0.004373792,0.00067793974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057752153,0.000025290248,0.00062144693,0.000085031155,0.0000053258877,0.00063194573,0.5963539,0.000083745756,0.0010370006,0.3690237,0.014965409,0.017109571],"study_design_scores_gemma":[0.000013038389,0.000041451563,0.003234484,0.0003541899,0.000016063974,0.0008859195,0.43583912,0.00030178853,0.00082571106,0.031898107,0.52656084,0.000029314255],"about_ca_topic_score_codex":0.034885805,"about_ca_topic_score_gemma":0.054477945,"teacher_disagreement_score":0.034885805,"about_ca_system_score_codex":0.007090024,"about_ca_system_score_gemma":0.0031542731,"threshold_uncertainty_score":0.0693655},"labels":[],"label_agreement":null},{"id":"W2597585644","doi":"10.17645/mac.v5i2.809","title":"The New Visual Testimonial: Narrative, Authenticity, and Subjectivity in Emerging Commercial Photographic Practice","year":2017,"lang":"en","type":"article","venue":"Media and Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Sheridan College","funders":"","keywords":"Subjectivity; Narrative; Sociology; Storytelling; Aesthetics; Social media; Epistemology; Political science; Art; Literature; Law","score_opus":0.03290446138268085,"score_gpt":0.3197143260063049,"score_spread":0.28680986462362407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2597585644","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32821572,0.006338195,0.0311171,0.020214796,0.0006182571,0.00008159277,0.000047266338,0.00007583006,0.61329114],"genre_scores_gemma":[0.9822091,0.0012760555,0.0031553234,0.00046805508,0.000106156236,0.000026092348,0.000012157629,0.00003505154,0.012711891],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99606115,0.0029328032,0.00008563177,0.00023499104,0.0005133547,0.00017210291],"domain_scores_gemma":[0.9909786,0.0068751266,0.00051698094,0.0007215485,0.00045475195,0.00045310042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051536127,0.00031803898,0.00022473135,0.0014538663,0.004989321,0.010078495,0.0009528837,0.001577839,0.0062891445],"category_scores_gemma":[0.013395943,0.0002727609,0.00022031102,0.0006762755,0.023701416,0.00775426,0.007873674,0.0026418688,0.00048261826],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003377529,0.000035424433,0.0013619837,0.0002751814,0.0000071854297,0.00078982016,0.6146462,0.00019483866,0.0013406776,0.3377153,0.003665903,0.039933767],"study_design_scores_gemma":[0.000022595765,0.000106629894,0.0036654188,0.0010772017,0.000021892567,0.0027026162,0.51459646,0.001133789,0.0030079456,0.11105876,0.36255214,0.00005456192],"about_ca_topic_score_codex":0.0017684897,"about_ca_topic_score_gemma":0.0032403267,"teacher_disagreement_score":0.010078495,"about_ca_system_score_codex":0.002099773,"about_ca_system_score_gemma":0.0015294536,"threshold_uncertainty_score":0.027255237},"labels":[],"label_agreement":null},{"id":"W2598610357","doi":"10.1007/978-3-319-52214-2_24","title":"When the ‘Here and Now’ Is Nowhere","year":2017,"lang":"en","type":"book-chapter","venue":"Contributions to hermeneutics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Odds; Aesthetics; Space (punctuation); Sight; Perception; Frame (networking); Sociology; Epistemology; Visual arts; Art; Engineering; Computer science; Philosophy; Linguistics","score_opus":0.03613138642341489,"score_gpt":0.27929451568806557,"score_spread":0.24316312926465067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2598610357","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006115899,0.006677551,0.008167132,0.07521331,0.008013463,0.00003057404,0.00005373008,0.00008714751,0.8956412],"genre_scores_gemma":[0.4401399,0.0031966574,0.0047512394,0.029025748,0.0025122745,0.00011491565,0.00008927663,0.0008571939,0.51931286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99445397,0.0025742243,0.0001566236,0.0006902601,0.0011445137,0.0009805429],"domain_scores_gemma":[0.9980532,0.00070001185,0.0001387357,0.00032288043,0.00049908075,0.00028609222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042674076,0.00049298647,0.00059178536,0.0011077588,0.011928811,0.01695633,0.0013384478,0.0053294995,0.02281565],"category_scores_gemma":[0.008927419,0.0005465538,0.0005246476,0.0012475894,0.03215539,0.02395762,0.0058795665,0.014585718,0.004629854],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007905636,0.0000074186587,0.000081537924,0.000019892364,0.0000024307556,0.000058598755,0.018562747,0.000014439715,0.00012877872,0.9519269,0.02230486,0.0068845768],"study_design_scores_gemma":[0.000005554396,0.00000656723,0.00028934903,0.00027534424,0.0000065471004,0.00015271736,0.029613603,0.000057970054,0.0003182536,0.31574953,0.6534953,0.000029234867],"about_ca_topic_score_codex":0.014647101,"about_ca_topic_score_gemma":0.025871433,"teacher_disagreement_score":0.02281565,"about_ca_system_score_codex":0.006331183,"about_ca_system_score_gemma":0.0052746874,"threshold_uncertainty_score":0.07632595},"labels":[],"label_agreement":null},{"id":"W2602555113","doi":"","title":"The Audience’s Response to Plato’s Eschatological Myths: Aesthetic Experience at the Service of Morality","year":2015,"lang":"en","type":"article","venue":"Organon","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Mythology; Morality; Aesthetics; Philosophy; Sociology; Psychology; Art; Literature; Epistemology","score_opus":0.07462191791467662,"score_gpt":0.29008695376077465,"score_spread":0.21546503584609802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2602555113","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14006038,0.0016582068,0.00785595,0.07900374,0.002065558,0.000033112952,0.000049627717,0.000105666586,0.7691677],"genre_scores_gemma":[0.96815586,0.0002271659,0.00053810206,0.0036579634,0.00039525147,0.000020444582,0.000010870302,0.00014727807,0.02684691],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99471515,0.0037113943,0.00005209486,0.0003300044,0.00061388867,0.0005774647],"domain_scores_gemma":[0.9959739,0.0027292594,0.00021307074,0.00030452127,0.00036362978,0.00041554586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005612295,0.00061980943,0.00038447676,0.0012855172,0.012176771,0.01312019,0.0009961838,0.0062286756,0.010050366],"category_scores_gemma":[0.011390915,0.00031032754,0.0004782804,0.0007999921,0.037340768,0.009648248,0.0076238685,0.011347235,0.0007609229],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006424793,0.000029239261,0.00032308893,0.0000498638,0.000008665542,0.00039789878,0.47460014,0.00011681782,0.0010261784,0.50889784,0.010436984,0.004049043],"study_design_scores_gemma":[0.000053442058,0.00008051254,0.0014655489,0.00029062474,0.000018301114,0.0006803409,0.4014883,0.0007912161,0.0012620328,0.23983428,0.3539741,0.00006127835],"about_ca_topic_score_codex":0.0021611196,"about_ca_topic_score_gemma":0.0020195558,"teacher_disagreement_score":0.01312019,"about_ca_system_score_codex":0.0029821172,"about_ca_system_score_gemma":0.0013653336,"threshold_uncertainty_score":0.033621788},"labels":[],"label_agreement":null},{"id":"W2604279206","doi":"10.7202/1038867ar","title":"Veiller les décombres. Un essai visuel","year":2017,"lang":"fr","type":"article","venue":"Frontières","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Art; Humanities","score_opus":0.03269701103403174,"score_gpt":0.26998644577716413,"score_spread":0.23728943474313238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604279206","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09416679,0.010435555,0.08198321,0.014568034,0.0040577403,0.0002570359,0.0011432935,0.00073144824,0.79265684],"genre_scores_gemma":[0.41026053,0.00571805,0.043054268,0.0020889475,0.000735069,0.0002004681,0.0007213136,0.0012631988,0.5359582],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989492,0.00037484622,0.000044036686,0.0003028998,0.0002228439,0.00010617219],"domain_scores_gemma":[0.9989557,0.00032774612,0.00009395503,0.00032077124,0.0002037908,0.00009804611],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014301437,0.00081500714,0.00030268644,0.0024343855,0.004123126,0.007425785,0.0007899074,0.0011947295,0.04499801],"category_scores_gemma":[0.0038150991,0.00044649257,0.0003758925,0.0019944962,0.00563089,0.008181276,0.004516826,0.0020512373,0.006955405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016460767,0.000027281405,0.0030766975,0.00039327116,0.000027610651,0.000701876,0.09201312,0.0003394083,0.005125167,0.6462959,0.0319869,0.2198482],"study_design_scores_gemma":[0.0000054783072,0.000031228465,0.002357836,0.00037474086,0.000020431455,0.0004075363,0.023648499,0.00024062578,0.0020020765,0.03563124,0.93526024,0.000020025462],"about_ca_topic_score_codex":0.008027715,"about_ca_topic_score_gemma":0.023840398,"teacher_disagreement_score":0.04499801,"about_ca_system_score_codex":0.0025918656,"about_ca_system_score_gemma":0.0014980722,"threshold_uncertainty_score":0.15053338},"labels":[],"label_agreement":null},{"id":"W2607309088","doi":"10.5430/ijhe.v6n2p188","title":"New Perspective on Visual Communication Design Education: An Empirical Study of Applying Narrative Theory to Graphic Design Courses","year":2017,"lang":"en","type":"article","venue":"International Journal of Higher Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Ministry of Science and Technology, Taiwan","keywords":"Narrative; Visual communication; Communication design; Creativity; Perspective (graphical); Storytelling; Semiotics; Graphic design; Computer science; Design education; Nonverbal communication; Psychology; Multimedia; Human–computer interaction; Mathematics education; Cognitive science; Communication; Linguistics; Visual arts; Social psychology; Artificial intelligence","score_opus":0.09650366035592038,"score_gpt":0.4404863409237688,"score_spread":0.3439826805678484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2607309088","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9891912,0.00021559728,0.0026163724,0.00067508133,0.000019429715,0.00015834958,0.00000927661,0.00000402371,0.0071107396],"genre_scores_gemma":[0.99487597,0.00040949023,0.0024224052,0.00031744404,0.000013053539,0.00013735572,0.000010771302,0.0000073754823,0.0018061793],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9881925,0.00846216,0.0003644644,0.0007546417,0.001529736,0.00069639133],"domain_scores_gemma":[0.9579886,0.033460416,0.0032992435,0.0014465449,0.0022595841,0.0015456418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017074302,0.00039832812,0.00046174822,0.0016850053,0.0034386187,0.0053849863,0.0012260812,0.0013669463,0.003093176],"category_scores_gemma":[0.03901769,0.0005082866,0.00026307223,0.0012379468,0.0061676702,0.00622617,0.0039721546,0.00342639,0.00034760433],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007574996,0.0021639052,0.02209973,0.0003390571,0.000008331616,0.00078224164,0.91595256,0.000105441155,0.002776462,0.010795011,0.00038760886,0.044513803],"study_design_scores_gemma":[0.000060844264,0.0011583038,0.031198837,0.0006549203,0.000029304161,0.0012491704,0.9288924,0.0010614967,0.0036608535,0.0031823767,0.028812695,0.000038857528],"about_ca_topic_score_codex":0.0010615531,"about_ca_topic_score_gemma":0.0018434505,"teacher_disagreement_score":0.017074302,"about_ca_system_score_codex":0.002365361,"about_ca_system_score_gemma":0.003292133,"threshold_uncertainty_score":0.09029859},"labels":[],"label_agreement":null},{"id":"W2609153695","doi":"10.1515/nor-2017-0415","title":"The Iconic Image in a Digital Age","year":2017,"lang":"en","type":"article","venue":"Nordicom review/NORDICOM review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":34,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Newspaper; Reflexivity; Photojournalism; Narrative; Salient; Normative; Media studies; Sociology; Set (abstract data type); Perception; Social media; Digital media; Period (music); History; Visual arts; Aesthetics; Psychology; Photography; Social science; Art; Political science; Literature; Law; Computer science","score_opus":0.04805788665510365,"score_gpt":0.3180991426461647,"score_spread":0.27004125599106105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2609153695","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12076838,0.45883697,0.001740729,0.044699535,0.005356449,0.00004703701,0.00006950387,0.000044485143,0.36843687],"genre_scores_gemma":[0.876115,0.10173643,0.0006760329,0.006498051,0.002337571,0.000030293835,0.000035940422,0.000021393307,0.012549174],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99325573,0.004409988,0.00024676515,0.00036223815,0.0014228672,0.0003024185],"domain_scores_gemma":[0.98976445,0.0066169207,0.0014205755,0.000521104,0.0013151263,0.0003617777],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049772155,0.000221348,0.00028511943,0.0026053118,0.0015702987,0.00709707,0.00050999294,0.0013021593,0.0038372122],"category_scores_gemma":[0.012115677,0.00012367353,0.00016529414,0.0019757233,0.010177076,0.0034992392,0.0024478945,0.0012626847,0.00045367237],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019839707,0.000057124074,0.006636805,0.005726344,0.000110157016,0.0012963556,0.17939547,0.00021394365,0.0018624619,0.35388416,0.04847868,0.40214014],"study_design_scores_gemma":[0.000015509248,0.00006237115,0.0092879,0.006357063,0.000055053162,0.0011952077,0.07713353,0.000041239597,0.0005963471,0.013145136,0.8920907,0.000019896384],"about_ca_topic_score_codex":0.0045280876,"about_ca_topic_score_gemma":0.0055532996,"teacher_disagreement_score":0.00709707,"about_ca_system_score_codex":0.002562489,"about_ca_system_score_gemma":0.0025479307,"threshold_uncertainty_score":0.026322305},"labels":[],"label_agreement":null},{"id":"W2609977713","doi":"10.1080/08989575.2017.1288987","title":"Memory, Digital Media, and Life Writing","year":2017,"lang":"en","type":"article","venue":"a/b Auto/Biography Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Childhood memory; Life writing; Moment (physics); Semiconductor memory; Psychology; History; Psychoanalysis; Literature; Art; Computer science; Narrative; Episodic memory; Cognition; Neuroscience","score_opus":0.06464489971329272,"score_gpt":0.2884506913205792,"score_spread":0.22380579160728648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2609977713","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.119663976,0.07117208,0.0007635606,0.10876171,0.001158776,0.000019838342,0.00012409115,0.00006875083,0.6982672],"genre_scores_gemma":[0.9107275,0.019137705,0.0005061355,0.0065794713,0.0009505911,0.000035848596,0.000044188277,0.000043201224,0.061975364],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990501,0.00059187936,0.000041001313,0.000077065975,0.00012406701,0.00011594974],"domain_scores_gemma":[0.99622726,0.002172838,0.0006176407,0.00019072594,0.00020905319,0.00058248173],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012514764,0.00022535789,0.00013833783,0.0015574152,0.0045057633,0.010190236,0.000652355,0.0011591326,0.011702845],"category_scores_gemma":[0.0052124998,0.00010727772,0.00009078889,0.0015146134,0.010494661,0.0074247136,0.0032084114,0.0018696567,0.0008469929],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010209613,0.00016515418,0.006146798,0.00047848187,0.000026609348,0.0008963676,0.22649463,0.00013831626,0.00018446213,0.50015503,0.13589147,0.12932062],"study_design_scores_gemma":[0.000021446422,0.000042718304,0.0074684625,0.0007614152,0.0000093285735,0.0008752418,0.16825016,0.000090345864,0.00029697776,0.0734183,0.7487394,0.00002617491],"about_ca_topic_score_codex":0.0037043004,"about_ca_topic_score_gemma":0.0078102886,"teacher_disagreement_score":0.011702845,"about_ca_system_score_codex":0.0017993554,"about_ca_system_score_gemma":0.0010742878,"threshold_uncertainty_score":0.03914988},"labels":[],"label_agreement":null},{"id":"W2613726878","doi":"","title":"Circulation and Contradiction in Adrian Blackwell’s Furnishing Positions / Circulation et contradiction dans Furnishing Positions d’Adrian Blackwell","year":2015,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Contradiction; Circulation (fluid dynamics); Philosophy; Physics; Epistemology; Mechanics","score_opus":0.050606803979478227,"score_gpt":0.28663198302837406,"score_spread":0.23602517904889583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2613726878","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023699667,0.020832451,0.008845689,0.15805137,0.006688653,0.000024522606,0.000062343766,0.0000804491,0.78171486],"genre_scores_gemma":[0.7674281,0.0047176364,0.0035095096,0.015983243,0.0030662958,0.00006566914,0.000028932902,0.00028960992,0.20491096],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9941141,0.0031002252,0.00025456038,0.00066134194,0.0010185825,0.00085124414],"domain_scores_gemma":[0.9938788,0.0037994743,0.0004265206,0.00044462143,0.00086438033,0.0005861627],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047658496,0.0007146407,0.0006902994,0.002362781,0.014650762,0.017990092,0.001038408,0.007920676,0.00885635],"category_scores_gemma":[0.012572695,0.0005976147,0.0003992422,0.0021506513,0.0395174,0.010238305,0.005784139,0.0114321,0.0017979728],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006051289,0.000003951402,0.00003504321,0.000007952221,0.0000016574096,0.00004665724,0.0069626505,0.000025663965,0.000016131014,0.9798623,0.0113912225,0.0016407052],"study_design_scores_gemma":[0.00001770536,0.000009803432,0.00019333875,0.0001618882,0.0000083181285,0.00023443393,0.007889711,0.00021446946,0.00014103262,0.5566113,0.43447867,0.000039283157],"about_ca_topic_score_codex":0.012691684,"about_ca_topic_score_gemma":0.0191126,"teacher_disagreement_score":0.017990092,"about_ca_system_score_codex":0.010050718,"about_ca_system_score_gemma":0.003855327,"threshold_uncertainty_score":0.07292336},"labels":[],"label_agreement":null},{"id":"W2619692691","doi":"10.26443/crae.v43i1.16","title":"L’Educational Turn. L’éducation comme média artistique: À la recherche d’une interactivité nouvelle","year":2016,"lang":"en","type":"article","venue":"Canadian Review of Art Education Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Museology; Humanities; Art; Contemporary art; Art history; Sociology; Visual arts; Performance art","score_opus":0.4445380784641584,"score_gpt":0.48099977229634977,"score_spread":0.03646169383219139,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2619692691","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2309091,0.054081224,0.014026248,0.04807584,0.0013175481,0.000079865174,0.00011696352,0.000077022196,0.6513163],"genre_scores_gemma":[0.97979784,0.004635339,0.0009997329,0.0011126628,0.00035349006,0.000050797018,0.000018539191,0.000032457243,0.012999145],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9959417,0.0026736942,0.00006813295,0.00035317894,0.0005863781,0.00037690604],"domain_scores_gemma":[0.9937622,0.004996516,0.00036936384,0.00026735914,0.00033997875,0.00026455548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042072153,0.00047886203,0.00026977016,0.0021296872,0.00544751,0.01579438,0.00082514825,0.0023451787,0.007715445],"category_scores_gemma":[0.005558116,0.00021028492,0.00040282533,0.0018804945,0.025563193,0.010449992,0.0063716164,0.0043908437,0.00052190933],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046826688,0.000038838392,0.0025418776,0.0002506456,0.000009714219,0.00056919234,0.25697005,0.00011130958,0.0003599908,0.716166,0.0032159048,0.019719653],"study_design_scores_gemma":[0.000024608413,0.000053640644,0.007861483,0.0015538089,0.000031889052,0.0012787185,0.34504125,0.00067178014,0.0014515781,0.05907,0.58292276,0.000038504513],"about_ca_topic_score_codex":0.013126528,"about_ca_topic_score_gemma":0.012067358,"teacher_disagreement_score":0.01579438,"about_ca_system_score_codex":0.0071959477,"about_ca_system_score_gemma":0.0039329184,"threshold_uncertainty_score":0.05221051},"labels":[],"label_agreement":null},{"id":"W2620026343","doi":"","title":"L’art critique, le sens critique et la disponibilité / Critical Art, Critical Sense, and Receptivity","year":2015,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Receptivity; Philosophy; Humanities; Sociology; Epistemology","score_opus":0.049099229358530484,"score_gpt":0.3668422029286613,"score_spread":0.3177429735701308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620026343","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036390744,0.017447656,0.021358354,0.25131604,0.0021383178,0.00006216177,0.00006556444,0.00006310107,0.67115813],"genre_scores_gemma":[0.9632792,0.002467368,0.0023126162,0.008857114,0.0015306487,0.00011562412,0.000021355578,0.00010660056,0.021309521],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.97032917,0.022901246,0.00054647675,0.0016943404,0.0033674778,0.0011613616],"domain_scores_gemma":[0.95410204,0.037309553,0.0025041813,0.0025708047,0.0024996253,0.001013795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.021615636,0.0010072206,0.00081751635,0.00367911,0.011971212,0.020728923,0.0021963909,0.009701772,0.0070055565],"category_scores_gemma":[0.040314876,0.00045399705,0.0007209188,0.0024389825,0.12697987,0.018557612,0.0071669915,0.0107542705,0.0006625323],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051872244,0.0000047930766,0.00007806006,0.000027371627,0.0000024521883,0.000025985737,0.0153682735,0.00002806825,0.000029419904,0.98129797,0.0018247168,0.0013077558],"study_design_scores_gemma":[0.000017816941,0.000010789057,0.00021819065,0.00027762097,0.000007393722,0.00010676757,0.021433104,0.00021250466,0.00020007486,0.90748423,0.07001571,0.00001588533],"about_ca_topic_score_codex":0.007661994,"about_ca_topic_score_gemma":0.006588196,"teacher_disagreement_score":0.021615636,"about_ca_system_score_codex":0.00789551,"about_ca_system_score_gemma":0.008402375,"threshold_uncertainty_score":0.11431581},"labels":[],"label_agreement":null},{"id":"W2643935723","doi":"10.1093/oxfordhb/9780195176674.013.019","title":"Christianity and Visual Art","year":2014,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Secularization; Christianity; Modernity; Christian art; Faith; Contemporary art; Spirituality; Aesthetics; Postmodernism; Modern art; Visual culture; Art; Religious studies; History; Literature; Art history; Philosophy; Visual arts; Theology; Epistemology; Performance art","score_opus":0.025134857009841898,"score_gpt":0.2010888473022761,"score_spread":0.17595399029243422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2643935723","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008529144,0.030662574,0.00058099255,0.0043591587,0.0007501384,0.000009632005,0.000020407082,0.000029463452,0.9550586],"genre_scores_gemma":[0.5657172,0.028060803,0.0009613261,0.0035716102,0.0015335907,0.000029138371,0.000058945283,0.00009904301,0.39996836],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961394,0.00016587484,0.000009241456,0.000047125373,0.00010824545,0.000055606488],"domain_scores_gemma":[0.99961567,0.00020840293,0.00002343641,0.000043615528,0.00005202819,0.00005668251],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039152542,0.0003690309,0.00016534489,0.0012288621,0.0031332567,0.0060604336,0.00042973208,0.0009981637,0.024778696],"category_scores_gemma":[0.0010582433,0.00011192705,0.00015876045,0.0010714955,0.009414114,0.0021765595,0.0019265467,0.002131145,0.001318217],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015767377,0.000025015572,0.00021504977,0.0001787991,0.0000032806843,0.00009296505,0.013267186,0.00016318938,0.00028542115,0.90254647,0.033801638,0.04940515],"study_design_scores_gemma":[0.0000071328136,0.000019164554,0.00094742764,0.0009412114,0.0000037311145,0.000324157,0.008902293,0.00021712588,0.00031821468,0.10253678,0.88577235,0.000010319755],"about_ca_topic_score_codex":0.0053124647,"about_ca_topic_score_gemma":0.00637605,"teacher_disagreement_score":0.024778696,"about_ca_system_score_codex":0.0021991911,"about_ca_system_score_gemma":0.0012219783,"threshold_uncertainty_score":0.082893014},"labels":[],"label_agreement":null},{"id":"W2679583664","doi":"","title":"L’idée de la peinture / The Idea of Painting","year":2012,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Painting; Art; Humanities; Art history","score_opus":0.029824753957730227,"score_gpt":0.3012811488158366,"score_spread":0.2714563948581064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2679583664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006017075,0.00956461,0.016754868,0.038580265,0.0020105895,0.000017122156,0.00006879065,0.000065839056,0.9269208],"genre_scores_gemma":[0.66169953,0.0076949187,0.011204137,0.010800371,0.0050551738,0.00014626961,0.00009953871,0.0003902919,0.30290976],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99737704,0.0015135265,0.000060146336,0.00038549438,0.0004606685,0.00020302468],"domain_scores_gemma":[0.99853456,0.00081446837,0.000100306985,0.00025847796,0.00020440955,0.000087731605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028968249,0.00074705953,0.00045564893,0.0015650211,0.0038762211,0.009528199,0.0007927604,0.003976381,0.013971133],"category_scores_gemma":[0.0045256447,0.00039467058,0.0006820523,0.00093830057,0.025291983,0.011857186,0.0028958307,0.007497115,0.0023141934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028949994,0.0000016172354,0.000014328164,0.0000057380444,8.0472995e-7,0.00000668439,0.00051603996,0.000017515265,0.000019563951,0.99632156,0.0019287504,0.0011644806],"study_design_scores_gemma":[0.000016010865,0.000008002055,0.0001682078,0.00007113718,0.000003854562,0.00014541035,0.0008625674,0.00025593038,0.00015236084,0.6975702,0.30073532,0.000011006374],"about_ca_topic_score_codex":0.004730977,"about_ca_topic_score_gemma":0.0033839843,"teacher_disagreement_score":0.013971133,"about_ca_system_score_codex":0.0033527012,"about_ca_system_score_gemma":0.0013363913,"threshold_uncertainty_score":0.04673803},"labels":[],"label_agreement":null},{"id":"W2690582989","doi":"10.4018/ijsvr.2017010104","title":"Orders of Experience","year":2017,"lang":"en","type":"article","venue":"International Journal of Semiotics and Visual Rhetoric","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Epitome; Panorama; Aesthetics; Art; Art history; Visual arts; Literature","score_opus":0.04268262212480768,"score_gpt":0.34868288814447623,"score_spread":0.30600026601966857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2690582989","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02839104,0.0033082624,0.006479052,0.008574689,0.00058315665,0.000034890196,0.00015345818,0.00007682286,0.9523986],"genre_scores_gemma":[0.9212829,0.0019441604,0.0026694033,0.0012371342,0.00025776532,0.00006707174,0.00015537701,0.00011641363,0.07226963],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9980836,0.00091334805,0.00008457466,0.00027202044,0.00038091515,0.00026561695],"domain_scores_gemma":[0.998536,0.0005320346,0.00009968954,0.00033318155,0.0002672256,0.00023191336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012823262,0.00030215533,0.00023642622,0.0010508132,0.0032605971,0.00944846,0.0004992401,0.001203561,0.018464666],"category_scores_gemma":[0.0040695346,0.00016152702,0.0002669188,0.0009433922,0.01660409,0.009363101,0.0040651346,0.0020426286,0.002233745],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002233393,0.0000068799604,0.0004632416,0.00004406508,0.0000021583696,0.00007762873,0.039985787,0.0000411669,0.00024629149,0.9438803,0.0044144075,0.010815697],"study_design_scores_gemma":[0.000015766116,0.000057933772,0.0020316981,0.00026363635,0.000005777071,0.00045149794,0.061663684,0.00016469929,0.00027716524,0.37152267,0.5635252,0.000020279105],"about_ca_topic_score_codex":0.0027049517,"about_ca_topic_score_gemma":0.002515417,"teacher_disagreement_score":0.018464666,"about_ca_system_score_codex":0.0028228625,"about_ca_system_score_gemma":0.0013237629,"threshold_uncertainty_score":0.06177044},"labels":[],"label_agreement":null},{"id":"W2694773317","doi":"10.21992/t9hd02","title":"Photographed Metaphors: Meaning, Reference, and Translation in Manoel de Barros","year":2017,"lang":"en","type":"article","venue":"TranscUlturAl A Journal of Translation and Cultural Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Meaning (existential); Focus (optics); Reading (process); Linguistics; Art; Literature; Philosophy; Epistemology","score_opus":0.17078345086569077,"score_gpt":0.34288925448524366,"score_spread":0.17210580361955288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2694773317","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32913306,0.019445539,0.029598525,0.04842528,0.0022115896,0.00013618304,0.00008468225,0.00020472945,0.5707604],"genre_scores_gemma":[0.98080635,0.0021193505,0.002084719,0.00074359245,0.00006535559,0.000044020588,0.000010265296,0.00006801106,0.014058393],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99617743,0.0030043116,0.000054719123,0.00020250412,0.0003685076,0.00019246902],"domain_scores_gemma":[0.9971631,0.002093928,0.00019060331,0.00021527117,0.00019352697,0.00014360734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003538875,0.0005774359,0.0004667871,0.0017351328,0.008376044,0.0050709494,0.0008156547,0.0019624487,0.0043116594],"category_scores_gemma":[0.009625204,0.00030671965,0.00027279314,0.0016017815,0.028745353,0.0051774257,0.0042374544,0.0025856367,0.0003634132],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027028675,0.000014538803,0.00034685273,0.00014342334,0.0000028458442,0.0006274578,0.6093261,0.00006878437,0.0008662722,0.37422055,0.002705756,0.01165041],"study_design_scores_gemma":[0.000012074681,0.00004703123,0.0013211543,0.0008030338,0.000012028018,0.0010506163,0.42334896,0.00033545788,0.0010294999,0.05373649,0.518275,0.000028613997],"about_ca_topic_score_codex":0.014656678,"about_ca_topic_score_gemma":0.030251823,"teacher_disagreement_score":0.014656678,"about_ca_system_score_codex":0.0041357432,"about_ca_system_score_gemma":0.0025373516,"threshold_uncertainty_score":0.030007064},"labels":[],"label_agreement":null},{"id":"W2725777528","doi":"10.1353/vpr.2017.0027","title":"The \"Hermeneutic Imperative\" and Victorian Word Portraits","year":2017,"lang":"en","type":"article","venue":"Victorian periodicals review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; Highbrow; Middlebrow; Period (music); Aesthetics; Word (group theory); Literature; History; Sociology; Visual arts; Art; Linguistics; Philosophy","score_opus":0.02943647804794538,"score_gpt":0.29542969124314206,"score_spread":0.2659932131951967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2725777528","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.092383385,0.14861244,0.0059598847,0.037736293,0.0022844612,0.000029202934,0.000044747158,0.000046343062,0.7129033],"genre_scores_gemma":[0.93263876,0.024294201,0.0012189104,0.0026594752,0.0006275557,0.000023205557,0.000022131288,0.00006420105,0.03845142],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966493,0.0016404667,0.00013008204,0.00028248288,0.0009824536,0.0003151315],"domain_scores_gemma":[0.99758124,0.0013324931,0.00036222642,0.00020777182,0.0003550139,0.00016131318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00285518,0.00026854916,0.00024575018,0.0020484282,0.0044574756,0.008750205,0.00072244107,0.0016135145,0.0027893386],"category_scores_gemma":[0.005771651,0.0002550604,0.00015311177,0.0022646238,0.032978676,0.004414018,0.003112865,0.0032222222,0.0004958178],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008912097,0.0000032692571,0.00020193952,0.00022900647,0.0000033610058,0.00016281323,0.06710352,0.000049359765,0.0002717756,0.91233516,0.00456404,0.015066871],"study_design_scores_gemma":[0.000005574894,0.000011345289,0.0026982091,0.0015405619,0.000010597041,0.000824638,0.044187434,0.00014915995,0.0005332963,0.14168969,0.80832887,0.000020690342],"about_ca_topic_score_codex":0.025449833,"about_ca_topic_score_gemma":0.03847802,"teacher_disagreement_score":0.025449833,"about_ca_system_score_codex":0.007500791,"about_ca_system_score_gemma":0.0047405427,"threshold_uncertainty_score":0.05442238},"labels":[],"label_agreement":null},{"id":"W2726984113","doi":"","title":"Toward a Critical Mode of Spectacularity: Thoughts on a Terminological Review / Un mode critique pour la spectacularité : réflexions sur la terminologie","year":2014,"lang":"fr","type":"review","venue":"Esse/Esse arts + opinions","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mode (computer interface); Philosophy; Humanities; Sociology; Epistemology; Computer science; Human–computer interaction","score_opus":0.10730930693015743,"score_gpt":0.3939248855215181,"score_spread":0.28661557859136066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2726984113","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040429347,0.9240398,0.0038672623,0.058096733,0.0035022204,0.000030844192,0.00006361591,0.000020708325,0.009974514],"genre_scores_gemma":[0.02946535,0.90762836,0.0065433546,0.044152044,0.0073746312,0.00045293936,0.00017640128,0.00008108954,0.004125854],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98839885,0.006869502,0.0011496929,0.00074540864,0.0024588294,0.0003777057],"domain_scores_gemma":[0.9475925,0.042950183,0.0024597493,0.0009905328,0.0054533216,0.0005537483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.031950176,0.0011253201,0.002866987,0.013580898,0.0030522195,0.01629766,0.0028217447,0.0061184242,0.005179145],"category_scores_gemma":[0.045201935,0.00050550234,0.0015471544,0.017024063,0.023054108,0.02467343,0.006880916,0.008967549,0.0012395061],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079462465,0.00002468916,0.00028600582,0.020485671,0.00011833788,0.00017085778,0.013434806,0.00018346314,0.00040996348,0.7290663,0.078018144,0.15772225],"study_design_scores_gemma":[0.000029644105,0.000029201277,0.0003974395,0.04256477,0.00014597394,0.00029413623,0.008974264,0.00012092769,0.00023117532,0.17673162,0.77044237,0.000038539583],"about_ca_topic_score_codex":0.0041017225,"about_ca_topic_score_gemma":0.0053469394,"teacher_disagreement_score":0.031950176,"about_ca_system_score_codex":0.008190404,"about_ca_system_score_gemma":0.01916065,"threshold_uncertainty_score":0.1689707},"labels":[],"label_agreement":null},{"id":"W2729600478","doi":"","title":"La nature « hors champ » de l’art / The \"Off-Camera\" Nature of Art","year":2000,"lang":"fr","type":"article","venue":"Espace Sculpture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.006454663998168541,"score_gpt":0.24177268098316843,"score_spread":0.23531801698499988,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2729600478","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011944337,0.004369817,0.0069553657,0.0135940695,0.0007600436,0.000013062577,0.000049623777,0.00006073565,0.9622529],"genre_scores_gemma":[0.7233717,0.003436811,0.0043767886,0.0035318101,0.001397195,0.00005080912,0.00008309939,0.00027768884,0.2634741],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982644,0.0008079835,0.000026134774,0.00025478832,0.0004724052,0.00017430887],"domain_scores_gemma":[0.99868196,0.0006532744,0.000103434606,0.00022360781,0.00022282997,0.00011482934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012790486,0.00054977933,0.00027408468,0.0014140004,0.0050945613,0.014120821,0.0007190788,0.002691563,0.020744005],"category_scores_gemma":[0.0027223171,0.00024465233,0.0002933007,0.0011688247,0.02540804,0.0080185905,0.0029641688,0.005075607,0.0021216413],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001144208,0.00000809839,0.00014906266,0.000040100855,0.0000032504638,0.000032345557,0.005843843,0.00008463781,0.00026541384,0.9750548,0.008682685,0.009824276],"study_design_scores_gemma":[0.000011302327,0.000020844065,0.0013910058,0.00021838986,0.0000070812252,0.00039745457,0.010547832,0.00046301482,0.0007926688,0.25439093,0.7317337,0.000025705522],"about_ca_topic_score_codex":0.017217198,"about_ca_topic_score_gemma":0.018176008,"teacher_disagreement_score":0.020744005,"about_ca_system_score_codex":0.0037340433,"about_ca_system_score_gemma":0.0021484983,"threshold_uncertainty_score":0.0693956},"labels":[],"label_agreement":null},{"id":"W2734342237","doi":"10.4000/sillagescritiques.4749","title":"The “text of life” in Vito Acconci’s Diary of a Body","year":2016,"lang":"en","type":"article","venue":"Sillages critiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Artificial Intelligence in Medicine (Canada)","funders":"","keywords":"Humanities; Art","score_opus":0.0209469272870937,"score_gpt":0.2700272721091052,"score_spread":0.24908034482201152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2734342237","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13931903,0.04267993,0.006997286,0.103649944,0.017794851,0.00014653114,0.0013220075,0.00020105593,0.68788946],"genre_scores_gemma":[0.81836486,0.013529159,0.0020480182,0.008007033,0.002637531,0.00023241338,0.00040365805,0.00031035772,0.15446699],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888235,0.00065325096,0.00003615883,0.00010428796,0.000195134,0.0001287109],"domain_scores_gemma":[0.9979183,0.0014408933,0.00014629036,0.00014772653,0.00013535016,0.00021137412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010045636,0.00038595853,0.0002785324,0.0014680247,0.0058377325,0.0061075254,0.000597846,0.0013141881,0.0054004113],"category_scores_gemma":[0.005868954,0.00023868891,0.00014468913,0.0020492012,0.009348698,0.004580978,0.0024531959,0.0036965762,0.0008399956],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001037958,0.000027715476,0.0010633972,0.00027592012,0.000005430638,0.00040072828,0.5352447,0.00008751242,0.0007382822,0.25123546,0.18396017,0.02685691],"study_design_scores_gemma":[0.0000035352937,0.00001145396,0.0014579878,0.00033681776,0.0000025458207,0.00016518045,0.056632504,0.000048742713,0.00030237128,0.004078631,0.9369484,0.000011747945],"about_ca_topic_score_codex":0.011971827,"about_ca_topic_score_gemma":0.026670072,"teacher_disagreement_score":0.011971827,"about_ca_system_score_codex":0.003822377,"about_ca_system_score_gemma":0.0015985158,"threshold_uncertainty_score":0.027733386},"labels":[],"label_agreement":null},{"id":"W2736190595","doi":"10.4000/belphegor.896","title":"Technology and its miniature: the photograph","year":2017,"lang":"en","type":"article","venue":"Belphégor","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Object (grammar); Metaphor; Visual culture; Miniaturization; Visual arts; Computer science; Distortion (music); Art; Artificial intelligence; History; Engineering; Telecommunications; Philosophy; Electrical engineering; Linguistics","score_opus":0.03281796210554056,"score_gpt":0.265008574875303,"score_spread":0.23219061276976244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2736190595","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024906598,0.066488534,0.0070058024,0.054724444,0.0024512366,0.00003041535,0.00008616486,0.000080877806,0.8442259],"genre_scores_gemma":[0.79368323,0.034954887,0.0042467727,0.0070607057,0.001895064,0.00006299788,0.000055521523,0.0001485561,0.15789223],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990079,0.0005945835,0.000022073198,0.00012476693,0.00016852381,0.00008223901],"domain_scores_gemma":[0.99909985,0.00049150543,0.0000758979,0.00014433141,0.00008737395,0.000101032536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001075987,0.0003435729,0.00023385427,0.0010675086,0.004579445,0.008098332,0.00045103734,0.0016821609,0.010211083],"category_scores_gemma":[0.0025535636,0.00018100323,0.00018639151,0.0012071386,0.019060023,0.009011004,0.0032289266,0.002759485,0.0011076555],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014662078,0.000008439241,0.00015063633,0.00006395356,0.000002431262,0.00010626919,0.015025772,0.00006256372,0.00016814284,0.9465202,0.02290131,0.014975588],"study_design_scores_gemma":[0.0000068190966,0.000031830445,0.00066945556,0.00033305335,0.000006557224,0.0003951583,0.01483796,0.000101270554,0.00032334926,0.09960714,0.8836735,0.0000140083275],"about_ca_topic_score_codex":0.0035852867,"about_ca_topic_score_gemma":0.0058468254,"teacher_disagreement_score":0.010211083,"about_ca_system_score_codex":0.0035987522,"about_ca_system_score_gemma":0.0012537875,"threshold_uncertainty_score":0.03415948},"labels":[],"label_agreement":null},{"id":"W2737960636","doi":"10.7202/1040487ar","title":"De Musidora à Mad Souri : l’influence du cinéma sur Le trésor des Jésuites de Breton et Aragon","year":2017,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.03075469760500118,"score_gpt":0.2585314166608694,"score_spread":0.2277767190558682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737960636","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52423733,0.0048768525,0.000724492,0.014093964,0.0007331296,0.000027374694,0.000043641383,0.000032195345,0.45523107],"genre_scores_gemma":[0.96478194,0.00079107,0.00016743288,0.0005170977,0.00006364229,0.000011625137,0.00001059327,0.00002751199,0.033629045],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929726,0.0003762298,0.000007470565,0.00007185143,0.00009577035,0.00015130277],"domain_scores_gemma":[0.99903154,0.00053928536,0.000085468964,0.000040440653,0.00010820519,0.00019493603],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010998537,0.0002711378,0.00017073369,0.00059581915,0.0067378054,0.005279831,0.0004968908,0.00087798055,0.00801486],"category_scores_gemma":[0.0022903243,0.00018880662,0.00012004418,0.0005256412,0.006685428,0.0012965803,0.002229655,0.002091389,0.00037509837],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013403155,0.000045631306,0.0040996685,0.00016706543,0.000010579613,0.0008304011,0.79107904,0.00008004176,0.002325699,0.14310041,0.014469453,0.043657936],"study_design_scores_gemma":[0.000016442147,0.000069090536,0.023482963,0.0004967119,0.000018297673,0.0004033178,0.36664084,0.00018101108,0.0007797356,0.0051613473,0.6027219,0.000028305094],"about_ca_topic_score_codex":0.07480751,"about_ca_topic_score_gemma":0.17845953,"teacher_disagreement_score":0.9251925,"about_ca_system_score_codex":0.0053765597,"about_ca_system_score_gemma":0.0023188584,"threshold_uncertainty_score":0.14874417},"labels":[],"label_agreement":null},{"id":"W2741340739","doi":"10.1163/24054992-00022p01","title":"True or False: Japonisme and the Historiography of Modern Design","year":2017,"lang":"en","type":"article","venue":"Journal of Japonisme","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Historiography; The arts; Painting; Quarter (Canadian coin); Interpretation (philosophy); Phenomenon; Art; Art history; History of art; Visual arts; History; Aesthetics; Literature; Philosophy; Architecture; Epistemology; Archaeology","score_opus":0.06275266385671158,"score_gpt":0.2727881425223295,"score_spread":0.21003547866561795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2741340739","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2674247,0.05283682,0.008565462,0.04218686,0.0035105117,0.000031128086,0.000044438897,0.0001263933,0.6252736],"genre_scores_gemma":[0.9742321,0.0060445475,0.0012447071,0.002142312,0.00059539545,0.000026782665,0.00001357238,0.00008117461,0.015619398],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975805,0.0013969305,0.000109362125,0.000321045,0.00033703915,0.00025509307],"domain_scores_gemma":[0.9970591,0.0017100342,0.00024236932,0.00051691895,0.00026300436,0.00020860731],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004233563,0.00056923606,0.00036230672,0.0019568978,0.0068032388,0.0091985995,0.0007226477,0.0018365425,0.0024021205],"category_scores_gemma":[0.0056456765,0.0004745036,0.0002736799,0.0022656561,0.033274632,0.0067913025,0.0030081116,0.0038489082,0.0002632549],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003968691,0.00002334927,0.0010635074,0.00016471179,0.000009910095,0.00031251603,0.2506506,0.00011827922,0.00026933977,0.7231355,0.0046894173,0.019523185],"study_design_scores_gemma":[0.000036145306,0.00017242167,0.006912767,0.0010172006,0.000054219356,0.00092274306,0.08568013,0.0010530447,0.0006255223,0.22269413,0.68075037,0.00008122896],"about_ca_topic_score_codex":0.0045330664,"about_ca_topic_score_gemma":0.0047010933,"teacher_disagreement_score":0.0091985995,"about_ca_system_score_codex":0.0046150014,"about_ca_system_score_gemma":0.0017794068,"threshold_uncertainty_score":0.03348428},"labels":[],"label_agreement":null},{"id":"W2750634844","doi":"10.1515/sem-2015-0032","title":"The Peircean order of signification and its encoding system in Chinese landscape painting","year":2017,"lang":"en","type":"article","venue":"Semiotica","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Painting; Symbol (formal); Metaphysics; Semiotics; Order (exchange); Ideology; Chinese philosophy; Art; Aesthetics; Philosophy; Literature; Linguistics; History; China; Art history; Epistemology; Archaeology","score_opus":0.02410313294223405,"score_gpt":0.26134459294334916,"score_spread":0.23724146000111512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2750634844","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5438323,0.0006212874,0.030531947,0.0016983117,0.00008429242,0.000088121866,0.00010111627,0.00009053638,0.42295203],"genre_scores_gemma":[0.9945201,0.00007929541,0.0019701216,0.000018543373,0.000006976089,0.000015570638,0.000012419891,0.000006828944,0.0033701416],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999376,0.00026837992,0.000040248407,0.000079090845,0.00014261859,0.00009372576],"domain_scores_gemma":[0.9994516,0.00022039123,0.0000486428,0.0001302745,0.00011281738,0.000036301648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008988206,0.00023445483,0.00014825801,0.0014976185,0.0015540422,0.0033771691,0.0003072195,0.00031517298,0.003833075],"category_scores_gemma":[0.0018273104,0.00014506654,0.00025070275,0.0012758917,0.010706615,0.0023086634,0.0011804877,0.00061211747,0.00015848277],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038620656,0.000010735416,0.0018781923,0.0000666643,0.000007535687,0.0002439011,0.044079337,0.0005773869,0.002439143,0.9311118,0.0005299906,0.019016668],"study_design_scores_gemma":[0.00010000487,0.00019849915,0.04060851,0.00034577888,0.00011203593,0.0011029898,0.077736236,0.016603984,0.012070733,0.7152482,0.13573909,0.00013398092],"about_ca_topic_score_codex":0.010311959,"about_ca_topic_score_gemma":0.0060061486,"teacher_disagreement_score":0.010311959,"about_ca_system_score_codex":0.003942312,"about_ca_system_score_gemma":0.0022269355,"threshold_uncertainty_score":0.028603613},"labels":[],"label_agreement":null},{"id":"W2751088619","doi":"10.4000/lisa.9044","title":"Une esthétique postmoderne : l’esprit kitsch dans The Grand Budapest Hotel (Wes Anderson, 2014)","year":2017,"lang":"fr","type":"article","venue":"Revue LISA / LISA e-journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Armand Frappier Museum","funders":"","keywords":"Kitsch; Art; Humanities; Art history","score_opus":0.031249985551907996,"score_gpt":0.2703488484782125,"score_spread":0.2390988629263045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2751088619","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.49793893,0.0074548577,0.0035465744,0.028964411,0.0020154384,0.000043495784,0.00015777463,0.000064024716,0.45981452],"genre_scores_gemma":[0.8842469,0.0008511852,0.00039857888,0.0009329337,0.0000972587,0.0000149581365,0.000021903199,0.00004997819,0.11338636],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999348,0.00031134652,0.000011447524,0.00007849194,0.00012240365,0.00012835392],"domain_scores_gemma":[0.9997154,0.00012899908,0.00002877025,0.000019695979,0.0000452305,0.00006194126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000620067,0.00039821403,0.0001308892,0.0004556131,0.007422634,0.0045489785,0.00046678755,0.0011354138,0.0064533316],"category_scores_gemma":[0.0010032438,0.00023307318,0.00010162005,0.00061393104,0.012100225,0.0020995112,0.0025336323,0.002881196,0.00060996093],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001057514,0.000014525287,0.0016539596,0.00013672463,0.000007941512,0.0015519616,0.5832634,0.0001546975,0.00147318,0.35711324,0.035790406,0.018734183],"study_design_scores_gemma":[0.000009704763,0.00003095893,0.008673982,0.0002491548,0.000009842364,0.00064520293,0.3014426,0.00019439576,0.0011909954,0.007708291,0.6798134,0.000031564545],"about_ca_topic_score_codex":0.0627912,"about_ca_topic_score_gemma":0.14769448,"teacher_disagreement_score":0.0627912,"about_ca_system_score_codex":0.0072280606,"about_ca_system_score_gemma":0.0021767893,"threshold_uncertainty_score":0.124851406},"labels":[],"label_agreement":null},{"id":"W2751156998","doi":"10.18261/issn.1504-288x-2017-02-09","title":"Avhandling: Shaped by the North, Shaping theNorth. English-Canadian Travel Writing in the 1950s","year":2017,"lang":"en","type":"article","venue":"Norsk litteraturvitenskapelig tidsskrift","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Travel writing; History; Linguistics; Geography; Literature; Art; Philosophy","score_opus":0.04817957702401018,"score_gpt":0.2529620090187829,"score_spread":0.20478243199477272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2751156998","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52823603,0.016882168,0.0008077717,0.017519815,0.0008666911,0.000072757226,0.00084203016,0.00009623282,0.43467653],"genre_scores_gemma":[0.92797846,0.002269035,0.0003082868,0.00081341586,0.00005152107,0.000015793838,0.000113853224,0.00012952396,0.06832005],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99613637,0.000683733,0.0001246539,0.0005596177,0.0008645717,0.0016309771],"domain_scores_gemma":[0.9933611,0.0017018956,0.0004634704,0.00023321588,0.002817184,0.0014231104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035784368,0.00069019967,0.00061782805,0.0047381744,0.037554137,0.015319355,0.0016988153,0.0016271035,0.015383748],"category_scores_gemma":[0.0075344117,0.0006164884,0.00021544535,0.008761209,0.016912654,0.004490701,0.004169805,0.0043052216,0.00078935316],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051534593,0.000014940777,0.002842936,0.000108360655,0.0000057448215,0.00023326237,0.9072024,0.000047799633,0.00024838682,0.060998667,0.008452645,0.019793265],"study_design_scores_gemma":[0.000008425035,0.000013767462,0.021321354,0.00036868436,0.000015275567,0.00014013566,0.5298952,0.00008492899,0.0002988252,0.0022711442,0.44552398,0.000058212798],"about_ca_topic_score_codex":0.98807913,"about_ca_topic_score_gemma":0.99602675,"teacher_disagreement_score":0.117654085,"about_ca_system_score_codex":0.117654085,"about_ca_system_score_gemma":0.08297372,"threshold_uncertainty_score":0.85364413},"labels":[],"label_agreement":null},{"id":"W2751193805","doi":"","title":"“Astonishment is Thinking” : Graphic Metaphor and Narrative Con-Sequence in Mahler’s Poèmes and Lemieux’s Stormy Night","year":2013,"lang":"en","type":"article","venue":"˜The œLion and the unicorn","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Acadia University","funders":"","keywords":"Metaphor; Narrative; Sequence (biology); Literature; Art; Psychology; Psychoanalysis; Arithmetic; Aesthetics; Philosophy; History; Mathematics; Chemistry; Linguistics","score_opus":0.024524394686072364,"score_gpt":0.23417244169755638,"score_spread":0.209648047011484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2751193805","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048140023,0.0010212775,0.01966809,0.017107513,0.00068807765,0.000060767852,0.00007049181,0.0001649864,0.91307884],"genre_scores_gemma":[0.9538781,0.00017263011,0.002654207,0.0009929612,0.0001357931,0.0000662826,0.000026821077,0.0001700575,0.0419031],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99705493,0.0021359464,0.00004342346,0.00022724489,0.0002533727,0.00028507027],"domain_scores_gemma":[0.99808395,0.0011328451,0.00015388563,0.00025124196,0.0001951609,0.00018306047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001716364,0.00093006,0.0003381259,0.001981052,0.010161242,0.0111672105,0.0013933597,0.0037909911,0.010339354],"category_scores_gemma":[0.006271171,0.00042266518,0.0004262162,0.0012164129,0.053021528,0.009626817,0.0046033603,0.007736837,0.0009826383],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013619014,0.000005048868,0.000057661284,0.00001187509,0.0000011791867,0.000066286324,0.07931645,0.000038067537,0.00007964295,0.9172166,0.0019366615,0.0012569886],"study_design_scores_gemma":[0.00007592035,0.000042212458,0.00051102485,0.0001846976,0.000014400454,0.0008242856,0.15917133,0.0010344997,0.00070140924,0.5652031,0.27218646,0.00005065461],"about_ca_topic_score_codex":0.01065986,"about_ca_topic_score_gemma":0.01219133,"teacher_disagreement_score":0.0111672105,"about_ca_system_score_codex":0.005213795,"about_ca_system_score_gemma":0.0023033482,"threshold_uncertainty_score":0.037828922},"labels":[],"label_agreement":null},{"id":"W2758437073","doi":"","title":"De l’humour et autres dévoilements de la sculpture / Humour and Other Revelations about Sculpture","year":2006,"lang":"fr","type":"article","venue":"Espace Sculpture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Sculpture; Humanities; Visual arts","score_opus":0.010900790476055732,"score_gpt":0.2778792236615811,"score_spread":0.26697843318552533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2758437073","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25388345,0.0066690654,0.008083589,0.018475296,0.00033052245,0.000018456152,0.000055969886,0.000029931505,0.7124537],"genre_scores_gemma":[0.9903245,0.00049397425,0.00034612062,0.00040577454,0.00014056511,0.0000068020154,0.000011605186,0.000013057446,0.008257545],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9937442,0.00395315,0.000117073345,0.0004617152,0.0010988981,0.0006250635],"domain_scores_gemma":[0.9884272,0.006086324,0.0016654514,0.001326045,0.0016733496,0.00082172034],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052982722,0.0004416872,0.0002653674,0.0029066813,0.008255119,0.009805163,0.001070438,0.0038767129,0.0047869934],"category_scores_gemma":[0.014122096,0.00025606796,0.00038169872,0.0016850461,0.05201163,0.009776496,0.004036879,0.005617937,0.0003552677],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011828527,0.0000455776,0.0026068117,0.00007764754,0.000032620403,0.000516439,0.15899791,0.00018232936,0.0007706235,0.8203798,0.0023313342,0.013940655],"study_design_scores_gemma":[0.00005009813,0.00009378379,0.017661551,0.00028698673,0.00003593597,0.0024918544,0.21233842,0.0009192464,0.0024543405,0.57330424,0.19024561,0.0001179804],"about_ca_topic_score_codex":0.011012548,"about_ca_topic_score_gemma":0.010637275,"teacher_disagreement_score":0.011012548,"about_ca_system_score_codex":0.0036668326,"about_ca_system_score_gemma":0.0014149345,"threshold_uncertainty_score":0.028020263},"labels":[],"label_agreement":null},{"id":"W2766334430","doi":"10.7202/1041549ar","title":"Mythification et démystification dans la représentation de la rencontre coloniale ou la valeur heuristique du cinéma en tant que démarche historienne : exemples tirés de The New World de Terrence Malick","year":2017,"lang":"fr","type":"article","venue":"Cahiers d histoire","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.015957114081689625,"score_gpt":0.28391003503151474,"score_spread":0.2679529209498251,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766334430","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29245985,0.019656973,0.004789131,0.053679705,0.0010693,0.00005352851,0.00006856274,0.000042059793,0.6281809],"genre_scores_gemma":[0.94804204,0.0027494037,0.00042024834,0.00078677665,0.00012711913,0.000022766893,0.000011296686,0.000033525448,0.04780687],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985487,0.00082118897,0.000036415528,0.00013399878,0.00017474053,0.00028489952],"domain_scores_gemma":[0.99850935,0.00083502394,0.00019112183,0.00018456468,0.0001222466,0.00015767167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025217684,0.00037921715,0.00022222663,0.00096875505,0.0076047718,0.008877768,0.00069573685,0.0015902543,0.0052294643],"category_scores_gemma":[0.0035171225,0.0001757,0.00015274576,0.0010117148,0.031697895,0.0046470063,0.004868265,0.004187701,0.00032762365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000205362,0.000006129559,0.00047400198,0.000041123567,0.00000273239,0.00023292932,0.21129142,0.00006670578,0.00025382498,0.77896595,0.00302041,0.0056243655],"study_design_scores_gemma":[0.000018688239,0.000032925618,0.005240859,0.00059443404,0.000020695761,0.000687978,0.22087169,0.000476359,0.0014473912,0.09369835,0.6768733,0.000037276397],"about_ca_topic_score_codex":0.046401337,"about_ca_topic_score_gemma":0.09232359,"teacher_disagreement_score":0.046401337,"about_ca_system_score_codex":0.011543907,"about_ca_system_score_gemma":0.00485051,"threshold_uncertainty_score":0.09226245},"labels":[],"label_agreement":null},{"id":"W2768159310","doi":"10.1080/13825577.2017.1369264","title":"Transcribing the corporeal: physical feminism, autobiography and the intermedial","year":2017,"lang":"en","type":"article","venue":"European Journal of English Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Feminism; Biography; Art; Sociology; Gender studies; Art history; Literature","score_opus":0.06013284705437405,"score_gpt":0.27933667526686357,"score_spread":0.21920382821248952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2768159310","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41731432,0.010031848,0.018713372,0.015137483,0.0022186858,0.000104685125,0.00024248412,0.00012242071,0.5361147],"genre_scores_gemma":[0.95270365,0.0019593262,0.0018230987,0.0008072888,0.00036678693,0.000041201674,0.000065479784,0.00013284446,0.04210022],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981229,0.0012740643,0.000036492802,0.00015842712,0.00030562072,0.00010238838],"domain_scores_gemma":[0.9961212,0.0029396461,0.00027673325,0.00031299668,0.000215947,0.0001334738],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001753893,0.0005571072,0.00022442237,0.0012694442,0.0045607053,0.004855901,0.0005900906,0.001066987,0.0077231373],"category_scores_gemma":[0.0050949478,0.00020302278,0.00014875931,0.0008535567,0.018107198,0.00427579,0.0030905043,0.0020065792,0.00096493546],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004705251,0.000016763415,0.00066418614,0.00019151752,0.0000059031113,0.0009418924,0.88086945,0.00007268437,0.0023584946,0.09915722,0.0032569405,0.012418003],"study_design_scores_gemma":[0.0000079898555,0.000051589363,0.0030481736,0.0007934925,0.000011530073,0.001861455,0.59374475,0.00025126123,0.0029369402,0.020543322,0.37672412,0.000025258269],"about_ca_topic_score_codex":0.0028189244,"about_ca_topic_score_gemma":0.0055964384,"teacher_disagreement_score":0.0077231373,"about_ca_system_score_codex":0.0016453147,"about_ca_system_score_gemma":0.0009279975,"threshold_uncertainty_score":0.025836408},"labels":[],"label_agreement":null},{"id":"W2769245932","doi":"10.1177/0791603517741072","title":"Grimaldi’s iconic photograph: Bloody Sunday, Derry 1972","year":2017,"lang":"en","type":"article","venue":"Irish Journal of Sociology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"Simon Fraser University","keywords":"Iconicity; Relation (database); Context (archaeology); Art; History; Visual arts; Linguistics; Philosophy; Archaeology","score_opus":0.08615884630017615,"score_gpt":0.3305157340618651,"score_spread":0.24435688776168893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2769245932","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038473424,0.035961166,0.0016489122,0.072182626,0.017247459,0.00007619066,0.00067661644,0.0002510194,0.8334825],"genre_scores_gemma":[0.500244,0.016534667,0.001725779,0.011825139,0.0056484025,0.00006557253,0.00040042977,0.0004176716,0.4631383],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966836,0.00010929521,0.0000061428536,0.00005137593,0.000095767726,0.00006893492],"domain_scores_gemma":[0.9996902,0.000086896165,0.00002849817,0.0000416635,0.000089115114,0.00006361959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005311835,0.00045572015,0.00016845812,0.0014113259,0.0038999487,0.003477406,0.00038538038,0.00089011685,0.014281001],"category_scores_gemma":[0.0018366518,0.00020094324,0.00017484366,0.0009892127,0.0037335341,0.0021747325,0.0015150568,0.0021937233,0.0024014292],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101354075,0.00001735461,0.0012709309,0.00020776664,0.000007827126,0.0011028121,0.058361378,0.00007226744,0.0007382813,0.052114874,0.8480194,0.03798575],"study_design_scores_gemma":[0.0000023389073,0.000007928631,0.0015011944,0.00008567701,0.000001861598,0.00027515498,0.0071915025,0.000014699674,0.00015315994,0.000402884,0.99035877,0.0000047778367],"about_ca_topic_score_codex":0.05749648,"about_ca_topic_score_gemma":0.13284968,"teacher_disagreement_score":0.05749648,"about_ca_system_score_codex":0.005140496,"about_ca_system_score_gemma":0.0012273308,"threshold_uncertainty_score":0.114323616},"labels":[],"label_agreement":null},{"id":"W2771815197","doi":"","title":"Une poétique de l'histoire d'horreur : la vision de l'écriture et de l'horreur de Stephen King à partir d'écriture : mémoire d'un métier et d'anatomie de l'horreur","year":2016,"lang":"fr","type":"article","venue":"Sémaphore (Université du Québec à Rimouski)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Université du Québec à Rimouski","keywords":"Humanities; Art; Philosophy","score_opus":0.007897681948089048,"score_gpt":0.22217580051635905,"score_spread":0.21427811856827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2771815197","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25497288,0.015176753,0.04166113,0.03179689,0.001815573,0.00008012936,0.00019896126,0.000135441,0.6541623],"genre_scores_gemma":[0.9387837,0.0021001669,0.002546077,0.0006602938,0.00014725146,0.000029697127,0.00004183184,0.00006149604,0.055629406],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930716,0.0003726124,0.00002480772,0.00009831313,0.00011896763,0.00007816931],"domain_scores_gemma":[0.99887234,0.0006364868,0.00011073665,0.00011661127,0.00016569346,0.00009810593],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011944734,0.00036412355,0.00022962535,0.00082743156,0.0033359083,0.0057363845,0.00057219306,0.0016735411,0.007885446],"category_scores_gemma":[0.0022149445,0.00019418834,0.00024250554,0.00062274374,0.015642812,0.0047120163,0.002635217,0.001955695,0.0009370989],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003964291,0.0000071504555,0.0008201267,0.00017444095,0.000005543896,0.0004130165,0.19358629,0.00020870742,0.0013884554,0.78683424,0.0058890954,0.010633369],"study_design_scores_gemma":[0.000012935092,0.00005465784,0.004321359,0.0005032345,0.000022555048,0.0013763519,0.2064403,0.0007575377,0.0031907875,0.12555252,0.657717,0.00005074436],"about_ca_topic_score_codex":0.007334833,"about_ca_topic_score_gemma":0.010760924,"teacher_disagreement_score":0.007885446,"about_ca_system_score_codex":0.0037815897,"about_ca_system_score_gemma":0.0018543405,"threshold_uncertainty_score":0.027437449},"labels":[],"label_agreement":null},{"id":"W2774193115","doi":"10.17742/image.ma.8.3.6","title":"McLuhan’s Photographic Gestalt (and the project of the object world)","year":2017,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Gestalt psychology; Object (grammar); Art; Philosophy; Computer science; Epistemology; Artificial intelligence","score_opus":0.060889852994270466,"score_gpt":0.40464357527983014,"score_spread":0.34375372228555967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2774193115","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041669548,0.0029296298,0.05126282,0.016314907,0.0005211174,0.0000422637,0.000101792546,0.00013421274,0.8870237],"genre_scores_gemma":[0.9233452,0.000758089,0.0155777205,0.0010199466,0.00013625465,0.000045945595,0.000045789,0.00008114781,0.058989894],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994873,0.00027653683,0.000015033748,0.00008281023,0.00008491075,0.00005335775],"domain_scores_gemma":[0.99968505,0.00014408428,0.00002691611,0.00006058597,0.000052977746,0.000030300544],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076665106,0.00035436507,0.00012668435,0.0011566635,0.0024146962,0.003946852,0.000527205,0.0015378396,0.0062874164],"category_scores_gemma":[0.0018878065,0.0001586583,0.00028730487,0.00049994944,0.0141282575,0.005187247,0.0025338517,0.001950458,0.00065518817],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010926276,0.000002124358,0.000045062665,0.000011469066,0.0000011368353,0.00002444917,0.004899025,0.00005182834,0.00018067007,0.98999995,0.0015852206,0.0031882226],"study_design_scores_gemma":[0.000016751534,0.000021765723,0.0005869839,0.00005878763,0.0000071887466,0.00026814474,0.0058338605,0.00066170824,0.001000256,0.8196912,0.17183553,0.000017872198],"about_ca_topic_score_codex":0.007048164,"about_ca_topic_score_gemma":0.006559913,"teacher_disagreement_score":0.007048164,"about_ca_system_score_codex":0.0017649208,"about_ca_system_score_gemma":0.0008980446,"threshold_uncertainty_score":0.021033525},"labels":[],"label_agreement":null},{"id":"W2775014008","doi":"10.7202/1048865ar","title":"Une ontologie ou une esthétique numérique ?","year":2017,"lang":"fr","type":"article","venue":"Sens public","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.07929733499692687,"score_gpt":0.3113627360132724,"score_spread":0.23206540101634554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2775014008","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039998915,0.0114117535,0.0580565,0.042127684,0.0023249455,0.000034731926,0.00022472756,0.00016805381,0.8456526],"genre_scores_gemma":[0.88367116,0.0058864397,0.015274147,0.0037902296,0.0014742999,0.00012595554,0.00016771271,0.00027236796,0.08933779],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985489,0.00066481385,0.000050405066,0.0003422434,0.00024065356,0.00015297353],"domain_scores_gemma":[0.9987866,0.00053197634,0.00012857933,0.00025657134,0.00018275068,0.0001134754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014199547,0.0005331323,0.0004313327,0.0013774263,0.0028277794,0.007815309,0.00082958845,0.0018018777,0.01399605],"category_scores_gemma":[0.003476474,0.00023831733,0.0006113551,0.0011749195,0.024213163,0.016121326,0.0031812175,0.0028981504,0.0015589396],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000797143,0.0000032357545,0.00012144407,0.000021374584,0.0000018671169,0.000024823059,0.0017217848,0.00003093342,0.00010063584,0.99403584,0.00093056256,0.0029996058],"study_design_scores_gemma":[0.00001136052,0.000018145905,0.0012403133,0.000120852725,0.0000068648637,0.0002769818,0.0049054516,0.0004227899,0.0002137516,0.8289731,0.16379283,0.000017500679],"about_ca_topic_score_codex":0.006007157,"about_ca_topic_score_gemma":0.004517324,"teacher_disagreement_score":0.01399605,"about_ca_system_score_codex":0.0033789305,"about_ca_system_score_gemma":0.0016040778,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2776004836","doi":"10.22230/cjc.2017v42n5a3223","title":"Rethinking the Cultural Icon: Its Use and Function in Popular Culture","year":2017,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Icon; Scholarship; Function (biology); Sociology; Cultural studies; Epistemology; Aesthetics; Social science; Political science; Anthropology; Art; Computer science; Law","score_opus":0.10470281255325371,"score_gpt":0.2805389789636486,"score_spread":0.1758361664103949,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2776004836","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43066955,0.11471764,0.052880205,0.045295507,0.0023180037,0.0008923917,0.00079159415,0.00017151414,0.35226357],"genre_scores_gemma":[0.9660841,0.018596843,0.009907456,0.0013818132,0.0002536288,0.00035890538,0.00013866996,0.0000985157,0.0031800077],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.97993314,0.013886329,0.0013934697,0.0013528137,0.0027766644,0.0006575402],"domain_scores_gemma":[0.890514,0.08670553,0.00444994,0.0064867744,0.011045288,0.00079857925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.03198562,0.00079028076,0.0009470563,0.020984937,0.0076025547,0.022940211,0.0019904266,0.0023666767,0.0028021073],"category_scores_gemma":[0.058523193,0.00042892667,0.00050343614,0.018016811,0.044944044,0.018047232,0.009356456,0.0028411774,0.00023382572],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037041136,0.000016315245,0.009114323,0.0025592386,0.000032168824,0.00039658265,0.66256666,0.00021726232,0.00063359406,0.2232986,0.0024871838,0.098641105],"study_design_scores_gemma":[0.0000074984473,0.000049458384,0.014089719,0.01450891,0.00009128997,0.00063350576,0.77487963,0.0005440067,0.0010559562,0.0623375,0.13173555,0.000067038876],"about_ca_topic_score_codex":0.034404956,"about_ca_topic_score_gemma":0.046777148,"teacher_disagreement_score":0.034404956,"about_ca_system_score_codex":0.013744978,"about_ca_system_score_gemma":0.017511658,"threshold_uncertainty_score":0.16915816},"labels":[],"label_agreement":null},{"id":"W2776415336","doi":"10.3138/jcs.2016-0001.r1","title":"“An Ocean of Noise”: H.E. Reilley and the Making of a Legitimate Social Problem, 1911–45","year":2017,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Modernity; Noise (video); Reflexivity; Legitimacy; Law; Media studies; Political science; Social science; Computer science; Politics","score_opus":0.06829278143356607,"score_gpt":0.31239037232580774,"score_spread":0.24409759089224167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2776415336","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052535303,0.07009853,0.002119078,0.49278274,0.0030550833,0.00006035505,0.00007320255,0.000082955914,0.37919283],"genre_scores_gemma":[0.8234571,0.011087722,0.0009849297,0.039849546,0.0010571526,0.00006416014,0.000022735236,0.00013628736,0.12334033],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99653244,0.0017727165,0.000047555382,0.0004221823,0.00048056772,0.0007445876],"domain_scores_gemma":[0.9985361,0.00077810936,0.00011998817,0.000079032965,0.00026102713,0.00022577523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036966566,0.0007711455,0.00047911768,0.000941468,0.027764907,0.008848781,0.0013665557,0.0059069656,0.003879179],"category_scores_gemma":[0.00492631,0.00045365273,0.00027543269,0.0008500674,0.054762486,0.0057992707,0.003754192,0.009038412,0.0005560303],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029328256,0.000025825657,0.0004394712,0.00003831124,0.0000049351875,0.00031093825,0.16135035,0.00012703944,0.00018983072,0.7398432,0.08716809,0.010472577],"study_design_scores_gemma":[0.000013645295,0.000020530777,0.0013074416,0.00019394033,0.0000042145566,0.00017754009,0.04379964,0.00012006664,0.00023361767,0.04605366,0.9080289,0.00004689947],"about_ca_topic_score_codex":0.5022593,"about_ca_topic_score_gemma":0.5566944,"teacher_disagreement_score":0.4977407,"about_ca_system_score_codex":0.03228229,"about_ca_system_score_gemma":0.01492915,"threshold_uncertainty_score":0.99867165},"labels":[],"label_agreement":null},{"id":"W2782156334","doi":"","title":"L’image est un monde / The image is a world","year":2006,"lang":"fr","type":"article","venue":"Ciel variable : art, photo, médias, culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Computer vision; Computer science; Artificial intelligence","score_opus":0.017735130825438365,"score_gpt":0.23875298064596656,"score_spread":0.2210178498205282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782156334","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0063016056,0.0025823659,0.0028422028,0.02454964,0.0022785463,0.0000137028455,0.00011138439,0.00010176378,0.9612189],"genre_scores_gemma":[0.5064204,0.006393504,0.004932203,0.009398236,0.0038650995,0.00008846845,0.00030486577,0.00063647644,0.46796075],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987172,0.00044744942,0.0000336645,0.00020019757,0.00047749537,0.00012399754],"domain_scores_gemma":[0.9988733,0.00029011772,0.00012395602,0.0001992718,0.00034658067,0.0001667077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013762573,0.0007793416,0.00031956472,0.0012717545,0.0036502974,0.011519818,0.0005832954,0.002491379,0.046814743],"category_scores_gemma":[0.003568984,0.00027823195,0.00031844826,0.0010138665,0.01036556,0.009983598,0.003001064,0.0042134165,0.007807355],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033538887,0.000024847992,0.00045250653,0.00009348229,0.000013141886,0.00016856831,0.007327167,0.00006133514,0.0007244728,0.86690986,0.09310981,0.031081356],"study_design_scores_gemma":[0.000007687618,0.000010006416,0.00086430873,0.00008900295,0.0000052014343,0.0003760447,0.0061899275,0.00010046678,0.00033384655,0.04266742,0.94934005,0.000016046197],"about_ca_topic_score_codex":0.007481434,"about_ca_topic_score_gemma":0.008870412,"teacher_disagreement_score":0.046814743,"about_ca_system_score_codex":0.0026267488,"about_ca_system_score_gemma":0.0011521275,"threshold_uncertainty_score":0.1566109},"labels":[],"label_agreement":null},{"id":"W2783084424","doi":"","title":"Why They Are Not Painters: Ekphrasis and Art Criticism in the Twentieth Century","year":2015,"lang":"en","type":"dissertation","venue":"TSpace","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto; Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"Criticism; Painting; Art; Art history; Art criticism; Literature; Performance art","score_opus":0.04538537361382483,"score_gpt":0.3267408881384889,"score_spread":0.28135551452466406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783084424","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42041707,0.02962069,0.00865468,0.044288706,0.003002757,0.00008343091,0.000042243646,0.00018197336,0.49370837],"genre_scores_gemma":[0.96461207,0.002730726,0.00068559434,0.0013852656,0.0003743175,0.000039960683,0.000010995268,0.00009726299,0.030063918],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99488103,0.0031436235,0.00016118538,0.00044205773,0.0008095505,0.00056256517],"domain_scores_gemma":[0.9951585,0.0033420194,0.0005400104,0.00028939845,0.00041453226,0.00025559813],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0062286668,0.0005444153,0.00047826258,0.0039991555,0.01629014,0.013853867,0.0016720751,0.004843513,0.0020309591],"category_scores_gemma":[0.011169306,0.0005278484,0.0003379725,0.0021337587,0.051363163,0.009380309,0.005996622,0.0060420097,0.00027691934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025413809,0.000017121618,0.00042522044,0.00005941815,0.0000047990397,0.0006683172,0.6401895,0.00007251875,0.0002003069,0.3483835,0.0024727609,0.007481094],"study_design_scores_gemma":[0.000043258202,0.00007318625,0.0026985067,0.00073824835,0.000017065726,0.0012209417,0.3301725,0.0004510855,0.0010079213,0.07579642,0.58771724,0.00006367464],"about_ca_topic_score_codex":0.00816995,"about_ca_topic_score_gemma":0.012142318,"teacher_disagreement_score":0.01629014,"about_ca_system_score_codex":0.009895041,"about_ca_system_score_gemma":0.002365011,"threshold_uncertainty_score":0.071793914},"labels":[],"label_agreement":null},{"id":"W2788744654","doi":"10.3138/seminar.54.1.3","title":"Gerhard Roth’s <i>Fotonotizen</i>: The Early Years, 1972–1980","year":2018,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Photography; Context (archaeology); Narrative; Art; Art history; Literature; Visual arts; History; Law; Archaeology; Political science","score_opus":0.0449531572689875,"score_gpt":0.296647063078198,"score_spread":0.25169390580921047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2788744654","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22650972,0.23024558,0.0056085833,0.08510565,0.0040212646,0.000060084327,0.00016197053,0.0002119178,0.44807526],"genre_scores_gemma":[0.9092794,0.020483233,0.001388776,0.0043145125,0.00043864764,0.000031444775,0.000025532916,0.00017270992,0.06386572],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99842584,0.0007926467,0.000048192982,0.00022447789,0.0002910511,0.00021788871],"domain_scores_gemma":[0.9990095,0.00053076644,0.0001606886,0.00007885588,0.00013310758,0.000087099244],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017541276,0.00039457748,0.00022025325,0.0019932513,0.004619003,0.0036496175,0.00048698226,0.002288195,0.003172689],"category_scores_gemma":[0.003615891,0.00034626052,0.00015277255,0.0013329674,0.011897194,0.004352442,0.00301636,0.002395844,0.00076267356],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012902265,0.00003327338,0.0012938029,0.00035639532,0.0000111557765,0.00095999375,0.104461364,0.00032934034,0.0015108599,0.71142954,0.09684311,0.082642265],"study_design_scores_gemma":[0.0000066246766,0.000023644283,0.0019890529,0.00047452239,0.0000051156544,0.0005785728,0.014171047,0.000060451715,0.0013150617,0.012569128,0.9687882,0.00001855346],"about_ca_topic_score_codex":0.010435578,"about_ca_topic_score_gemma":0.014930217,"teacher_disagreement_score":0.010435578,"about_ca_system_score_codex":0.007406869,"about_ca_system_score_gemma":0.0017969828,"threshold_uncertainty_score":0.05374092},"labels":[],"label_agreement":null},{"id":"W2789041903","doi":"","title":"Prolínáni fotografické a filmové tvorby Raymonda Depardona","year":2009,"lang":"en","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmography; Photography; Visual arts; Art; Art history; Quarter (Canadian coin); Cartography; Feature (linguistics); Movie theater; History; Geography; Archaeology; Philosophy","score_opus":0.010508003531398524,"score_gpt":0.2388439211181381,"score_spread":0.22833591758673957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789041903","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03364621,0.021620061,0.0018126172,0.012689728,0.0024883694,0.0000781835,0.00046979045,0.00048639454,0.9267087],"genre_scores_gemma":[0.124782056,0.011195927,0.0027533495,0.001065516,0.00052583887,0.000059387552,0.00024282692,0.0003998281,0.85897523],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959356,0.00011942192,0.000010086402,0.000078558856,0.00011722775,0.000081152284],"domain_scores_gemma":[0.9996394,0.000073795556,0.000027984699,0.000040153645,0.000118491116,0.00010019699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049057486,0.00040073885,0.00030738945,0.0010559647,0.0034682704,0.0044421903,0.0002815553,0.000686315,0.07857424],"category_scores_gemma":[0.0011319224,0.00018084678,0.00023301275,0.00074081164,0.0012716486,0.0013588377,0.001263167,0.0017427414,0.013460251],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022330413,0.00008257795,0.0016864684,0.0006553063,0.0000139255435,0.00083909446,0.02988094,0.00016788197,0.0047608763,0.18149966,0.4828449,0.297345],"study_design_scores_gemma":[0.0000019770146,0.000013716187,0.0012585907,0.00014630823,0.0000017956513,0.00014291343,0.0019869125,0.000020370704,0.00038628117,0.00047926436,0.9955581,0.000003689571],"about_ca_topic_score_codex":0.02910408,"about_ca_topic_score_gemma":0.05254289,"teacher_disagreement_score":0.07857424,"about_ca_system_score_codex":0.004576924,"about_ca_system_score_gemma":0.0023773103,"threshold_uncertainty_score":0.26285702},"labels":[],"label_agreement":null},{"id":"W2790040592","doi":"","title":"« De quoi Momenta est-elle le nom ? » Retour sur la Biennale de l’image de Montréal, 2017 / “What Does Momenta Stand For?” A Look Back at the Biennale de l’image de Montréal, 2017","year":2018,"lang":"fr","type":"article","venue":"Ciel variable : art, photo, médias, culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.022985618729139283,"score_gpt":0.2510522332507884,"score_spread":0.2280666145216491,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790040592","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025910465,0.044637237,0.0016999621,0.56088275,0.012095321,0.00006180321,0.0014022026,0.00018241722,0.35312796],"genre_scores_gemma":[0.3650125,0.020464003,0.0013897093,0.050671313,0.0037899734,0.00008105186,0.00059855013,0.00056745193,0.55742544],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99752444,0.00036622764,0.000042188556,0.00021157562,0.0010609318,0.0007945319],"domain_scores_gemma":[0.99774736,0.00026675113,0.00012612659,0.00007277265,0.0012237619,0.00056321477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021813938,0.0007282624,0.00036928357,0.0016559149,0.0153317815,0.015485464,0.0013760948,0.0035318127,0.026652075],"category_scores_gemma":[0.0046624993,0.00039770926,0.00046581254,0.002121519,0.011808222,0.007118493,0.0040783393,0.006700984,0.0025059138],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005117193,0.000015925572,0.0019785287,0.00012199626,0.000012139049,0.00020358602,0.020709055,0.000090858994,0.0003655355,0.18595265,0.7578216,0.032676987],"study_design_scores_gemma":[0.000005360375,0.000005730564,0.0055536553,0.00016678659,0.0000057130915,0.000058063175,0.018457897,0.000042377313,0.00023387682,0.0022052058,0.97323453,0.00003088318],"about_ca_topic_score_codex":0.93041474,"about_ca_topic_score_gemma":0.95931584,"teacher_disagreement_score":0.069585264,"about_ca_system_score_codex":0.048484925,"about_ca_system_score_gemma":0.03582139,"threshold_uncertainty_score":0.35178435},"labels":[],"label_agreement":null},{"id":"W2790648321","doi":"10.1093/obo/9780195399301-0161","title":"Iconology and Iconography","year":2011,"lang":"en","type":"reference-entry","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Iconology; Iconography; Dermatopathology; Art; Subject (documents); Literature; Art history; Computer science","score_opus":0.03965333482025518,"score_gpt":0.24180415042305248,"score_spread":0.2021508156027973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790648321","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007139252,0.026088659,0.0038968734,0.006629952,0.0010680015,0.000023520895,0.000066896,0.000044296165,0.9550425],"genre_scores_gemma":[0.780693,0.028273372,0.004649937,0.004010221,0.004456666,0.00013553625,0.00026178043,0.00028709692,0.17723234],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9962929,0.0021237559,0.00016899027,0.00044088517,0.0006809179,0.0002925875],"domain_scores_gemma":[0.9964941,0.0020115722,0.00028836157,0.0005489374,0.00047696786,0.00018009412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016478302,0.00094370235,0.00060487824,0.0045733955,0.0045011053,0.011755149,0.0010917749,0.002417181,0.012460627],"category_scores_gemma":[0.004815062,0.00021318677,0.00026600243,0.006557313,0.03462934,0.011230631,0.003954147,0.0038810242,0.0016399972],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000050980543,0.000004619133,0.00010305343,0.00007950702,0.0000011729998,0.000049318656,0.00954249,0.000035557263,0.000034535235,0.9777854,0.0059438082,0.006415384],"study_design_scores_gemma":[0.0000065702475,0.000021716987,0.00068875897,0.0005606173,0.0000046773584,0.00040318316,0.01354564,0.00017674646,0.00019918359,0.2676339,0.7167452,0.00001378098],"about_ca_topic_score_codex":0.0074222186,"about_ca_topic_score_gemma":0.006448799,"teacher_disagreement_score":0.012460627,"about_ca_system_score_codex":0.006997885,"about_ca_system_score_gemma":0.0026218486,"threshold_uncertainty_score":0.05077344},"labels":[],"label_agreement":null},{"id":"W2791439973","doi":"10.22215/etd/2010-08840","title":"Threads of visual culture : Métis art and identity in Ontario","year":2010,"lang":"en","type":"dissertation","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Identity (music); Art; Humanities; Art history; Genealogy; Visual arts; History; Aesthetics","score_opus":0.018000362980961186,"score_gpt":0.2939363977540107,"score_spread":0.2759360347730495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791439973","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83386016,0.00089087675,0.00039549352,0.0054978477,0.00005180271,0.000066857385,0.00037535242,0.00001930873,0.1588423],"genre_scores_gemma":[0.9709472,0.00035758902,0.00018337897,0.000094653486,0.000007247406,0.000027573726,0.00007651739,0.000020392898,0.028285423],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99769115,0.00043884251,0.00010103047,0.00027897907,0.0006825189,0.00080747955],"domain_scores_gemma":[0.995301,0.0010521163,0.00061958795,0.0003163542,0.0010887529,0.0016221814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018254276,0.00018839519,0.00041187363,0.002037949,0.02385248,0.008350759,0.0011241973,0.0008177918,0.012199315],"category_scores_gemma":[0.0064368155,0.0004383267,0.00022508623,0.0058619613,0.008775554,0.0033328896,0.0075115873,0.0016305457,0.00040454473],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016691991,0.00006245597,0.06454158,0.00010136648,0.000015265712,0.00033386098,0.82612216,0.00012373645,0.0004434787,0.060698252,0.0055950745,0.041795876],"study_design_scores_gemma":[0.000019972293,0.000027232607,0.17571376,0.00017543089,0.00001518088,0.000077172255,0.71812516,0.00036546588,0.00020707963,0.006342389,0.09890306,0.000028099175],"about_ca_topic_score_codex":0.9725779,"about_ca_topic_score_gemma":0.9916346,"teacher_disagreement_score":0.083770104,"about_ca_system_score_codex":0.083770104,"about_ca_system_score_gemma":0.08379871,"threshold_uncertainty_score":0.6077975},"labels":[],"label_agreement":null},{"id":"W2792626821","doi":"10.4000/sds.2698","title":"Nathalie Heinich, Le paradigme de l’art contemporain","year":2015,"lang":"fr","type":"article","venue":"Sciences de la société","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art","score_opus":0.0945494050677731,"score_gpt":0.36836742304896036,"score_spread":0.27381801798118727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792626821","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016041152,0.061093535,0.014080051,0.2730325,0.0043897997,0.000046671074,0.00019059483,0.0000898374,0.6310359],"genre_scores_gemma":[0.6187267,0.031633712,0.010207581,0.039709754,0.0033821473,0.0001842672,0.00014706439,0.00023444727,0.29577437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99778605,0.001108172,0.00006078461,0.00038898998,0.0004519337,0.00020404099],"domain_scores_gemma":[0.9988696,0.00059358147,0.000105079496,0.00012465465,0.00018333373,0.00012378722],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002186506,0.0004995993,0.0003591411,0.0011384669,0.00882211,0.0067039584,0.00090696925,0.0028008963,0.007768126],"category_scores_gemma":[0.0029677646,0.00025633886,0.00031538366,0.0010835433,0.018713223,0.009682554,0.0036616602,0.0056929695,0.0016743691],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000075025096,0.000005372474,0.000086184984,0.0000194364,0.0000016616235,0.000024627481,0.0041369605,0.000041786938,0.00004042107,0.9755457,0.016392047,0.0036982785],"study_design_scores_gemma":[0.000008312711,0.000008630672,0.00028877746,0.00015092413,0.000003789784,0.0000907269,0.004269792,0.00016022687,0.00022395795,0.54201764,0.45276234,0.000014885864],"about_ca_topic_score_codex":0.026019888,"about_ca_topic_score_gemma":0.04167612,"teacher_disagreement_score":0.026019888,"about_ca_system_score_codex":0.0075584105,"about_ca_system_score_gemma":0.005486027,"threshold_uncertainty_score":0.054840326},"labels":[],"label_agreement":null},{"id":"W2794081792","doi":"10.4000/communication.7511","title":"Jefferson D. POOLEY (2016), James W. Carey and Communication Research: Reputation at the University’s Margins","year":2018,"lang":"en","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Reputation; Media studies; Library science; Management; Sociology; Psychology; Economics; Social science; Computer science","score_opus":0.10738883570351147,"score_gpt":0.3178835158194755,"score_spread":0.210494680115964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2794081792","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007864963,0.1934596,0.0017473197,0.7021749,0.008524234,0.000026954804,0.00008916927,0.00003850133,0.08607436],"genre_scores_gemma":[0.3067727,0.20473865,0.003162802,0.0826104,0.0075702346,0.00014977301,0.00006196376,0.00020136917,0.39473206],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99733824,0.0010442025,0.00015341166,0.0004989582,0.00075151224,0.00021370371],"domain_scores_gemma":[0.993418,0.0027507248,0.00084956334,0.00032833585,0.0015669937,0.0010863552],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004642441,0.00046959118,0.00046179487,0.001853331,0.01325012,0.01578305,0.00084190076,0.0046523865,0.015772328],"category_scores_gemma":[0.013614597,0.00042266233,0.0002765489,0.0021901107,0.009307871,0.015624452,0.0046976362,0.0064804787,0.0029790595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038202415,0.000042870033,0.0015942665,0.0003319984,0.000012849683,0.00016221455,0.028230725,0.000055201086,0.0003261727,0.30821675,0.58857113,0.07241776],"study_design_scores_gemma":[0.000005354316,0.000018260445,0.0032534143,0.00070980267,0.000010621188,0.00019302855,0.015464384,0.000050410483,0.0003230968,0.02872366,0.95121294,0.000035143992],"about_ca_topic_score_codex":0.033844665,"about_ca_topic_score_gemma":0.07278633,"teacher_disagreement_score":0.033844665,"about_ca_system_score_codex":0.006803075,"about_ca_system_score_gemma":0.009553523,"threshold_uncertainty_score":0.06729531},"labels":[],"label_agreement":null},{"id":"W2799934304","doi":"10.7202/1044442ar","title":"Hors chant. Arrangements godardiens pour violoncelle et cordes élargies","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.047055687201116476,"score_gpt":0.28646089195463553,"score_spread":0.23940520475351906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799934304","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055141956,0.007819418,0.010796747,0.0077530644,0.00078325125,0.00004700341,0.00008915657,0.0001227418,0.9174466],"genre_scores_gemma":[0.7642992,0.0022887746,0.006371738,0.0010620977,0.00023013567,0.00006089759,0.00006015162,0.00012709093,0.22549982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873465,0.00056101853,0.000035476605,0.00021182827,0.0002927479,0.00016429203],"domain_scores_gemma":[0.99959534,0.00012962853,0.00004842179,0.000058334786,0.00008836956,0.00007988064],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009392326,0.00040319547,0.00019472938,0.0007536483,0.004881545,0.0043092547,0.00055648707,0.0010794705,0.012567847],"category_scores_gemma":[0.0018646456,0.00022588386,0.00018673537,0.00082262146,0.007793653,0.0026840703,0.002452511,0.0023149455,0.001332541],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041711723,0.000009560067,0.0005589606,0.000046984103,0.0000039401148,0.00013584156,0.027457098,0.00009945511,0.00077403913,0.9424613,0.007483512,0.020927638],"study_design_scores_gemma":[0.000021165724,0.000053583233,0.004318292,0.00019097011,0.000011426223,0.00037770852,0.023546819,0.00028438374,0.0015174302,0.056356754,0.9132994,0.000022158698],"about_ca_topic_score_codex":0.03142878,"about_ca_topic_score_gemma":0.05386479,"teacher_disagreement_score":0.03142878,"about_ca_system_score_codex":0.0037873336,"about_ca_system_score_gemma":0.0015674027,"threshold_uncertainty_score":0.062491715},"labels":[],"label_agreement":null},{"id":"W2800295211","doi":"10.5406/scanstud.89.4.0530","title":"Structures of Feeling Bad: Identity, Guilt, and Shame in <i>Imagining Emanuel</i>","year":2017,"lang":"en","type":"article","venue":"Scandinavian Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Shame; Icon; Feeling; Citation; Identity (music); Sociology; Psychology; Art; Library science; Aesthetics; Computer science; Social psychology","score_opus":0.08318666344769046,"score_gpt":0.3555206978432924,"score_spread":0.2723340343956019,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800295211","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2720317,0.019357624,0.001493466,0.06989809,0.00075692096,0.000019857796,0.00006594956,0.00003528619,0.6363411],"genre_scores_gemma":[0.98894274,0.0023766614,0.00016753761,0.0010146874,0.0000615128,0.0000089308705,0.00001593768,0.000015207607,0.007396687],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966239,0.0024181826,0.000056533667,0.00011530779,0.00042997824,0.0003561858],"domain_scores_gemma":[0.9972568,0.0015091846,0.00040380305,0.0001926342,0.00023908277,0.00039850947],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003578141,0.000362476,0.0002462176,0.0013779833,0.0067496905,0.01038924,0.0004595148,0.0017269062,0.007883178],"category_scores_gemma":[0.005599249,0.00020908096,0.00023086302,0.0011043283,0.037448026,0.0051114056,0.004015658,0.0026401933,0.0008471334],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065433545,0.000048679623,0.005529102,0.0001430603,0.000018929353,0.000495772,0.5506932,0.00014032164,0.00028286193,0.38730127,0.03037922,0.024902204],"study_design_scores_gemma":[0.000020360276,0.000056533034,0.015025444,0.0009061517,0.00001676155,0.0005021024,0.71495205,0.000162379,0.00028109175,0.13259019,0.13544118,0.000045762416],"about_ca_topic_score_codex":0.008639791,"about_ca_topic_score_gemma":0.010741408,"teacher_disagreement_score":0.01038924,"about_ca_system_score_codex":0.0039991383,"about_ca_system_score_gemma":0.0021348451,"threshold_uncertainty_score":0.029015958},"labels":[],"label_agreement":null},{"id":"W2800803960","doi":"10.3138/cjfs.22.1.86","title":"The Practice of Memory and the Politics of Memorialization: Denis Villeneuve's <i>Polytechnique</i>","year":2013,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.019802213029370977,"score_gpt":0.2606396470093419,"score_spread":0.24083743397997093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800803960","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20315284,0.015140981,0.004430557,0.048030745,0.000647603,0.000041409217,0.00006183562,0.0000742625,0.72841984],"genre_scores_gemma":[0.92445886,0.0026554156,0.00037909797,0.000778509,0.0000851354,0.000021136613,0.000011976117,0.000029311832,0.07158056],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.998365,0.0008925287,0.00001925025,0.00016258884,0.00019069423,0.00037000587],"domain_scores_gemma":[0.9985688,0.0007539198,0.00016744452,0.000097724864,0.0001460831,0.0002660504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013205808,0.0003111345,0.00016914055,0.0007281524,0.01539382,0.009620191,0.00094801956,0.0017312544,0.008955137],"category_scores_gemma":[0.0026902885,0.00021008171,0.00016105041,0.0010079454,0.021117788,0.0040909243,0.005069037,0.0024957897,0.0005432948],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052520285,0.000030728825,0.0019068829,0.000104067054,0.0000069820785,0.0005456282,0.29958025,0.00028427175,0.00080494623,0.6486764,0.015436464,0.032570895],"study_design_scores_gemma":[0.000013876941,0.00004002385,0.00360287,0.00030005752,0.000010951975,0.00028383287,0.17938362,0.00022451743,0.00092431897,0.019991927,0.7951956,0.000028372258],"about_ca_topic_score_codex":0.29153457,"about_ca_topic_score_gemma":0.47357938,"teacher_disagreement_score":0.70846546,"about_ca_system_score_codex":0.020485235,"about_ca_system_score_gemma":0.010366792,"threshold_uncertainty_score":0.5796753},"labels":[],"label_agreement":null},{"id":"W2800916706","doi":"10.7202/1044445ar","title":"« Just allow the space to tell us what we should be… what we should be doing » : l’expérience cinématographique de la musique improvisée","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.06268787465390721,"score_gpt":0.3046160804103903,"score_spread":0.24192820575648308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800916706","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32262814,0.009798155,0.056611653,0.051058132,0.0015019662,0.00010744858,0.00014612211,0.0003799427,0.55776834],"genre_scores_gemma":[0.9673873,0.0011487487,0.0037002205,0.0016825271,0.00016874202,0.000051302144,0.000034568002,0.00012846033,0.025698105],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99754673,0.0017384576,0.000032358304,0.00022913163,0.00026149096,0.00019179314],"domain_scores_gemma":[0.99827373,0.001128026,0.0001362221,0.00012561941,0.000144064,0.00019222563],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00200718,0.00046903666,0.00026003813,0.0005220519,0.004907934,0.0085784625,0.00080952136,0.0025201186,0.0055827834],"category_scores_gemma":[0.004361417,0.00033329654,0.0003557844,0.0003594391,0.01864264,0.007193403,0.0048179263,0.004666449,0.00089573214],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008075002,0.000026028627,0.0010809881,0.00021087583,0.000012769211,0.000499585,0.6856402,0.00016567152,0.0050971718,0.2860921,0.0073563354,0.013737417],"study_design_scores_gemma":[0.000046223235,0.0001374221,0.0029238928,0.0005192264,0.000033985758,0.0016374053,0.32300735,0.0007834349,0.0025657099,0.045387615,0.6228814,0.00007628398],"about_ca_topic_score_codex":0.0051503135,"about_ca_topic_score_gemma":0.006434995,"teacher_disagreement_score":0.0085784625,"about_ca_system_score_codex":0.001991301,"about_ca_system_score_gemma":0.0012896936,"threshold_uncertainty_score":0.018676281},"labels":[],"label_agreement":null},{"id":"W2802635130","doi":"10.3138/cjfs.19.2.128","title":"<i>La Vie des Autres</i>: Un Hommage à L’Art","year":2010,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"German; Art; Character (mathematics); Politics; Action (physics); Art history; Humanities; German literature; Work of art; Sociology; Aesthetics; Philosophy; Literature; Literary criticism; Political science; Law","score_opus":0.03359415399839796,"score_gpt":0.2557049745421912,"score_spread":0.22211082054379325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802635130","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0701955,0.0057508196,0.0042738705,0.023302538,0.0014998376,0.00002497531,0.000047674916,0.00010077151,0.89480394],"genre_scores_gemma":[0.9069537,0.0021586765,0.0014757314,0.0022606591,0.00050080544,0.000029357327,0.000022808823,0.00008961846,0.08650861],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989146,0.0005065937,0.000026730002,0.00013962924,0.00019239564,0.0002200297],"domain_scores_gemma":[0.9994553,0.00019353243,0.00008815467,0.00008304974,0.00005999885,0.00011991756],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011428777,0.0004897229,0.00025464708,0.00074637815,0.00761693,0.010020904,0.00056993694,0.001382902,0.0057604923],"category_scores_gemma":[0.0016966276,0.00023571629,0.00030527063,0.00042706277,0.018803023,0.0035460468,0.0035987163,0.003934712,0.001002724],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006954882,0.00002497266,0.0011132682,0.00013821044,0.00001890851,0.0006764507,0.23827294,0.00013639442,0.0022196567,0.70926845,0.020300483,0.027760802],"study_design_scores_gemma":[0.000011648482,0.000044859178,0.0025965995,0.0002770105,0.000019453511,0.0012028932,0.081571564,0.0001780159,0.0013037461,0.03229627,0.880464,0.00003386917],"about_ca_topic_score_codex":0.0197891,"about_ca_topic_score_gemma":0.028822236,"teacher_disagreement_score":0.0197891,"about_ca_system_score_codex":0.0033832332,"about_ca_system_score_gemma":0.0013821232,"threshold_uncertainty_score":0.039347827},"labels":[],"label_agreement":null},{"id":"W2808293893","doi":"10.17572/mj2018.1.1530","title":"François Laruelle ve (Standart Olmayan) İletişim","year":2018,"lang":"tr","type":"article","venue":"Moment Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Humanities; Philosophy","score_opus":0.02564090197565162,"score_gpt":0.26502691877809725,"score_spread":0.23938601680244564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2808293893","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01928106,0.24016048,0.011829413,0.23298204,0.041993044,0.000064122476,0.0004644122,0.00086581614,0.45235965],"genre_scores_gemma":[0.3403497,0.05774959,0.005020797,0.017226549,0.007736356,0.00011258135,0.00020094732,0.0005986468,0.5710049],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987313,0.0004630341,0.0000316211,0.0002855425,0.00037118548,0.000117199255],"domain_scores_gemma":[0.99849725,0.0006662287,0.00012535334,0.00005814824,0.00042761466,0.00022552996],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012585596,0.00081808603,0.0004088801,0.000881478,0.0030184044,0.0043532914,0.0004665571,0.0017527222,0.027709652],"category_scores_gemma":[0.0052841105,0.00021580163,0.0002143653,0.0004417891,0.0016316577,0.0026477189,0.0015457033,0.0023240324,0.011895944],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015011075,0.000056311015,0.001092531,0.00028700888,0.0000151566865,0.00068032293,0.004471476,0.00061245443,0.00080391683,0.14500947,0.66810703,0.17871419],"study_design_scores_gemma":[0.000002458613,0.00001053005,0.00038926947,0.00015316787,0.000002002053,0.0003388812,0.00079987093,0.00016159895,0.0003343937,0.004552471,0.99324095,0.00001444131],"about_ca_topic_score_codex":0.00793849,"about_ca_topic_score_gemma":0.005376825,"teacher_disagreement_score":0.027709652,"about_ca_system_score_codex":0.002380085,"about_ca_system_score_gemma":0.0015316834,"threshold_uncertainty_score":0.09269804},"labels":[],"label_agreement":null},{"id":"W2810518438","doi":"10.3138/ctr.175.013","title":"Performance Curation and Communities of Colour: Open Reflection, Closed Report, and an Interview with Jane Gabriels","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Sociology; Work (physics); Reflection (computer programming); Art history; Equity (law); Media studies; Art; History; Anthropology; Engineering; Computer science; Political science; Law","score_opus":0.0755288183374628,"score_gpt":0.31547157253354224,"score_spread":0.23994275419607944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810518438","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23062626,0.029121982,0.0065796715,0.6248524,0.0063882414,0.0005612029,0.00036438153,0.00018849624,0.101317324],"genre_scores_gemma":[0.8763651,0.015403341,0.0031904532,0.048416458,0.0009186425,0.0006324289,0.00015331463,0.0006298576,0.05429034],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.93567115,0.04484592,0.0016039044,0.0025639806,0.009786152,0.005528826],"domain_scores_gemma":[0.838342,0.10939069,0.0056664385,0.0047267904,0.027894473,0.013979661],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.06435031,0.0008017069,0.0011067246,0.004647547,0.050692815,0.015596324,0.0034303733,0.006409822,0.0035390041],"category_scores_gemma":[0.13619004,0.0010420891,0.00053279195,0.0061626392,0.036627445,0.012179157,0.013416669,0.016375406,0.0006543666],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020401545,0.000017249153,0.0004908304,0.00011591102,0.0000053232943,0.00041918398,0.94395024,0.000040305244,0.00024311904,0.008337078,0.039237015,0.0071233315],"study_design_scores_gemma":[0.0000048638067,0.000017401955,0.0011597344,0.0004262317,0.0000053994722,0.00016970081,0.74936354,0.000026279053,0.000185666,0.0010722415,0.2475272,0.0000417542],"about_ca_topic_score_codex":0.39988652,"about_ca_topic_score_gemma":0.53634584,"teacher_disagreement_score":0.39988652,"about_ca_system_score_codex":0.04809139,"about_ca_system_score_gemma":0.06578818,"threshold_uncertainty_score":0.79511786},"labels":[],"label_agreement":null},{"id":"W2888459773","doi":"10.5539/ells.v8n3p55","title":"Narrative Element or Self-expressive Element: Two Roles of Colors in Araby and Kew Garden","year":2018,"lang":"en","type":"article","venue":"English Language and Literature Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Fundamental Research Funds for the Central Universities","keywords":"Narrative; Meaning (existential); Element (criminal law); Subjectivity; Art; Natural (archaeology); Aesthetics; Function (biology); Visual arts; Literature; History; Philosophy; Epistemology","score_opus":0.011504257879994812,"score_gpt":0.2815328121010124,"score_spread":0.27002855422101757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2888459773","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82523274,0.003300655,0.0077196453,0.0021182026,0.00019604946,0.000050637726,0.00009029751,0.000041663032,0.16125007],"genre_scores_gemma":[0.99407935,0.0004920265,0.0012489635,0.000120255136,0.000014149417,0.000029318442,0.000021528404,0.000026288228,0.003968149],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841845,0.0010880881,0.00004438494,0.000100169236,0.00018536914,0.00016359253],"domain_scores_gemma":[0.9980326,0.0012892984,0.00021243755,0.000089404704,0.00017275465,0.00020345769],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012638723,0.00044764794,0.00025093686,0.0010634764,0.003353447,0.004783108,0.00046023438,0.0007035744,0.003589596],"category_scores_gemma":[0.004185655,0.00022685814,0.00018496173,0.00080381584,0.010835526,0.0051949294,0.0033556453,0.001397289,0.00023303652],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020809805,0.000032303185,0.0029229901,0.0002875724,0.000013382308,0.0008677945,0.8870743,0.0000692832,0.0038168232,0.0884254,0.0008946133,0.015387506],"study_design_scores_gemma":[0.00001624423,0.000099662786,0.010253847,0.0003314011,0.00002624952,0.0014384285,0.8595257,0.00019315307,0.0034513578,0.007629156,0.11699592,0.000038875605],"about_ca_topic_score_codex":0.003024578,"about_ca_topic_score_gemma":0.004597384,"teacher_disagreement_score":0.004783108,"about_ca_system_score_codex":0.0016978945,"about_ca_system_score_gemma":0.00065939495,"threshold_uncertainty_score":0.012319148},"labels":[],"label_agreement":null},{"id":"W2891444626","doi":"10.7202/1050835ar","title":"Lora Senechal Carney, Canadian Painters in a Modern World 1925–1955: Writings and Reconsiderations, Montreal: McGill-Queen’s University Press, 2017, 352 pp. colour illus. $ 120 (cloth), $ 44.95 (paper) ISBN 9780773551152","year":2018,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Painting; Art history; Art; Media studies; Sociology","score_opus":0.020961781077947255,"score_gpt":0.19649972551700925,"score_spread":0.175537944439062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2891444626","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00086159573,0.85357887,0.00030960052,0.06532428,0.0051643215,0.000018854602,0.00085617165,0.00005867058,0.07382761],"genre_scores_gemma":[0.065059535,0.6456739,0.0012993353,0.020336218,0.0035538094,0.00006455937,0.0007097208,0.00022562807,0.26307726],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983132,0.0002618931,0.000049536153,0.00017679823,0.00092857576,0.000269986],"domain_scores_gemma":[0.9976319,0.00050899235,0.00012949982,0.000071377945,0.0013414384,0.00031671155],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019117257,0.0013089143,0.0006888926,0.00531407,0.010148838,0.0059971935,0.0019028408,0.002462994,0.037192643],"category_scores_gemma":[0.0040717344,0.00071213546,0.00040467724,0.009180859,0.00769686,0.0061564776,0.0017633095,0.0038547264,0.005803162],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020582649,0.000003902704,0.0002025975,0.0003504437,0.000006789043,0.00007174062,0.005052866,0.000040811636,0.00005019223,0.017952371,0.9469899,0.029257739],"study_design_scores_gemma":[0.000002586083,0.0000016941824,0.0017240217,0.00045956156,0.000004836579,0.00005120701,0.003286853,0.0000088740535,0.000034109267,0.0010364136,0.9933757,0.000014068612],"about_ca_topic_score_codex":0.94681185,"about_ca_topic_score_gemma":0.9789509,"teacher_disagreement_score":0.053188145,"about_ca_system_score_codex":0.046619985,"about_ca_system_score_gemma":0.04380584,"threshold_uncertainty_score":0.3382532},"labels":[],"label_agreement":null},{"id":"W2891506565","doi":"10.7202/1051015ar","title":"Underground Games: Surface Translation and the Grotesque","year":2018,"lang":"en","type":"article","venue":"TTR traduction terminologie rédaction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University; University of Ottawa","funders":"","keywords":"Ambivalence; Style (visual arts); Translation studies; Conversation; Comics; Aesthetics; Product (mathematics); Literature; Epistemology; Sociology; Art; Linguistics; Philosophy; Psychology; Psychoanalysis; Mathematics; Geometry","score_opus":0.09865784769820304,"score_gpt":0.2890224926348397,"score_spread":0.19036464493663666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2891506565","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17804618,0.0023705144,0.035142194,0.0086359,0.0003174877,0.000045511875,0.00003945469,0.000111351445,0.7752915],"genre_scores_gemma":[0.986192,0.00028325597,0.0020444512,0.00040068998,0.000056577923,0.000023458446,0.000016702343,0.000060455743,0.0109226145],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970137,0.0020112838,0.00006556595,0.00028998853,0.00036471497,0.0002546978],"domain_scores_gemma":[0.9981244,0.0011375605,0.00018309461,0.00029650965,0.00015115949,0.00010728928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017591086,0.00065894955,0.00029640042,0.0011003137,0.0035117904,0.009649966,0.0009918262,0.0021553831,0.0072504287],"category_scores_gemma":[0.0038605845,0.00022645704,0.00031383656,0.0011787781,0.029411115,0.007110392,0.0045535606,0.0035962262,0.00073958776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015184388,0.00001224436,0.00021015282,0.00002085539,0.0000021197525,0.000100940575,0.019808521,0.000097653654,0.00012631153,0.97336155,0.0006138439,0.00563044],"study_design_scores_gemma":[0.000034793255,0.00008479085,0.0016576882,0.00026425638,0.000013149351,0.00051082886,0.039658587,0.0028059722,0.0011005996,0.85501224,0.09883004,0.00002711671],"about_ca_topic_score_codex":0.0021701616,"about_ca_topic_score_gemma":0.0024591333,"teacher_disagreement_score":0.009649966,"about_ca_system_score_codex":0.002707724,"about_ca_system_score_gemma":0.0011139108,"threshold_uncertainty_score":0.024255097},"labels":[],"label_agreement":null},{"id":"W2892348739","doi":"10.1177/1077800418792946","title":"Visibilities and Visual Discourses: Rethinking the Social With the Image","year":2018,"lang":"en","type":"article","venue":"Qualitative Inquiry","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":63,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"German; Visibility; Sociology; Proposition; Representation (politics); Power (physics); Element (criminal law); Qualitative research; Epistemology; Media studies; Aesthetics; Social science; Linguistics; Political science; Law; Art","score_opus":0.09777761158020029,"score_gpt":0.4113463028136574,"score_spread":0.3135686912334571,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2892348739","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21279378,0.053918608,0.048722617,0.19492638,0.011528972,0.00017122032,0.00037747767,0.00029684303,0.47726417],"genre_scores_gemma":[0.9532967,0.012089129,0.0047278227,0.0058431174,0.0029085884,0.00013903173,0.0000970448,0.0005292199,0.020369258],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9917271,0.006297815,0.00016046736,0.00053150434,0.00087225833,0.00041088928],"domain_scores_gemma":[0.9715694,0.024992067,0.000855056,0.0011115182,0.00092731084,0.00054470374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009415026,0.00061306887,0.0006485636,0.004781751,0.01118787,0.02288202,0.0017012456,0.0035473243,0.008095158],"category_scores_gemma":[0.019795315,0.00031586635,0.0005959319,0.0033834067,0.048115853,0.01981261,0.0074209226,0.005178084,0.00058694073],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018693514,0.000012093303,0.000684221,0.00028414058,0.000010581344,0.000211162,0.6411399,0.00006561975,0.00029471933,0.3327432,0.008058515,0.016477132],"study_design_scores_gemma":[0.000008486985,0.000023177545,0.0015875575,0.001669358,0.000023975093,0.00035050808,0.56578267,0.00033957837,0.00065539824,0.08234129,0.34718165,0.000036336274],"about_ca_topic_score_codex":0.008344834,"about_ca_topic_score_gemma":0.012534682,"teacher_disagreement_score":0.02288202,"about_ca_system_score_codex":0.008089532,"about_ca_system_score_gemma":0.0027216868,"threshold_uncertainty_score":0.058693886},"labels":[],"label_agreement":null},{"id":"W2894587512","doi":"10.3138/cjfs.27.1.2017-0014","title":"Doorways to an Urban Mirage: <i>Urbanity</i> and the <i>Situated Cinema Project</i>","year":2018,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Art; Humanities; Urbanity; Movie theater; Art history; Publics; Visual arts; Engineering; Political science","score_opus":0.05017483656302356,"score_gpt":0.2896250469875417,"score_spread":0.23945021042451814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894587512","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61860526,0.004081648,0.008081944,0.023003366,0.0010189251,0.0001401346,0.0002734283,0.00018056779,0.34461465],"genre_scores_gemma":[0.93259746,0.0010396361,0.0013158523,0.00092450663,0.0000953083,0.00006837944,0.00007795911,0.00017157343,0.06370934],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99819106,0.0011435963,0.000017284692,0.00017262362,0.00015318918,0.00032226605],"domain_scores_gemma":[0.99903,0.00033472577,0.00010331161,0.000091651906,0.00010080893,0.00033958608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015483932,0.00038664165,0.00024659044,0.00078548293,0.013699893,0.010309536,0.0009420836,0.001705919,0.014505829],"category_scores_gemma":[0.002127137,0.0003531023,0.00028285268,0.00097602763,0.014318828,0.005067876,0.00819315,0.003274517,0.0012115748],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000650282,0.000038277536,0.0023712898,0.00013579459,0.000007801051,0.0012200326,0.8857383,0.0001251132,0.00083540357,0.07775586,0.01907826,0.012628787],"study_design_scores_gemma":[0.000006908334,0.000030997817,0.0040069213,0.00020772671,0.000007499405,0.0002950696,0.7001394,0.00008056079,0.00033235113,0.0033062748,0.29156786,0.000018450777],"about_ca_topic_score_codex":0.031156689,"about_ca_topic_score_gemma":0.11101528,"teacher_disagreement_score":0.031156689,"about_ca_system_score_codex":0.004963154,"about_ca_system_score_gemma":0.002981237,"threshold_uncertainty_score":0.061950684},"labels":[],"label_agreement":null},{"id":"W2894634399","doi":"10.7202/1051188ar","title":"Dispositif cartographique du son pour une scène sans bord","year":2018,"lang":"fr","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université du Québec à Chicoutimi","funders":"","keywords":"Humanities; Art","score_opus":0.09259045883804645,"score_gpt":0.33793181234364006,"score_spread":0.2453413535055936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894634399","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03310532,0.0030788833,0.10398013,0.0069091185,0.0021609312,0.0003245393,0.0024918937,0.002993217,0.844956],"genre_scores_gemma":[0.38622165,0.0045446814,0.11965238,0.0012153334,0.00067343697,0.0004009193,0.0025178127,0.0022790825,0.48249474],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994885,0.00013774009,0.00001933279,0.00012595567,0.00016673641,0.00006175865],"domain_scores_gemma":[0.99933785,0.00018970751,0.0000419034,0.00013439915,0.00023285607,0.00006324311],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006506562,0.00091787864,0.00023735312,0.003142213,0.0026723933,0.007008924,0.000708939,0.0014898246,0.06554289],"category_scores_gemma":[0.0018580244,0.00045290997,0.0004497448,0.0017088278,0.0030063847,0.0038657023,0.0021257096,0.0017250625,0.012052592],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023545852,0.00003508149,0.0054792366,0.0007919565,0.000021066537,0.0018300569,0.048340824,0.0026881886,0.012884153,0.5361522,0.13761488,0.25392684],"study_design_scores_gemma":[0.000007129026,0.000031608037,0.0026410085,0.0003314265,0.000014182819,0.0006266275,0.010106405,0.0016048183,0.0017839716,0.00876237,0.97405136,0.000039119073],"about_ca_topic_score_codex":0.029982574,"about_ca_topic_score_gemma":0.048010718,"teacher_disagreement_score":0.06554289,"about_ca_system_score_codex":0.0022185778,"about_ca_system_score_gemma":0.0024829567,"threshold_uncertainty_score":0.21926284},"labels":[],"label_agreement":null},{"id":"W2894682645","doi":"10.7202/1051071ar","title":"Twice Have the Trumpets Sounded","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Semiotics; Visual arts; Sign (mathematics); Sight; Dance; Art; Liminality; Everyday life; Aesthetics; History; Sociology; Linguistics; Law; Philosophy","score_opus":0.2098411992505113,"score_gpt":0.3577706666773595,"score_spread":0.1479294674268482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894682645","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11778989,0.005332253,0.007862423,0.06447289,0.045617487,0.00009058296,0.0004782881,0.0007004186,0.7576558],"genre_scores_gemma":[0.51322085,0.0013882589,0.0018687764,0.009654627,0.004687166,0.000067653134,0.00023826718,0.000988669,0.4678857],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957237,0.0013582639,0.000112068104,0.00065265625,0.0013128199,0.000840458],"domain_scores_gemma":[0.9974088,0.00045671378,0.00020589257,0.00035979738,0.0007212887,0.0008474667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026357672,0.0008466214,0.00046510043,0.00088301057,0.009083514,0.008996479,0.0009168054,0.0029683232,0.03729097],"category_scores_gemma":[0.011089068,0.00033339698,0.0004939076,0.00085093087,0.009122654,0.0066857347,0.0049525965,0.0071063875,0.014176858],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006801013,0.0001156219,0.005394229,0.0005065264,0.00009936964,0.0024175672,0.17510788,0.00009523668,0.006262323,0.26816192,0.36741608,0.17374319],"study_design_scores_gemma":[0.000020821037,0.00017343015,0.0046857814,0.0003455164,0.000020430476,0.0010551523,0.067606844,0.00008100903,0.0012278158,0.011475732,0.91322887,0.00007869761],"about_ca_topic_score_codex":0.004631041,"about_ca_topic_score_gemma":0.007864542,"teacher_disagreement_score":0.03729097,"about_ca_system_score_codex":0.0019418002,"about_ca_system_score_gemma":0.0011992137,"threshold_uncertainty_score":0.124750674},"labels":[],"label_agreement":null},{"id":"W2894742749","doi":"10.7202/1051067ar","title":"Voice in The “Long 20th Century”: From Mechanical to Electrical Aurality1","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"Centre National de la Recherche Scientifique; University of Cambridge; Fordham University","keywords":"Phonograph; Context (archaeology); Value (mathematics); Ideology; Virtue; Aesthetics; Sociology; Media studies; Art; Visual arts; History; Engineering; Computer science; Electrical engineering; Political science; Law; Politics","score_opus":0.14773811514567972,"score_gpt":0.3585766788563739,"score_spread":0.21083856371069418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894742749","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08623338,0.08234752,0.008397967,0.021276185,0.0024296348,0.000026803757,0.000073093724,0.000062903375,0.79915243],"genre_scores_gemma":[0.96300715,0.012306257,0.000910495,0.0016646887,0.0012814532,0.000019928912,0.0000290079,0.000044877957,0.020736126],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99783605,0.001136688,0.00008795027,0.00026642904,0.00042460958,0.00024833894],"domain_scores_gemma":[0.9981091,0.0010495549,0.00019913264,0.00018946196,0.0002666293,0.00018606732],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023160835,0.00035351948,0.00026255278,0.0011527648,0.004125547,0.009116341,0.0005908523,0.0018502771,0.0057236515],"category_scores_gemma":[0.0034316746,0.00017642825,0.0001700163,0.00087510207,0.031192917,0.0068255644,0.0043435553,0.0027940325,0.00066365657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045275818,0.00001300697,0.0004078,0.00013688828,0.0000048417332,0.00014868139,0.046926282,0.00010172895,0.00036551643,0.9274346,0.003288533,0.021126734],"study_design_scores_gemma":[0.000021128275,0.00014015389,0.0034063281,0.0010899303,0.000011412326,0.0010231388,0.043481603,0.0003160014,0.00094375137,0.25918508,0.69033664,0.000044782893],"about_ca_topic_score_codex":0.0024707266,"about_ca_topic_score_gemma":0.0027848922,"teacher_disagreement_score":0.009116341,"about_ca_system_score_codex":0.004387743,"about_ca_system_score_gemma":0.0015299371,"threshold_uncertainty_score":0.031835377},"labels":[],"label_agreement":null},{"id":"W2894747947","doi":"10.7202/1051070ar","title":"Artaud’s Hyeroglyphic Sign and Böhme’s Aesthetics of Atmosphere: The Semiotic Legacy of the Avant-Garde’s Recognition of the Materiality of Sound","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Materiality (auditing); Semiotics; Orality; Aesthetics; Poetics; Art; Avant garde; Sound (geography); Sign (mathematics); Temporality; Philosophy; Literature; Linguistics; Sociology; Art history; Acoustics; Poetry; Epistemology","score_opus":0.12168612775313362,"score_gpt":0.30374312014821836,"score_spread":0.18205699239508474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894747947","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07977582,0.005211163,0.029477708,0.015070906,0.0011767703,0.000039724517,0.00005243111,0.00014165111,0.86905384],"genre_scores_gemma":[0.94878244,0.00089265394,0.0028706787,0.0011112066,0.00028380918,0.00005243772,0.000016475795,0.000101407335,0.04588888],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979388,0.0013122823,0.000031367228,0.00014860692,0.00036245162,0.00020639804],"domain_scores_gemma":[0.9992993,0.00038361846,0.000051495022,0.00010400346,0.00007697471,0.00008460616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015661325,0.00051774574,0.00022685294,0.00080005045,0.0032835854,0.00772454,0.00068666466,0.0015887513,0.0036374207],"category_scores_gemma":[0.0031444423,0.00014540972,0.00033198335,0.00049319863,0.023672074,0.0034577714,0.0046627275,0.0026547029,0.0006013044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038505234,0.000006448938,0.00019920501,0.00004150706,0.000002096223,0.00015700271,0.053612955,0.00012202663,0.00073987176,0.9371424,0.0025953136,0.0053426935],"study_design_scores_gemma":[0.000027192375,0.00009820705,0.0019913432,0.00033231385,0.000016311153,0.0015342856,0.068457626,0.0011798516,0.001835501,0.3040305,0.6204354,0.000061459396],"about_ca_topic_score_codex":0.003113032,"about_ca_topic_score_gemma":0.003373735,"teacher_disagreement_score":0.00772454,"about_ca_system_score_codex":0.0016518828,"about_ca_system_score_gemma":0.0011031459,"threshold_uncertainty_score":0.012168407},"labels":[],"label_agreement":null},{"id":"W2895027960","doi":"10.7202/1051069ar","title":"Visual Aurality in Russian Modernist Experiments: Explorations in Synesthesia and Auditory Imagination","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Synesthesia; Symphony; Perception; Period (music); Cognitive science; Art; Aesthetics; Visual arts; Psychology; Cognitive psychology; Literature","score_opus":0.14470196142823186,"score_gpt":0.3792301427987133,"score_spread":0.23452818137048145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895027960","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9132898,0.0019558452,0.011873446,0.0011418533,0.00011986363,0.00005459855,0.000044678847,0.000055938322,0.07146393],"genre_scores_gemma":[0.9956326,0.0004345804,0.0016212328,0.00011487232,0.000020566971,0.000033998578,0.000010186207,0.000021390164,0.0021106252],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870276,0.00078746956,0.00004953545,0.00020240368,0.00017061371,0.00008718551],"domain_scores_gemma":[0.9983954,0.0012439647,0.00007133609,0.00017181008,0.00006866687,0.000048902217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025943124,0.0003054488,0.00031475528,0.0005548666,0.0016008378,0.0019452216,0.0004590689,0.0007940476,0.0031637766],"category_scores_gemma":[0.0036576544,0.00022653565,0.00025644226,0.00035134633,0.009530548,0.0018728497,0.0034601847,0.0016637444,0.0002727562],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008913309,0.00034052363,0.0034949037,0.00094361056,0.000067095614,0.0008520266,0.58303535,0.0006958172,0.14881766,0.21157975,0.0011114982,0.048170406],"study_design_scores_gemma":[0.00050554855,0.003741124,0.07261907,0.0008883529,0.00020737386,0.0059851687,0.32280296,0.0037837,0.089367315,0.29250583,0.20723577,0.00035779647],"about_ca_topic_score_codex":0.00041832728,"about_ca_topic_score_gemma":0.0005634497,"teacher_disagreement_score":0.0031637766,"about_ca_system_score_codex":0.00086273596,"about_ca_system_score_gemma":0.0003011083,"threshold_uncertainty_score":0.013720155},"labels":[],"label_agreement":null},{"id":"W2895155608","doi":"10.7202/1051191ar","title":"Linguistic Aspects of Sound Design for Theatre: A View from the Fringe","year":2018,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Sound (geography); Narrative; Drama; Focus (optics); Linguistics; Semiotics; Meaning (existential); Sound design; Sound symbolism; The arts; Function (biology); Visual arts; History; Sociology; Art; Acoustics; Epistemology; Philosophy","score_opus":0.2807602911017874,"score_gpt":0.36681065421250697,"score_spread":0.08605036311071956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895155608","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18936944,0.045134235,0.051821187,0.03224321,0.00079652463,0.0000754498,0.00012930739,0.00014254871,0.680288],"genre_scores_gemma":[0.9750754,0.0059788846,0.004213679,0.0006866569,0.00031039322,0.00004227227,0.000027033462,0.00006595939,0.013599744],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9982362,0.0012829558,0.000034602763,0.00013205108,0.00016565806,0.00014846308],"domain_scores_gemma":[0.9983418,0.001192191,0.00009452145,0.00012617237,0.0001289808,0.00011632292],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024461136,0.0005827431,0.00037209547,0.002651498,0.006536202,0.011576195,0.0010777038,0.0018664757,0.0029172949],"category_scores_gemma":[0.00355553,0.00024456604,0.0004336792,0.0012320481,0.02933402,0.0047786543,0.0032971955,0.0026650755,0.00037927067],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000073160976,0.000023224457,0.0006953816,0.0002947395,0.0000099698145,0.00044450865,0.1448653,0.00069922896,0.0012127011,0.83023393,0.0020261486,0.01942167],"study_design_scores_gemma":[0.00003369763,0.00017464961,0.0041990364,0.000920061,0.000036318914,0.0013752724,0.26478732,0.0019671463,0.0023778558,0.27205724,0.4520066,0.00006480699],"about_ca_topic_score_codex":0.0126567185,"about_ca_topic_score_gemma":0.011859468,"teacher_disagreement_score":0.0126567185,"about_ca_system_score_codex":0.008310731,"about_ca_system_score_gemma":0.0021470482,"threshold_uncertainty_score":0.06029886},"labels":[],"label_agreement":null},{"id":"W2895465360","doi":"10.3138/cjfs.27.1.2017-0012","title":"Reimagining Public Space in Expanded Cinema Exhibition","year":2018,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Waterloo","funders":"","keywords":"Art; Humanities; Public space; Spectacle; Exhibition; Art history; Political science","score_opus":0.08402990273191381,"score_gpt":0.2997018349954003,"score_spread":0.21567193226348652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895465360","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6821676,0.0015101825,0.0049264887,0.005260943,0.00026975642,0.00004710213,0.000111464324,0.0001591452,0.3055473],"genre_scores_gemma":[0.9813555,0.00029041705,0.0004670849,0.00009418234,0.00004734377,0.000010917381,0.000026032307,0.000051632676,0.017656876],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987633,0.0004433149,0.000016899065,0.00010814849,0.00024371057,0.00042463484],"domain_scores_gemma":[0.9986778,0.00055608776,0.00013597838,0.00018521723,0.00018409634,0.000260831],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013739545,0.00038261348,0.00025306756,0.0011082565,0.007188174,0.009126021,0.00088393653,0.0011482359,0.011695743],"category_scores_gemma":[0.0027930045,0.00025900314,0.00030414405,0.0010134407,0.007726302,0.004555301,0.006991116,0.001909031,0.0004658019],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013951576,0.000062561005,0.004337984,0.00021083494,0.000020492093,0.0014249455,0.8093782,0.00067168305,0.0054266467,0.13197233,0.010119749,0.036234982],"study_design_scores_gemma":[0.00001836279,0.000075943804,0.02133841,0.00037121994,0.000041754058,0.0008837713,0.45964715,0.0010398077,0.002517594,0.010858576,0.50316244,0.00004491316],"about_ca_topic_score_codex":0.061217375,"about_ca_topic_score_gemma":0.1581706,"teacher_disagreement_score":0.061217375,"about_ca_system_score_codex":0.0074914615,"about_ca_system_score_gemma":0.003420288,"threshold_uncertainty_score":0.1217221},"labels":[],"label_agreement":null},{"id":"W2895989242","doi":"10.1002/cepa.946","title":"Glass Sculpture at Dr. George Robert Grasett Park","year":2018,"lang":"en","type":"article","venue":"ce/papers","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Sculpture; Point (geometry); Irish; Archaeology; Stress (linguistics); Geology; Engineering; Art; History; Geometry; Art history; Mathematics","score_opus":0.017615310521428805,"score_gpt":0.23491947520587178,"score_spread":0.21730416468444297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895989242","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019199407,0.010810509,0.008749267,0.023996405,0.012760064,0.000248142,0.0009409004,0.002176314,0.9211189],"genre_scores_gemma":[0.03838462,0.0014427513,0.0031900103,0.0011808617,0.0006699062,0.000028797347,0.00014473224,0.00029410212,0.95466423],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996619,0.000029672503,0.0000057448706,0.00007316988,0.00017042711,0.00005908729],"domain_scores_gemma":[0.9996582,0.000019722334,0.000011031778,0.00002522614,0.00008167113,0.00020412207],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036508238,0.0005853123,0.00020582834,0.00069030595,0.0030979177,0.0017549442,0.000616052,0.0008865492,0.2355991],"category_scores_gemma":[0.00047486898,0.0002461019,0.000272124,0.00033511172,0.0007644949,0.00075030536,0.0019870857,0.0016631333,0.0556698],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010119714,0.00004503123,0.00065680046,0.00009289534,0.000003824892,0.00075601164,0.00077266636,0.00023254965,0.00494498,0.008540236,0.8734838,0.11037013],"study_design_scores_gemma":[0.0000039550596,0.000028780876,0.00061402016,0.0000348677,0.0000014420235,0.00036941547,0.0003720053,0.000098811644,0.00080084393,0.00034959114,0.9973188,0.0000074539334],"about_ca_topic_score_codex":0.01711944,"about_ca_topic_score_gemma":0.055480946,"teacher_disagreement_score":0.2355991,"about_ca_system_score_codex":0.0015774611,"about_ca_system_score_gemma":0.0013559802,"threshold_uncertainty_score":0.7881575},"labels":[],"label_agreement":null},{"id":"W289648215","doi":"10.4000/communiquer.1580","title":"Institution et légitimation d’une quasi-discipline : le triple destin (sciences, études et champ) de la communication","year":2010,"lang":"fr","type":"article","venue":"Revue internationale de communication sociale et publique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.046814151981976075,"score_gpt":0.3448501837590295,"score_spread":0.2980360317770534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W289648215","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.115342095,0.0060802847,0.20051016,0.05174983,0.0010474508,0.00023296657,0.00015998921,0.00024275779,0.62463444],"genre_scores_gemma":[0.95282465,0.001799069,0.018384315,0.0009654569,0.0002826628,0.00026633497,0.00005006215,0.00011908319,0.025308376],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9805242,0.012394702,0.00059517316,0.0018667828,0.003728783,0.0008902483],"domain_scores_gemma":[0.9724779,0.01692855,0.0025591012,0.0035937799,0.0031589302,0.0012817098],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.01417258,0.0005629784,0.00071378925,0.004298163,0.0089938985,0.020689942,0.0013021904,0.004617284,0.008545794],"category_scores_gemma":[0.024278566,0.0005311192,0.0006633856,0.0038406514,0.07940168,0.02222679,0.0093958555,0.0050885323,0.001268072],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007696177,0.000006385644,0.0003287964,0.000039014245,0.000003388629,0.000035497374,0.019829469,0.00006694501,0.00017347415,0.97522855,0.00033439454,0.003946335],"study_design_scores_gemma":[0.000023796443,0.00005246291,0.0015982692,0.00037720843,0.000015966823,0.00028792614,0.026972827,0.00068356923,0.00087266247,0.8420963,0.12696354,0.00005545369],"about_ca_topic_score_codex":0.00501654,"about_ca_topic_score_gemma":0.0038371542,"teacher_disagreement_score":0.9910061,"about_ca_system_score_codex":0.009355258,"about_ca_system_score_gemma":0.011863816,"threshold_uncertainty_score":0.07495266},"labels":[],"label_agreement":null},{"id":"W2896565307","doi":"10.1093/oxfordhb/9780199660896.013.40","title":"Word and Image","year":2018,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Representation (politics); Art; Poetry; Romance; Painting; Context (archaeology); Exhibition; Visual arts; The arts; Sister; Dual (grammatical number); Literature; Aesthetics; History; Sociology","score_opus":0.02643015303070965,"score_gpt":0.20465607503028585,"score_spread":0.1782259219995762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896565307","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004797639,0.01822514,0.00282813,0.0058348016,0.0016577754,0.00001818879,0.00012037331,0.000067321605,0.96645063],"genre_scores_gemma":[0.24283674,0.020701528,0.0033390378,0.0046379482,0.0016028886,0.00006728138,0.00031007605,0.00043937413,0.72606516],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924785,0.00020253078,0.00003701143,0.0001499585,0.0002549834,0.00010755548],"domain_scores_gemma":[0.9996294,0.00012824725,0.00003689687,0.00006248609,0.000088042565,0.00005489167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044027943,0.00051724113,0.00037737773,0.0016933148,0.0024635354,0.009658283,0.00049632945,0.0013143371,0.048349474],"category_scores_gemma":[0.0018907594,0.0001486215,0.00028046942,0.0017964209,0.008178401,0.009664218,0.0034074537,0.0017740628,0.009974841],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024639614,0.000010888851,0.00020440355,0.00013078097,0.0000046796335,0.000104451996,0.008751683,0.00005647055,0.0003939619,0.87407535,0.04292834,0.07331435],"study_design_scores_gemma":[0.0000036306042,0.000014906899,0.0003682928,0.00025203105,0.0000041549765,0.0003487987,0.0047597312,0.000044690492,0.0002186802,0.07905648,0.91492105,0.000007657879],"about_ca_topic_score_codex":0.0025300437,"about_ca_topic_score_gemma":0.0032314095,"teacher_disagreement_score":0.048349474,"about_ca_system_score_codex":0.001857729,"about_ca_system_score_gemma":0.001200193,"threshold_uncertainty_score":0.16174507},"labels":[],"label_agreement":null},{"id":"W2897797349","doi":"10.3138/ecf.31.2.253","title":"Material Fictions: A Dialogue as Introduction","year":2019,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Materiality (auditing); Conversation; Embodied cognition; Epistemology; Pleasure; Interpretation (philosophy); Kinship; Sociology; Aesthetics; Context (archaeology); Discipline; Reading (process); Hermeneutics; Philosophy; Anthropology; Linguistics; Social science; History; Psychology; Archaeology","score_opus":0.011070207153003317,"score_gpt":0.21591797690701361,"score_spread":0.2048477697540103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897797349","genre_codex":"editorial","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00813619,0.04410112,0.011056926,0.3510341,0.36938378,0.00015772707,0.00046876358,0.0005170582,0.21514434],"genre_scores_gemma":[0.2677365,0.020395998,0.010396726,0.082853965,0.3734753,0.0004630536,0.00082855584,0.001793567,0.24205637],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98837787,0.007018356,0.0005466584,0.0009200327,0.002391386,0.00074570137],"domain_scores_gemma":[0.96764386,0.024673868,0.00087667233,0.001601211,0.0035549786,0.0016494902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009533835,0.0011486575,0.0010538548,0.005860913,0.009004318,0.01679155,0.0019856102,0.008084808,0.020934928],"category_scores_gemma":[0.041347716,0.00042758638,0.000792686,0.0029542248,0.01336291,0.009544052,0.00678086,0.009781012,0.0037630517],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005248995,0.000046731857,0.00021247001,0.0003878449,0.000013086072,0.0006132365,0.023612125,0.00017388079,0.00042130688,0.1902154,0.74144375,0.042807598],"study_design_scores_gemma":[0.0000020151056,0.000008377853,0.000099744895,0.00017498696,0.0000020514958,0.00014115372,0.0015668328,0.000056411838,0.000112979316,0.0042428644,0.99358505,0.000007635488],"about_ca_topic_score_codex":0.0011812415,"about_ca_topic_score_gemma":0.001677748,"teacher_disagreement_score":0.020934928,"about_ca_system_score_codex":0.0053573493,"about_ca_system_score_gemma":0.0025596956,"threshold_uncertainty_score":0.070034325},"labels":[],"label_agreement":null},{"id":"W2897840999","doi":"10.3138/ecf.31.1.117","title":"The Fictility of Porcelain: Making and Shaping Meaning in Lady Dorothea Banks’s “Dairy Book”","year":2018,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Synecdoche; Materiality (auditing); Meaning (existential); Wife; Art; Art history; Interpretation (philosophy); Visual arts; Literature; Aesthetics; Metonymy; Theology; Philosophy; Linguistics; Epistemology","score_opus":0.03436170602666758,"score_gpt":0.26116587373192507,"score_spread":0.2268041677052575,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897840999","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23698755,0.008358158,0.010716808,0.03047181,0.0009889479,0.000045292294,0.00010632049,0.00015757914,0.71216756],"genre_scores_gemma":[0.94396466,0.0020175595,0.0021167113,0.001833177,0.00019455941,0.000027287737,0.000031940344,0.00013197308,0.049682148],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986833,0.00071674184,0.000022777289,0.00012161352,0.00033280323,0.00012291066],"domain_scores_gemma":[0.9983304,0.0011587815,0.00010955774,0.00012498876,0.00016356811,0.00011269921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015938681,0.00030279148,0.00019875342,0.0012321544,0.0093087815,0.007982552,0.0005678775,0.0011208919,0.003316444],"category_scores_gemma":[0.0042205066,0.00016272182,0.00012613217,0.0011509857,0.030278387,0.0042092376,0.0032570781,0.0026572251,0.00036082783],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027978447,0.000012056745,0.00062923087,0.00006037728,0.0000031843406,0.0005303926,0.48857078,0.000090373,0.0005046917,0.47307613,0.016384881,0.020109942],"study_design_scores_gemma":[0.0000088351235,0.000021037325,0.0012115894,0.00022550403,0.000005683191,0.00065780064,0.1499205,0.00017012592,0.0010241995,0.03639906,0.81033194,0.000023820938],"about_ca_topic_score_codex":0.014054314,"about_ca_topic_score_gemma":0.037427176,"teacher_disagreement_score":0.014054314,"about_ca_system_score_codex":0.0052327295,"about_ca_system_score_gemma":0.002741471,"threshold_uncertainty_score":0.03796631},"labels":[],"label_agreement":null},{"id":"W2899915793","doi":"10.5325/jmorahist.18.2.0187","title":"An Unexpected Find: Self-Representation in Nineteenth-Century Portrait Photographs of Canadian Lenape","year":2018,"lang":"en","type":"article","venue":"Journal of Moravian History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Representation (politics); Self representation; Art history; Art; History; Visual arts; Political science; Humanities; Law; Politics","score_opus":0.03211990820585814,"score_gpt":0.24296818337767292,"score_spread":0.2108482751718148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899915793","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8473593,0.0010604963,0.0005928948,0.0026827753,0.00009371917,0.000032906995,0.00029441068,0.000032707663,0.1478508],"genre_scores_gemma":[0.9868618,0.000295143,0.00022100637,0.00009124393,0.0000056599265,0.0000041768403,0.00004619742,0.000013110168,0.012461682],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995652,0.000113996044,0.000008886725,0.000062728715,0.000108518514,0.00014063201],"domain_scores_gemma":[0.9994326,0.00015841748,0.000049255683,0.00005397707,0.0001999659,0.000105818726],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00054175983,0.00026943805,0.00014821872,0.0014539072,0.011543178,0.0034950334,0.00062432716,0.00058132794,0.006823454],"category_scores_gemma":[0.0012317355,0.00018434989,0.00015700496,0.0013158389,0.006698163,0.0010440557,0.0016556602,0.0009346708,0.00023846826],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008009315,0.000011427404,0.0081764655,0.00007302301,0.000011645957,0.0015412051,0.9529885,0.00015590577,0.0019136819,0.014844866,0.0061021303,0.0141010545],"study_design_scores_gemma":[0.0000049310866,0.000017260263,0.03483389,0.00020379177,0.00002357606,0.0007979364,0.7822356,0.00020946706,0.0010188832,0.000765965,0.17984782,0.000040803938],"about_ca_topic_score_codex":0.93448716,"about_ca_topic_score_gemma":0.9842478,"teacher_disagreement_score":0.065512836,"about_ca_system_score_codex":0.025011213,"about_ca_system_score_gemma":0.0070853895,"threshold_uncertainty_score":0.18146992},"labels":[],"label_agreement":null},{"id":"W2900816697","doi":"10.3917/nre.021.0099","title":"Quelques enjeux philosophiques de la restauration : à partir des Harvard Murals de Rothko","year":2018,"lang":"fr","type":"article","venue":"Nouvelle revue d’esthétique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art; Philosophy; Art history","score_opus":0.061967836878293533,"score_gpt":0.3204478543363309,"score_spread":0.25848001745803734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2900816697","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11410284,0.06660866,0.03781022,0.15222302,0.0054647694,0.000060711696,0.00019183556,0.00020177569,0.6233362],"genre_scores_gemma":[0.7646375,0.010894871,0.005505373,0.006866524,0.0008313935,0.00007027293,0.00003990917,0.0002015683,0.2109526],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988714,0.000538966,0.00002559202,0.00024281241,0.00019380805,0.00012734556],"domain_scores_gemma":[0.9993351,0.00036000254,0.00006281316,0.00006988169,0.0001041246,0.00006813299],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013942663,0.000544666,0.00034476296,0.00068368675,0.004144417,0.005146047,0.000614984,0.0024437923,0.012645615],"category_scores_gemma":[0.002316534,0.00029977577,0.0003981666,0.0006313797,0.01346236,0.0057269223,0.0030201855,0.0044307313,0.0016319364],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006210626,0.000011311232,0.0002321794,0.00008000272,0.0000051190336,0.00005388064,0.0055487105,0.00019335558,0.00036598253,0.975154,0.009572736,0.008720756],"study_design_scores_gemma":[0.000028855293,0.000060135353,0.0021235794,0.00033067205,0.000018912397,0.00017306936,0.006893665,0.0007481799,0.0014587522,0.21791402,0.7701868,0.00006354946],"about_ca_topic_score_codex":0.008544574,"about_ca_topic_score_gemma":0.018939288,"teacher_disagreement_score":0.012645615,"about_ca_system_score_codex":0.006009782,"about_ca_system_score_gemma":0.0014051347,"threshold_uncertainty_score":0.043604255},"labels":[],"label_agreement":null},{"id":"W2901129339","doi":"10.2458/jcrae.4865","title":"From Cultural Tolerance to Mutual Cultural Respect: An Asian Artist’s Perspective on Virtual World Cultural Appropriation","year":2018,"lang":"en","type":"article","venue":"Journal of Cultural Research in Art Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Appropriation; Cultural appropriation; Connotation; Denotation (semiotics); Sociology; Aesthetics; Linguistics; Anthropology; Art; Philosophy; Semiotics","score_opus":0.1191059271318691,"score_gpt":0.4401026293436937,"score_spread":0.32099670221182464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901129339","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70494866,0.0044771433,0.0061481986,0.018648067,0.0005047052,0.00005030123,0.000018519495,0.0000291449,0.26517528],"genre_scores_gemma":[0.99564713,0.00052227156,0.00036045656,0.0006250226,0.000030510771,0.000011359129,0.0000036930976,0.000011577336,0.0027878708],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99316895,0.0043058526,0.00029667345,0.00037835224,0.0007778313,0.0010723072],"domain_scores_gemma":[0.9967367,0.0015146262,0.0004898222,0.00033237925,0.0003494571,0.0005770311],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007047059,0.00066512334,0.0006032225,0.002565402,0.01787164,0.019437317,0.0015495162,0.0028778403,0.0025621757],"category_scores_gemma":[0.004719558,0.00040303564,0.00062332593,0.0020507777,0.045920353,0.014985819,0.015060464,0.008403596,0.00021959965],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008585595,0.00001831889,0.0013793816,0.000040487528,0.000006510712,0.00053546263,0.9078405,0.000049108585,0.00024724109,0.085545674,0.00034971617,0.0039790077],"study_design_scores_gemma":[0.000005683411,0.000030265148,0.0017569762,0.00020597404,0.000013584281,0.00079031824,0.9531754,0.00034652717,0.00026383752,0.017217655,0.026165793,0.00002790835],"about_ca_topic_score_codex":0.014664563,"about_ca_topic_score_gemma":0.010012469,"teacher_disagreement_score":0.019437317,"about_ca_system_score_codex":0.0066265925,"about_ca_system_score_gemma":0.00481652,"threshold_uncertainty_score":0.04807949},"labels":[],"label_agreement":null},{"id":"W2901472809","doi":"10.4000/books.septentrion.24279","title":"Cinéma stéréoscopique : esthétique de l’immersion et sentiment de présence","year":2018,"lang":"fr","type":"book-chapter","venue":"Presses universitaires du Septentrion eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Immersion (mathematics); Art; Computer science; Mathematics; Pure mathematics","score_opus":0.01633422236610855,"score_gpt":0.23346441870123694,"score_spread":0.2171301963351284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901472809","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019946616,0.015314438,0.008752048,0.0058277003,0.0015834965,0.00003529663,0.00014455258,0.00008752211,0.9483084],"genre_scores_gemma":[0.6506969,0.016688246,0.0051648426,0.0023922333,0.0013985956,0.00009790414,0.00018361789,0.00024820765,0.32312953],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996991,0.00012862097,0.0000062706467,0.000041975993,0.00007904612,0.000044972207],"domain_scores_gemma":[0.9996784,0.00017886829,0.000022785118,0.000024475468,0.00006063713,0.00003493673],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004784338,0.00050311274,0.00014675978,0.0008494229,0.001776516,0.0037697125,0.00040318182,0.00085900986,0.009165096],"category_scores_gemma":[0.0009802959,0.00014785933,0.00021605076,0.00076813926,0.005208468,0.0025083285,0.0015335389,0.0019147879,0.00080696633],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006605611,0.000019568784,0.00056178705,0.0004382201,0.000008692917,0.00041218428,0.087181106,0.00027106775,0.0047883806,0.7401224,0.080469735,0.085660726],"study_design_scores_gemma":[0.000008189481,0.00002911792,0.0026848922,0.0003976359,0.0000062624204,0.0006616264,0.017201075,0.00027441795,0.00088117504,0.019440275,0.95839816,0.00001728981],"about_ca_topic_score_codex":0.01218901,"about_ca_topic_score_gemma":0.015740065,"teacher_disagreement_score":0.01218901,"about_ca_system_score_codex":0.0017641499,"about_ca_system_score_gemma":0.0011081954,"threshold_uncertainty_score":0.030660331},"labels":[],"label_agreement":null},{"id":"W2901733812","doi":"10.7202/1052751ar","title":"De l’informe à la dramaturgie sonore au théâtre : le devenir ouvertement déclassé et enjoué d’une scène sans bord","year":2018,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université du Québec à Chicoutimi","funders":"","keywords":"Humanities; Art","score_opus":0.022626083462650333,"score_gpt":0.2685995955524407,"score_spread":0.24597351208979035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901733812","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04646226,0.005834851,0.016134404,0.046177514,0.00167106,0.00004246521,0.00017493105,0.00014708632,0.88335544],"genre_scores_gemma":[0.81114095,0.003124916,0.003460704,0.0034599598,0.00048451786,0.00005917608,0.00008473228,0.00022492895,0.1779601],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963475,0.0021978251,0.000045065142,0.00030751535,0.0006755592,0.0004265366],"domain_scores_gemma":[0.99687684,0.001308477,0.00022494933,0.0005691476,0.00062304974,0.00039749203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034891497,0.00064416556,0.0003588548,0.001299146,0.012124332,0.0130111985,0.0010444934,0.0026977335,0.018077146],"category_scores_gemma":[0.0071042376,0.00028163075,0.0003651367,0.0013447322,0.03264068,0.007638956,0.0052126804,0.005227738,0.0022920128],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031475112,0.00001073526,0.000348887,0.00007720384,0.0000046738223,0.00015654508,0.07236496,0.0001378401,0.00039020777,0.8998748,0.015282798,0.011319867],"study_design_scores_gemma":[0.0000119179185,0.000030467707,0.0015432187,0.0003464299,0.0000120134655,0.00030444632,0.06436253,0.00031625424,0.00078966015,0.07341866,0.8588312,0.000033261247],"about_ca_topic_score_codex":0.09145729,"about_ca_topic_score_gemma":0.12579086,"teacher_disagreement_score":0.09145729,"about_ca_system_score_codex":0.0126456395,"about_ca_system_score_gemma":0.008148904,"threshold_uncertainty_score":0.18184996},"labels":[],"label_agreement":null},{"id":"W2902330478","doi":"10.7202/1053856ar","title":"Image et réalité dans la théorie cinématographique d’André Bazin","year":2018,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.02082383608531147,"score_gpt":0.2730444817091539,"score_spread":0.25222064562384244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2902330478","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044619247,0.05533349,0.081642225,0.096581005,0.0023973132,0.000066122346,0.00015639467,0.00013732525,0.71906686],"genre_scores_gemma":[0.87479144,0.014612197,0.014555548,0.0038528224,0.0009865045,0.000107822634,0.00006139682,0.00016926797,0.09086299],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99867994,0.00082966127,0.00002446404,0.00021115251,0.00017355585,0.00008126413],"domain_scores_gemma":[0.99854374,0.0011040128,0.00007860068,0.00007463869,0.00014131106,0.00005772924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014005316,0.0004940635,0.00036175936,0.0012630401,0.0025212516,0.0056051305,0.00051402854,0.0018747448,0.006614885],"category_scores_gemma":[0.0033534502,0.00044287022,0.00035673607,0.0008769722,0.012424148,0.0070207654,0.001464175,0.0039668214,0.0007861025],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004502678,0.0000024213155,0.000040924166,0.000017304372,9.629345e-7,0.000015153731,0.0016256651,0.00012977041,0.00006364032,0.9952094,0.0017044307,0.0011858006],"study_design_scores_gemma":[0.000015288988,0.000015478772,0.00046580203,0.0001527308,0.000010350573,0.0002001205,0.0021818485,0.0016736559,0.0003324102,0.78159046,0.21333499,0.000026819682],"about_ca_topic_score_codex":0.008251161,"about_ca_topic_score_gemma":0.0054074414,"teacher_disagreement_score":0.008251161,"about_ca_system_score_codex":0.0043966696,"about_ca_system_score_gemma":0.0009797207,"threshold_uncertainty_score":0.031900167},"labels":[],"label_agreement":null},{"id":"W2903132126","doi":"10.15353/cjds.v7i3.449","title":"“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Waterloo","funders":"","keywords":"Dance; Ideology; German; Aesthetics; Embodied cognition; Sociology; Movie theater; Visual arts; Normative; Contemporary dance; Everyday life; Inclusion (mineral); Art; Gender studies; Politics; Law; Philosophy; Political science; Linguistics","score_opus":0.0551452875710329,"score_gpt":0.2988110106201849,"score_spread":0.243665723049152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2903132126","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60596883,0.0017970267,0.007267181,0.013296399,0.00090617954,0.00031677933,0.000619168,0.00026456267,0.36956385],"genre_scores_gemma":[0.9180294,0.0011541729,0.0036251727,0.0005202448,0.00010201682,0.000094554154,0.00031673655,0.0001561394,0.07600148],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99753916,0.00069680135,0.000055598866,0.00023608335,0.0005616872,0.0009107264],"domain_scores_gemma":[0.998602,0.00020799096,0.00010063945,0.00009620362,0.00021469832,0.0007784906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016340028,0.0010971747,0.00031786013,0.0013423114,0.022942318,0.007878905,0.0016840646,0.0014251744,0.013573063],"category_scores_gemma":[0.0027068031,0.00036199737,0.00044577432,0.0011789331,0.016893841,0.0023252368,0.0116971,0.0022515818,0.0017278361],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018618647,0.00008642346,0.004644607,0.00028504993,0.000023797276,0.0028562152,0.87608826,0.0006554513,0.0049487012,0.03959667,0.038409103,0.03221957],"study_design_scores_gemma":[0.000015824116,0.000090145,0.008697448,0.0002567988,0.000026386471,0.0006652344,0.6404571,0.00029950746,0.0021088312,0.0016112567,0.34570098,0.000070534705],"about_ca_topic_score_codex":0.5134036,"about_ca_topic_score_gemma":0.8118022,"teacher_disagreement_score":0.4865964,"about_ca_system_score_codex":0.030147947,"about_ca_system_score_gemma":0.014220996,"threshold_uncertainty_score":0.97892416},"labels":[],"label_agreement":null},{"id":"W2903503736","doi":"10.1080/08322473.2018.1520030","title":"Handbook of Arts-Based Research (Manuel sur la recherche axée sur l’art), edited by Patricia Leavy","year":2018,"lang":"fr","type":"article","venue":"Canadian Art Therapy Association Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"PICASSO; The arts; Painting; Art; Art history; Visual arts; Sociology; Humanities","score_opus":0.311949723337223,"score_gpt":0.38658546526147225,"score_spread":0.07463574192424927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2903503736","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079046347,0.72151726,0.016256843,0.034912217,0.009047522,0.00015337928,0.001124177,0.00084943086,0.21534875],"genre_scores_gemma":[0.025728794,0.63472664,0.032522507,0.019021243,0.0037263827,0.00059947046,0.0016038179,0.0012252533,0.2808459],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9945286,0.0026941223,0.00037328602,0.000448935,0.0017413674,0.0002136065],"domain_scores_gemma":[0.9926987,0.004648697,0.0003521292,0.0006141552,0.0012541151,0.00043207797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0059879743,0.000881164,0.00094453816,0.0045327693,0.0022955649,0.008990483,0.001862306,0.0022510407,0.024004612],"category_scores_gemma":[0.008501925,0.0009334774,0.00050159247,0.0049766395,0.0048957993,0.006607476,0.0032741777,0.0047798385,0.01701157],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001630329,0.000030082723,0.00019264045,0.0014621263,0.0000125775105,0.00008661762,0.005438809,0.000111577145,0.00032982114,0.069270656,0.6591113,0.26393744],"study_design_scores_gemma":[0.0000021557253,0.000005050588,0.0003587745,0.0011486468,0.0000021231053,0.0001974087,0.0009426046,0.000017962519,0.00007284151,0.0074103316,0.9898335,0.000008515235],"about_ca_topic_score_codex":0.014373564,"about_ca_topic_score_gemma":0.029814674,"teacher_disagreement_score":0.024004612,"about_ca_system_score_codex":0.0042866403,"about_ca_system_score_gemma":0.0124820145,"threshold_uncertainty_score":0.08030343},"labels":[],"label_agreement":null},{"id":"W2905179993","doi":"10.7202/1054148ar","title":"La Ligne rouge de Hans Zimmer. Matrice d’un « nouvel Hollywood » électro-minimaliste et contemplatif","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Ligne; Physics","score_opus":0.027759001878782222,"score_gpt":0.2759219462561502,"score_spread":0.24816294437736797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2905179993","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08424262,0.075288214,0.013180437,0.083929375,0.008582356,0.00006704272,0.00024576025,0.00029924643,0.73416495],"genre_scores_gemma":[0.5380048,0.013544477,0.003391005,0.007419659,0.0024888867,0.000049909762,0.000083729916,0.00028091756,0.4347366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99965334,0.00014410554,0.00000675611,0.000066076005,0.00008890879,0.000040761],"domain_scores_gemma":[0.9997956,0.00009362571,0.000028958346,0.000017122435,0.000030501635,0.000034154415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047591963,0.000398014,0.00013631083,0.0005071031,0.0026658347,0.002701184,0.00033060755,0.0009089516,0.010382468],"category_scores_gemma":[0.0012216676,0.00015595068,0.00013579683,0.00041586187,0.0034356476,0.0032534022,0.0015757746,0.0023405086,0.0018226616],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010951684,0.00003469179,0.00060197746,0.00014334588,0.000009693206,0.0005626712,0.07349108,0.00018134344,0.0031559535,0.69767743,0.16589805,0.058134276],"study_design_scores_gemma":[0.0000060283833,0.000022708093,0.0011191298,0.00015292826,0.0000049465234,0.00040638345,0.010917044,0.00012300091,0.0010224822,0.025921967,0.96028656,0.000016832772],"about_ca_topic_score_codex":0.009737939,"about_ca_topic_score_gemma":0.02146994,"teacher_disagreement_score":0.010382468,"about_ca_system_score_codex":0.0015878009,"about_ca_system_score_gemma":0.0007395251,"threshold_uncertainty_score":0.03473282},"labels":[],"label_agreement":null},{"id":"W2906358155","doi":"10.7202/1054396ar","title":"Martha Langford, ed., Narratives Unfolding: National Art Histories in an Unfinished World, Montreal: McGill-Queens University Press, 2017, 437 pp. 100 colour illus., $ 39.95 (paper) ISBN 9780773549791, $ 120 (cloth) ISBN 9780773549784","year":2018,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Narrative; Art; Media studies; History; Sociology; Literature","score_opus":0.029570511187913845,"score_gpt":0.22853137444050425,"score_spread":0.1989608632525904,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2906358155","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000745219,0.87723196,0.0007833221,0.043908227,0.0019397801,0.00001678514,0.00029178688,0.00009775873,0.07498512],"genre_scores_gemma":[0.028416669,0.8348158,0.0020909999,0.0063773287,0.0015712237,0.0000759126,0.0003541197,0.00025964295,0.12603836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978327,0.0007447086,0.000077603734,0.00023708478,0.0008259107,0.0002820757],"domain_scores_gemma":[0.99696964,0.0013914362,0.00029373934,0.00015870397,0.00064685766,0.000539513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032640733,0.001681325,0.0009978028,0.0045542154,0.007830516,0.012244729,0.002625411,0.0033262228,0.034804072],"category_scores_gemma":[0.0054487553,0.0012288234,0.00066134,0.008113028,0.012048329,0.013796961,0.0036757188,0.0040734424,0.008206832],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023827728,0.000012301791,0.0004566768,0.0011945943,0.000013803444,0.00020262515,0.026684776,0.0001307271,0.0001286617,0.04748758,0.82245165,0.10121275],"study_design_scores_gemma":[0.0000030153783,0.000002294957,0.0012802196,0.0017284845,0.000009512923,0.0001453531,0.01553668,0.000026624648,0.000056651177,0.009574217,0.97162205,0.000014815202],"about_ca_topic_score_codex":0.594758,"about_ca_topic_score_gemma":0.78290194,"teacher_disagreement_score":0.40524203,"about_ca_system_score_codex":0.029535701,"about_ca_system_score_gemma":0.033658408,"threshold_uncertainty_score":0.81525713},"labels":[],"label_agreement":null},{"id":"W2908664255","doi":"10.4000/communication.7946","title":"Keith KENNEY (2016), Philosophy for Multisensory Communication and Media","year":2018,"lang":"en","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.08504392464585807,"score_gpt":0.2904347356807337,"score_spread":0.2053908110348756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2908664255","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004826664,0.2954957,0.025407502,0.30279884,0.0059727156,0.000050664665,0.00023863591,0.00019966427,0.3650096],"genre_scores_gemma":[0.3708909,0.17059366,0.021829212,0.09030269,0.0075360388,0.00036360737,0.00018576287,0.00047230074,0.3378258],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9984464,0.0007611971,0.00006622281,0.0003134348,0.0003242063,0.00008859868],"domain_scores_gemma":[0.9985454,0.00091111264,0.00009968706,0.00011400547,0.00022229648,0.0001075855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017695641,0.00084130495,0.00048858055,0.0008784119,0.0038695582,0.0066993115,0.0012335593,0.005675502,0.012758616],"category_scores_gemma":[0.0036268462,0.0004266105,0.0003353204,0.001123611,0.012558093,0.013892499,0.0026282407,0.007880061,0.0035350248],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026903219,0.000016003021,0.00017387368,0.0001884435,0.000008974597,0.000058408255,0.006678169,0.00010891098,0.00017492214,0.8940561,0.08118464,0.017324636],"study_design_scores_gemma":[0.000012253919,0.000011856637,0.00041782815,0.0004353485,0.0000078856765,0.0002214709,0.00214859,0.00018221157,0.00027637766,0.4251143,0.57114893,0.00002298026],"about_ca_topic_score_codex":0.0071430937,"about_ca_topic_score_gemma":0.007979433,"teacher_disagreement_score":0.012758616,"about_ca_system_score_codex":0.0038482773,"about_ca_system_score_gemma":0.0023415356,"threshold_uncertainty_score":0.042681813},"labels":[],"label_agreement":null},{"id":"W2911289893","doi":"10.3366/film.2019.0099","title":"Roy Andersson's Living Trilogy and Jean-Luc Nancy's Evidence of Cinema","year":2019,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Trilogy; Movie theater; Existentialism; Praxis; TRACE (psycholinguistics); Art history; Style (visual arts); Aesthetics; Art; Ontology; Philosophy; Literature; Epistemology","score_opus":0.04942218644200335,"score_gpt":0.26071783609844185,"score_spread":0.2112956496564385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911289893","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10707802,0.01663116,0.0028244231,0.053351812,0.0016283942,0.000027824248,0.00010792142,0.00008216816,0.81826836],"genre_scores_gemma":[0.92400247,0.0046627102,0.0012010301,0.004615082,0.00048604907,0.000031878593,0.000049003615,0.00010570628,0.06484602],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981205,0.0011489647,0.000030573967,0.00020246614,0.00034216652,0.00015527275],"domain_scores_gemma":[0.99787664,0.0013211996,0.00016785461,0.00012263373,0.00029505344,0.00021664322],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001327131,0.00046827,0.000261622,0.0011832949,0.0065674093,0.009391605,0.00082592067,0.0015195676,0.007904591],"category_scores_gemma":[0.004530014,0.00019440621,0.00017095018,0.0009667916,0.014751182,0.0046349927,0.0030676895,0.0039117937,0.00058692676],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058930884,0.00002246371,0.0011745378,0.00019883768,0.000009241482,0.00095753884,0.17749709,0.00009784759,0.00057857507,0.7688765,0.036057953,0.014470448],"study_design_scores_gemma":[0.000010310637,0.000030589,0.003161882,0.00064815173,0.000012436823,0.00066875527,0.091999605,0.00019278565,0.0008045362,0.03183934,0.87060386,0.000027728203],"about_ca_topic_score_codex":0.029695442,"about_ca_topic_score_gemma":0.037283905,"teacher_disagreement_score":0.029695442,"about_ca_system_score_codex":0.004905569,"about_ca_system_score_gemma":0.0017376058,"threshold_uncertainty_score":0.059045196},"labels":[],"label_agreement":null},{"id":"W2914777303","doi":"","title":"La rançon du mythe / CARON, André. Frankenstein lui a échappé – Les tourments cinématographiques d’un mythe moderne, coll. L’instant ciné, Montréal, Éditions L’instant même, 2018, 183 p.","year":2018,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Instant; Ran; Art; Humanities; Physics; Computer science","score_opus":0.007897905655214362,"score_gpt":0.17819730371419135,"score_spread":0.17029939805897698,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914777303","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015375076,0.7774075,0.0011592712,0.10880288,0.0106187165,0.000015013592,0.00021483992,0.00012521062,0.10011902],"genre_scores_gemma":[0.075349346,0.45925307,0.0030804896,0.023243355,0.01223928,0.0000824006,0.0002864105,0.0006044241,0.4258613],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948174,0.00017400109,0.000015771591,0.00008887402,0.00017432115,0.000065433116],"domain_scores_gemma":[0.99918896,0.0003768203,0.000058885107,0.000027789714,0.0002544699,0.0000931229],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009196781,0.0008250181,0.00036109146,0.0013720838,0.0033460462,0.0041435235,0.0007045003,0.0022522428,0.024449378],"category_scores_gemma":[0.0025062414,0.00042184725,0.00020089842,0.0012374552,0.0025642896,0.004827774,0.0010679135,0.0029876528,0.006447745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003403223,0.0000087499975,0.00014263614,0.00022353527,0.000004627312,0.00008223677,0.0031897395,0.000040397852,0.00020578897,0.039646726,0.90908194,0.04733952],"study_design_scores_gemma":[0.0000044431195,0.0000034613017,0.0006957573,0.00030198248,0.000003048581,0.00012586689,0.0015670052,0.000033880686,0.00016589019,0.0025591832,0.9945315,0.000007927972],"about_ca_topic_score_codex":0.08450281,"about_ca_topic_score_gemma":0.19278371,"teacher_disagreement_score":0.08450281,"about_ca_system_score_codex":0.003553338,"about_ca_system_score_gemma":0.0023856154,"threshold_uncertainty_score":0.16802192},"labels":[],"label_agreement":null},{"id":"W2916120984","doi":"10.3138/md.0950","title":"How to Remediate; or, Gertrude Stein and Virgil Thomson’s <i>Four Saints in Three Acts</i>","year":2019,"lang":"en","type":"article","venue":"Modern Drama","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Musical; Opera; Art; Negotiation; Visual arts; Literature; Art history; Sociology","score_opus":0.0343658935941647,"score_gpt":0.23453091953735733,"score_spread":0.20016502594319263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2916120984","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06943309,0.008241398,0.026264891,0.14118338,0.005334699,0.00010294778,0.00008356611,0.0006212378,0.74873483],"genre_scores_gemma":[0.73804164,0.0030978573,0.010965349,0.011012503,0.0004904545,0.00006396818,0.000049344442,0.0004941068,0.23578475],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982956,0.0008353031,0.00006250486,0.00019001785,0.00039455682,0.00022205825],"domain_scores_gemma":[0.99891174,0.00027994948,0.00014124751,0.0002505073,0.00016186942,0.00025476396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016103918,0.0006762439,0.00029550542,0.0007111182,0.0071787476,0.008255303,0.0007471481,0.0026939616,0.0073812343],"category_scores_gemma":[0.004396966,0.00018447173,0.00036771712,0.00040151126,0.018093113,0.006598393,0.005261379,0.0044149063,0.0030502437],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054424712,0.000037428,0.0008171157,0.00011679359,0.000016139826,0.00042112925,0.08228617,0.000192753,0.0013952359,0.7928453,0.06519404,0.05662346],"study_design_scores_gemma":[0.000007797671,0.00003274278,0.0005072716,0.00015938446,0.000012588915,0.0004564219,0.040875588,0.00024963627,0.001421321,0.08316579,0.8730827,0.000028756576],"about_ca_topic_score_codex":0.0045700297,"about_ca_topic_score_gemma":0.0108578475,"teacher_disagreement_score":0.008255303,"about_ca_system_score_codex":0.0025239247,"about_ca_system_score_gemma":0.0018689539,"threshold_uncertainty_score":0.024692655},"labels":[],"label_agreement":null},{"id":"W2921257785","doi":"10.26443/crae.v46i1.46","title":"Ekphrasis: A Poet's Dance with Art / Ekphrasis : quand un poète dance avec les arts","year":2019,"lang":"fr","type":"article","venue":"The Canadian Review of Art Education / Revue canadienne d’éducation artistique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Art; The arts; Visual arts; Art history; Humanities","score_opus":0.0255151077296859,"score_gpt":0.25912827122577964,"score_spread":0.23361316349609373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921257785","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004118283,0.6103285,0.0010796371,0.115507185,0.01128402,0.000055352793,0.00023060016,0.00006435909,0.2573321],"genre_scores_gemma":[0.19272129,0.6206365,0.002616911,0.032233667,0.0048238463,0.000116382536,0.0003661561,0.00022990053,0.14625527],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963832,0.0012063878,0.00016107011,0.00030516865,0.0013553568,0.0005887741],"domain_scores_gemma":[0.9968279,0.0014982114,0.00018453541,0.00015991392,0.0007106896,0.00061869266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004217612,0.0009326004,0.0009391127,0.0064596105,0.009778379,0.015859183,0.0015604508,0.0034845613,0.02178199],"category_scores_gemma":[0.007203128,0.0003713026,0.0004623935,0.009992826,0.028675862,0.00968528,0.005033235,0.0066793,0.0018412427],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006271097,0.000054078486,0.00096681865,0.0025553107,0.000026341804,0.00016606606,0.02952779,0.000071564515,0.000122062585,0.53786355,0.21379273,0.21479103],"study_design_scores_gemma":[0.000010074685,0.000008674905,0.002207855,0.0026426518,0.000012858662,0.00013481425,0.015971828,0.000018947047,0.000056173,0.014404418,0.9645167,0.000015128422],"about_ca_topic_score_codex":0.5466462,"about_ca_topic_score_gemma":0.7471676,"teacher_disagreement_score":0.5466462,"about_ca_system_score_codex":0.02347785,"about_ca_system_score_gemma":0.061004713,"threshold_uncertainty_score":0.91204745},"labels":[],"label_agreement":null},{"id":"W2921921678","doi":"10.11575/prism/36224","title":"What 'Color' is Pandora's Box?: Dialoguing on Fear, Art Installation 1","year":2008,"lang":"en","type":"article","venue":"Open MIND","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Artificial intelligence; Communication; Psychology","score_opus":0.1010512771939512,"score_gpt":0.3005048295230387,"score_spread":0.1994535523290875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921921678","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08686417,0.0053513935,0.0090601165,0.1774805,0.007771139,0.00011977119,0.00015383722,0.0007945191,0.7124045],"genre_scores_gemma":[0.76186734,0.0019969584,0.0046161176,0.030205665,0.0010794745,0.00017223683,0.00008833727,0.00075141405,0.19922246],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975352,0.0016314539,0.00003402368,0.00020279444,0.00026222062,0.00033428267],"domain_scores_gemma":[0.9981123,0.0010023564,0.00010454471,0.0001221437,0.00026518424,0.000393381],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002940656,0.00063774927,0.0003815372,0.00067441445,0.022179294,0.010317407,0.0009361191,0.0044994797,0.020771038],"category_scores_gemma":[0.0070826667,0.0004152655,0.00041829215,0.0005163402,0.01602032,0.010385025,0.0066021914,0.006815332,0.0032349143],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009221057,0.00007805,0.0011973232,0.00017499075,0.000008280563,0.0007973621,0.52216125,0.000058054295,0.0012525952,0.15384872,0.282961,0.037370045],"study_design_scores_gemma":[0.000008079265,0.000033476,0.0011548968,0.00020484196,0.000008750635,0.00048888254,0.3302065,0.00011041062,0.00038551315,0.008751082,0.65860265,0.000044810753],"about_ca_topic_score_codex":0.02337815,"about_ca_topic_score_gemma":0.04166793,"teacher_disagreement_score":0.02337815,"about_ca_system_score_codex":0.0038120127,"about_ca_system_score_gemma":0.0025178876,"threshold_uncertainty_score":0.06948602},"labels":[],"label_agreement":null},{"id":"W2924945005","doi":"10.26443/crae.v46i1.49","title":"Exploring a Curricula of Visual and Poetic Aesthetics / Exploration de programmes d’esthétisme visuel et poétique","year":2019,"lang":"fr","type":"article","venue":"The Canadian Review of Art Education / Revue canadienne d’éducation artistique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Poetics; Poetry; Art; The arts; Humanities; Curriculum; Visual arts; Aesthetics; Sociology; Literature; Pedagogy","score_opus":0.05253546994673455,"score_gpt":0.30152077536478644,"score_spread":0.2489853054180519,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2924945005","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7476529,0.0012848916,0.013334862,0.005523861,0.00031308114,0.00029278907,0.000069590475,0.0001855537,0.23134245],"genre_scores_gemma":[0.9634336,0.00037448647,0.005189768,0.00022114876,0.00003841333,0.00019397556,0.000036209396,0.000046774283,0.03046568],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988005,0.0005486622,0.000045394103,0.00014017736,0.00021788587,0.0002473578],"domain_scores_gemma":[0.9978611,0.000830917,0.00019898161,0.0001675419,0.0002334948,0.0007079488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023982169,0.00030469985,0.00021567204,0.0012102033,0.0032773209,0.0038921505,0.0007346555,0.00081883,0.013170711],"category_scores_gemma":[0.003813226,0.00022754226,0.0002519548,0.0007864641,0.005248632,0.0022366662,0.0071077133,0.002639651,0.0012045904],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017754342,0.0017060463,0.019571818,0.0009545088,0.000011949652,0.0009254455,0.43783492,0.001206501,0.008788038,0.25512186,0.009263363,0.26443803],"study_design_scores_gemma":[0.000060125938,0.00065873814,0.045766648,0.0015122596,0.00001633075,0.0009127823,0.25325808,0.001589993,0.008271355,0.04118272,0.64672846,0.000042505842],"about_ca_topic_score_codex":0.0013366981,"about_ca_topic_score_gemma":0.003884759,"teacher_disagreement_score":0.013170711,"about_ca_system_score_codex":0.003243866,"about_ca_system_score_gemma":0.005270258,"threshold_uncertainty_score":0.04406047},"labels":[],"label_agreement":null},{"id":"W2928976080","doi":"10.4000/revss.2257","title":"La narration visuelle, une pensée en présence","year":2015,"lang":"fr","type":"article","venue":"Revue des sciences sociales","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.28864509207499034,"score_gpt":0.3719315715630662,"score_spread":0.08328647948807588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2928976080","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.097910084,0.011240671,0.23673233,0.04950446,0.0050333785,0.00035149837,0.0007982137,0.0007817547,0.5976476],"genre_scores_gemma":[0.8087086,0.0053671347,0.03831439,0.003902734,0.0012478777,0.00042519145,0.00035769725,0.0007593198,0.14091705],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9885826,0.008431435,0.00024196086,0.0011584267,0.0012563623,0.0003291374],"domain_scores_gemma":[0.991437,0.0052262517,0.00052113755,0.0014330469,0.000981815,0.00040080195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066189817,0.0010187727,0.00065068225,0.0012970164,0.0061431555,0.012121579,0.0016620393,0.0025859491,0.01659597],"category_scores_gemma":[0.016619217,0.00042441871,0.0006800561,0.0014179831,0.023518136,0.01583789,0.008554973,0.0045505418,0.003949751],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095087635,0.00003031735,0.0008068302,0.00052365026,0.000024835343,0.00046047088,0.3702126,0.00028180642,0.0037183163,0.57660323,0.012723237,0.034519628],"study_design_scores_gemma":[0.000014783692,0.0000960504,0.0008157034,0.0006997548,0.000028246845,0.00082852715,0.114458114,0.00053506077,0.0029309506,0.090819634,0.7887198,0.00005345398],"about_ca_topic_score_codex":0.002447791,"about_ca_topic_score_gemma":0.002492135,"teacher_disagreement_score":0.01659597,"about_ca_system_score_codex":0.0026971856,"about_ca_system_score_gemma":0.002747681,"threshold_uncertainty_score":0.055519044},"labels":[],"label_agreement":null},{"id":"W2930695277","doi":"10.26522/ti.v8i1.2167","title":"Time Spent in St. Catharines","year":2019,"lang":"en","type":"article","venue":"ti<","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Painting; Genius; Portrait; Oil painting; Art; Visual arts; Aesthetics; Abstraction; Isolation (microbiology); Order (exchange); Computer science; Art history; Epistemology; Philosophy","score_opus":0.022615617124226634,"score_gpt":0.23560192989772696,"score_spread":0.21298631277350033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2930695277","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.791174,0.0015867732,0.00042273532,0.0053881537,0.0007266263,0.000078906094,0.0012198649,0.00015848735,0.19924454],"genre_scores_gemma":[0.8021487,0.001866027,0.0012977308,0.0011885909,0.00017715097,0.00011343684,0.0012162195,0.00020873443,0.19178344],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945873,0.0001137629,0.000015422249,0.00013559192,0.00014806497,0.00012844407],"domain_scores_gemma":[0.9991929,0.00009108223,0.00004030894,0.000023952647,0.00017807967,0.00047377084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003713373,0.00036402085,0.00036968617,0.0005583211,0.0059723137,0.0018058659,0.0005236314,0.00104321,0.030966047],"category_scores_gemma":[0.0013165196,0.0002721533,0.00019694376,0.0006625781,0.0009995206,0.00065556576,0.002094847,0.0009690011,0.0044843704],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010447778,0.0004868148,0.045774676,0.0005892072,0.00010726843,0.009789018,0.4664631,0.0005223236,0.024000201,0.009792925,0.22616631,0.21526343],"study_design_scores_gemma":[0.000018468061,0.00040837837,0.11164857,0.00034321248,0.00002528279,0.00075736124,0.18702883,0.0001401528,0.002422122,0.00028143582,0.6968738,0.000052367235],"about_ca_topic_score_codex":0.085649796,"about_ca_topic_score_gemma":0.27037382,"teacher_disagreement_score":0.9143502,"about_ca_system_score_codex":0.0025742867,"about_ca_system_score_gemma":0.0011956323,"threshold_uncertainty_score":0.17030251},"labels":[],"label_agreement":null},{"id":"W2934599060","doi":"10.1111/nana.12520","title":"The ideological work of the daily visual representations of nations","year":2019,"lang":"en","type":"article","venue":"Nations and Nationalism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ideology; Flagging; Naturalisation; The Imaginary; Signage; Nationalism; Sociology; Work (physics); Mobilities; Power (physics); Media studies; Political science; Advertising; Geography; Politics; Social science; Citizenship; Law; Cartography; Business; Engineering","score_opus":0.024656915730570456,"score_gpt":0.29158791074399093,"score_spread":0.2669309950134205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2934599060","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62996817,0.0011292669,0.0039744815,0.002142868,0.00021289036,0.000016905371,0.00012413641,0.000037930262,0.36239338],"genre_scores_gemma":[0.9949537,0.00016967507,0.00036537304,0.000049749266,0.000021568372,0.000007710804,0.000022773442,0.00003173697,0.004377591],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99544215,0.0032001713,0.00009604163,0.0003507406,0.0005526255,0.00035833826],"domain_scores_gemma":[0.9967937,0.0015475824,0.00044758897,0.00063717103,0.0003196591,0.000254281],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034597507,0.00030484571,0.0002537438,0.0036650698,0.005360527,0.010567063,0.00061697187,0.0007932444,0.006915375],"category_scores_gemma":[0.007391212,0.00021115367,0.00022267291,0.0023495606,0.02047789,0.004418378,0.005489707,0.0013216435,0.00045771213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006793741,0.0000192761,0.009329385,0.00009865792,0.000012239752,0.00039912507,0.78631467,0.00026040984,0.0011027084,0.16289228,0.003294056,0.036209293],"study_design_scores_gemma":[0.000004541014,0.00002652108,0.015158801,0.00042321635,0.0000073117803,0.00039604938,0.821496,0.0003217397,0.0005762429,0.015211689,0.14634316,0.000034686665],"about_ca_topic_score_codex":0.0068686297,"about_ca_topic_score_gemma":0.00936177,"teacher_disagreement_score":0.010567063,"about_ca_system_score_codex":0.0027529004,"about_ca_system_score_gemma":0.0011395622,"threshold_uncertainty_score":0.023134172},"labels":[],"label_agreement":null},{"id":"W2942388427","doi":"10.1093/oso/9780195126013.003.0025","title":"Creative Expression and Communication of Emotions in the Visual and Narrative Arts","year":2002,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Romanticism; The arts; Politics; Art; Narrative; Literature; Erasmus+; Expression (computer science); History; Art history; Visual arts; The Renaissance","score_opus":0.059052777945366286,"score_gpt":0.2803426152080419,"score_spread":0.2212898372626756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942388427","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53124875,0.005439335,0.012489846,0.0058183167,0.0009327017,0.000091653674,0.00008617845,0.00017506871,0.4437181],"genre_scores_gemma":[0.9844572,0.00075207214,0.0015348622,0.0005130017,0.00016107222,0.00005347063,0.000016811553,0.000040332892,0.0124710845],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.997924,0.0012900012,0.000058014688,0.00012649056,0.00042458158,0.00017689339],"domain_scores_gemma":[0.9980994,0.0011893609,0.00029193293,0.0001338611,0.00014369888,0.00014171949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013078288,0.00035124147,0.0002063292,0.00074319064,0.0019073688,0.009103682,0.00046182523,0.0012858637,0.004244039],"category_scores_gemma":[0.0051352098,0.00017870682,0.00032291672,0.0005714184,0.0057693366,0.0026959134,0.003828059,0.0014765481,0.0004310577],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033619243,0.00016164937,0.0028168384,0.000685333,0.000089145185,0.0025258863,0.61703575,0.0011885209,0.028345188,0.23776035,0.013310589,0.09574448],"study_design_scores_gemma":[0.00018967828,0.00038043497,0.024998495,0.0020557283,0.00013166897,0.004102752,0.43130443,0.0047245943,0.014826124,0.16687733,0.35019276,0.00021604617],"about_ca_topic_score_codex":0.0003586436,"about_ca_topic_score_gemma":0.00031147106,"teacher_disagreement_score":0.009103682,"about_ca_system_score_codex":0.0010962334,"about_ca_system_score_gemma":0.00042351882,"threshold_uncertainty_score":0.014197707},"labels":[],"label_agreement":null},{"id":"W2942468135","doi":"10.1386/tear.16.3.247_1","title":"A kerosene summer dress","year":2018,"lang":"en","type":"article","venue":"Technoetic Arts","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"MAGIC (telescope); Appropriation; Geologist; Sociology; Art history; Art; Epistemology; History; Philosophy; Archaeology","score_opus":0.06065152940051288,"score_gpt":0.28364415868982384,"score_spread":0.22299262928931096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2942468135","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021535689,0.0039301477,0.0018244763,0.011005734,0.009188959,0.00008992882,0.0006589572,0.00049042824,0.9512756],"genre_scores_gemma":[0.053855382,0.001514643,0.0012362197,0.0013806904,0.00043867767,0.000022562215,0.00023884613,0.00031521887,0.9409976],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995503,0.0000842888,0.000013267276,0.000094759765,0.00014842534,0.000109004395],"domain_scores_gemma":[0.99959904,0.000038717,0.000021211483,0.00003924683,0.000079639045,0.00022219705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004627059,0.0005385251,0.00030044274,0.00066398585,0.0064800614,0.0038310091,0.0006702745,0.0012132782,0.26949725],"category_scores_gemma":[0.0009889888,0.000318987,0.00037126613,0.00051211996,0.001266544,0.0027935943,0.0041059125,0.0022393505,0.07058792],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025438584,0.00027984567,0.0019880284,0.00032054537,0.000021508404,0.0022554924,0.00906853,0.00023501794,0.003981743,0.07797586,0.75448966,0.1491294],"study_design_scores_gemma":[0.0000017818619,0.000018095589,0.00047410873,0.000039455368,0.0000013391183,0.00022253636,0.001734298,0.000022635217,0.00013262792,0.00056058535,0.99678695,0.000005622617],"about_ca_topic_score_codex":0.0037784348,"about_ca_topic_score_gemma":0.015730007,"teacher_disagreement_score":0.26949725,"about_ca_system_score_codex":0.0012032734,"about_ca_system_score_gemma":0.0009786922,"threshold_uncertainty_score":0.9015581},"labels":[],"label_agreement":null},{"id":"W2943821305","doi":"10.26443/crae.v45i1.56","title":"Ekphrastic Conversations: Writing Poems as Dialogues with Works of Art / Conversations ekphrasiques : écrire des poèmes pour converser avec les œuvres d’art","year":2018,"lang":"fr","type":"article","venue":"The Canadian Review of Art Education / Revue canadienne d’éducation artistique","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Poetry; Humanities; Literature","score_opus":0.0398094754933283,"score_gpt":0.2816070492187037,"score_spread":0.24179757372537541,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2943821305","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1724738,0.10718378,0.0386052,0.050676312,0.0051039346,0.000563112,0.0010752055,0.00060699077,0.6237117],"genre_scores_gemma":[0.91745883,0.030653853,0.012556658,0.0031769814,0.0008291513,0.0004569008,0.0005219868,0.00037267446,0.03397293],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9866703,0.010053962,0.00046871565,0.0006349898,0.001603473,0.0005685312],"domain_scores_gemma":[0.9752584,0.019070895,0.0014591804,0.0014545108,0.0018773082,0.0008796967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011379001,0.0011282316,0.0005484806,0.0055604326,0.007289788,0.018376883,0.002070749,0.0028382905,0.010349019],"category_scores_gemma":[0.03321806,0.00054184656,0.00042931671,0.008009213,0.027629267,0.017990379,0.006377131,0.0047826157,0.0015227615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113134825,0.00005793309,0.0017501639,0.0015109911,0.000024378707,0.00035920515,0.61565983,0.000092848524,0.00051653816,0.22811794,0.018181225,0.13361578],"study_design_scores_gemma":[0.00004215797,0.000028826631,0.0068291654,0.0032316088,0.00003736026,0.0009400013,0.4669431,0.00025865584,0.0009197322,0.046780363,0.4739244,0.00006462493],"about_ca_topic_score_codex":0.034287337,"about_ca_topic_score_gemma":0.047899116,"teacher_disagreement_score":0.034287337,"about_ca_system_score_codex":0.008407836,"about_ca_system_score_gemma":0.013201306,"threshold_uncertainty_score":0.068175495},"labels":[],"label_agreement":null},{"id":"W2946099418","doi":"10.1353/mos.2019.0002","title":"Barthes the Phenomenologist and the Being of Literature","year":2019,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phenomenology (philosophy); Parallels; Philosophy; Relation (database); Literature; Art; Epistemology","score_opus":0.010768605603021023,"score_gpt":0.20315379864464733,"score_spread":0.19238519304162632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946099418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042344823,0.06340158,0.007161327,0.10764831,0.0033680492,0.000035556473,0.0000654416,0.00008744586,0.7758876],"genre_scores_gemma":[0.921028,0.015224413,0.0018601026,0.0067445235,0.001139545,0.00006549827,0.000024739908,0.00006294416,0.05385024],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99564314,0.0033700499,0.000062655396,0.00025040106,0.00041122202,0.00026243756],"domain_scores_gemma":[0.9965947,0.0024746414,0.0002472799,0.00025501603,0.00019196238,0.00023636557],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028594271,0.00035684186,0.00029650275,0.002187324,0.007970104,0.008603964,0.0006430142,0.0020590345,0.003689083],"category_scores_gemma":[0.0049332757,0.00021419163,0.00020048105,0.0014296453,0.051532894,0.009650399,0.0038425692,0.0029564113,0.000498533],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008766641,0.000003698245,0.00007731065,0.000028284387,0.000001083689,0.000082581835,0.040908862,0.000026663503,0.00004485655,0.94764936,0.0074875196,0.003680999],"study_design_scores_gemma":[0.000010529153,0.000016137028,0.00030589933,0.00044157222,0.0000033513172,0.00035434557,0.05466949,0.00006728328,0.00010854287,0.4107665,0.53324294,0.000013376969],"about_ca_topic_score_codex":0.010911994,"about_ca_topic_score_gemma":0.009621712,"teacher_disagreement_score":0.010911994,"about_ca_system_score_codex":0.00544664,"about_ca_system_score_gemma":0.0033986727,"threshold_uncertainty_score":0.039518356},"labels":[],"label_agreement":null},{"id":"W2946951854","doi":"10.29173/pandpr29375","title":"A Review of H. Peter Steeves' Beautiful, Bright, and Blinding: Phenomeological Aesthetics and the Life of Art","year":2019,"lang":"en","type":"review","venue":"Phenomenology & Practice","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blinding; Aesthetics; Art; Art history; Medicine; Surgery","score_opus":0.10991587150767493,"score_gpt":0.3484017621729867,"score_spread":0.23848589066531176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946951854","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000030955245,0.99769944,0.000057993446,0.0011265038,0.00046106268,0.0000025941877,0.000008515072,0.0000014928255,0.00061148434],"genre_scores_gemma":[0.00030724917,0.9983011,0.00010162805,0.00060428673,0.00026668492,0.0000048565516,0.000009386172,0.0000013897372,0.0004035426],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994019,0.00018958947,0.00010478336,0.00007549033,0.00018979823,0.00003832485],"domain_scores_gemma":[0.99767345,0.0016078238,0.00015979899,0.000043853957,0.00041408662,0.00010085126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017526537,0.0008584559,0.001327839,0.0047668815,0.00071259064,0.002380086,0.0009211641,0.0018642223,0.004994321],"category_scores_gemma":[0.0042512957,0.00048111923,0.00058082474,0.0060756532,0.0015786903,0.0031554308,0.0016884586,0.0026215494,0.0019453373],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050104813,0.00004071644,0.00017498042,0.04272661,0.000087826484,0.0001615233,0.00087113056,0.000159451,0.0004034924,0.013124566,0.1927621,0.7494374],"study_design_scores_gemma":[0.000008496303,0.000024567105,0.0006542181,0.023188485,0.00006492792,0.00075185695,0.00046748217,0.000018612667,0.000093994,0.002782216,0.97192234,0.000022706083],"about_ca_topic_score_codex":0.0042194473,"about_ca_topic_score_gemma":0.011515909,"teacher_disagreement_score":0.004994321,"about_ca_system_score_codex":0.0013151717,"about_ca_system_score_gemma":0.0038813874,"threshold_uncertainty_score":0.016707718},"labels":[],"label_agreement":null},{"id":"W2954218443","doi":"10.5539/ass.v15n7p169","title":"On the Eternity of Beauty Again-Reading John Keats’s “ode on a Grecian Urn”","year":2019,"lang":"en","type":"article","venue":"Asian Social Science","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Beauty; Aestheticism; Eternity; Poetry; Ode; Romanticism; Reading (process); Indulgence; Philosophy; Literature; Art; Aesthetics; Theology","score_opus":0.0324274963742904,"score_gpt":0.2738015180113338,"score_spread":0.24137402163704338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2954218443","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06972508,0.007957589,0.0035494138,0.024627969,0.0014369967,0.000009328911,0.000021473104,0.00003368883,0.8926385],"genre_scores_gemma":[0.91971403,0.0016555443,0.0006637896,0.0020645151,0.00025308045,0.000005456672,0.0000080656,0.000059641232,0.075575896],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992467,0.00040402735,0.000009217063,0.00008105507,0.00017336907,0.00008575593],"domain_scores_gemma":[0.99953425,0.00023228074,0.00003986366,0.000057351244,0.00009261968,0.000043694985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083772914,0.00028624048,0.0001711637,0.0004884306,0.0055017914,0.004707966,0.0003030965,0.0009436691,0.0044156713],"category_scores_gemma":[0.0018986254,0.00011002219,0.00014100243,0.00049686694,0.030605428,0.00398717,0.0016734567,0.0025651252,0.00047036682],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015843494,0.0000070424735,0.0002901189,0.00003168323,0.0000028287607,0.00010839565,0.05801728,0.000062136845,0.0003149897,0.91928005,0.011982972,0.0098866355],"study_design_scores_gemma":[0.000008709536,0.00002850539,0.001482338,0.0002135459,0.000008019623,0.0004046006,0.05601388,0.0002070846,0.0010756452,0.19622764,0.7443105,0.0000195882],"about_ca_topic_score_codex":0.01278211,"about_ca_topic_score_gemma":0.029773321,"teacher_disagreement_score":0.01278211,"about_ca_system_score_codex":0.0024195425,"about_ca_system_score_gemma":0.0010668336,"threshold_uncertainty_score":0.02541542},"labels":[],"label_agreement":null},{"id":"W2954503322","doi":"10.22559/folklor.919","title":"Nefes, Hareket ve Zaman: Rulo Formatlı Temsîlî Çin Resimlerinde Kullanılan Anlat","year":2019,"lang":"tr","type":"article","venue":"Uluslararasi Kibris Universitesi Fen-Edebiyat Fakultesi","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Fanshawe College; Western University","funders":"","keywords":"Humanities; Art; Physics; Philosophy","score_opus":0.014211855505564634,"score_gpt":0.2125211683317703,"score_spread":0.19830931282620565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2954503322","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19829506,0.0074909218,0.03967013,0.015903514,0.0022376946,0.000277247,0.00061683403,0.00078586995,0.7347227],"genre_scores_gemma":[0.6339078,0.005009656,0.021558354,0.0015692515,0.00030295187,0.00012513711,0.0005055319,0.00035206837,0.33666924],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990515,0.00013675024,0.000040256182,0.00013320221,0.00048302463,0.00015526231],"domain_scores_gemma":[0.99902296,0.00016997741,0.00011003041,0.0001125026,0.00043172578,0.00015283465],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009803744,0.0006252001,0.00030623286,0.00111732,0.0030271702,0.005151144,0.00078927155,0.0013944056,0.029289676],"category_scores_gemma":[0.0023898226,0.0002783397,0.00035757298,0.00085728086,0.0025261093,0.003656454,0.0023864203,0.0016301444,0.0054117874],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006175577,0.00035554345,0.017468818,0.0013612299,0.00005642326,0.0050378623,0.033387534,0.0028281414,0.018559089,0.3495468,0.08245736,0.4883237],"study_design_scores_gemma":[0.00003207073,0.00022640072,0.017552579,0.00087452406,0.00005080047,0.0023486952,0.0361141,0.0024220704,0.008095982,0.031324618,0.9008298,0.00012843752],"about_ca_topic_score_codex":0.012194868,"about_ca_topic_score_gemma":0.02065961,"teacher_disagreement_score":0.029289676,"about_ca_system_score_codex":0.002243188,"about_ca_system_score_gemma":0.0027993359,"threshold_uncertainty_score":0.09798366},"labels":[],"label_agreement":null},{"id":"W2957916285","doi":"","title":"Les lieux du ban chez Terrence Malick, déshabiter le monde","year":2015,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Art","score_opus":0.031886715086002757,"score_gpt":0.24274489540066124,"score_spread":0.21085818031465847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2957916285","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6412376,0.015571294,0.0036511463,0.054169875,0.0062138955,0.00013719148,0.0007890719,0.00027549482,0.27795437],"genre_scores_gemma":[0.66323084,0.004393127,0.0014545437,0.0019298473,0.00051155937,0.00011418079,0.00011990056,0.00017979303,0.32806617],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908173,0.00022740063,0.000025716105,0.00014333488,0.00025207878,0.0002696324],"domain_scores_gemma":[0.9991912,0.00025053005,0.00007217213,0.00003690673,0.00017331845,0.0002758418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007436253,0.0015680148,0.0007508726,0.0012429968,0.014736893,0.00378194,0.0011448746,0.0039418275,0.04069152],"category_scores_gemma":[0.0030339123,0.00069852354,0.00079644914,0.0009003219,0.0049189962,0.0022796232,0.0030980308,0.0106188925,0.004017776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0022947476,0.00067786756,0.03869286,0.0008538095,0.00033449364,0.0915542,0.23209749,0.0028637673,0.019715946,0.2921228,0.11638273,0.20240927],"study_design_scores_gemma":[0.00006472879,0.00016907793,0.039894916,0.00046312224,0.000058660688,0.010541819,0.10813791,0.0006964604,0.0034071459,0.007694707,0.8287345,0.0001370247],"about_ca_topic_score_codex":0.28358972,"about_ca_topic_score_gemma":0.45956403,"teacher_disagreement_score":0.28358972,"about_ca_system_score_codex":0.010223206,"about_ca_system_score_gemma":0.005651033,"threshold_uncertainty_score":0.56387806},"labels":[],"label_agreement":null},{"id":"W2960221685","doi":"","title":"La rencontre dans le cinéma de Terrence Malick, un affleurement suspendu","year":2018,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Art","score_opus":0.020918414058248902,"score_gpt":0.23527670097763387,"score_spread":0.21435828691938497,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2960221685","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14041239,0.037700463,0.0065709446,0.19286554,0.030103436,0.000068087764,0.00032850335,0.00025946822,0.59169114],"genre_scores_gemma":[0.5609611,0.00849456,0.0013379414,0.0043973895,0.004264792,0.00006112085,0.00008384081,0.00042139617,0.41997772],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979366,0.0008371472,0.000037439964,0.00026286105,0.00053338875,0.00039245933],"domain_scores_gemma":[0.99761033,0.0011433786,0.00014456637,0.00015628981,0.00047280846,0.00047251233],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020266366,0.0009960358,0.00031063033,0.00115317,0.008916565,0.010032539,0.00093837385,0.0033959444,0.02437146],"category_scores_gemma":[0.007058831,0.00033328164,0.0003938462,0.0006804924,0.005841716,0.0042967983,0.0044411593,0.008346467,0.0026392231],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022007858,0.000047325997,0.0010916593,0.00032536412,0.000036345744,0.0019003378,0.10874632,0.0003988513,0.006657292,0.61967874,0.21099225,0.049905486],"study_design_scores_gemma":[0.0000051721127,0.00001493797,0.0013930216,0.00015697355,0.00001086027,0.00041198888,0.014696047,0.00015856283,0.0010896233,0.0040589147,0.9779849,0.000018963872],"about_ca_topic_score_codex":0.039661117,"about_ca_topic_score_gemma":0.06821186,"teacher_disagreement_score":0.039661117,"about_ca_system_score_codex":0.0070189373,"about_ca_system_score_gemma":0.0032165851,"threshold_uncertainty_score":0.08153069},"labels":[],"label_agreement":null},{"id":"W2961249008","doi":"","title":"Les dynamiques de l’informe (déliaisons et déchirures plastiques dans les paysages de Terrence Malick)","year":2014,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.02399841656371198,"score_gpt":0.26632470143485165,"score_spread":0.24232628487113966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2961249008","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8932536,0.0017175985,0.002041413,0.005080541,0.000044791723,0.000016296017,0.0004505381,0.000041993586,0.09735327],"genre_scores_gemma":[0.9757504,0.00040643546,0.0005350613,0.000070801674,0.0000100783,0.0000089844925,0.000060596278,0.000021495305,0.023136087],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992685,0.00020698429,0.00002555353,0.00012999486,0.00017641472,0.00019249646],"domain_scores_gemma":[0.9988784,0.00048713226,0.00020454623,0.00009587228,0.00019345505,0.00014044321],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084068946,0.00024339175,0.00021570062,0.0015864213,0.0038878396,0.005805388,0.00056558073,0.000844144,0.020216657],"category_scores_gemma":[0.002184364,0.00031882827,0.00020469927,0.002604467,0.0037856281,0.0018644398,0.0024879922,0.0012312281,0.001126501],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045070628,0.000073276344,0.16116281,0.00035505692,0.00008374138,0.004829052,0.19759107,0.0054191216,0.007006624,0.5050804,0.01061094,0.1073372],"study_design_scores_gemma":[0.000026514474,0.00005935769,0.4614432,0.0003758575,0.00005493497,0.002275527,0.19019596,0.0032427544,0.0025811621,0.03381358,0.30582306,0.00010814939],"about_ca_topic_score_codex":0.2210625,"about_ca_topic_score_gemma":0.33383903,"teacher_disagreement_score":0.2210625,"about_ca_system_score_codex":0.0076363534,"about_ca_system_score_gemma":0.0027044485,"threshold_uncertainty_score":0.43955153},"labels":[],"label_agreement":null},{"id":"W2964989959","doi":"10.1111/jaac.12663","title":"LOPES, DOMINIC MCIVER. Being for Beauty: Aesthetic Agency and Value. Oxford University Press, 2018, 288 pp., $65.00 cloth.","year":2019,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Beauty; LOPES; Art history; Agency (philosophy); Art; Philosophy; Aesthetics; Physics; Epistemology","score_opus":0.017915403038144474,"score_gpt":0.23313594968417092,"score_spread":0.21522054664602644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2964989959","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007324163,0.8413267,0.00086871756,0.053134505,0.0036448708,0.00001781716,0.00021215007,0.0001461324,0.09991663],"genre_scores_gemma":[0.026937963,0.6210939,0.002119238,0.015340291,0.004677885,0.00009622616,0.0003549382,0.000327554,0.32905197],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996766,0.00008032686,0.000019741175,0.000041223873,0.00014398992,0.000038142687],"domain_scores_gemma":[0.99917585,0.000412887,0.000066365246,0.000029136405,0.00019034852,0.00012537466],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068582327,0.0012220273,0.000570726,0.0019854808,0.0018887727,0.0039092847,0.0010361889,0.0022452285,0.058519144],"category_scores_gemma":[0.0017686732,0.000721428,0.00036417673,0.0018945201,0.0019873872,0.0076024905,0.00153893,0.0036693504,0.017096028],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018455255,0.000017209622,0.00018008694,0.0004483229,0.000006684421,0.00009624294,0.002333357,0.00004649781,0.0000871435,0.014953001,0.8583275,0.12348563],"study_design_scores_gemma":[0.0000039016772,0.000007254423,0.0009961296,0.0008977555,0.00000541888,0.0002679398,0.0022669828,0.000038205908,0.000048978964,0.009796989,0.9856608,0.000009695537],"about_ca_topic_score_codex":0.012142708,"about_ca_topic_score_gemma":0.031165557,"teacher_disagreement_score":0.058519144,"about_ca_system_score_codex":0.0029508113,"about_ca_system_score_gemma":0.0018067756,"threshold_uncertainty_score":0.19576603},"labels":[],"label_agreement":null},{"id":"W2965246406","doi":"10.29173/cais1021","title":"Communication: Documents on skin: tattoos and underlying messages","year":2018,"lang":"en","type":"article","venue":"Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l ACSI","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Meaning (existential); Function (biology); Psychology; Aesthetics; Art; Visual arts","score_opus":0.04925492373933756,"score_gpt":0.28573978205112327,"score_spread":0.2364848583117857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2965246406","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7469198,0.004070804,0.016452925,0.0075832247,0.00051966595,0.00019838616,0.0002733109,0.0001479825,0.22383387],"genre_scores_gemma":[0.9840148,0.00091947825,0.002454691,0.00025315184,0.000058712936,0.000038580016,0.000060051872,0.000057035948,0.012143388],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974746,0.0014465295,0.00012455737,0.00016822696,0.00055037905,0.00023554498],"domain_scores_gemma":[0.9939668,0.004125926,0.00073678116,0.00040577532,0.000528256,0.00023648403],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016920432,0.000368154,0.000202194,0.0011995957,0.005300947,0.005533808,0.00048763066,0.0013274279,0.005299743],"category_scores_gemma":[0.008496267,0.00020603964,0.00016710038,0.0016008202,0.0057243407,0.0042775115,0.0026892,0.0019862773,0.0007969266],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000103793594,0.0000388114,0.0038069794,0.0004591133,0.000011159086,0.0012573365,0.87265897,0.00018813548,0.0058440166,0.06374993,0.004461166,0.04742058],"study_design_scores_gemma":[0.000009851474,0.00008457429,0.006410095,0.00075573433,0.000018991386,0.0019883262,0.7003303,0.00035768055,0.0052087717,0.008945126,0.27584437,0.00004613774],"about_ca_topic_score_codex":0.0021983918,"about_ca_topic_score_gemma":0.0021845119,"teacher_disagreement_score":0.005533808,"about_ca_system_score_codex":0.0019450939,"about_ca_system_score_gemma":0.0013910691,"threshold_uncertainty_score":0.017729402},"labels":[],"label_agreement":null},{"id":"W2966569253","doi":"10.1515/opphil-2019-0019","title":"Object-hood’s Indecencies: <i>Tilted Arc</i> and the Lessons Learnt in Breakdown","year":2019,"lang":"en","type":"article","venue":"Open Philosophy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Appropriation; Arc (geometry); Interpretation (philosophy); Object (grammar); Order (exchange); Power (physics); Moment (physics); Autonomy; Possessive; Michel foucault; Philosophy; Art; Law; Epistemology; Political science; Linguistics; Politics; Geometry; Mathematics","score_opus":0.04335888750909855,"score_gpt":0.2716812185720167,"score_spread":0.22832233106291816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2966569253","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12595926,0.002619548,0.021644356,0.025407787,0.0006040509,0.00003803961,0.000044171855,0.00014891774,0.82353383],"genre_scores_gemma":[0.97325,0.00047581465,0.0016956297,0.00096619636,0.00007870665,0.000016275248,0.000015824264,0.00013499458,0.023366684],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99678767,0.0015145751,0.000078995006,0.00040782394,0.0007207392,0.00049025903],"domain_scores_gemma":[0.99698997,0.0012715657,0.00019592325,0.00088716776,0.00039303987,0.00026240092],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038417461,0.00035497232,0.00045053737,0.0013333021,0.006669181,0.014002606,0.0015092187,0.00197957,0.010820327],"category_scores_gemma":[0.006384817,0.00030549453,0.00039526005,0.0010890528,0.049114317,0.0138828205,0.0071583376,0.0068327896,0.0010313281],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016528391,0.000010717602,0.00018683053,0.000017662402,0.0000019542713,0.00007277051,0.03781095,0.00007444195,0.00010421558,0.9543837,0.001677653,0.005642501],"study_design_scores_gemma":[0.000016933292,0.00002745739,0.00077604526,0.00018448343,0.0000071135723,0.0002215326,0.08770488,0.0005195698,0.0006961728,0.6964601,0.21336386,0.000021815848],"about_ca_topic_score_codex":0.008606563,"about_ca_topic_score_gemma":0.006806013,"teacher_disagreement_score":0.014002606,"about_ca_system_score_codex":0.007066776,"about_ca_system_score_gemma":0.0023137147,"threshold_uncertainty_score":0.051273227},"labels":[],"label_agreement":null},{"id":"W2970202601","doi":"10.15353/kinema.vi.1236","title":"On Lars von Trier, Enfant Terrible of Danish Art Film","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Outrage; Provocation test; Art; Danish; Aesthetics; Art history; Visual arts; Philosophy; Law; Medicine; Political science","score_opus":0.05099543416118666,"score_gpt":0.27277250948362786,"score_spread":0.2217770753224412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970202601","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0070602284,0.2876644,0.0008437888,0.23220022,0.028759856,0.00007687324,0.00053450756,0.000112178815,0.44274795],"genre_scores_gemma":[0.14664288,0.12222951,0.0009240813,0.086021096,0.010291947,0.000112003276,0.00027388803,0.000445115,0.6330595],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987081,0.0005701007,0.000045353903,0.00018865155,0.00032671166,0.00016102695],"domain_scores_gemma":[0.99898237,0.00061604934,0.00005883409,0.000044482527,0.00017306818,0.00012523783],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010142177,0.0007940968,0.00042510746,0.0014660702,0.009459619,0.008493997,0.0010128369,0.004696602,0.020345984],"category_scores_gemma":[0.003656103,0.00033943783,0.00031678978,0.0011227294,0.006423189,0.0071629924,0.00392591,0.0041980115,0.005728962],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063902815,0.000020878337,0.00020336763,0.00025527945,0.000008414375,0.00040404045,0.029797316,0.000053935433,0.00023138008,0.08428834,0.86620224,0.018470978],"study_design_scores_gemma":[0.0000026061384,0.0000035627736,0.00017670412,0.0003137293,0.000002315442,0.00010655053,0.008915035,0.000007669969,0.000050254883,0.0016792879,0.98873466,0.000007650128],"about_ca_topic_score_codex":0.042267352,"about_ca_topic_score_gemma":0.086897716,"teacher_disagreement_score":0.042267352,"about_ca_system_score_codex":0.003776689,"about_ca_system_score_gemma":0.0016096407,"threshold_uncertainty_score":0.08404267},"labels":[],"label_agreement":null},{"id":"W2970884129","doi":"10.15353/kinema.vi.1050","title":"The Syntactic Role Of Colour in Film","year":2003,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Theme (computing); Uncanny; Character (mathematics); Texture (cosmology); Linguistics; Art; Aesthetics; Computer science; Literature; Artificial intelligence; Philosophy; Mathematics; Image (mathematics)","score_opus":0.021158155006495767,"score_gpt":0.26549780333487916,"score_spread":0.2443396483283834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970884129","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1280435,0.007465798,0.07557939,0.014561123,0.0015523131,0.000080488215,0.0005307305,0.0006535532,0.77153313],"genre_scores_gemma":[0.97327155,0.00177443,0.008863664,0.0010621095,0.0005050997,0.000053251788,0.00018446808,0.00045657178,0.013828893],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974208,0.0016227211,0.00011272481,0.00029542227,0.00032704597,0.0002213155],"domain_scores_gemma":[0.99738187,0.001647609,0.00016031653,0.0002621698,0.00047399395,0.00007407714],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020172382,0.0005226434,0.00047043432,0.0010459083,0.0040123584,0.0071587204,0.00087764923,0.0021377057,0.0068419343],"category_scores_gemma":[0.005559407,0.00077167404,0.00048615853,0.0011568476,0.011455322,0.0140480455,0.003359721,0.0032431863,0.0011137261],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000646829,0.000008773695,0.0005607395,0.00011048715,0.000009094463,0.00020256375,0.032626163,0.00009277387,0.0017198437,0.9536878,0.0032773777,0.007639789],"study_design_scores_gemma":[0.00009366708,0.00017628826,0.008473704,0.00076886686,0.00018427323,0.0018070579,0.03589866,0.002785488,0.006565883,0.52570945,0.41734996,0.0001866929],"about_ca_topic_score_codex":0.008109126,"about_ca_topic_score_gemma":0.005269383,"teacher_disagreement_score":0.008109126,"about_ca_system_score_codex":0.0037639686,"about_ca_system_score_gemma":0.0009379511,"threshold_uncertainty_score":0.027309656},"labels":[],"label_agreement":null},{"id":"W2971297319","doi":"","title":"Platial Phenomenology and Environmental Composition","year":2019,"lang":"en","type":"dissertation","venue":"DMU Open Research Archive (De Montfort University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Stanford Bio-X; York University; Northwestern University","keywords":"Phenomenology (philosophy); Composition (language); Epistemology; Philosophy; Linguistics","score_opus":0.05316092503300578,"score_gpt":0.29108298550504436,"score_spread":0.23792206047203857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971297319","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06359933,0.009494652,0.037648283,0.016411742,0.00088170153,0.00010951192,0.00015732899,0.00008450844,0.87161285],"genre_scores_gemma":[0.9686031,0.0024936516,0.004424297,0.0010697781,0.00028948125,0.00010784277,0.00008590967,0.000067435714,0.022858588],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980202,0.0012464321,0.000066648914,0.0002663255,0.0002318444,0.00016855478],"domain_scores_gemma":[0.99854195,0.0007917356,0.00014309985,0.00028229743,0.00010388015,0.00013701161],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020157816,0.0005689505,0.000280734,0.0018614827,0.005883179,0.005538568,0.0009808498,0.0014362822,0.008359082],"category_scores_gemma":[0.0027406383,0.00022752707,0.000424339,0.0018920646,0.037977785,0.009213243,0.0064095003,0.002206256,0.0006294505],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008104351,0.0000054653415,0.0001772713,0.00005569095,0.0000021314977,0.0001210333,0.026179079,0.00009790683,0.00009707767,0.96974796,0.00076172943,0.0027465865],"study_design_scores_gemma":[0.0000145009935,0.000021523801,0.00061652064,0.00018931639,0.000005967045,0.00048948836,0.045253873,0.00040812817,0.0002207108,0.76339966,0.18936673,0.000013564177],"about_ca_topic_score_codex":0.0017698599,"about_ca_topic_score_gemma":0.0019900922,"teacher_disagreement_score":0.008359082,"about_ca_system_score_codex":0.004031511,"about_ca_system_score_gemma":0.0013885134,"threshold_uncertainty_score":0.0292508},"labels":[],"label_agreement":null},{"id":"W2975517282","doi":"10.32436/2475-6423.1054","title":"Competing Sovereignties: Indigeneity and the Visual Culture of Catholic Colonization at the 1925 Pontifical Missionary Exhibition","year":2019,"lang":"en","type":"article","venue":"Journal of Global Catholicism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Exhibition; Colonialism; Visual culture; Colonization; Sociology; Art; Ethnology; Anthropology; History; Visual arts; Archaeology","score_opus":0.012119241680613072,"score_gpt":0.25602856353631054,"score_spread":0.24390932185569747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2975517282","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9678905,0.00018510575,0.00016496745,0.0004036855,0.0000058105657,0.0000043426135,0.0000038358603,0.0000016460002,0.031340186],"genre_scores_gemma":[0.9993493,0.000034038872,0.000037047004,0.000017450453,0.0000012446224,0.0000013618314,0.0000014481531,0.0000011190203,0.00055708236],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99867475,0.0007503959,0.000023110731,0.000093139985,0.00015032598,0.00030827243],"domain_scores_gemma":[0.99865425,0.00078134256,0.0002208493,0.00010891955,0.000085849795,0.00014881292],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017428899,0.00018741122,0.00017932747,0.0009901909,0.0066707735,0.004807569,0.0006758403,0.0005978161,0.0031031955],"category_scores_gemma":[0.0032007743,0.00017884285,0.00012374688,0.000828413,0.017616466,0.001908573,0.0057859183,0.001841304,0.00006974881],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038081187,0.00003645374,0.022005413,0.000052788877,0.000010077201,0.0011946494,0.8860175,0.000115773095,0.00076882885,0.075647816,0.00036189327,0.01375079],"study_design_scores_gemma":[0.000004122686,0.00003795261,0.0318884,0.00013816211,0.000009637835,0.00068103,0.94796664,0.00022509038,0.00033307567,0.004695523,0.014005428,0.000014981665],"about_ca_topic_score_codex":0.017192565,"about_ca_topic_score_gemma":0.046755742,"teacher_disagreement_score":0.017192565,"about_ca_system_score_codex":0.003646472,"about_ca_system_score_gemma":0.0017892282,"threshold_uncertainty_score":0.034184992},"labels":[],"label_agreement":null},{"id":"W2978934231","doi":"10.1515/opphil-2019-0028","title":"Silent Spaces: Allowing Objects to Talk","year":2019,"lang":"en","type":"article","venue":"Open Philosophy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Metaphor; Object (grammar); Silence; Space (punctuation); Aesthetics; The Thing; Ontology; Epistemology; Computer science; Art; Philosophy; Linguistics; Artificial intelligence","score_opus":0.04850307770339947,"score_gpt":0.27788857349492385,"score_spread":0.2293854957915244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2978934231","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08420674,0.0042910324,0.27613434,0.013365266,0.0011061665,0.00011471927,0.0001419442,0.0006330741,0.6200067],"genre_scores_gemma":[0.95418274,0.0009721466,0.019956246,0.0010647108,0.0002564842,0.00015233201,0.000077961035,0.00026804642,0.02306923],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9958692,0.0026403423,0.00013927696,0.00044399383,0.0005891914,0.00031801045],"domain_scores_gemma":[0.9957211,0.0023817522,0.00029922934,0.0008372381,0.00037100632,0.00038958222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039422316,0.00072960905,0.00046149144,0.0011894658,0.0053318236,0.0105289025,0.0016961165,0.0023021388,0.00919465],"category_scores_gemma":[0.007121287,0.00053160643,0.0007647615,0.00069422176,0.028449921,0.017308658,0.010934202,0.0037727456,0.0014659655],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014712809,0.000005754212,0.00006405537,0.000029370376,0.0000031029804,0.00008959103,0.021443726,0.00013904426,0.000419085,0.9739886,0.0007098913,0.0030929372],"study_design_scores_gemma":[0.000024960274,0.00003278364,0.00013574607,0.00016019634,0.000016683021,0.00021204035,0.014020439,0.0011369295,0.0010300047,0.87474513,0.10845888,0.000026410538],"about_ca_topic_score_codex":0.0018069037,"about_ca_topic_score_gemma":0.0011182133,"teacher_disagreement_score":0.0105289025,"about_ca_system_score_codex":0.002507416,"about_ca_system_score_gemma":0.001459567,"threshold_uncertainty_score":0.030759156},"labels":[],"label_agreement":null},{"id":"W2984916091","doi":"10.31885/lud.2.1.240","title":"Planetary pragmatism? A response to François Cooren","year":2015,"lang":"en","type":"article","venue":"Language Under Discussion","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Pragmatism; Field (mathematics); Epistemology; Sociology; Philosophy","score_opus":0.029408126803337546,"score_gpt":0.2694549558474808,"score_spread":0.24004682904414326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2984916091","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015325936,0.010945028,0.0012779429,0.934476,0.004198375,0.000010113207,0.00001999282,0.000049569375,0.033697005],"genre_scores_gemma":[0.71157724,0.004919399,0.0011271806,0.24286668,0.002693988,0.000056670226,0.000015995322,0.00017780345,0.03656498],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9901321,0.005880585,0.00017726871,0.0012337147,0.001372322,0.0012039118],"domain_scores_gemma":[0.97929597,0.015625987,0.0007131486,0.0006544172,0.0021708722,0.0015395801],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009693547,0.00064919627,0.00075538945,0.00078623474,0.017510584,0.009445141,0.0016428126,0.016749792,0.0034533497],"category_scores_gemma":[0.023244707,0.00042096069,0.0004109361,0.000977742,0.02985857,0.009980648,0.0042958865,0.016321147,0.00070648873],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012413412,0.000045020908,0.0013595812,0.00012295967,0.000018858218,0.0015775532,0.12769789,0.00045743564,0.00032787616,0.500751,0.35425526,0.013262426],"study_design_scores_gemma":[0.000019395968,0.000023916176,0.00066857506,0.00031880874,0.0000058044857,0.0011273106,0.057884444,0.00056082604,0.0004801563,0.046979487,0.8918132,0.00011796286],"about_ca_topic_score_codex":0.056263585,"about_ca_topic_score_gemma":0.04632919,"teacher_disagreement_score":0.056263585,"about_ca_system_score_codex":0.013658443,"about_ca_system_score_gemma":0.0058138794,"threshold_uncertainty_score":0.111872196},"labels":[],"label_agreement":null},{"id":"W2990935209","doi":"10.17658/issn.2058-5462/issue-14/kfein","title":"“The Sense of Nearness”: Harriet Hosmer’s Clasped Hands and the Materials and Bodies of Nineteenth-Century Life Casting","year":2019,"lang":"en","type":"article","venue":"British Art Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Yale Center for British Art, Yale University; University of Toronto; Baylor University; Harvard University; University of Missouri; Wellesley College; Yale University","keywords":"Sculpture; Art; Negotiation; Casting; Romance; Indexicality; Visual arts; Aesthetics; Literature; Sociology; Linguistics; Philosophy","score_opus":0.024112138232157757,"score_gpt":0.24201973080481015,"score_spread":0.2179075925726524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990935209","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22837429,0.009409768,0.0034387263,0.011091847,0.00045264358,0.000011074522,0.000014196418,0.00004801194,0.7471595],"genre_scores_gemma":[0.9753018,0.0006759232,0.0003241736,0.0004441274,0.000036413297,0.0000028376273,0.0000032170115,0.00001914554,0.023192326],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986356,0.00081731,0.000023044417,0.00012606297,0.000229256,0.00016869251],"domain_scores_gemma":[0.9993839,0.00031611463,0.00006228889,0.00008194609,0.000057632584,0.00009803455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011138046,0.00024939893,0.00019744747,0.00083771755,0.008364396,0.006469102,0.0004860749,0.0011400372,0.0037250358],"category_scores_gemma":[0.0022800288,0.00022221901,0.000093622795,0.0005269322,0.035492223,0.0036115528,0.0029739,0.0024519337,0.00036797035],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039618153,0.000012222742,0.00035053195,0.000029104813,0.0000022626018,0.00023930111,0.30702227,0.00008341671,0.00036401994,0.66851604,0.004365612,0.018975588],"study_design_scores_gemma":[0.000018558594,0.00007450148,0.0031496761,0.00040168635,0.000010673417,0.00082032516,0.26799592,0.00023511543,0.0006956899,0.14719331,0.5793562,0.000048307124],"about_ca_topic_score_codex":0.026234727,"about_ca_topic_score_gemma":0.057733767,"teacher_disagreement_score":0.026234727,"about_ca_system_score_codex":0.0035460298,"about_ca_system_score_gemma":0.0009734746,"threshold_uncertainty_score":0.05216402},"labels":[],"label_agreement":null},{"id":"W2990948235","doi":"10.5117/9789463729000_ch07","title":"The Fog Medium: Visualizing and Engineering the Atmosphere","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Visibility; Haze; Visual arts; Art; History; Media studies; Meteorology; Geography; Sociology","score_opus":0.024356208784448583,"score_gpt":0.22332958229943972,"score_spread":0.19897337351499114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990948235","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18344496,0.042723928,0.20908785,0.004233321,0.0011802277,0.0001053779,0.0002002645,0.0010916806,0.5579324],"genre_scores_gemma":[0.8574915,0.018133674,0.061593458,0.00047845748,0.00026894495,0.00008347591,0.00012034215,0.00039440783,0.06143575],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99991035,0.000030295178,0.0000017847813,0.000014105452,0.000022004611,0.000021395275],"domain_scores_gemma":[0.99990106,0.00005980568,0.0000046423115,0.000011050686,0.000009321038,0.000014143373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022062592,0.00042858825,0.00014871648,0.00052490947,0.00089589134,0.0036182746,0.0004694003,0.00062982016,0.003365597],"category_scores_gemma":[0.00053052296,0.00022250248,0.00025875928,0.00034665538,0.002154692,0.0032838695,0.0023813557,0.0007812533,0.00036845228],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057540972,0.000035406647,0.0017844632,0.00065588165,0.000027289723,0.0008267339,0.041743428,0.0046196245,0.02676101,0.70465195,0.021562941,0.19727369],"study_design_scores_gemma":[0.000018136954,0.00007464685,0.0035653736,0.00053964736,0.000052176107,0.0010669469,0.022249121,0.017019803,0.014478836,0.26736364,0.6735042,0.00006750184],"about_ca_topic_score_codex":0.0014407865,"about_ca_topic_score_gemma":0.0033748255,"teacher_disagreement_score":0.0036182746,"about_ca_system_score_codex":0.000488517,"about_ca_system_score_gemma":0.00037644638,"threshold_uncertainty_score":0.011259079},"labels":[],"label_agreement":null},{"id":"W3002873390","doi":"10.1017/rqx.2019.380","title":"Ornament and Systems of Ordering in the Sixteenth-Century Netherlands","year":2019,"lang":"en","type":"article","venue":"Renaissance Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria; University of Toronto","funders":"","keywords":"Curiosity; Vernacular; Pleasure; Context (archaeology); Enlightenment; Conviction; Object (grammar); Subject (documents); Aesthetics; Subject matter; Set (abstract data type); History; Art; Epistemology; Literature; Sociology; Philosophy; Psychology; Political science; Law; Social psychology; Linguistics; Computer science","score_opus":0.018295339717463298,"score_gpt":0.23425242001750182,"score_spread":0.21595708030003852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3002873390","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3382238,0.0025434913,0.0044019166,0.0017242583,0.000088594046,0.000024385678,0.00013391979,0.000022858532,0.65283686],"genre_scores_gemma":[0.9489103,0.00067764317,0.0015805241,0.00005095014,0.000013490713,0.000019000476,0.00006020353,0.00003378123,0.0486542],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912184,0.00029674394,0.00005389497,0.00015084646,0.00016949985,0.00020708422],"domain_scores_gemma":[0.99957186,0.000103573686,0.000098820805,0.000070355345,0.00009212086,0.00006329279],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008085847,0.0001678458,0.00022874799,0.00093359617,0.0025863748,0.0065819947,0.0006654854,0.00049321813,0.0069492455],"category_scores_gemma":[0.0018949177,0.00027675147,0.00017430384,0.0014589778,0.009402613,0.003749738,0.0025692254,0.0008078368,0.00052641885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028091821,0.000017416129,0.0017121028,0.000028646866,0.000006544884,0.00013461139,0.019910133,0.0007916094,0.00030985475,0.9657934,0.00095990824,0.010307764],"study_design_scores_gemma":[0.000055850283,0.000032394706,0.009559027,0.00014866175,0.000014903148,0.00031361394,0.021993995,0.0023588268,0.0008100067,0.51388395,0.45076972,0.000059062495],"about_ca_topic_score_codex":0.10361008,"about_ca_topic_score_gemma":0.16220006,"teacher_disagreement_score":0.10361008,"about_ca_system_score_codex":0.015425436,"about_ca_system_score_gemma":0.0032460869,"threshold_uncertainty_score":0.20601404},"labels":[],"label_agreement":null},{"id":"W3003376356","doi":"10.7202/1066624ar","title":"William Cheng. 2016. Just Vibrations: The Purpose of Sounding Good. Ann Arbor: University of Michigan Press. 160 pp. 17 images. ISBN 978-0-472-07325-2 (hardcover), ISBN 978–0–472–05325–4 (paperback), ISBN 978-0-472-90056-5 (open access)","year":2017,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Depth sounding; Art history; Media studies; History; Art; Sociology; Cartography; Geography","score_opus":0.06539131880916016,"score_gpt":0.277704436864711,"score_spread":0.21231311805555086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3003376356","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015285681,0.5193434,0.0020774752,0.13428955,0.010970677,0.00006606661,0.0009540418,0.00045862995,0.33031154],"genre_scores_gemma":[0.022180127,0.1681506,0.0019420268,0.010368895,0.0031084695,0.00010513521,0.0004002687,0.0005448057,0.7931998],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886936,0.000218004,0.00008494262,0.00012716606,0.0005826294,0.00011791305],"domain_scores_gemma":[0.99823195,0.00048883096,0.00014834909,0.00009701748,0.00073818595,0.00029567548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010238191,0.0011414378,0.00054874644,0.0015869893,0.0030984993,0.0058063213,0.001170414,0.0030437345,0.07918428],"category_scores_gemma":[0.0044584237,0.00070608925,0.00026853327,0.002256507,0.002424189,0.007748348,0.0019117849,0.0037264677,0.045348577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001849212,0.0000054465695,0.00011422578,0.00018728228,0.0000026367493,0.000047471563,0.0007969079,0.00002459354,0.00010078197,0.007518335,0.9289707,0.06221317],"study_design_scores_gemma":[0.0000032834207,0.0000046520313,0.0006505568,0.00038275018,0.0000029030934,0.000054091393,0.0010050032,0.00001846087,0.00007352725,0.004100378,0.9936946,0.000009769138],"about_ca_topic_score_codex":0.030287055,"about_ca_topic_score_gemma":0.09233224,"teacher_disagreement_score":0.07918428,"about_ca_system_score_codex":0.002722914,"about_ca_system_score_gemma":0.002947788,"threshold_uncertainty_score":0.26489782},"labels":[],"label_agreement":null},{"id":"W3005778229","doi":"10.1344/fh.2019.1-2.57-68","title":"François Truffaut’s Jules and Jim and the French New Wave, Re-viewed","year":2020,"lang":"en","type":"article","venue":"FILMHISTORIA Online","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Oxford; Queen's University; McGill University","keywords":"Commit; Art; Style (visual arts); French New Wave; Art history; Literature; Computer science","score_opus":0.0529925873625839,"score_gpt":0.23572731254331544,"score_spread":0.18273472518073153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3005778229","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17608957,0.009078146,0.0040954966,0.05508008,0.004518831,0.000063401174,0.0001497567,0.0003432869,0.7505814],"genre_scores_gemma":[0.6003675,0.0017390117,0.0011244598,0.0034992096,0.00053231086,0.000030070672,0.000052644573,0.00020354046,0.39245132],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991473,0.00033932662,0.000014927446,0.00013133841,0.00016181421,0.00020527265],"domain_scores_gemma":[0.99913126,0.00031340463,0.000069610964,0.000057609774,0.00018727098,0.00024094139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009132818,0.0006305649,0.00016768616,0.0009039208,0.007108705,0.0066787307,0.00043893862,0.0018006183,0.018202318],"category_scores_gemma":[0.002641282,0.00023924552,0.0002633317,0.00044738816,0.004085031,0.0029422727,0.0015381932,0.0028205935,0.00211457],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034186288,0.00008375976,0.0053936546,0.00019975536,0.000042590036,0.0035703569,0.22789665,0.0003077378,0.0050978805,0.38249955,0.28147513,0.09309107],"study_design_scores_gemma":[0.000005953453,0.000028765458,0.0021647478,0.000058577873,0.0000050371814,0.00067634496,0.028480034,0.00009542119,0.00050868466,0.0016920603,0.9662651,0.000019220566],"about_ca_topic_score_codex":0.06771629,"about_ca_topic_score_gemma":0.12651685,"teacher_disagreement_score":0.06771629,"about_ca_system_score_codex":0.0048008636,"about_ca_system_score_gemma":0.0012710323,"threshold_uncertainty_score":0.13464427},"labels":[],"label_agreement":null},{"id":"W3005988020","doi":"10.7202/1066725ar","title":"Dessein, dessin, design… Les tribulations d’Idea en régime de haut modernisme américain","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Painting; Modernity; Art; Aesthetics; Art history; Philosophy; Literature; Epistemology","score_opus":0.06785971404807893,"score_gpt":0.23724113335887623,"score_spread":0.1693814193107973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3005988020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06062234,0.023088932,0.014000723,0.027733086,0.0010757103,0.00002327303,0.000041762214,0.00014543536,0.87326884],"genre_scores_gemma":[0.90394014,0.00520623,0.0039824564,0.0012521601,0.0002815739,0.00004819799,0.000022753315,0.00010760012,0.08515882],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866676,0.0008547219,0.000017913355,0.0001644252,0.0002060465,0.00009010463],"domain_scores_gemma":[0.99947554,0.00029234518,0.000040438954,0.000085685875,0.00006615888,0.000039962564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014260067,0.00040259055,0.00017379253,0.00084621087,0.0036466434,0.006966378,0.0003748117,0.001175064,0.0041343686],"category_scores_gemma":[0.0019422272,0.00017939057,0.00017457064,0.0009567163,0.020994484,0.0030521208,0.0015921603,0.002584743,0.00036709962],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000103225,0.000005485209,0.00014022697,0.00001675993,0.0000018628521,0.00001753137,0.010069101,0.00010777959,0.000112280795,0.9765999,0.003212772,0.009705891],"study_design_scores_gemma":[0.000019092346,0.000023125765,0.0008436705,0.00012699002,0.0000059296794,0.00011596299,0.008127087,0.00034604507,0.00039234414,0.17875282,0.81123406,0.000012835154],"about_ca_topic_score_codex":0.014251302,"about_ca_topic_score_gemma":0.014790576,"teacher_disagreement_score":0.9857487,"about_ca_system_score_codex":0.0073011364,"about_ca_system_score_gemma":0.002044995,"threshold_uncertainty_score":0.052973688},"labels":[],"label_agreement":null},{"id":"W3006888016","doi":"10.6017/dupjbc.v6i1.11727","title":"Merleau-Ponty and Barthes on Image Consciousness: Probing the (Im)possibility of Meaning","year":2019,"lang":"en","type":"article","venue":"Dianoia The Undergraduate Philosophy Journal of Boston College","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Phenomenology (philosophy); Impossibility; Consciousness; Painting; Freudian slip; Psychoanalytic theory; Meaning (existential); Philosophy; Metaphysics; Epistemology; Pleasure; Psychoanalysis; Psychology; Art; Art history","score_opus":0.021450485612130057,"score_gpt":0.23130909248133388,"score_spread":0.20985860686920382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3006888016","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26251888,0.022001069,0.025250502,0.13002755,0.00088301336,0.00006637871,0.00007671501,0.00007089033,0.5591051],"genre_scores_gemma":[0.9858782,0.003140142,0.0014122899,0.0021378912,0.00027442785,0.00005506172,0.000009848588,0.000030775092,0.0070612747],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9987208,0.0007494799,0.000021824144,0.00017273107,0.00022112326,0.00011408859],"domain_scores_gemma":[0.99698454,0.0023370108,0.00017271812,0.00020568178,0.000180957,0.00011902472],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018659657,0.00037891592,0.0003504969,0.0011725543,0.0035404675,0.0064352085,0.0007302622,0.0029311574,0.00345859],"category_scores_gemma":[0.0070967246,0.00022552362,0.0002726928,0.00089467876,0.04427293,0.01000336,0.0044475417,0.0037479212,0.00025230096],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017504291,0.000011736369,0.0002548615,0.000045763314,0.0000033238111,0.00008790868,0.04084372,0.0000846711,0.00016660528,0.9492768,0.002528995,0.006678139],"study_design_scores_gemma":[0.000022047912,0.000023072633,0.0014766962,0.00019219962,0.000008937868,0.00017579393,0.026183384,0.0003661796,0.00041525767,0.9264372,0.044677544,0.000021596283],"about_ca_topic_score_codex":0.0035191353,"about_ca_topic_score_gemma":0.002749189,"teacher_disagreement_score":0.0064352085,"about_ca_system_score_codex":0.002438408,"about_ca_system_score_gemma":0.0012536448,"threshold_uncertainty_score":0.01769197},"labels":[],"label_agreement":null},{"id":"W3015761495","doi":"10.7202/1068315ar","title":"Tableau vivant et postmodernité : quelles affinités ?","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Seriousness; Modernism (music); Modernity; Art; Photography; Art history; Order (exchange); Postmodernism; Philosophy; Literature; Visual arts; Epistemology","score_opus":0.04593974784114309,"score_gpt":0.22511527813324314,"score_spread":0.17917553029210004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3015761495","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06590257,0.09190565,0.033420783,0.1451768,0.0066348948,0.000037456797,0.000102659666,0.00024756946,0.6565716],"genre_scores_gemma":[0.926451,0.016472561,0.005150767,0.005731956,0.0033740147,0.00008264027,0.00005702975,0.00022609589,0.04245401],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99438816,0.003745121,0.0001173722,0.0005578575,0.0008025976,0.00038881513],"domain_scores_gemma":[0.99385875,0.003592864,0.00043788704,0.0009956439,0.0007947487,0.00032014414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007395722,0.00065312895,0.0005708582,0.0016476365,0.0053870226,0.014741151,0.001087261,0.0032464524,0.008339993],"category_scores_gemma":[0.012718564,0.00024345813,0.00030893684,0.0018904266,0.049922008,0.021245915,0.0045312145,0.005931204,0.0010241532],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012836793,0.000006971593,0.00015783706,0.000035541172,0.0000019602417,0.000041298725,0.024831375,0.000019966397,0.000099655066,0.96350646,0.0017333621,0.009552692],"study_design_scores_gemma":[0.000014143095,0.000044593828,0.0012290936,0.00059066236,0.0000067014767,0.00058921333,0.047605526,0.00032082884,0.00052276463,0.34064004,0.6083965,0.00003996892],"about_ca_topic_score_codex":0.009013505,"about_ca_topic_score_gemma":0.0069465186,"teacher_disagreement_score":0.99098647,"about_ca_system_score_codex":0.00588984,"about_ca_system_score_gemma":0.0025523517,"threshold_uncertainty_score":0.042733908},"labels":[],"label_agreement":null},{"id":"W3016961459","doi":"10.31648/mkks.2898","title":"Rewolucja kina dokumentalnego w Quebecu. O The Days Before Christmas Stanleya Jacksona, Wolfa Koeniga i Terence’a Macartneya-Filgate’a oraz Les Raquetteurs Michela Braulta i Gilles’a Groulx’a","year":2019,"lang":"pl","type":"article","venue":"Media - Kultura - Komunikacja Społeczna","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Physics; Theology; Philosophy; Art","score_opus":0.0192617196342147,"score_gpt":0.2343419181923091,"score_spread":0.2150801985580944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3016961459","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17824699,0.015856212,0.0017618218,0.046847276,0.0014465956,0.00012176881,0.0030252896,0.00012610423,0.7525679],"genre_scores_gemma":[0.5850663,0.0041079097,0.0006362409,0.003510081,0.00007886234,0.000056042863,0.00047300485,0.00008333099,0.40598822],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993255,0.00010856836,0.0000123423915,0.0001183507,0.0001742201,0.00026103476],"domain_scores_gemma":[0.99918133,0.0000884541,0.00006369014,0.000047900605,0.00032177183,0.0002969012],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035252265,0.00037994556,0.00020319126,0.00088407414,0.013395231,0.0058044908,0.00075913436,0.001168354,0.03917325],"category_scores_gemma":[0.0014740904,0.00023977556,0.00014455894,0.0016492609,0.005031879,0.0023475217,0.002013702,0.0022775333,0.0018154753],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015556937,0.000076703844,0.029113505,0.00041910185,0.000049779468,0.0017358883,0.22544278,0.0002927435,0.002965251,0.22407137,0.38811246,0.12756483],"study_design_scores_gemma":[0.0000037388525,0.000011334135,0.03403687,0.00025199616,0.000011562796,0.00015888683,0.06780154,0.00008716598,0.0004625606,0.0014044652,0.89573276,0.000037159796],"about_ca_topic_score_codex":0.9830294,"about_ca_topic_score_gemma":0.99548495,"teacher_disagreement_score":0.044402007,"about_ca_system_score_codex":0.044402007,"about_ca_system_score_gemma":0.02949843,"threshold_uncertainty_score":0.3221606},"labels":[],"label_agreement":null},{"id":"W3020411521","doi":"10.31618/nas.2413-5291.2020.4.53.178","title":"PROBLEMS OF RESTORATION OF DECORATIVE INTERIOR PAINTINGS OF CLASSICISM","year":2020,"lang":"en","type":"article","venue":"National Association of Scientists","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Painting; Classicism; Polychrome; Art; Mythology; Visual arts; Art history; Natural (archaeology); Archaeology; History; Literature","score_opus":0.04297014170941926,"score_gpt":0.273543693971931,"score_spread":0.23057355226251175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3020411521","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12952441,0.024278088,0.016328214,0.04568729,0.0031221672,0.00013123582,0.00011803876,0.00025038875,0.78056014],"genre_scores_gemma":[0.9128455,0.005524287,0.007944515,0.0014913783,0.000752221,0.00006147015,0.000037630743,0.00020982622,0.07113309],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99632025,0.0018768009,0.00012581555,0.0004341761,0.00090056594,0.0003424875],"domain_scores_gemma":[0.99796665,0.0008936978,0.0001353939,0.00061600807,0.00030724524,0.00008094784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004240991,0.00048476315,0.0004410122,0.0016447048,0.009369091,0.007872866,0.0011562796,0.0017847253,0.0063530686],"category_scores_gemma":[0.009791279,0.00043338418,0.0003283882,0.0015351803,0.023744311,0.0048707006,0.0045891716,0.0028997764,0.0006445395],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005595586,0.00003374707,0.00039069023,0.00025182986,0.000008623046,0.0003406163,0.05980389,0.000655011,0.00048393334,0.837571,0.025824975,0.07457976],"study_design_scores_gemma":[0.000016315784,0.000030024377,0.0021373976,0.00046072013,0.0000138137375,0.0015891122,0.032102298,0.000727318,0.0009889707,0.18855534,0.77335274,0.00002594387],"about_ca_topic_score_codex":0.012194862,"about_ca_topic_score_gemma":0.014474805,"teacher_disagreement_score":0.012194862,"about_ca_system_score_codex":0.0062095285,"about_ca_system_score_gemma":0.0026744148,"threshold_uncertainty_score":0.045053422},"labels":[],"label_agreement":null},{"id":"W3024589966","doi":"10.46743/2160-3715/2020.3821","title":"Method as Method: A Play in Three Acts","year":2020,"lang":"en","type":"article","venue":"The Qualitative Report","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Prologue; Interpretation (philosophy); Context (archaeology); Epistemology; Power (physics); Sociology; Psychology; Aesthetics; History; Literature; Art; Linguistics; Philosophy; Archaeology","score_opus":0.29289549713073515,"score_gpt":0.512917415793045,"score_spread":0.2200219186623098,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3024589966","genre_codex":"methods","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01990901,0.0016093611,0.66380715,0.042500865,0.007071181,0.0199284,0.0012636797,0.0010290607,0.24288131],"genre_scores_gemma":[0.28437275,0.0010827349,0.52316344,0.011108462,0.0006148606,0.06188151,0.00060021685,0.0014542124,0.11572185],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.8719388,0.11124297,0.002541898,0.0041227397,0.00810388,0.0020497069],"domain_scores_gemma":[0.8962792,0.08196241,0.0029496704,0.0085328715,0.0075521134,0.0027236762],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.08339579,0.0012769896,0.0011723406,0.0023381484,0.009520633,0.0129341325,0.0032721814,0.0050131804,0.035314165],"category_scores_gemma":[0.09130408,0.0012549667,0.0011374473,0.0022068415,0.025013296,0.011594996,0.008658716,0.009268784,0.0071252263],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004201894,0.0003290944,0.0006811682,0.0015299517,0.000030730353,0.00026852576,0.18766299,0.00039431546,0.0016465929,0.70829725,0.040697336,0.058041822],"study_design_scores_gemma":[0.00043411407,0.00028173634,0.0006891829,0.002862822,0.000042401156,0.0003261467,0.08969656,0.0018398007,0.0027696625,0.181536,0.7193886,0.00013290651],"about_ca_topic_score_codex":0.003194353,"about_ca_topic_score_gemma":0.0047694156,"teacher_disagreement_score":0.08339579,"about_ca_system_score_codex":0.008245272,"about_ca_system_score_gemma":0.008997194,"threshold_uncertainty_score":0.44104433},"labels":[],"label_agreement":null},{"id":"W3025001208","doi":"10.3138/jrpc.2017-0053","title":"Corpus Christi, Corpus Cyborgensis, and the Body Politic: The Passion Play of <i>RoboCop</i>","year":2020,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Body politic; Metaphor; Passion; Postmodernism; Scholarship; Literature; Power (physics); Manifesto; Philosophy; Art; Art history; Theology; Politics; Law","score_opus":0.016134588623763286,"score_gpt":0.2408427640426861,"score_spread":0.2247081754189228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3025001208","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08134712,0.019509127,0.0021742748,0.02129717,0.00091372005,0.000035674002,0.00006906655,0.000075667274,0.87457824],"genre_scores_gemma":[0.84527814,0.005202888,0.0008904331,0.0028083182,0.00029301996,0.00009547375,0.000048135345,0.00016803981,0.14521556],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992853,0.00038256167,0.0000096025315,0.00007449492,0.00009636847,0.0001517016],"domain_scores_gemma":[0.99942195,0.0003107721,0.00004994081,0.000030360012,0.000051022103,0.00013606323],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063070253,0.000590968,0.0002598104,0.0011911222,0.015311343,0.008870655,0.00080063,0.0020855453,0.008406134],"category_scores_gemma":[0.001727434,0.00023022271,0.000118110955,0.0008720841,0.021765409,0.0044106995,0.0040728506,0.00372787,0.000922211],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004615843,0.000014955723,0.00041442816,0.00010995163,0.000003702373,0.0006812344,0.23842223,0.00007544681,0.00028827047,0.705737,0.04257357,0.011633087],"study_design_scores_gemma":[0.000011076091,0.000018617193,0.0014037123,0.00041784055,0.0000064801015,0.00049121137,0.20589972,0.000117248484,0.00061346666,0.022710504,0.7682865,0.00002354426],"about_ca_topic_score_codex":0.059891988,"about_ca_topic_score_gemma":0.10933971,"teacher_disagreement_score":0.059891988,"about_ca_system_score_codex":0.0068259654,"about_ca_system_score_gemma":0.003995831,"threshold_uncertainty_score":0.1190868},"labels":[],"label_agreement":null},{"id":"W3025744700","doi":"10.7202/1067416ar","title":"Décrire l’artifice","year":2019,"lang":"fr","type":"article","venue":"Sens public","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03689846795552789,"score_gpt":0.2470493742614674,"score_spread":0.2101509063059395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3025744700","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013781504,0.0068098553,0.07406205,0.0152796535,0.0019266678,0.000048439648,0.00013879457,0.00043657326,0.8875165],"genre_scores_gemma":[0.6066115,0.007925486,0.057431035,0.0065390905,0.0015917124,0.00020341824,0.00035690362,0.0008901261,0.31845066],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968912,0.001242865,0.00013021416,0.00076464796,0.00074380863,0.00022720627],"domain_scores_gemma":[0.9975695,0.0009682287,0.00016023571,0.0008048729,0.00034110734,0.00015609364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024624155,0.0009357998,0.0004721534,0.0013672326,0.0035003189,0.01037145,0.0017671612,0.0031140079,0.023310285],"category_scores_gemma":[0.00612485,0.0003533281,0.0007634709,0.0009891405,0.019764418,0.009976296,0.0067484314,0.003693132,0.005713005],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026416123,0.000010627028,0.00035407266,0.000118551536,0.0000084446865,0.00022476092,0.007014481,0.00034635016,0.00071253435,0.95934045,0.007646347,0.024196982],"study_design_scores_gemma":[0.00000851405,0.00002475858,0.0003735788,0.00027567853,0.000010857045,0.00058897934,0.0033949662,0.00071538956,0.0007949861,0.21034853,0.78344333,0.000020393956],"about_ca_topic_score_codex":0.0033704818,"about_ca_topic_score_gemma":0.0040947143,"teacher_disagreement_score":0.023310285,"about_ca_system_score_codex":0.0023106367,"about_ca_system_score_gemma":0.0017852936,"threshold_uncertainty_score":0.07798064},"labels":[],"label_agreement":null},{"id":"W3026260855","doi":"","title":"Practicing Media—Mediating Practice | New Paradigm or Sensitizing Concept: Finding the Proper Place of Practice Theory in Media Studies","year":2020,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Agency (philosophy); Epistemology; Practice theory; Foundation (evidence); Constitution; Sociology; Social media; Theory; Social practice; Media theory; Engineering ethics; Computer science; Social science; Law; Media studies; Political science","score_opus":0.4759622075774153,"score_gpt":0.5623577910587044,"score_spread":0.08639558348128912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3026260855","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09855809,0.06441143,0.18742555,0.26397777,0.0033692284,0.00030328767,0.000082255065,0.00023175067,0.38164058],"genre_scores_gemma":[0.9634748,0.011468823,0.016878886,0.003701936,0.0008235477,0.00024299788,0.000020150143,0.000075605385,0.0033133437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.97363293,0.02205265,0.00056941045,0.0013086058,0.0017478329,0.0006885603],"domain_scores_gemma":[0.9372697,0.0551206,0.0020298157,0.003156563,0.0013089718,0.0011143325],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.024743542,0.0006989048,0.0009794967,0.0041977605,0.00712155,0.023472765,0.0026696979,0.0069554513,0.00346506],"category_scores_gemma":[0.029892322,0.00051154406,0.0006454551,0.004435401,0.12652092,0.033861797,0.009949628,0.008136368,0.0005303263],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000879005,0.000017202501,0.0002732278,0.00012392276,0.0000026031603,0.000049579623,0.03683949,0.000057826473,0.00006109225,0.9540406,0.00053947076,0.007986228],"study_design_scores_gemma":[0.00001658326,0.000043590768,0.00040096755,0.0011203211,0.000006872728,0.00017421132,0.05430653,0.00051606575,0.00018501772,0.8960742,0.04713757,0.00001818569],"about_ca_topic_score_codex":0.0018932339,"about_ca_topic_score_gemma":0.0015699242,"teacher_disagreement_score":0.024743542,"about_ca_system_score_codex":0.0076453784,"about_ca_system_score_gemma":0.0085112145,"threshold_uncertainty_score":0.13085794},"labels":[],"label_agreement":null},{"id":"W3026428793","doi":"10.1162/dram_a_00924","title":"Public Library: Crystal Meth, Choreography, Conceptual Art","year":2020,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Choreography; Dance; Ethnography; Visual arts; Sociology; Art; Political science; Aesthetics; Anthropology","score_opus":0.1058548431358331,"score_gpt":0.25865449326079815,"score_spread":0.15279965012496505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3026428793","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002302555,0.654345,0.0012212861,0.032239895,0.002858696,0.00003985563,0.0004531987,0.00019367806,0.3063459],"genre_scores_gemma":[0.099104,0.66937,0.0019051405,0.0068568448,0.0033818441,0.00019342537,0.0007207091,0.00025549027,0.21821259],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883705,0.00047765655,0.00005128203,0.00008408548,0.0004584517,0.00009144434],"domain_scores_gemma":[0.9982716,0.000680672,0.0002079378,0.00012879005,0.0005157256,0.00019532496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015094926,0.00039055006,0.0003976966,0.0033385917,0.0029303925,0.0065898653,0.0010471521,0.0012820496,0.038844563],"category_scores_gemma":[0.0039874916,0.00020437727,0.00015162809,0.00712042,0.0040286668,0.004847252,0.0027121324,0.0014848907,0.0041250046],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053932563,0.000026033838,0.00040889226,0.0029470848,0.0000124922435,0.0001333523,0.005341323,0.00015130854,0.00019903743,0.0988078,0.5471704,0.34474832],"study_design_scores_gemma":[0.0000035364617,0.000005603316,0.00077232753,0.0019509507,0.0000051432057,0.00008450138,0.002619087,0.000021125488,0.00008721976,0.002239096,0.9922063,0.0000051225925],"about_ca_topic_score_codex":0.12687661,"about_ca_topic_score_gemma":0.19047636,"teacher_disagreement_score":0.12687661,"about_ca_system_score_codex":0.008114544,"about_ca_system_score_gemma":0.0117024025,"threshold_uncertainty_score":0.25227618},"labels":[],"label_agreement":null},{"id":"W3031151102","doi":"10.7202/1069828ar","title":"Dominic McIver Lopes, \"Being for Beauty: Aesthetic Agency and Value.\"","year":2020,"lang":"en","type":"article","venue":"Philosophy in Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Beauty; LOPES; Agency (philosophy); Philosophy; Value (mathematics); Aesthetics; Art; Art history; Epistemology; Mathematics; Physics","score_opus":0.09611798008185352,"score_gpt":0.2983581834709788,"score_spread":0.2022402033891253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3031151102","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014636948,0.92674863,0.00018340453,0.06234774,0.0056933556,0.00001353422,0.000055975615,0.000019704308,0.004791178],"genre_scores_gemma":[0.0047467197,0.92317533,0.00035904895,0.058566116,0.0051471894,0.00006464505,0.00007288041,0.000025983732,0.0078422],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981244,0.00067307847,0.00015790368,0.00013679401,0.0007981868,0.000109654706],"domain_scores_gemma":[0.99469346,0.0031104689,0.0002646701,0.0000946834,0.0015765313,0.00026021388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026103472,0.0012713227,0.0010969798,0.002616934,0.0018078112,0.0039915293,0.0026023758,0.00595522,0.0052645863],"category_scores_gemma":[0.010653832,0.0004474227,0.0006190107,0.0030693205,0.0040332116,0.0069411686,0.0018173531,0.007757879,0.0023315717],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048090653,0.000027091062,0.0001938767,0.0032203803,0.000045444336,0.00009559045,0.0016168816,0.000068743226,0.00008635177,0.023867292,0.89377725,0.07695307],"study_design_scores_gemma":[0.000047701196,0.00002164545,0.0016247866,0.0064409734,0.0000612304,0.00018552788,0.0022230728,0.00005095268,0.00027520678,0.013552861,0.9754851,0.00003105264],"about_ca_topic_score_codex":0.037370786,"about_ca_topic_score_gemma":0.06440666,"teacher_disagreement_score":0.037370786,"about_ca_system_score_codex":0.0032213416,"about_ca_system_score_gemma":0.006212457,"threshold_uncertainty_score":0.07430655},"labels":[],"label_agreement":null},{"id":"W3032627770","doi":"10.7202/1069823ar","title":"Thomas Hilgers, \"Aesthetic Disinterestedness: Art, Experience, and the Self.\"","year":2020,"lang":"en","type":"article","venue":"Philosophy in Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Philosophy; Art","score_opus":0.06930814654175535,"score_gpt":0.28287862516745277,"score_spread":0.21357047862569742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3032627770","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00022606044,0.9052743,0.0003457618,0.08026195,0.008113688,0.000018866136,0.00011663279,0.000035323006,0.0056075174],"genre_scores_gemma":[0.008262552,0.9051662,0.00051233737,0.06674993,0.0077700196,0.00009685229,0.00013411567,0.000047646703,0.0112603335],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973833,0.0009810874,0.00021784642,0.00021247556,0.0010453651,0.00015994186],"domain_scores_gemma":[0.9955461,0.0030422593,0.00029712016,0.00007839972,0.0008543944,0.00018162678],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002667632,0.0016037617,0.0011174434,0.0031359969,0.0020200904,0.0047993422,0.0022925898,0.0071427925,0.005979588],"category_scores_gemma":[0.009371889,0.0005519865,0.00070993387,0.0043818913,0.0046797544,0.00830848,0.0022278014,0.0074235047,0.0030784458],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054505268,0.000032845735,0.000251658,0.0029289091,0.0000376032,0.00010242931,0.0019996306,0.00013536823,0.000105961124,0.032849487,0.90581954,0.05568205],"study_design_scores_gemma":[0.000053630214,0.000027283959,0.0025238628,0.006927289,0.0000561721,0.00024567277,0.0028158987,0.000096016454,0.0003738093,0.03433323,0.9524983,0.00004881415],"about_ca_topic_score_codex":0.0322855,"about_ca_topic_score_gemma":0.04578414,"teacher_disagreement_score":0.0322855,"about_ca_system_score_codex":0.0032853496,"about_ca_system_score_gemma":0.0054096472,"threshold_uncertainty_score":0.064195156},"labels":[],"label_agreement":null},{"id":"W3032734203","doi":"10.7202/1069081ar","title":"Art sonore ou art d’écouter ?","year":2020,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.08049224638839964,"score_gpt":0.2614628960412621,"score_spread":0.18097064965286247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3032734203","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016368167,0.020661118,0.0077625434,0.026155746,0.002599898,0.000020222487,0.00006855861,0.00007313933,0.9262907],"genre_scores_gemma":[0.6372219,0.019491233,0.0047532297,0.008814642,0.0031854722,0.0000889321,0.00013421984,0.00025965876,0.3260507],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99759454,0.0010195209,0.00006781833,0.0005137701,0.0004410644,0.00036329645],"domain_scores_gemma":[0.998858,0.00044912394,0.00012490951,0.00023113926,0.00019074164,0.00014614685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016465357,0.0006231608,0.0004251733,0.0013136207,0.0046613934,0.011041788,0.0011003808,0.0028814618,0.016187184],"category_scores_gemma":[0.0025222795,0.00021215017,0.0004519355,0.0013867656,0.026979031,0.012062334,0.003616783,0.0038745573,0.0032524883],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018707824,0.00000822961,0.00028123477,0.00006891712,0.000003067483,0.00006446513,0.008929065,0.000054888897,0.00013231927,0.96657056,0.0066856,0.017182957],"study_design_scores_gemma":[0.0000074223412,0.000030013935,0.0009797192,0.0003354116,0.0000066186058,0.00026849427,0.014517743,0.00014166192,0.00031280637,0.1534538,0.82992786,0.000018388751],"about_ca_topic_score_codex":0.0071131736,"about_ca_topic_score_gemma":0.011487646,"teacher_disagreement_score":0.016187184,"about_ca_system_score_codex":0.004005976,"about_ca_system_score_gemma":0.0024987438,"threshold_uncertainty_score":0.054151535},"labels":[],"label_agreement":null},{"id":"W3034127524","doi":"10.15252/embr.202050886","title":"Is sabbatical a dirty word?","year":2020,"lang":"en","type":"article","venue":"EMBO Reports","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Word (group theory); Linguistics; Biology; History; Philosophy","score_opus":0.055955726969053564,"score_gpt":0.2688240307326213,"score_spread":0.21286830376356772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3034127524","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027791858,0.032076914,0.002043838,0.7654127,0.109667085,0.0000067373226,0.00012302771,0.00024626096,0.087644204],"genre_scores_gemma":[0.27342638,0.03853684,0.0049366197,0.4320595,0.056037277,0.000081225815,0.00029354665,0.001466416,0.19316225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9945399,0.002058112,0.0002898423,0.0005862949,0.0017237662,0.0008021194],"domain_scores_gemma":[0.97996163,0.006628589,0.001602996,0.0027612865,0.0049192873,0.0041261516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008134471,0.00053099036,0.0010186975,0.0014927292,0.00728945,0.017111154,0.0017486897,0.007730478,0.044330943],"category_scores_gemma":[0.03973764,0.00032665528,0.00046153896,0.0020236648,0.027537283,0.011688845,0.004789386,0.013713101,0.015302021],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011578754,0.00003046779,0.0003365465,0.00025220762,0.000033516073,0.00014947068,0.0026902508,0.000042048876,0.00061264716,0.37184244,0.55856484,0.06532986],"study_design_scores_gemma":[0.000016286045,0.00002319728,0.00037978071,0.00029706993,0.000013309191,0.00017019868,0.0051523615,0.000038521343,0.00043352053,0.14784855,0.84559715,0.000030012008],"about_ca_topic_score_codex":0.0057868822,"about_ca_topic_score_gemma":0.00789309,"teacher_disagreement_score":0.044330943,"about_ca_system_score_codex":0.004126895,"about_ca_system_score_gemma":0.006069111,"threshold_uncertainty_score":0.14830184},"labels":[],"label_agreement":null},{"id":"W3034882972","doi":"10.18778/1733-8069.16.2.03","title":"Following the Footprints of Edward S. Curtis: A Tale of the Vanishing Race","year":2020,"lang":"en","type":"article","venue":"Przegląd Socjologii Jakościowej","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Narrative; Indigenous; Photography; Visual arts; History; Subject (documents); Presentation (obstetrics); Art history; Ambiguity; Art; Literature; Library science; Archaeology","score_opus":0.0411766905838654,"score_gpt":0.2551512308069679,"score_spread":0.21397454022310247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3034882972","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.069268234,0.04137902,0.0038324983,0.20575225,0.007890167,0.000087854445,0.0001586941,0.00028647354,0.67134476],"genre_scores_gemma":[0.52336603,0.018739717,0.0025228367,0.020262185,0.0011052825,0.000079327554,0.00006602528,0.00057573634,0.43328288],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983918,0.0005610367,0.000019403642,0.00019404928,0.00040057054,0.00043309008],"domain_scores_gemma":[0.9985139,0.00042587912,0.000064460335,0.000091412825,0.0003772229,0.0005270468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015865224,0.000757847,0.00041603536,0.0013614642,0.041986126,0.01046837,0.001261506,0.0022589304,0.010250499],"category_scores_gemma":[0.0037572728,0.0003480152,0.00026107382,0.0011840808,0.029544523,0.0050996807,0.0050658495,0.0048396215,0.0015741558],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041774805,0.000017553288,0.0009031657,0.00010773191,0.000007231099,0.00085362495,0.5452278,0.00006963672,0.00047600458,0.14374469,0.27580473,0.03274598],"study_design_scores_gemma":[0.0000016371154,0.0000083397035,0.0005510205,0.0001823188,0.0000039544757,0.00019457366,0.18999606,0.000023239638,0.00015474214,0.0039721522,0.8048954,0.00001648022],"about_ca_topic_score_codex":0.58903956,"about_ca_topic_score_gemma":0.82720345,"teacher_disagreement_score":0.58903956,"about_ca_system_score_codex":0.017830892,"about_ca_system_score_gemma":0.015385952,"threshold_uncertainty_score":0.8267613},"labels":[],"label_agreement":null},{"id":"W3036264027","doi":"10.3138/ecf.32.4.599","title":"In Want of Keeping: Painting and the Sympathetic Imagination of <i>Frankenstein</i>","year":2020,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sympathy; Narrative; Harmony (color); Painting; Aesthetics; Frame (networking); Literature; Term (time); Art; Philosophy; Psychology; Art history; Visual arts; Computer science; Social psychology","score_opus":0.014963663950396762,"score_gpt":0.20893323963684132,"score_spread":0.19396957568644457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036264027","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2683966,0.0074654324,0.008311518,0.035448257,0.0014277236,0.000020437245,0.000027045997,0.00012113571,0.67878187],"genre_scores_gemma":[0.9787217,0.00048428075,0.0006570631,0.0012140631,0.00015388611,0.000008187804,0.000004997864,0.000053963504,0.018701848],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988433,0.0005932475,0.000017081837,0.00016654444,0.00021339257,0.00016643567],"domain_scores_gemma":[0.9992459,0.00044237715,0.00009513415,0.00006901377,0.000057205365,0.00009037493],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015606001,0.00041745842,0.00020465965,0.0006975324,0.008247365,0.007860476,0.0005676197,0.0019101277,0.00251644],"category_scores_gemma":[0.0030927483,0.0002005017,0.0001947927,0.0003792645,0.026252374,0.005195235,0.002827165,0.0035188962,0.00025605084],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006263112,0.000021765702,0.00046690358,0.00005035259,0.0000088049055,0.0004842276,0.33919278,0.00012598519,0.0010450049,0.6323695,0.016180994,0.009991026],"study_design_scores_gemma":[0.000025556728,0.000081646554,0.0018344785,0.00033964193,0.000022262657,0.0018671075,0.25275844,0.000600045,0.0019371761,0.13762084,0.6028652,0.0000476316],"about_ca_topic_score_codex":0.0024939752,"about_ca_topic_score_gemma":0.00453377,"teacher_disagreement_score":0.008247365,"about_ca_system_score_codex":0.002415867,"about_ca_system_score_gemma":0.00073500385,"threshold_uncertainty_score":0.017528415},"labels":[],"label_agreement":null},{"id":"W3043066483","doi":"10.4000/12gwd","title":"Matuszewski/Lumière. Pour une nouvelle source des encyclopédies documentaires cinématographiques","year":2017,"lang":"fr","type":"article","venue":"Transbordeur.","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Art; Humanities","score_opus":0.03208976306240595,"score_gpt":0.29426458628363056,"score_spread":0.2621748232212246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3043066483","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010073419,0.18325907,0.006001699,0.016544644,0.0044479207,0.00014235782,0.0068785734,0.0013622576,0.77129006],"genre_scores_gemma":[0.08167773,0.091026835,0.007814264,0.003235344,0.001599743,0.00022503814,0.0037926687,0.0013141307,0.80931425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970526,0.000054929926,0.000032454805,0.000063640815,0.00010529486,0.000038411577],"domain_scores_gemma":[0.9996137,0.0001309491,0.000078962745,0.000057551413,0.00006820725,0.000050622788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040254506,0.0008421282,0.00029743568,0.004726321,0.0014184788,0.004594956,0.00043425593,0.0011053223,0.113142066],"category_scores_gemma":[0.0012707604,0.00050689484,0.00027121228,0.0048006475,0.0011377659,0.0045845145,0.001860937,0.0016445498,0.04350878],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018053512,0.000035288784,0.0018283087,0.0020350683,0.000025757232,0.0006393897,0.0065806657,0.00009363042,0.0048467587,0.12424024,0.5038417,0.3556527],"study_design_scores_gemma":[0.0000031016402,0.0000038708067,0.0023761764,0.00022326116,0.000004484664,0.00028785126,0.00062379387,0.000020354531,0.0004809886,0.0020153066,0.99395496,0.0000058744163],"about_ca_topic_score_codex":0.007943846,"about_ca_topic_score_gemma":0.020130726,"teacher_disagreement_score":0.113142066,"about_ca_system_score_codex":0.0013381686,"about_ca_system_score_gemma":0.0009208359,"threshold_uncertainty_score":0.37849796},"labels":[],"label_agreement":null},{"id":"W3044480601","doi":"10.1093/acrefore/9780190201098.013.1106","title":"Parody and Pastiche","year":2020,"lang":"en","type":"reference-entry","venue":"Oxford Research Encyclopedia of Literature","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Norm (philosophy); Citation; Argument (complex analysis); Comics; Aesthetics; Value (mathematics); Literature; Epistemology; Sociology; Philosophy; Art; Mathematics; Political science; Law","score_opus":0.06426146966317238,"score_gpt":0.3258666499742353,"score_spread":0.26160518031106295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3044480601","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038826767,0.011149099,0.01591457,0.02937591,0.0028413748,0.00006675247,0.000206613,0.00033866,0.9012802],"genre_scores_gemma":[0.87119865,0.0027212857,0.0027551956,0.0048477687,0.0012110455,0.00006796318,0.00012565074,0.00036205415,0.11671035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98916936,0.0059411624,0.00041501713,0.0010437446,0.002639615,0.0007911112],"domain_scores_gemma":[0.9931443,0.0033341865,0.00054532464,0.0014041706,0.0010496993,0.0005223342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0058022817,0.00047211873,0.0008368981,0.0027001346,0.010304891,0.012263544,0.0015222402,0.0030496842,0.013560823],"category_scores_gemma":[0.016694086,0.0003191698,0.0006136804,0.0025420769,0.0335863,0.01140708,0.009361115,0.00685328,0.003227607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015240606,0.000009363828,0.0002122338,0.00007547724,0.0000031901475,0.00016946561,0.016993066,0.000040654097,0.00012201494,0.96403664,0.009300675,0.009021971],"study_design_scores_gemma":[0.000014403573,0.000047354682,0.0005921732,0.0004771005,0.000007995005,0.0011015345,0.013360248,0.0003122659,0.000526323,0.29935104,0.68416786,0.000041623145],"about_ca_topic_score_codex":0.002181863,"about_ca_topic_score_gemma":0.0039922725,"teacher_disagreement_score":0.013560823,"about_ca_system_score_codex":0.006005867,"about_ca_system_score_gemma":0.003472251,"threshold_uncertainty_score":0.045365512},"labels":[],"label_agreement":null},{"id":"W3045440521","doi":"10.33178/alpha.19.26","title":"The Documentary Art of Filmmaker Michael Rubbo, by D. B. Jones","year":2020,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Corporation; Art; Documentary film; Art history; Narrative; Media studies; Visual arts; Sociology; Law; Movie theater; Political science; Literature","score_opus":0.019119755628901086,"score_gpt":0.22641388973492446,"score_spread":0.20729413410602338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3045440521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0068955203,0.084779434,0.0031453106,0.12767936,0.025607508,0.0000665866,0.00026609428,0.00029128662,0.751269],"genre_scores_gemma":[0.082199365,0.026543573,0.0023072653,0.012541866,0.0041087596,0.000047092115,0.00009804875,0.00041865205,0.87173545],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990717,0.00026483354,0.000031432082,0.00017132905,0.00036950124,0.00009115616],"domain_scores_gemma":[0.9988023,0.00040050925,0.000097503704,0.00011105154,0.00033941073,0.0002491609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000980947,0.0003897452,0.00018586229,0.0009660817,0.0065773283,0.005887375,0.00058100215,0.0010266325,0.01610811],"category_scores_gemma":[0.004237066,0.00028660422,0.00013886104,0.0007977935,0.0038987098,0.0030840219,0.0015433545,0.004408269,0.0046952693],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003100986,0.00001576968,0.00018692388,0.000081616774,0.0000032352082,0.00010529831,0.005593496,0.00004115888,0.000636069,0.067291,0.8812197,0.04479473],"study_design_scores_gemma":[0.0000011601811,0.0000025015477,0.00017569913,0.000057474503,6.261048e-7,0.00007324187,0.0007853522,0.000014021008,0.00011790179,0.0007561992,0.99801326,0.0000025494708],"about_ca_topic_score_codex":0.04119793,"about_ca_topic_score_gemma":0.08965451,"teacher_disagreement_score":0.04119793,"about_ca_system_score_codex":0.0045061377,"about_ca_system_score_gemma":0.0027800566,"threshold_uncertainty_score":0.08191627},"labels":[],"label_agreement":null},{"id":"W3047180129","doi":"10.7202/1070266ar","title":"Negotiating Value","year":2020,"lang":"en","type":"article","venue":"Mémoires du livre","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Negotiation; Value (mathematics); Newspaper; Exhibition; Sociology; Perspective (graphical); Media studies; Law; Political science; History; Social science; Art; Art history; Visual arts","score_opus":0.03391727638752848,"score_gpt":0.2343021187089704,"score_spread":0.20038484232144194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047180129","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033350285,0.0011902554,0.035635885,0.013118913,0.00035317158,0.00015556172,0.00004153611,0.000052109084,0.9161021],"genre_scores_gemma":[0.95085734,0.0006166301,0.0070363367,0.0024005293,0.00018394091,0.0001474071,0.00007245069,0.00011363156,0.03857163],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98143643,0.00987289,0.00053497974,0.0022301774,0.0036423819,0.0022830993],"domain_scores_gemma":[0.9905764,0.005030765,0.0007261264,0.0011627439,0.0013292256,0.0011748148],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.015175025,0.0009844726,0.00064656895,0.0027485474,0.010947772,0.022869052,0.0020357098,0.005534624,0.012928418],"category_scores_gemma":[0.020842701,0.00054780446,0.0007315742,0.0015487005,0.04222859,0.016117847,0.018145466,0.0054283123,0.0017254133],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011537435,0.000017738264,0.00057356694,0.000033901873,0.000015035359,0.0001734734,0.014733685,0.00023906633,0.00020817204,0.9747269,0.0019801906,0.0072866636],"study_design_scores_gemma":[0.000015791664,0.00003596074,0.00056404324,0.00025532066,0.000017908931,0.0001797694,0.022786876,0.0007107279,0.00032208124,0.8275307,0.14754795,0.000032832177],"about_ca_topic_score_codex":0.0042873775,"about_ca_topic_score_gemma":0.00443661,"teacher_disagreement_score":0.022869052,"about_ca_system_score_codex":0.01018624,"about_ca_system_score_gemma":0.008436955,"threshold_uncertainty_score":0.0802542},"labels":[],"label_agreement":null},{"id":"W3047361300","doi":"10.7202/1070590ar","title":"Mark Salber Phillips and Jordan Bear, eds., What Was History Painting and What Is It Now?, Montreal &amp; Kingston: McGill-Queen’s University Press, 2019, 311 pp. 74 colour illus. $ 135 (cloth) ISBN 9780773558953 $ 44.95 (paper) ISBN 978077355860","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Universities Art Association of Canada","funders":"","keywords":"Queen (butterfly); Painting; Art history; Art; Media studies; Sociology","score_opus":0.02197466358259381,"score_gpt":0.19086119831411347,"score_spread":0.16888653473151966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047361300","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017452265,0.93035364,0.00029773495,0.021770695,0.0026170958,0.000010400328,0.00017119898,0.000053895947,0.044550817],"genre_scores_gemma":[0.003948242,0.80312586,0.0007037801,0.0046069208,0.0016188764,0.000023571802,0.0002417291,0.0001198456,0.18561117],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856097,0.00024852052,0.00006550676,0.00021769157,0.0007194013,0.00018806085],"domain_scores_gemma":[0.9985506,0.00042343387,0.00012339216,0.00005942906,0.0005665604,0.0002765009],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018547968,0.0015622668,0.0011074577,0.003577072,0.0030779103,0.009511469,0.002035095,0.0030629232,0.07707171],"category_scores_gemma":[0.0034531886,0.0012768332,0.00063207187,0.007121806,0.0035268087,0.012138275,0.0023517946,0.0032988926,0.035614926],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017759705,0.000007711562,0.00015928451,0.0008836161,0.0000074547397,0.000039804836,0.001340691,0.000036834317,0.00007823091,0.0060287104,0.90256286,0.08883707],"study_design_scores_gemma":[0.0000020217526,0.0000018234886,0.0005509141,0.00065997156,0.0000057431857,0.00006686824,0.0010933335,0.000010017564,0.000026396088,0.0010683119,0.996507,0.00000746568],"about_ca_topic_score_codex":0.32214367,"about_ca_topic_score_gemma":0.52244824,"teacher_disagreement_score":0.32214367,"about_ca_system_score_codex":0.010913821,"about_ca_system_score_gemma":0.014706887,"threshold_uncertainty_score":0.64053714},"labels":[],"label_agreement":null},{"id":"W3047386762","doi":"10.1177/1746847720938230","title":"‘Tones from Out of Nowhere’ and Other Non-sensedness: Re-membering the Synthetic Sound Films of Oskar Fischinger and Làszló Moholy-Nagy","year":2020,"lang":"en","type":"article","venue":"Animation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"oskar; Sound (geography); Representation (politics); Object (grammar); Materialism; Art; Linguistics; Literature; Visual arts; History; Aesthetics; Art history; Philosophy; Acoustics; Epistemology","score_opus":0.05105880313460461,"score_gpt":0.2551556507445272,"score_spread":0.20409684760992255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3047386762","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4704088,0.0073183607,0.015966069,0.036491998,0.0027959044,0.000079392565,0.000067585665,0.00015806634,0.46671385],"genre_scores_gemma":[0.96965706,0.002190521,0.0023301535,0.0013929376,0.00038504883,0.000032437834,0.000025760772,0.00015224236,0.023833876],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799585,0.001342859,0.000040095503,0.00015526786,0.0003023707,0.00016356618],"domain_scores_gemma":[0.99713,0.0020454593,0.00015715804,0.0002571255,0.00019014855,0.00022009706],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030138346,0.0004135467,0.00027520093,0.0007852603,0.004915737,0.009727539,0.00071690156,0.0012908734,0.0038146554],"category_scores_gemma":[0.007060605,0.00023241786,0.00024566488,0.0004204828,0.01377339,0.0059183473,0.0054178503,0.0037558577,0.00039966946],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013371216,0.00004711314,0.0007863385,0.00017414193,0.000012152202,0.0009069001,0.6830946,0.00016975349,0.0029739256,0.25002828,0.012340395,0.049332768],"study_design_scores_gemma":[0.000039284056,0.00014219692,0.00319955,0.00052863866,0.000031944564,0.0014029985,0.39118624,0.00066450855,0.0037941625,0.05167806,0.5472575,0.00007494967],"about_ca_topic_score_codex":0.0024359273,"about_ca_topic_score_gemma":0.0042314287,"teacher_disagreement_score":0.009727539,"about_ca_system_score_codex":0.0021121746,"about_ca_system_score_gemma":0.0006858158,"threshold_uncertainty_score":0.015938878},"labels":[],"label_agreement":null},{"id":"W3080775258","doi":"","title":"The Rossettis' Fallen Women: \"Two Sister Vessels\" of Pre-Raphaelite and Tractarian Thought","year":2020,"lang":"en","type":"article","venue":"˜The œalbatross","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sister; Narrative; Typology; Archetype; Literature; Art; Poetry; Art history; History; Sociology; Archaeology; Anthropology","score_opus":0.021355083235837295,"score_gpt":0.24617747697642325,"score_spread":0.22482239374058596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3080775258","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5470841,0.0021766946,0.0019232002,0.014684362,0.00019491138,0.000019733583,0.000023530192,0.000040294304,0.43385324],"genre_scores_gemma":[0.98124033,0.00019899876,0.0001851142,0.00034541497,0.000019561925,0.000006548432,0.0000048008505,0.00001644587,0.017982688],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889153,0.0007385128,0.000010913423,0.0000828185,0.00009938723,0.000176729],"domain_scores_gemma":[0.99970585,0.00012148011,0.000049456463,0.00003415265,0.000021811695,0.000067233785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001278123,0.00033841937,0.00019636679,0.0005166555,0.0074968697,0.003552538,0.00061999407,0.0012853,0.0046328306],"category_scores_gemma":[0.0013673225,0.00016394375,0.0001332189,0.00039698067,0.019922916,0.0023677025,0.0034451396,0.0022147167,0.0003151066],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038962007,0.000013307581,0.00068050786,0.00002435944,0.000002295386,0.00029751792,0.4470232,0.00003082416,0.00036306836,0.5410279,0.0034499208,0.0070481347],"study_design_scores_gemma":[0.000023696517,0.000064003914,0.004009287,0.00024910152,0.000011607381,0.000906152,0.56982106,0.00025268862,0.0008899946,0.05425293,0.3694899,0.000029567504],"about_ca_topic_score_codex":0.0140338,"about_ca_topic_score_gemma":0.03929209,"teacher_disagreement_score":0.0140338,"about_ca_system_score_codex":0.0037389214,"about_ca_system_score_gemma":0.0012332657,"threshold_uncertainty_score":0.027904212},"labels":[],"label_agreement":null},{"id":"W3086500208","doi":"10.7202/1070876ar","title":"On Bodily Absence in Humanitarian Multisensory VR","year":2020,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Empathy; Scholarship; Agency (philosophy); Context (archaeology); Aesthetics; Virtual reality; Sociology; Psychology; Visual arts; Art; Social psychology; Political science; History; Social science; Computer science; Movie theater","score_opus":0.05844222921390258,"score_gpt":0.2975309079584301,"score_spread":0.23908867874452755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3086500208","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5558748,0.014251399,0.03379275,0.009654898,0.00041347035,0.00006655741,0.000060331975,0.000072329356,0.3858134],"genre_scores_gemma":[0.9940268,0.0017906358,0.0011848249,0.00029082297,0.00004508237,0.000025084055,0.000010272362,0.000022421027,0.0026042343],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99579537,0.0028496617,0.00011042101,0.0004025585,0.00050436513,0.00033758135],"domain_scores_gemma":[0.99429387,0.004443836,0.0005329115,0.0003911448,0.0002119253,0.0001263468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031788899,0.00053543417,0.00031563695,0.0016849699,0.004408907,0.008052863,0.0010652016,0.0017579491,0.00474041],"category_scores_gemma":[0.0064647235,0.0002862967,0.00039690084,0.00097554235,0.036268875,0.0078388415,0.008686849,0.0027378325,0.00022323048],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000776457,0.000046098943,0.0018584555,0.0005669648,0.000023974344,0.0010148647,0.56600136,0.0006041891,0.003125367,0.391483,0.0011101678,0.034087904],"study_design_scores_gemma":[0.00003364109,0.0003329044,0.014202555,0.0027238762,0.00007946554,0.0038277283,0.70889825,0.0014003459,0.0038879733,0.09292043,0.17157541,0.00011741681],"about_ca_topic_score_codex":0.0024317317,"about_ca_topic_score_gemma":0.0025118757,"teacher_disagreement_score":0.008052863,"about_ca_system_score_codex":0.0019500147,"about_ca_system_score_gemma":0.00084648264,"threshold_uncertainty_score":0.016811788},"labels":[],"label_agreement":null},{"id":"W3087798486","doi":"10.7202/1069678ar","title":"Le narrateur dans l’image. Analyse comparative d’une photographie de Jeff Wall et d’un texte de Walter Benjamin","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Subject (documents); Representation (politics); Narrative; Storytelling; Art history; Modernity; Image (mathematics); Humanities; Philosophy; Literature; Computer science; Epistemology; Artificial intelligence","score_opus":0.029805647371627744,"score_gpt":0.23547911646053662,"score_spread":0.20567346908890888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3087798486","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23428369,0.016372478,0.008209861,0.012571472,0.0010979908,0.000049211856,0.000120073186,0.000044376735,0.7272509],"genre_scores_gemma":[0.9388245,0.0025022354,0.0013323128,0.0004544343,0.00025449652,0.000039807783,0.000040967127,0.00009241969,0.056458768],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878424,0.0007659415,0.000018239027,0.00010094035,0.00022929144,0.00010138191],"domain_scores_gemma":[0.99905854,0.00058196275,0.000114706025,0.000051924268,0.00013413768,0.000058819278],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010878128,0.000438254,0.0002037259,0.0011901242,0.0048601567,0.0057164268,0.00041558154,0.0013575578,0.0047785],"category_scores_gemma":[0.003624622,0.00023219283,0.00024109414,0.0009996792,0.013044515,0.0046949997,0.002006116,0.0019273417,0.0005811878],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008301386,0.000019914492,0.00046203,0.00021805843,0.000009215048,0.0011196183,0.510685,0.00011698761,0.0024328276,0.4589286,0.008312735,0.017611934],"study_design_scores_gemma":[0.000021221356,0.00007201055,0.0047687395,0.00057417376,0.000028082139,0.0013492318,0.28450474,0.0002951184,0.0032821673,0.02685265,0.6782234,0.000028530705],"about_ca_topic_score_codex":0.008442097,"about_ca_topic_score_gemma":0.00978833,"teacher_disagreement_score":0.008442097,"about_ca_system_score_codex":0.0038758658,"about_ca_system_score_gemma":0.00082870154,"threshold_uncertainty_score":0.028121531},"labels":[],"label_agreement":null},{"id":"W3088106055","doi":"10.7202/1069721ar","title":"Le Problème de l’ornement chez Cellini : théorie, iconographie et humanisme","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Bishop's University","funders":"","keywords":"Theory of art; The arts; Painting; Vision; Narrative; Art; Biography; Art history; Sculpture; Philosophy; Aesthetics; Literature; Visual arts","score_opus":0.02809377554592225,"score_gpt":0.20713054711611054,"score_spread":0.1790367715701883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3088106055","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056575764,0.054539297,0.015313518,0.12352697,0.0018891701,0.000039367205,0.0000903551,0.00009736789,0.74792814],"genre_scores_gemma":[0.9277797,0.01039886,0.0025424347,0.0045252643,0.0012842062,0.00011570432,0.00003983167,0.00008781945,0.053226173],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983524,0.0009961985,0.00001943093,0.00021253845,0.00022818362,0.00019133707],"domain_scores_gemma":[0.9984034,0.001163948,0.00008615717,0.00013149997,0.00012981977,0.00008515073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002599219,0.00045020462,0.00043751724,0.0015939471,0.007771743,0.010740578,0.0009880583,0.003053784,0.0050654025],"category_scores_gemma":[0.0034095466,0.00021620448,0.00022277035,0.0020839353,0.04314967,0.007094094,0.0024255188,0.0043501053,0.0004970862],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004545653,0.0000037669627,0.00007594094,0.000017728617,6.8286613e-7,0.000021764063,0.011712946,0.000051095267,0.000023931387,0.9832365,0.0025575976,0.0022934685],"study_design_scores_gemma":[0.000015024114,0.000014458445,0.0005882431,0.00021800352,0.000004936853,0.00018865759,0.026254674,0.00071612495,0.00029121825,0.3935307,0.57815874,0.000019163905],"about_ca_topic_score_codex":0.02893766,"about_ca_topic_score_gemma":0.019732594,"teacher_disagreement_score":0.02893766,"about_ca_system_score_codex":0.011607829,"about_ca_system_score_gemma":0.0032781512,"threshold_uncertainty_score":0.084221065},"labels":[],"label_agreement":null},{"id":"W3088257573","doi":"10.7202/1069727ar","title":"Translating Music into Visual Form: The Influence of Music in the Work of Bertram Brooker","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.029249945590769672,"score_gpt":0.22818365729908172,"score_spread":0.19893371170831203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3088257573","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18212941,0.026167117,0.003639201,0.048492346,0.0013847505,0.000036711728,0.00006648402,0.00005662754,0.73802745],"genre_scores_gemma":[0.84757394,0.008425735,0.0013233474,0.0026707484,0.00053208927,0.000029753062,0.00002124756,0.00011188304,0.13931124],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99851865,0.00083588145,0.000026272293,0.00014397615,0.0003423406,0.00013286961],"domain_scores_gemma":[0.9979023,0.0015188701,0.0001713905,0.00010793867,0.00013706244,0.00016242656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019584843,0.00031777285,0.00020596676,0.0010649438,0.0051565794,0.0055812616,0.0005130495,0.0010012888,0.008638982],"category_scores_gemma":[0.0047479346,0.00019432373,0.00013682926,0.000861792,0.010329093,0.0032669802,0.0028247812,0.0019596955,0.0009493939],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011025614,0.000046888672,0.0021296127,0.00019056619,0.000008823885,0.00064524024,0.3760941,0.00021921289,0.0020355305,0.50438523,0.027110115,0.08702444],"study_design_scores_gemma":[0.00002625465,0.000066065266,0.007946964,0.0006700518,0.000012511514,0.00064217707,0.10802854,0.00025860986,0.0013166412,0.045105245,0.83588123,0.000045803117],"about_ca_topic_score_codex":0.027301952,"about_ca_topic_score_gemma":0.067757785,"teacher_disagreement_score":0.97269803,"about_ca_system_score_codex":0.0046762177,"about_ca_system_score_gemma":0.0024193204,"threshold_uncertainty_score":0.054286122},"labels":[],"label_agreement":null},{"id":"W3088467059","doi":"10.7202/1069496ar","title":"Editorial Introduction: The Visual Culture of Science and Art in Fin-de-Siècle France","year":2009,"lang":"en","type":"editorial","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Fin de siecle; Art; Humanities; Art history; Visual culture; Visual arts","score_opus":0.005814633251299876,"score_gpt":0.22118772580236107,"score_spread":0.21537309255106118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3088467059","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000059994138,0.009447116,0.000063277555,0.050981734,0.9342306,0.000022286074,0.00007613594,0.0000362654,0.005082574],"genre_scores_gemma":[0.0017565079,0.011206129,0.00014187067,0.02685451,0.93108,0.000035267414,0.000076248194,0.00006091658,0.028788574],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99587053,0.00059167226,0.00032571316,0.0003862064,0.0025488592,0.00027698808],"domain_scores_gemma":[0.98551774,0.004596684,0.0008525085,0.00023344568,0.007547946,0.0012516683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042372816,0.0022631923,0.002556378,0.00459568,0.0038191061,0.0058010938,0.0023760973,0.009150917,0.017696103],"category_scores_gemma":[0.016134726,0.0005253219,0.0014244425,0.0020476514,0.0027355915,0.0031762333,0.0014716085,0.00920897,0.007141203],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008495351,0.0000025988843,0.000011956189,0.0000903618,0.0000026704388,0.000041598723,0.000021237962,0.000007134187,0.000018180106,0.00021746448,0.99770194,0.0018761875],"study_design_scores_gemma":[0.000019110625,0.000009966658,0.00024881028,0.00056461064,0.000019899175,0.0001667953,0.0001414344,0.00004565047,0.000055796376,0.0004082121,0.9983084,0.00001126016],"about_ca_topic_score_codex":0.013690071,"about_ca_topic_score_gemma":0.030864589,"teacher_disagreement_score":0.017696103,"about_ca_system_score_codex":0.005416047,"about_ca_system_score_gemma":0.005223284,"threshold_uncertainty_score":0.059199393},"labels":[],"label_agreement":null},{"id":"W3089278169","doi":"10.7202/1069784ar","title":"New Art Histories: Severing the Incestuous Relation Between the Discipline and the Museum?","year":2001,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Relation (database); Art; Art history; Visual arts; Computer science","score_opus":0.0231584944914063,"score_gpt":0.21237517618743215,"score_spread":0.18921668169602585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3089278169","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016388066,0.27862242,0.0015198032,0.2971366,0.0030106455,0.000022733217,0.0000653485,0.00003942088,0.4031949],"genre_scores_gemma":[0.68699914,0.18714534,0.001956392,0.033798497,0.006238151,0.000077459285,0.00007246136,0.00015762198,0.083554946],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9940106,0.0027619104,0.00020830754,0.00040620207,0.0017732113,0.00083970116],"domain_scores_gemma":[0.9882401,0.0054769074,0.0011776196,0.0011077673,0.0017212074,0.0022764727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0077983174,0.00032061388,0.0006992485,0.004606416,0.013579526,0.021274613,0.0020015647,0.004755229,0.016991505],"category_scores_gemma":[0.017287534,0.00040791652,0.00033528876,0.0051551876,0.05173375,0.03254194,0.010533201,0.0055577653,0.0010329295],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019847903,0.000020372405,0.0009827046,0.00027126085,0.000007877021,0.00010753749,0.035899397,0.000051798495,0.000048344264,0.84816587,0.049477365,0.064947575],"study_design_scores_gemma":[0.0000120679615,0.000011663442,0.0029442774,0.0015645009,0.000013825274,0.00022179756,0.05975003,0.000039130482,0.000074991905,0.11237488,0.82297033,0.000022582824],"about_ca_topic_score_codex":0.15091227,"about_ca_topic_score_gemma":0.40097037,"teacher_disagreement_score":0.15091227,"about_ca_system_score_codex":0.021186879,"about_ca_system_score_gemma":0.02549742,"threshold_uncertainty_score":0.30006778},"labels":[],"label_agreement":null},{"id":"W3091419174","doi":"10.14529/ssh200102","title":"Absolutist idea and representation of the image of Peter the Great in the works of artists of the french quarter in St.-Petersburg","year":2020,"lang":"en","type":"article","venue":"Bulletin of the South Ural State University Series «Social Sciences and the Humanities»","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Russian Foundation for Basic Research","keywords":"Quarter (Canadian coin); Representation (politics); St petersburg; Art history; Art; Visual arts; History; Political science; Archaeology; Law","score_opus":0.026205246866206483,"score_gpt":0.20797180879807645,"score_spread":0.18176656193186996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3091419174","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26870537,0.0052801277,0.0036193875,0.0077343783,0.0004028345,0.00002323739,0.00011115995,0.0000725532,0.7140509],"genre_scores_gemma":[0.9871263,0.00029768428,0.00028807623,0.00009223579,0.000045592322,0.0000046186733,0.00001107903,0.000014059968,0.012120542],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871516,0.0006760973,0.000029282997,0.0001761043,0.00016084789,0.0002425393],"domain_scores_gemma":[0.9995641,0.00019761472,0.000074236166,0.000056106615,0.000053356252,0.000054514356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010917495,0.0004791716,0.00019603212,0.0018695056,0.00710451,0.007863166,0.00047208834,0.0010389136,0.003843935],"category_scores_gemma":[0.0015622348,0.00020958632,0.00020469516,0.0013805282,0.022790521,0.0021985571,0.002189566,0.0016250577,0.00032825363],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004199336,0.0000059965787,0.0006488725,0.00004134125,0.0000053147724,0.00017996153,0.13764432,0.00014110398,0.00026799235,0.85233015,0.002578553,0.006114358],"study_design_scores_gemma":[0.00004073605,0.0000941257,0.014164776,0.00036371933,0.000040553132,0.001056171,0.15914577,0.00086437934,0.001444292,0.15848762,0.6642408,0.000057096873],"about_ca_topic_score_codex":0.03283765,"about_ca_topic_score_gemma":0.04582465,"teacher_disagreement_score":0.03283765,"about_ca_system_score_codex":0.009607595,"about_ca_system_score_gemma":0.0026836519,"threshold_uncertainty_score":0.06970835},"labels":[],"label_agreement":null},{"id":"W3095648340","doi":"10.3138/ctr.184.005","title":"On Listening as Analysis: The <i>Selfie Orchestra</i> Project","year":2020,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Selfie; Active listening; Interactivity; Visual arts; John Cage; Sociology; Aesthetics; Media studies; Performance art; Art; Computer science; Multimedia; Communication; Art history","score_opus":0.05407468035147498,"score_gpt":0.2760178115597915,"score_spread":0.22194313120831652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3095648340","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016689371,0.5791424,0.014869897,0.04053142,0.0034871881,0.0002597446,0.00010080077,0.00018625183,0.34473294],"genre_scores_gemma":[0.33475637,0.52830565,0.022690047,0.011591153,0.003137152,0.00071747147,0.00025501096,0.0005275159,0.098019645],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9928773,0.004481077,0.00019415059,0.0005273853,0.0014367186,0.00048335514],"domain_scores_gemma":[0.99179876,0.006019746,0.00032361853,0.00043368092,0.0009176032,0.0005065938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012795209,0.0005602714,0.00052935205,0.0036228043,0.004923312,0.008355727,0.001875814,0.0022334727,0.005932793],"category_scores_gemma":[0.007976328,0.00025148105,0.0005010754,0.0037278756,0.020395858,0.0051904167,0.005281121,0.0033984499,0.0009092765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007296049,0.00008400111,0.0004175661,0.002168047,0.000027916287,0.00020592201,0.07695435,0.00030022228,0.00072565884,0.56043065,0.039563984,0.31904885],"study_design_scores_gemma":[0.000015589136,0.00006464821,0.0014652106,0.0031287724,0.000016175483,0.00027936298,0.0220316,0.00011755436,0.0006811786,0.017684907,0.95448893,0.000026021704],"about_ca_topic_score_codex":0.06627806,"about_ca_topic_score_gemma":0.060642954,"teacher_disagreement_score":0.06627806,"about_ca_system_score_codex":0.012233879,"about_ca_system_score_gemma":0.01636554,"threshold_uncertainty_score":0.13178456},"labels":[],"label_agreement":null},{"id":"W3109848415","doi":"10.5117/9789463727235_ch04","title":"Cinema Hangs Tough","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Movie theater; Art; Point (geometry); Aesthetics; Literature; Visual arts; Mathematics","score_opus":0.049792864810033394,"score_gpt":0.23605736873190963,"score_spread":0.18626450392187624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3109848415","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017515933,0.024195055,0.003132251,0.07209366,0.012079578,0.00003049434,0.00006881344,0.0001689774,0.8707152],"genre_scores_gemma":[0.4626822,0.01067396,0.001974903,0.028202517,0.008211113,0.0000640189,0.00011279599,0.00033760164,0.4877409],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893576,0.00044475004,0.00002586922,0.00017264816,0.00025439815,0.00016660878],"domain_scores_gemma":[0.99879104,0.0005435259,0.00006923306,0.00012864171,0.00020996167,0.00025768453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013746427,0.00049486733,0.0003346858,0.0011946992,0.0052805524,0.009788372,0.00068506517,0.0022323795,0.011676671],"category_scores_gemma":[0.0031697012,0.00022530461,0.00033506667,0.0005859737,0.011719329,0.010573232,0.0040281042,0.0058099143,0.0023170686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044469998,0.000023103868,0.00036883404,0.00012225083,0.000008919049,0.0002620443,0.044887677,0.000057953424,0.00084462296,0.72228706,0.17973727,0.0513558],"study_design_scores_gemma":[0.0000047843037,0.000022066075,0.0006941625,0.00034944434,0.0000058247274,0.00020405246,0.016064126,0.00008723724,0.0002847601,0.035233278,0.94703907,0.000011126534],"about_ca_topic_score_codex":0.005200107,"about_ca_topic_score_gemma":0.008912714,"teacher_disagreement_score":0.011676671,"about_ca_system_score_codex":0.0027261234,"about_ca_system_score_gemma":0.0013868778,"threshold_uncertainty_score":0.03906232},"labels":[],"label_agreement":null},{"id":"W3111737397","doi":"10.3138/cras-2020-006","title":"The Intrinsic Irony of the Future Sublime","year":2020,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sublime; Irony; Confusion; Pleasure; Philosophy; CLARITY; Aesthetics; Epistemology; Literature; Psychoanalysis; Art; Psychology; Linguistics","score_opus":0.032959950608656835,"score_gpt":0.2662290184623682,"score_spread":0.23326906785371135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3111737397","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023169817,0.016613657,0.01081655,0.030866127,0.0017121818,0.000024876806,0.000061022423,0.00012211836,0.91661364],"genre_scores_gemma":[0.9199415,0.0060651023,0.0032885524,0.0055942163,0.0011475204,0.0000476547,0.00004470721,0.00013493959,0.06373578],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997378,0.0011682026,0.00007387353,0.00037269606,0.0006860165,0.00032124258],"domain_scores_gemma":[0.9975393,0.0010815666,0.00019643524,0.00037648814,0.000602668,0.00020355638],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028459027,0.00040812092,0.00030880142,0.0013423843,0.003865394,0.008985874,0.0007609741,0.0017961499,0.0077058715],"category_scores_gemma":[0.004876142,0.00024500993,0.00044349715,0.0005082846,0.031598803,0.011404525,0.0031244387,0.0039045138,0.0012249717],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018664974,0.00001197517,0.00028390653,0.00016253392,0.0000063048956,0.00011342498,0.013986775,0.000048230126,0.00044917772,0.9589604,0.011477734,0.014480752],"study_design_scores_gemma":[0.000017935821,0.000042408097,0.0026033155,0.0008611005,0.000019921896,0.0009312466,0.01582342,0.00025517217,0.00089937984,0.36228234,0.6162287,0.000035090725],"about_ca_topic_score_codex":0.0025891808,"about_ca_topic_score_gemma":0.0021818473,"teacher_disagreement_score":0.008985874,"about_ca_system_score_codex":0.0040028305,"about_ca_system_score_gemma":0.0022940922,"threshold_uncertainty_score":0.029042661},"labels":[],"label_agreement":null},{"id":"W3112200952","doi":"10.7202/1073851ar","title":"The Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse","year":2020,"lang":"en","type":"article","venue":"Material Culture Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aesthetics; Realm; Narrative; Ideology; Nexus (standard); Work of art; Rhetoric; Art; Literature; Sociology; Philosophy; History; Politics; Linguistics; Law","score_opus":0.07967639242622847,"score_gpt":0.3892265858943382,"score_spread":0.3095501934681097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112200952","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16615021,0.18549173,0.014952703,0.1762946,0.006962498,0.00009937525,0.000055675657,0.000085667474,0.4499076],"genre_scores_gemma":[0.94846374,0.024301099,0.0012804221,0.009382696,0.0020085706,0.00007855476,0.000019497758,0.00019122798,0.014274126],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.981488,0.014784958,0.00025994104,0.00089237693,0.0017709762,0.0008037327],"domain_scores_gemma":[0.971001,0.025756931,0.0009554351,0.00067968783,0.001151978,0.00045491167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.022031315,0.0009955595,0.0009252636,0.0049711624,0.017243408,0.021016283,0.0020545323,0.0059331865,0.0027655857],"category_scores_gemma":[0.019316666,0.00047320002,0.0004879732,0.0028285417,0.070028834,0.016365731,0.008964045,0.009828779,0.0003669733],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022346463,0.000016413887,0.00018609724,0.00027329152,0.000008547191,0.00044892356,0.46880737,0.000061451574,0.0002637347,0.51469445,0.006579087,0.008638217],"study_design_scores_gemma":[0.000024280966,0.000037879865,0.00078159414,0.0034014846,0.000024679806,0.0007335812,0.46125284,0.00019333797,0.00074792246,0.11163232,0.42113778,0.00003218439],"about_ca_topic_score_codex":0.0072759297,"about_ca_topic_score_gemma":0.009591303,"teacher_disagreement_score":0.022031315,"about_ca_system_score_codex":0.011773376,"about_ca_system_score_gemma":0.0053592916,"threshold_uncertainty_score":0.11651415},"labels":[],"label_agreement":null},{"id":"W3112207128","doi":"10.1002/bewi.202000013","title":"Baroque Science, Experimental Art? Jusepe de Ribera and other Neapolitan Sceptics","year":2020,"lang":"en","type":"article","venue":"Berichte zur Wissenschaftsgeschichte","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Baroque; Passions; Theme (computing); Context (archaeology); Skepticism; Painting; Faith; Narrative; Art; Philosophy; Art history; Literature; Epistemology; History; Computer science","score_opus":0.03883821580063304,"score_gpt":0.27309212411898526,"score_spread":0.23425390831835222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112207128","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04157254,0.047217943,0.0054796143,0.04647551,0.0011306638,0.000028638777,0.000042119125,0.000051731924,0.8580013],"genre_scores_gemma":[0.9283435,0.016556267,0.003404067,0.008201048,0.0012075378,0.00014768228,0.000028637705,0.00006807169,0.042043354],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99835724,0.0010296697,0.000036988105,0.00026778693,0.00020650505,0.000101780024],"domain_scores_gemma":[0.9971765,0.0020220147,0.00012435153,0.00042143912,0.00018693705,0.00006866479],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036773293,0.000372198,0.0004883268,0.0013125576,0.004218884,0.0069629513,0.0008621254,0.0020184894,0.0029380596],"category_scores_gemma":[0.0052895895,0.0002526999,0.00028656598,0.000951473,0.03441715,0.0056423927,0.002422778,0.0042556254,0.0004343135],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008986913,0.000012454268,0.00008011843,0.000037139365,0.0000021321903,0.00003184266,0.0061689857,0.00003377887,0.00004618337,0.98805594,0.0017918486,0.0037305856],"study_design_scores_gemma":[0.000024334271,0.000031346943,0.0010862845,0.00066208123,0.000008694353,0.0002466456,0.008188839,0.00027076347,0.0004271134,0.61326724,0.37576878,0.000017811077],"about_ca_topic_score_codex":0.0033726112,"about_ca_topic_score_gemma":0.004107516,"teacher_disagreement_score":0.0069629513,"about_ca_system_score_codex":0.00362702,"about_ca_system_score_gemma":0.0015995175,"threshold_uncertainty_score":0.026315987},"labels":[],"label_agreement":null},{"id":"W3118911862","doi":"","title":"Насилие: стратегии изображения","year":2020,"lang":"ru","type":"article","venue":"Человек","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Narrative; Movie theater; Gaze; Shot (pellet); Allegory; Cinematography; The arts; Relation (database); Visual arts; Representation (politics); Aesthetics; Media studies; Art; Sociology; History; Art history; Literature; Psychology; Psychoanalysis; Politics; Law; Political science","score_opus":0.062031713893928385,"score_gpt":0.2540449146697672,"score_spread":0.1920132007758388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3118911862","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0116079375,0.022382334,0.029036647,0.005607726,0.0048581436,0.00033470127,0.000784071,0.00040105783,0.9249874],"genre_scores_gemma":[0.33060956,0.06178571,0.08165027,0.0013334206,0.0021555072,0.0011082201,0.0014500782,0.00078083226,0.5191264],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981635,0.00029348792,0.0001308336,0.0002483494,0.0009895406,0.00017424255],"domain_scores_gemma":[0.9988067,0.00028578556,0.00010518296,0.00025343307,0.0004309007,0.00011803729],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015519549,0.0004485657,0.00037514078,0.0023549988,0.0025565966,0.0069382703,0.0007537172,0.0011413243,0.06579531],"category_scores_gemma":[0.0032697422,0.00050021306,0.00041828596,0.003307969,0.0025766103,0.0019497994,0.0019077656,0.002538898,0.02960252],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055604953,0.00005772677,0.0005335004,0.00040548982,0.000009339821,0.0010231369,0.0037632426,0.00022834192,0.0043171225,0.64236337,0.048233666,0.2990094],"study_design_scores_gemma":[0.0000042548654,0.000012563304,0.00062333565,0.00013695825,0.000006313636,0.00050471484,0.0007573918,0.00010427186,0.00089691917,0.018561909,0.97837764,0.000013773137],"about_ca_topic_score_codex":0.008638076,"about_ca_topic_score_gemma":0.010625653,"teacher_disagreement_score":0.06579531,"about_ca_system_score_codex":0.0023774009,"about_ca_system_score_gemma":0.00437687,"threshold_uncertainty_score":0.2201072},"labels":[],"label_agreement":null},{"id":"W3121088514","doi":"10.7202/1073941ar","title":"Max Liebermann: Assimilation and Belonging","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.025088982058206186,"score_gpt":0.20902122506296242,"score_spread":0.18393224300475625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3121088514","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033492044,0.0717238,0.0028480834,0.061876994,0.0016036084,0.000037086065,0.00011422735,0.000055498956,0.8282486],"genre_scores_gemma":[0.8141905,0.031886913,0.0012242533,0.0043183956,0.00080697227,0.0000785525,0.00007347646,0.000060312843,0.14736058],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900526,0.0005896927,0.000027707312,0.00013061083,0.00013445262,0.00011226729],"domain_scores_gemma":[0.9996966,0.00013659708,0.000049986986,0.000025696863,0.000026289368,0.000064903754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094586733,0.00044280905,0.00020401747,0.00070261455,0.00403947,0.003140345,0.00036037422,0.0014212576,0.011325996],"category_scores_gemma":[0.0017373875,0.00014226192,0.00014660004,0.0008966646,0.0076565687,0.005837193,0.0027250878,0.0014776222,0.0016187639],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028129278,0.000012891817,0.00057081075,0.00007004412,0.0000037760842,0.00012391103,0.025257325,0.00008963608,0.000107529246,0.91693527,0.030699017,0.026101578],"study_design_scores_gemma":[0.000009110367,0.00002612364,0.0029148129,0.0003367538,0.0000054013026,0.000198564,0.015925407,0.00014429603,0.00017908131,0.29837424,0.6818677,0.00001840199],"about_ca_topic_score_codex":0.0074616354,"about_ca_topic_score_gemma":0.00979997,"teacher_disagreement_score":0.9925384,"about_ca_system_score_codex":0.0025383665,"about_ca_system_score_gemma":0.0010282055,"threshold_uncertainty_score":0.037889183},"labels":[],"label_agreement":null},{"id":"W3123480495","doi":"10.1177/0191453713485722","title":"On the politics of perception in moving image technology","year":2013,"lang":"en","type":"article","venue":"Philosophy & Social Criticism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Embodied cognition; Cognitivism (psychology); Politics; Epistemology; Cognition; Perception; Political philosophy; Sociology; Critical theory; Theme (computing); Cognitive science; Aesthetics; Psychology; Philosophy; Political science; Law","score_opus":0.0346233718284018,"score_gpt":0.27183879325013854,"score_spread":0.23721542142173674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3123480495","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05045837,0.008811702,0.035646323,0.114572935,0.0011302872,0.000036837773,0.00003736525,0.00007547743,0.78923064],"genre_scores_gemma":[0.9735415,0.002028578,0.0023050087,0.0044898083,0.0009279776,0.000059179223,0.000011935558,0.00010962711,0.016526425],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9950658,0.0027509776,0.00008231403,0.000670166,0.0010075016,0.0004232997],"domain_scores_gemma":[0.9918671,0.0064917305,0.00036346266,0.00046366858,0.00057912496,0.00023493693],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0062479847,0.00045536106,0.00044118857,0.0018153838,0.0070784464,0.015345868,0.0011525649,0.007155668,0.007203453],"category_scores_gemma":[0.011727196,0.0003796463,0.0004442855,0.0011465263,0.056321844,0.015409525,0.0053730146,0.0071169254,0.00087186316],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006333999,0.0000034491127,0.00003685343,0.00001062047,0.0000013432108,0.000036558475,0.004264575,0.00006126662,0.000092686976,0.99298006,0.00086682953,0.0016393695],"study_design_scores_gemma":[0.0000126520745,0.000014667679,0.0002505516,0.000095873416,0.0000061567857,0.00006254967,0.005129134,0.0005245747,0.00048217035,0.94096756,0.05243898,0.0000151627255],"about_ca_topic_score_codex":0.002819741,"about_ca_topic_score_gemma":0.0013108355,"teacher_disagreement_score":0.99292153,"about_ca_system_score_codex":0.0061928756,"about_ca_system_score_gemma":0.0015666434,"threshold_uncertainty_score":0.044932663},"labels":[],"label_agreement":null},{"id":"W3123602052","doi":"10.7202/1073453ar","title":"Les Vite de 1672 de Bellori : hypothèses de reconstitution du programme iconographique et théorique","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Poetry; Genius; Literature; Order (exchange); Art; Philosophy; Painting; Confusion; CLARITY; Humanities; Art history; Psychology; Psychoanalysis","score_opus":0.0692573986335841,"score_gpt":0.229954983089477,"score_spread":0.1606975844558929,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3123602052","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20378861,0.004589244,0.027816892,0.011317048,0.0007572327,0.0001864641,0.0002760636,0.00009211769,0.75117636],"genre_scores_gemma":[0.97695094,0.0009039218,0.001935706,0.00042569675,0.00024274214,0.00010327418,0.00017236618,0.00007693373,0.01918844],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99772805,0.0009410318,0.000048282134,0.0004871723,0.00037311087,0.0004223721],"domain_scores_gemma":[0.99512875,0.00302657,0.00056707155,0.0003693971,0.0005544038,0.0003539409],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004963248,0.0005139293,0.00047345273,0.004492426,0.004264315,0.00855615,0.0013766041,0.0017792891,0.013803684],"category_scores_gemma":[0.015618124,0.0004568508,0.00040363695,0.0034969654,0.019352116,0.010046401,0.003357949,0.0036436217,0.0009863066],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027347634,0.000015720534,0.0013218885,0.000051785057,0.000004496699,0.000057984736,0.030192986,0.0001087972,0.000055553974,0.9602805,0.0010110355,0.006871937],"study_design_scores_gemma":[0.00007675382,0.000101269645,0.021380614,0.00076395366,0.0000485564,0.00039449072,0.055966605,0.0021119504,0.00073118694,0.7054097,0.21294804,0.00006695232],"about_ca_topic_score_codex":0.017300265,"about_ca_topic_score_gemma":0.010731219,"teacher_disagreement_score":0.017300265,"about_ca_system_score_codex":0.008915364,"about_ca_system_score_gemma":0.0033042324,"threshold_uncertainty_score":0.06468582},"labels":[],"label_agreement":null},{"id":"W3124367730","doi":"10.7202/1073076ar","title":"Les écrits de Wassily Kandinsky ou le discours des fondements de la peinture abstraite","year":2020,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Dawson College; Cegep de Thetford; Cegep de Trois-Rivieres; College Ahuntsic","funders":"","keywords":"Painting; Modernism (music); Art; Vanguard; Abstract art; Art history; Philosophy; Rhetorical question; Humanities; Literature; History","score_opus":0.03844329329501066,"score_gpt":0.25236037077641404,"score_spread":0.21391707748140337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3124367730","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10411248,0.118353255,0.016068365,0.094493076,0.0062395995,0.00006320041,0.0003777765,0.0005422702,0.65975004],"genre_scores_gemma":[0.79391533,0.014446658,0.002159615,0.00468188,0.00104515,0.000048228114,0.000098195815,0.00036086622,0.18324408],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989668,0.00034017052,0.000037532838,0.00028941227,0.00022922228,0.00013682593],"domain_scores_gemma":[0.9994906,0.00024058252,0.00009555677,0.00004707662,0.000074968615,0.000051206174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006173904,0.00063277857,0.00040680805,0.0005987898,0.0034852456,0.0040770867,0.00043718977,0.0011760489,0.004312517],"category_scores_gemma":[0.0024899975,0.0003052377,0.00021618573,0.0005123812,0.008398253,0.0033121961,0.0023046022,0.003790762,0.0018313227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028122612,0.00002006079,0.0014220633,0.00032324507,0.00003517711,0.0005643581,0.035643447,0.00046884295,0.001898537,0.82671314,0.089837305,0.04279247],"study_design_scores_gemma":[0.000016055652,0.000023771023,0.0011791984,0.00013838573,0.000009107157,0.00041579455,0.002385851,0.0001646036,0.00075176655,0.03465625,0.9602372,0.000022102178],"about_ca_topic_score_codex":0.00708108,"about_ca_topic_score_gemma":0.008372571,"teacher_disagreement_score":0.00708108,"about_ca_system_score_codex":0.003423833,"about_ca_system_score_gemma":0.0016496001,"threshold_uncertainty_score":0.024841785},"labels":[],"label_agreement":null},{"id":"W3125064404","doi":"10.7202/1073295ar","title":"Rethinking Bernini’s David: Attitude, Moment and the Location of Goliath","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.03379927405100976,"score_gpt":0.22094111813951625,"score_spread":0.18714184408850648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3125064404","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3875848,0.0033749363,0.0013124419,0.015284803,0.0003388189,0.000009813198,0.000051552015,0.000034189874,0.5920087],"genre_scores_gemma":[0.9799992,0.00031759508,0.00013766899,0.00024603173,0.000033452958,0.0000036291324,0.000008307785,0.000021467897,0.01923267],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991678,0.00045321087,0.0000087610815,0.00006477978,0.000066988505,0.00023848166],"domain_scores_gemma":[0.99953055,0.0001664819,0.00006403354,0.00003504745,0.00007302253,0.0001309451],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079788023,0.00029336556,0.00016262953,0.00096188893,0.010837948,0.006035427,0.0004817597,0.0010961901,0.0073149004],"category_scores_gemma":[0.0013423157,0.00017116075,0.000110611174,0.0008050331,0.0175676,0.0026083258,0.0030094134,0.0014876081,0.00068910175],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000103850696,0.00001500356,0.004068452,0.00006251406,0.0000056941503,0.0005877864,0.54760146,0.00012618197,0.00076718593,0.41966,0.011505937,0.015495982],"study_design_scores_gemma":[0.000017822997,0.000048249938,0.013572691,0.00031903916,0.000011810542,0.00041984706,0.5409368,0.00018371976,0.0005409803,0.021784212,0.4221144,0.000050344257],"about_ca_topic_score_codex":0.1018607,"about_ca_topic_score_gemma":0.2930673,"teacher_disagreement_score":0.8981393,"about_ca_system_score_codex":0.008183763,"about_ca_system_score_gemma":0.0022273392,"threshold_uncertainty_score":0.20253563},"labels":[],"label_agreement":null},{"id":"W3126117682","doi":"10.7202/1073158ar","title":"Edward Hopper’s Gas: Two Roads Diverge","year":2020,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.0300190406290808,"score_gpt":0.22533656941724728,"score_spread":0.19531752878816647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126117682","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.114016116,0.023774885,0.0019683389,0.23954383,0.005890345,0.000049991017,0.00016870585,0.00017131961,0.61441654],"genre_scores_gemma":[0.6341128,0.010133105,0.00072764803,0.022251537,0.0009941668,0.000057647587,0.00007177418,0.00024789487,0.33140346],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879265,0.00057028653,0.000020956963,0.00011274258,0.00026159242,0.00024172265],"domain_scores_gemma":[0.99884963,0.0005805939,0.00004991516,0.00007053997,0.00021238186,0.00023690963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009070799,0.00046868448,0.00026103374,0.0012211726,0.009783692,0.004806802,0.0005941842,0.0021831577,0.015396986],"category_scores_gemma":[0.0029661665,0.00026416482,0.00015225253,0.0012219581,0.009357119,0.005676259,0.003411099,0.0031067228,0.0018075265],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007915514,0.000021781869,0.0024944104,0.00021260204,0.000006901443,0.0020171264,0.25407186,0.00013691802,0.00028352518,0.33209777,0.34371054,0.06486736],"study_design_scores_gemma":[0.0000022750387,0.000011448961,0.0009107022,0.00018589871,0.0000020524058,0.00037403958,0.12516816,0.000039058647,0.00013206327,0.004987513,0.86817455,0.000012114665],"about_ca_topic_score_codex":0.054799616,"about_ca_topic_score_gemma":0.07777205,"teacher_disagreement_score":0.054799616,"about_ca_system_score_codex":0.0065907394,"about_ca_system_score_gemma":0.004287846,"threshold_uncertainty_score":0.108961284},"labels":[],"label_agreement":null},{"id":"W3127071363","doi":"10.3390/books978-3-03936-227-1","title":"Holography—A Critical Debate within Contemporary Visual Culture","year":2020,"lang":"en","type":"book","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Trent University; Nottingham Trent University","keywords":"Conversation; Visual arts; Sculpture; Visual culture; Art; The arts; Sociology; Aesthetics","score_opus":0.05315504454102345,"score_gpt":0.287172111557749,"score_spread":0.2340170670167256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127071363","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027601678,0.10420463,0.008260096,0.61572385,0.0055612293,0.000049297134,0.000056384262,0.00009890189,0.23844399],"genre_scores_gemma":[0.8796618,0.04035629,0.004009408,0.047746856,0.007841046,0.0001575812,0.00003636652,0.00035383893,0.0198368],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.96465796,0.025200171,0.0011008552,0.002325525,0.004974852,0.0017405694],"domain_scores_gemma":[0.94844854,0.041273676,0.0020638835,0.0026860149,0.003699757,0.0018280878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.036477882,0.0007679584,0.0010717016,0.0053922776,0.023361212,0.04577319,0.0041491627,0.012191267,0.0054795556],"category_scores_gemma":[0.03447413,0.00075918535,0.00062438037,0.0047181183,0.19404283,0.042982683,0.012273905,0.015337086,0.0007563957],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017533428,0.000011470609,0.00012850903,0.00017058582,0.000006140647,0.00010057569,0.12635337,0.000057004654,0.0000722082,0.8513994,0.0101683885,0.011514786],"study_design_scores_gemma":[0.000018431656,0.000026086618,0.00036891445,0.001447722,0.000007168083,0.00022249567,0.17475307,0.0001916047,0.00031612036,0.5473117,0.2752908,0.000045858254],"about_ca_topic_score_codex":0.01691324,"about_ca_topic_score_gemma":0.011309695,"teacher_disagreement_score":0.04577319,"about_ca_system_score_codex":0.023077037,"about_ca_system_score_gemma":0.013474956,"threshold_uncertainty_score":0.19291574},"labels":[],"label_agreement":null},{"id":"W3128095067","doi":"10.3138/cras-2020-013","title":"<i>Fleabag,</i> Modernism, and New Television","year":2021,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Modernism (music); Context (archaeology); Situated; Phenomenon; Painting; History; Art; Bridge (graph theory); Aesthetics; Art history; Literature; Philosophy; Computer science; Epistemology","score_opus":0.068615540413203,"score_gpt":0.3091911232065133,"score_spread":0.24057558279331032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3128095067","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08893407,0.22688212,0.0011474717,0.09027742,0.0011638062,0.000008866919,0.000061982326,0.000023741055,0.5915005],"genre_scores_gemma":[0.9162231,0.048631296,0.00035566057,0.004260572,0.0007478104,0.000013267163,0.000025696192,0.000021592023,0.02972097],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994492,0.00028989656,0.00001115861,0.00005789157,0.00010191915,0.00008996478],"domain_scores_gemma":[0.9995092,0.00031884154,0.000048860224,0.00003374252,0.000043378182,0.00004598993],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008627989,0.00019636998,0.00014415344,0.0015991147,0.004069496,0.0048398804,0.00035324087,0.00115303,0.006793972],"category_scores_gemma":[0.0011953082,0.000097678036,0.000117930664,0.0020522263,0.013416706,0.005049224,0.0017394008,0.0022403917,0.00028335527],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017892822,0.0000152095,0.00085606094,0.00013414462,0.000004676408,0.00009022153,0.03884512,0.000033344426,0.000188411,0.90943563,0.02058828,0.029791066],"study_design_scores_gemma":[0.0000067789124,0.000018631818,0.0061570792,0.00085455104,0.0000069641605,0.0002890607,0.039216787,0.000070392765,0.00022480746,0.07798414,0.8751555,0.000015311083],"about_ca_topic_score_codex":0.03394122,"about_ca_topic_score_gemma":0.06422412,"teacher_disagreement_score":0.03394122,"about_ca_system_score_codex":0.006371164,"about_ca_system_score_gemma":0.0016299394,"threshold_uncertainty_score":0.0674873},"labels":[],"label_agreement":null},{"id":"W3128174165","doi":"10.1007/978-3-030-40866-4_23","title":"Global Pre-Raphaelitism and the Morbid Composition of Photography","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Photography; Art; MAGIC (telescope); Romance; Visual arts; Art history; Literature; Physics; Astronomy","score_opus":0.017855043368231995,"score_gpt":0.22939105968371498,"score_spread":0.211536016315483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3128174165","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026714284,0.003795723,0.00085939775,0.0018234793,0.000116377625,0.000010420255,0.000023841854,0.000015386706,0.96664107],"genre_scores_gemma":[0.85454357,0.0031342122,0.0012689709,0.0004927021,0.0002918561,0.00001927668,0.000050045746,0.00010583647,0.1400935],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99916303,0.000356103,0.000020811069,0.000122018566,0.0001864481,0.0001516178],"domain_scores_gemma":[0.9993544,0.00029838562,0.00006453079,0.0001309189,0.000082197264,0.000069452435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007976316,0.00032293427,0.00019566555,0.0017265232,0.0044749924,0.0059618484,0.00043807272,0.00075110915,0.014242141],"category_scores_gemma":[0.0017541585,0.00018427466,0.0001288231,0.0017410177,0.019295648,0.002469909,0.0026675912,0.002429171,0.00081830897],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014258572,0.0000056908593,0.00024017348,0.000024780436,0.0000021760156,0.000058885955,0.01020749,0.00003497242,0.000190984,0.9752186,0.0026488286,0.011353076],"study_design_scores_gemma":[0.000009562133,0.00003917626,0.009500736,0.00027877622,0.0000123525415,0.0008226715,0.016149478,0.00016033875,0.0010556856,0.2726258,0.69932956,0.000015926318],"about_ca_topic_score_codex":0.0049077915,"about_ca_topic_score_gemma":0.016221855,"teacher_disagreement_score":0.014242141,"about_ca_system_score_codex":0.0034453932,"about_ca_system_score_gemma":0.0010751684,"threshold_uncertainty_score":0.047644734},"labels":[],"label_agreement":null},{"id":"W3130149272","doi":"10.1353/vpr.2020.0057","title":"The European Illustrated Press and the Emergence of a Transnational Visual Culture of the News, 1842–1870 by Thomas Smits","year":2020,"lang":"en","type":"article","venue":"Victorian periodicals review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Newspaper; Globe; Visual culture; Journalism; History; German; Media studies; Art history; Art; Sociology; Visual arts; Psychology; Archaeology","score_opus":0.02432702895673226,"score_gpt":0.2548034357556123,"score_spread":0.23047640679888007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3130149272","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01911812,0.5258705,0.00029862762,0.08047098,0.0075411987,0.000010872013,0.0002749264,0.00003188458,0.36638296],"genre_scores_gemma":[0.33667016,0.30957174,0.0004121502,0.008894686,0.008321738,0.000036575875,0.0003407246,0.00014847626,0.3356037],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912256,0.0003083624,0.000036954803,0.00013648909,0.00029326126,0.00010244051],"domain_scores_gemma":[0.9992066,0.00035321934,0.00011655877,0.00003867553,0.00017928465,0.00010562735],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007395962,0.0006003089,0.00026414817,0.0020331328,0.0022989244,0.0060331966,0.0003136305,0.0017638794,0.014517559],"category_scores_gemma":[0.0021526047,0.00035052796,0.00016555694,0.0033893017,0.0054248,0.005542584,0.0020669892,0.0024615512,0.0032551452],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011335701,0.00003054561,0.0011840037,0.00047790215,0.000021922784,0.0005723281,0.038712475,0.00025025872,0.00033977782,0.25987554,0.62192416,0.076497644],"study_design_scores_gemma":[0.000002665152,0.000003932526,0.0017329622,0.0004413923,0.0000029086143,0.00012972041,0.0038882536,0.000014140706,0.000081773236,0.002106842,0.9915856,0.000009883975],"about_ca_topic_score_codex":0.023508932,"about_ca_topic_score_gemma":0.023243565,"teacher_disagreement_score":0.023508932,"about_ca_system_score_codex":0.0045154905,"about_ca_system_score_gemma":0.0017925049,"threshold_uncertainty_score":0.048566043},"labels":[],"label_agreement":null},{"id":"W3130881606","doi":"","title":"Material and Visual Culture:: Contributions to Narrating National Heritage in Global Contexts","year":2010,"lang":"en","type":"article","venue":"Material Culture Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual culture; Sociology; Aesthetics; Anthropology; Art","score_opus":0.015150372268014085,"score_gpt":0.31629394581940673,"score_spread":0.30114357355139265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3130881606","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017948715,0.8901563,0.0027215255,0.007905436,0.0023358208,0.0000298462,0.00006388757,0.000017718821,0.07882073],"genre_scores_gemma":[0.2518942,0.7312452,0.002243472,0.0026021008,0.0015966226,0.00008811839,0.00011091274,0.000055899505,0.0101634255],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883026,0.00067831826,0.00008336549,0.0001000968,0.00020680495,0.000101201396],"domain_scores_gemma":[0.99565554,0.003271652,0.0002715987,0.00014933619,0.00049660093,0.00015531661],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031398258,0.00055333873,0.0006884706,0.004986574,0.0017701659,0.0077802534,0.0007183279,0.0014306409,0.0043512248],"category_scores_gemma":[0.006354595,0.00020154305,0.0002758424,0.006419842,0.004831214,0.0054400233,0.0033787761,0.0013745073,0.00032921295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009667963,0.000068016,0.0030922822,0.016985629,0.00017505133,0.0007147207,0.07430787,0.0005104636,0.0010680747,0.09726737,0.041229937,0.7644839],"study_design_scores_gemma":[0.000008162139,0.00005025061,0.008836828,0.014421459,0.00015494168,0.0012320316,0.060237218,0.0001397118,0.0007773208,0.013374507,0.9007348,0.000032774933],"about_ca_topic_score_codex":0.010330453,"about_ca_topic_score_gemma":0.03017066,"teacher_disagreement_score":0.010330453,"about_ca_system_score_codex":0.0022879438,"about_ca_system_score_gemma":0.0035247917,"threshold_uncertainty_score":0.020540595},"labels":[],"label_agreement":null},{"id":"W3132258592","doi":"10.24385/lincoln.25162070","title":"The Typographic Dante Exhibition","year":2020,"lang":"en","type":"article","venue":"Lincoln Repository (University of Lincoln)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Art; Representation (politics); Divine comedy; Visual arts; Art history; Publishing; Comedy; Literature; Poetry","score_opus":0.020498755987320812,"score_gpt":0.18395871134496655,"score_spread":0.16345995535764574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3132258592","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003983317,0.0008297204,0.00059989985,0.002178397,0.002879257,0.000076381024,0.0016605491,0.00027358963,0.98751885],"genre_scores_gemma":[0.036779124,0.00108621,0.00092282734,0.00075087673,0.000475363,0.00023737218,0.0017889134,0.000493506,0.9574657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999495,0.00011772155,0.000015854805,0.000069849026,0.00018404485,0.000117426986],"domain_scores_gemma":[0.9993623,0.00009602177,0.000029330547,0.00019331374,0.00016474276,0.00015433952],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00053237594,0.000627218,0.00036307727,0.0027614883,0.0073760403,0.0077827414,0.0007314135,0.0008760185,0.25723383],"category_scores_gemma":[0.0014885844,0.00030858276,0.000321416,0.004040594,0.0018281293,0.0027804677,0.0056183496,0.0020388316,0.04367773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009520048,0.00002906085,0.0008925599,0.0001849061,0.000004124324,0.0004048448,0.0059524938,0.00009739752,0.00068328896,0.06506128,0.8807588,0.045835976],"study_design_scores_gemma":[0.0000014437643,0.000002493062,0.00025036748,0.00006308964,4.6799312e-7,0.00007575299,0.0012158476,0.000011605526,0.000059541657,0.00069830864,0.9976185,0.0000025661977],"about_ca_topic_score_codex":0.011944057,"about_ca_topic_score_gemma":0.042658493,"teacher_disagreement_score":0.25723383,"about_ca_system_score_codex":0.0027905605,"about_ca_system_score_gemma":0.0019499562,"threshold_uncertainty_score":0.8605329},"labels":[],"label_agreement":null},{"id":"W3134809787","doi":"","title":"«Журнал изящных искусств». Из истории отечественной художественной периодики","year":2020,"lang":"ru","type":"article","venue":"Вестник Академии Русского балета им. А.Я. Вагановой","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Taste; Genius; Fine art; The arts; Meaning (existential); Art; Visual arts; Publishing; Art history; Graphic arts; Decorative arts; Quarter (Canadian coin); History; Visual arts education; Literature; Philosophy; Psychology","score_opus":0.062031713893928385,"score_gpt":0.2540449146697672,"score_spread":0.1920132007758388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3134809787","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031756867,0.030003428,0.02982042,0.010181547,0.002977792,0.00009530847,0.00017327283,0.0002280108,0.89476335],"genre_scores_gemma":[0.65982586,0.028230425,0.0508471,0.0018589359,0.0011971139,0.00036398764,0.00017941926,0.0003373313,0.25715992],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978496,0.0005741969,0.00010226863,0.00030836219,0.0009635294,0.0002021047],"domain_scores_gemma":[0.9988003,0.00047306038,0.00011913056,0.00022347846,0.00028589656,0.000098149096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015009558,0.00039306225,0.00023993633,0.0015979077,0.002048977,0.0068640118,0.00052249245,0.0010370269,0.012072464],"category_scores_gemma":[0.003049003,0.0003899089,0.00033616944,0.001732148,0.00566209,0.0025277573,0.0016745117,0.0023851865,0.0048846845],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003890895,0.000031300973,0.00074317557,0.000245038,0.000011225468,0.00035169313,0.006816365,0.00019929791,0.0026085041,0.8371306,0.014417803,0.1374061],"study_design_scores_gemma":[0.000008753226,0.000028086773,0.0022232786,0.0002062434,0.000015208964,0.0008205142,0.0023778258,0.00017182017,0.0018150077,0.108325206,0.8839816,0.000026367099],"about_ca_topic_score_codex":0.004366333,"about_ca_topic_score_gemma":0.007832061,"teacher_disagreement_score":0.012072464,"about_ca_system_score_codex":0.0024516806,"about_ca_system_score_gemma":0.0030213227,"threshold_uncertainty_score":0.04038644},"labels":[],"label_agreement":null},{"id":"W3137998732","doi":"10.36253/978-88-5518-260-7.01","title":"“What is contemporary Japanese Cinema?”. Questioning the answers, answering with questions","year":2020,"lang":"en","type":"book-chapter","venue":"Studi e saggi","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of East Anglia; Wayne State University; York University; Yale University","keywords":"Movie theater; Literature; History; Aesthetics; Art; Epistemology; Philosophy","score_opus":0.044923403485650146,"score_gpt":0.25186010601838693,"score_spread":0.20693670253273677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3137998732","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02239119,0.23042478,0.0030385784,0.08083935,0.006184983,0.00003865144,0.0001631678,0.00006716546,0.6568522],"genre_scores_gemma":[0.5909542,0.13624899,0.0028400484,0.02521448,0.011298753,0.00012762392,0.00031440408,0.00017396026,0.23282756],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960655,0.00018375565,0.000016628725,0.000078875404,0.000068467976,0.000045671615],"domain_scores_gemma":[0.9993912,0.00025216962,0.00004930764,0.00003780483,0.0001855078,0.00008404471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008574998,0.00046190427,0.00026393068,0.0009447716,0.0033475286,0.006576721,0.00039137952,0.00125701,0.0066859885],"category_scores_gemma":[0.0014139445,0.000139323,0.00016874445,0.0017986285,0.008150411,0.006118207,0.0010897409,0.0019193973,0.0012013225],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016535745,0.000028916484,0.001471066,0.0008192957,0.00001485444,0.0001802387,0.12618951,0.00007412785,0.0006309099,0.62238365,0.17333607,0.07485479],"study_design_scores_gemma":[0.0000023930631,0.000015270429,0.0042373547,0.0007453467,0.000010205024,0.00024337477,0.0565644,0.00016243316,0.00014858102,0.029490143,0.9083678,0.000012650747],"about_ca_topic_score_codex":0.013804508,"about_ca_topic_score_gemma":0.025345849,"teacher_disagreement_score":0.013804508,"about_ca_system_score_codex":0.0026409281,"about_ca_system_score_gemma":0.001843512,"threshold_uncertainty_score":0.027448297},"labels":[],"label_agreement":null},{"id":"W3139255938","doi":"10.1080/13602365.2021.1891949","title":"The Labyrinth as immersive multimedia environment: Marshall McLuhan at Expo 67","year":2021,"lang":"en","type":"article","venue":"The Journal of Architecture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pavilion; Exposition (narrative); Movie theater; Architecture; Space (punctuation); Balance (ability); Visual arts; Aesthetics; Multimedia; Sociology; Relation (database); Plan (archaeology); Art; Computer science; Psychology; Engineering; Literature; History","score_opus":0.013426832549310637,"score_gpt":0.21838270625020995,"score_spread":0.20495587370089932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3139255938","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2579204,0.011581822,0.01968982,0.063749366,0.000963514,0.00023527791,0.00012841224,0.00031522388,0.6454161],"genre_scores_gemma":[0.8400663,0.0036525298,0.006363288,0.0031789416,0.00017560387,0.00012105873,0.000020753156,0.00018110973,0.14624038],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99906605,0.00059605535,0.000010323118,0.00008714772,0.00015975337,0.00008067745],"domain_scores_gemma":[0.9994106,0.00028404949,0.000037990943,0.000045409186,0.000090286965,0.00013156171],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012696155,0.0002786445,0.000112325855,0.00055319845,0.00798126,0.0056795,0.0007086729,0.0011170327,0.0067296703],"category_scores_gemma":[0.0018546769,0.00021666322,0.00011761476,0.0003906422,0.008265537,0.005776748,0.0038888073,0.0020714516,0.0006684411],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008434516,0.000099187455,0.0015248565,0.00015658012,0.0000049996806,0.0011574593,0.48329237,0.00023315701,0.0039191428,0.40493,0.04274672,0.061851267],"study_design_scores_gemma":[0.0000070111973,0.00006900081,0.0012731352,0.00019690816,0.000005435134,0.00056373375,0.11181308,0.00042298238,0.0019075614,0.017116388,0.86658907,0.000035706995],"about_ca_topic_score_codex":0.033107564,"about_ca_topic_score_gemma":0.07845679,"teacher_disagreement_score":0.99201876,"about_ca_system_score_codex":0.0049549094,"about_ca_system_score_gemma":0.0023194135,"threshold_uncertainty_score":0.065829754},"labels":[],"label_agreement":null},{"id":"W313984175","doi":"","title":"Laurence ALFONSI, Le cinéma du futur : les enjeux des nouvelles technologies de l’image. Québec/Paris, Les Presses de l’Université Laval/L’Harmattan, 2005","year":2006,"lang":"fr","type":"article","venue":"Communication. Information médias théories pratiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Movie theater; Art history","score_opus":0.01650068739224247,"score_gpt":0.2446237097842244,"score_spread":0.22812302239198193,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W313984175","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011133841,0.40826875,0.0022820192,0.24919693,0.005072547,0.00006235015,0.00059832825,0.0001617425,0.3232235],"genre_scores_gemma":[0.2781874,0.1777485,0.0025379362,0.020298429,0.0029282677,0.00010232449,0.00023633156,0.00020638914,0.5177544],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912304,0.00027046152,0.000023325438,0.000086789565,0.0003207185,0.0001756357],"domain_scores_gemma":[0.9982278,0.00070319365,0.00012190749,0.00004392723,0.00065432,0.00024890763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015810521,0.0008069171,0.0002784963,0.0023037218,0.009490768,0.007416783,0.0010268649,0.0034437187,0.015595135],"category_scores_gemma":[0.0024191076,0.00040087086,0.00023396735,0.0019921276,0.0060086655,0.0057733753,0.0011406373,0.0028625517,0.0026652543],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007100065,0.000043566382,0.0018040602,0.00044478025,0.000013565425,0.00037905984,0.050803352,0.00015312189,0.0006067679,0.1520531,0.6957283,0.097899325],"study_design_scores_gemma":[0.0000086743985,0.000010793704,0.0070752725,0.0003610738,0.000007311622,0.00013915777,0.011501163,0.00008700816,0.00031975305,0.0046238145,0.9758413,0.000024720091],"about_ca_topic_score_codex":0.7657978,"about_ca_topic_score_gemma":0.86245,"teacher_disagreement_score":0.7657978,"about_ca_system_score_codex":0.023941329,"about_ca_system_score_gemma":0.013510639,"threshold_uncertainty_score":0.47116292},"labels":[],"label_agreement":null},{"id":"W3143963601","doi":"10.18688/aa200-2-34","title":"The Enthymemes of St. Petersburg University Art Studies during the 1870s and 1880s","year":2020,"lang":"en","type":"article","venue":"Actual Problems of Theory and History of Art","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Saint petersburg; Period (music); Rivalry; St petersburg; Quarter (Canadian coin); Art history; History; History of art; Classics; Art; Visual arts; Sociology","score_opus":0.032966886402610335,"score_gpt":0.20940003181519035,"score_spread":0.17643314541258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3143963601","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6694503,0.021581758,0.0004205454,0.009855814,0.000895185,0.000046770372,0.0003779069,0.00003719029,0.29733464],"genre_scores_gemma":[0.9582866,0.004654528,0.00011380638,0.00043921755,0.00023345384,0.000023192564,0.00007270956,0.00003152453,0.036144923],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985613,0.00035204,0.000054889522,0.00019878805,0.00030389478,0.00052906363],"domain_scores_gemma":[0.999373,0.00023253227,0.0001184365,0.00003294444,0.00006705851,0.00017598887],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011713638,0.00039631294,0.0002976396,0.0039198585,0.008512624,0.0054292935,0.00052289676,0.0012982275,0.007979799],"category_scores_gemma":[0.0026168271,0.000515096,0.0001643753,0.0036606097,0.007527701,0.0033087614,0.0038478004,0.0024600753,0.0008418755],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017172686,0.0000863028,0.015492885,0.000374996,0.000024444626,0.0014805136,0.4454469,0.0002387806,0.0010635566,0.40596557,0.02747537,0.10217893],"study_design_scores_gemma":[0.000006301997,0.000044565895,0.089178644,0.00032988706,0.000012006113,0.00032785378,0.04728511,0.00006062684,0.00080066174,0.0038383303,0.85809606,0.000019930056],"about_ca_topic_score_codex":0.04623429,"about_ca_topic_score_gemma":0.1097115,"teacher_disagreement_score":0.04623429,"about_ca_system_score_codex":0.01403475,"about_ca_system_score_gemma":0.004746071,"threshold_uncertainty_score":0.10182971},"labels":[],"label_agreement":null},{"id":"W3154172656","doi":"10.3390/arts10020027","title":"Twelve Insights into the Afghanistan War through the Photographs from the Basetrack Project: Rita Leistner’s iProbes and Marshall McLuhan’s Theory of Media","year":2021,"lang":"en","type":"article","venue":"Arts","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Perspective (graphical); Sociology; Media studies; Media theory; Focus (optics); Visual arts; Epistemology; History; Art; Philosophy","score_opus":0.04186781994846874,"score_gpt":0.2537199872647933,"score_spread":0.21185216731632453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154172656","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18319525,0.037299786,0.008297406,0.14212006,0.0021908348,0.00020482548,0.00034359514,0.000118516524,0.62622976],"genre_scores_gemma":[0.8558953,0.022675557,0.0046066367,0.01143122,0.0007862008,0.00017503773,0.00014352505,0.00025881585,0.10402767],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.996752,0.0020908082,0.000042688094,0.00021754582,0.00052117894,0.00037580985],"domain_scores_gemma":[0.9975922,0.001346723,0.00017851118,0.0001592549,0.00032619442,0.00039712113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035818492,0.0011900936,0.00040581648,0.0035685725,0.024504477,0.013361893,0.001551369,0.0028839798,0.007104544],"category_scores_gemma":[0.0053429543,0.0006679151,0.00034840908,0.0024825165,0.03222518,0.015238028,0.007163938,0.0074588074,0.0007933767],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000203773,0.000022270098,0.0006915598,0.000096095,0.0000053152953,0.0006098223,0.82301885,0.00004964581,0.00029106202,0.1335266,0.026208151,0.015460182],"study_design_scores_gemma":[0.000005578061,0.000012198533,0.0011526156,0.00034358556,0.000005978425,0.000307984,0.57935363,0.000063414845,0.0001950155,0.01145495,0.40708694,0.00001808673],"about_ca_topic_score_codex":0.25433424,"about_ca_topic_score_gemma":0.4752983,"teacher_disagreement_score":0.25433424,"about_ca_system_score_codex":0.021754995,"about_ca_system_score_gemma":0.009319778,"threshold_uncertainty_score":0.50570774},"labels":[],"label_agreement":null},{"id":"W3155055994","doi":"10.24908/iqurcp.10536","title":"“L’enfer, c’est les autres”: Photographic Representations of Character Development in Sartre’s Huis clos","year":2018,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Torture; Character (mathematics); Art; Theme (computing); Representation (politics); Presentation (obstetrics); Focalization; Art history; Literature; Philosophy; Humanities; Politics; Narrative; Law; Computer science","score_opus":0.16199560379119185,"score_gpt":0.37940939798415296,"score_spread":0.2174137941929611,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155055994","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3919348,0.0028330912,0.0049400306,0.008616018,0.0005442238,0.0000617265,0.00019896754,0.00014399154,0.5907272],"genre_scores_gemma":[0.97436506,0.0005762077,0.0011103316,0.00022548118,0.000043364078,0.000017987739,0.00003932347,0.000058349575,0.023563953],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993581,0.00042662455,0.000007978719,0.000046516227,0.00008955555,0.000071232054],"domain_scores_gemma":[0.99948514,0.0002796807,0.00003793914,0.000038705428,0.00006477441,0.00009378392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006033085,0.0003526495,0.00012429847,0.0007883076,0.0043183854,0.0038138614,0.00046646997,0.00078001805,0.004368639],"category_scores_gemma":[0.0015027827,0.0001624919,0.00016118345,0.0004038656,0.006642443,0.0017331657,0.0015910752,0.0014176678,0.00032380145],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012566405,0.000031555788,0.0018384296,0.00010123647,0.000008744511,0.0018458123,0.81559336,0.00039481567,0.0027360134,0.14680357,0.015155646,0.015365144],"study_design_scores_gemma":[0.00001745384,0.000064145104,0.009009827,0.00030517663,0.000017212602,0.0013710872,0.52008164,0.0007557698,0.002092217,0.0046486575,0.46159372,0.000043064334],"about_ca_topic_score_codex":0.044043668,"about_ca_topic_score_gemma":0.09678094,"teacher_disagreement_score":0.044043668,"about_ca_system_score_codex":0.004636141,"about_ca_system_score_gemma":0.0008984849,"threshold_uncertainty_score":0.0875746},"labels":[],"label_agreement":null},{"id":"W3158123517","doi":"10.7202/1076615ar","title":"Les conditions et les « scènes » de visibilité médiatique lesbienne et féministe : l’atelier de photographie Plessisgraphe des années 70 et 801","year":2021,"lang":"fr","type":"article","venue":"Recherches féministes","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.13649528381507325,"score_gpt":0.3729156740723832,"score_spread":0.23642039025730993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3158123517","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76363707,0.0018832724,0.0015496762,0.006138518,0.0001639877,0.00007092481,0.0006279796,0.000046826033,0.22588177],"genre_scores_gemma":[0.952028,0.0007284162,0.00048044923,0.00023698508,0.000028629827,0.000043620857,0.00015014998,0.00004232098,0.04626153],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989411,0.0002649194,0.000017282147,0.00015962178,0.0002717154,0.0003453802],"domain_scores_gemma":[0.99864024,0.0005085922,0.00015809605,0.00010548726,0.0003581486,0.0002294988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012348372,0.0002696858,0.00021707574,0.0016823107,0.009013538,0.007952111,0.00070078694,0.0008469611,0.02263072],"category_scores_gemma":[0.0038391652,0.0003376321,0.0002423629,0.0024632544,0.0082458295,0.0023450593,0.002942165,0.0017495705,0.00062978646],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025752297,0.000058785547,0.02914195,0.00026349394,0.000032615462,0.0007902791,0.75709677,0.00036389535,0.008054903,0.13106145,0.012282236,0.060596056],"study_design_scores_gemma":[0.000015188505,0.00006098058,0.1600452,0.0002568909,0.000028619756,0.00018063177,0.43745762,0.00014555186,0.0026129321,0.0026993603,0.396429,0.000067980895],"about_ca_topic_score_codex":0.7517513,"about_ca_topic_score_gemma":0.8780194,"teacher_disagreement_score":0.7517513,"about_ca_system_score_codex":0.022349074,"about_ca_system_score_gemma":0.014444601,"threshold_uncertainty_score":0.49942136},"labels":[],"label_agreement":null},{"id":"W3162507255","doi":"10.7202/1082012ar","title":"Toppled Monuments and Black Lives Matter: Race, Gender, and Decolonization in the Public Space. An Interview with Charmaine A. Nelson","year":2021,"lang":"en","type":"article","venue":"Atlantis Critical Studies in Gender Culture & Social Justice","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Racism; Injustice; Colonialism; Gender studies; Power (physics); Police brutality; Indigenous; Public sphere; Sociology; Decolonization; Political science; Media studies; History; Criminology; Law; Politics","score_opus":0.11387845918983629,"score_gpt":0.3586454457806643,"score_spread":0.24476698659082802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3162507255","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8183341,0.0075745294,0.0004947626,0.087900735,0.0005816317,0.000040686322,0.00006559545,0.00002500027,0.0849829],"genre_scores_gemma":[0.9783465,0.0013572914,0.000110254274,0.005012569,0.00008488614,0.00003577603,0.000008629756,0.000024253672,0.015019799],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99437076,0.0039106854,0.000059305836,0.00024215352,0.00044425795,0.000972829],"domain_scores_gemma":[0.99564147,0.0024398633,0.0006915036,0.00012840371,0.0003841335,0.00071471283],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055352696,0.00045952093,0.0005686724,0.0013389807,0.035895098,0.008548375,0.0010954776,0.003338054,0.0052571804],"category_scores_gemma":[0.006384124,0.00057653646,0.00028309523,0.0011140322,0.02854849,0.009193412,0.008181968,0.0068112887,0.0003682967],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013154415,0.000018932458,0.0012342925,0.00002015765,0.0000015502874,0.00016417314,0.98281467,0.000007728305,0.0001457651,0.009514317,0.003270671,0.002794588],"study_design_scores_gemma":[0.0000011862847,0.000009950958,0.0014469511,0.000060566912,0.0000015155503,0.00006986816,0.96608794,0.000009176962,0.00007134947,0.00049306103,0.03174069,0.000007741984],"about_ca_topic_score_codex":0.116049096,"about_ca_topic_score_gemma":0.2020698,"teacher_disagreement_score":0.116049096,"about_ca_system_score_codex":0.011862412,"about_ca_system_score_gemma":0.0050002844,"threshold_uncertainty_score":0.23074728},"labels":[],"label_agreement":null},{"id":"W3168142730","doi":"10.25200/bjr.v17n1.2021.1354","title":"(REPRINT) - BODYING THE JOURNALIST","year":2021,"lang":"pt","type":"article","venue":"Brazilian Journalism Research","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Ethnography; Scholarship; Art; Sociology; Political science; Anthropology; Law","score_opus":0.1464192192035191,"score_gpt":0.3979385308578779,"score_spread":0.2515193116543588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3168142730","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0096935965,0.008537902,0.005866774,0.050408363,0.030801632,0.00006177752,0.00061765267,0.00044827693,0.89356387],"genre_scores_gemma":[0.25284463,0.008884237,0.003529877,0.017860629,0.0221947,0.000109997134,0.0005733199,0.00088614825,0.6931164],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985115,0.0004841851,0.00010057977,0.00034161314,0.00044513046,0.00011698488],"domain_scores_gemma":[0.9964785,0.0013695079,0.00033512778,0.000757001,0.0007682997,0.00029159675],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015028765,0.00038996618,0.00024874113,0.0014570486,0.0025770036,0.008776466,0.0006064096,0.0018075496,0.06169996],"category_scores_gemma":[0.008570255,0.00020462823,0.00030334856,0.0016192987,0.0050509083,0.0062777093,0.0025778457,0.00226489,0.022558894],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101446814,0.000034389468,0.0012531759,0.0005135657,0.000017424529,0.0005561096,0.013880148,0.00013917699,0.0024117758,0.44403452,0.44206426,0.09499388],"study_design_scores_gemma":[0.000004228901,0.000012807558,0.0005444949,0.00015034946,0.000004631367,0.00026728355,0.0016358683,0.000057449048,0.0005263028,0.011665352,0.9851231,0.000008103118],"about_ca_topic_score_codex":0.0014230649,"about_ca_topic_score_gemma":0.002307795,"teacher_disagreement_score":0.06169996,"about_ca_system_score_codex":0.0014746765,"about_ca_system_score_gemma":0.0014534413,"threshold_uncertainty_score":0.20640689},"labels":[],"label_agreement":null},{"id":"W3173355091","doi":"10.32370/ia_2021_06_12","title":"Image as aPhilosophical Artifact:J. Derrida's Concept in the Context of Modern Visual Culture","year":2021,"lang":"en","type":"article","venue":"Intellectual Archive","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Deconstruction (building); Premise; Context (archaeology); Epistemology; Meaning (existential); Sign (mathematics); Visual rhetoric; Aesthetics; Sociology; Mirroring; Philosophy; Linguistics; Communication; Rhetoric; History; Mathematics","score_opus":0.02907431772860873,"score_gpt":0.27642870182128004,"score_spread":0.2473543840926713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3173355091","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06643419,0.0292473,0.03983299,0.068782225,0.002211591,0.00006181652,0.00008400395,0.00012944781,0.7932164],"genre_scores_gemma":[0.97074014,0.003681038,0.0041559194,0.0026566538,0.00067423296,0.00006748749,0.000018939894,0.00007644353,0.017929155],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9971403,0.0018965257,0.00005762507,0.000270764,0.00040339332,0.00023134661],"domain_scores_gemma":[0.9975591,0.0014721658,0.0002047221,0.00025910413,0.0003739731,0.00013091574],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00310828,0.0004680411,0.00042416956,0.0021993993,0.006184494,0.008325958,0.00095590635,0.0026803494,0.002200152],"category_scores_gemma":[0.0046826806,0.00016501556,0.00042416103,0.0013349773,0.04355615,0.007384536,0.0034976269,0.0029513345,0.00034819887],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048837887,0.0000052346854,0.00007480709,0.000021025868,0.0000019246718,0.000058053392,0.020897903,0.000030459472,0.0000631713,0.97513753,0.0012375981,0.0024674472],"study_design_scores_gemma":[0.000017977529,0.000034635745,0.00089678646,0.00029320206,0.000015304724,0.0006917824,0.035603188,0.0005835788,0.0005753092,0.6313131,0.32994348,0.000031709613],"about_ca_topic_score_codex":0.007205833,"about_ca_topic_score_gemma":0.0046751346,"teacher_disagreement_score":0.008325958,"about_ca_system_score_codex":0.006481719,"about_ca_system_score_gemma":0.00235314,"threshold_uncertainty_score":0.047028422},"labels":[],"label_agreement":null},{"id":"W3173895079","doi":"10.5209/eiko.74156","title":"A Gramscian Perspective on Colonial Baroque","year":2021,"lang":"en","type":"article","venue":"Eikon / Imago","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Innovation Cluster (Canada)","funders":"Institute for Advanced Studies in the Humanities, University of Edinburgh","keywords":"Baroque; Hegemony; Appropriation; Colonialism; Dominance (genetics); Aesthetics; Style (visual arts); Perspective (graphical); Sociology; Cultural hegemony; Art; History; Visual arts; Political science; Archaeology; Philosophy; Epistemology; Politics; Law","score_opus":0.024738149359066635,"score_gpt":0.2768313635989295,"score_spread":0.25209321423986286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3173895079","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3042861,0.012416741,0.0005677181,0.005837452,0.00022087617,0.000016286644,0.000031830976,0.000015337973,0.6766077],"genre_scores_gemma":[0.986476,0.0021248502,0.00018710188,0.0005088978,0.00009422772,0.0000106519465,0.000010558233,0.000010275715,0.010577534],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928963,0.000385981,0.000009983135,0.00007753071,0.00008385692,0.00015292545],"domain_scores_gemma":[0.9997644,0.00012824892,0.00003917609,0.000018195326,0.00002150736,0.000028489716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066807936,0.00036001316,0.00023503405,0.0017188952,0.0057498952,0.0047664763,0.00046485336,0.0007612609,0.0038737732],"category_scores_gemma":[0.0009857725,0.00008172052,0.00009122889,0.0022111256,0.021621082,0.0015594718,0.0022521396,0.0012491144,0.00016067951],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002195584,0.00002103993,0.0014779051,0.00010763781,0.000003961162,0.0006448071,0.22256447,0.000098921446,0.0003818003,0.75693977,0.0020345028,0.01570314],"study_design_scores_gemma":[0.000015655183,0.00008326017,0.025022473,0.00057806534,0.000014871941,0.0007469101,0.3081678,0.00024370775,0.00036297704,0.07427635,0.5904685,0.00001945428],"about_ca_topic_score_codex":0.020101212,"about_ca_topic_score_gemma":0.04479904,"teacher_disagreement_score":0.020101212,"about_ca_system_score_codex":0.00649386,"about_ca_system_score_gemma":0.001393022,"threshold_uncertainty_score":0.047116518},"labels":[],"label_agreement":null},{"id":"W3174009270","doi":"10.18357/kula.142","title":"Gramophone, Masinatahikan – Typewriter, Press, Our Mother(s) Tongue","year":2021,"lang":"en","type":"article","venue":"KULA knowledge creation dissemination and preservation studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Indigenous; Storytelling; Narrative; Visual arts; Sculpture; Expansive; History; Memoir; Trickster; Art; Sociology; Aesthetics; Media studies; Literature","score_opus":0.08991363553337758,"score_gpt":0.37604628855719646,"score_spread":0.28613265302381885,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3174009270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14506154,0.015600874,0.00086361164,0.017992025,0.0030030946,0.00006261801,0.00067952776,0.00035205556,0.8163847],"genre_scores_gemma":[0.42405212,0.010043859,0.0011527763,0.0033651153,0.000891609,0.000056586112,0.00018233221,0.0002514142,0.5600042],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998658,0.000024958883,0.0000065730655,0.000029870049,0.000041194573,0.000031629737],"domain_scores_gemma":[0.99977964,0.0000677285,0.00004134175,0.00001764904,0.000035282577,0.000058414193],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019354212,0.0003087025,0.00020574318,0.0002628967,0.002595391,0.002718925,0.00022581819,0.0006125321,0.039842743],"category_scores_gemma":[0.0009352682,0.00010711061,0.000044620567,0.0007490444,0.0015336908,0.0019480444,0.0011186192,0.00086499425,0.011986246],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012925746,0.0001026926,0.0077390727,0.0010401077,0.000009666153,0.0054209204,0.18165573,0.00008035252,0.011447522,0.093222104,0.32064956,0.37850302],"study_design_scores_gemma":[0.00000414887,0.000024537856,0.005880457,0.00017914319,0.0000031518662,0.0009607128,0.03289312,0.000029298755,0.00061210344,0.00079284783,0.95861214,0.000008198688],"about_ca_topic_score_codex":0.007210228,"about_ca_topic_score_gemma":0.010438183,"teacher_disagreement_score":0.039842743,"about_ca_system_score_codex":0.00085834507,"about_ca_system_score_gemma":0.0012138168,"threshold_uncertainty_score":0.13328731},"labels":[],"label_agreement":null},{"id":"W3175164082","doi":"10.7202/1078080ar","title":"Phillip Spectre, Richard Hamilton: Introspective, Köln: Walther König, 2019, 408 pp., 540 colour and b/w illus., $110.00 US (cloth) ISBN 9783883756950","year":2021,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Universities Art Association of Canada","funders":"","keywords":"Introspection; Art; Art history; Philosophy; Physics; Humanities; Epistemology","score_opus":0.012773581023324897,"score_gpt":0.20879145027208448,"score_spread":0.19601786924875958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3175164082","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006264841,0.6943227,0.0036573613,0.106678545,0.011040621,0.0000970891,0.0010180145,0.000669499,0.18188973],"genre_scores_gemma":[0.008491104,0.36336905,0.0039175986,0.022255357,0.0024458154,0.00016999997,0.00059673755,0.00067518116,0.5980791],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987459,0.0003168657,0.0000762461,0.00016814638,0.00058193936,0.00011087258],"domain_scores_gemma":[0.9974341,0.0011413111,0.00017649641,0.00011806836,0.00086509396,0.0002649866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020672164,0.0016559386,0.00067990634,0.002402669,0.0024517297,0.006241499,0.0013940678,0.0038569407,0.121801674],"category_scores_gemma":[0.006017709,0.0012782734,0.00044623477,0.0029280067,0.0024906371,0.010024732,0.0024134032,0.0048823743,0.098490044],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011241642,0.000005765515,0.000055862936,0.00025917988,0.0000035003918,0.000040468036,0.00061896024,0.000019150544,0.000100426405,0.0025689073,0.93779457,0.05852195],"study_design_scores_gemma":[0.0000033499662,0.000004390704,0.0004474298,0.00070202374,0.0000041158746,0.000106406034,0.0009137509,0.000017732275,0.000093369345,0.0018048359,0.995891,0.000011620141],"about_ca_topic_score_codex":0.04375068,"about_ca_topic_score_gemma":0.101509266,"teacher_disagreement_score":0.121801674,"about_ca_system_score_codex":0.003699589,"about_ca_system_score_gemma":0.006182226,"threshold_uncertainty_score":0.4074672},"labels":[],"label_agreement":null},{"id":"W3181255444","doi":"","title":"Corps narratifs et intimité dans la peinture figurative contemporaine / Narrative Bodies and Intimacy in Contemporary Figurative Painting","year":2021,"lang":"fr","type":"article","venue":"Esse/Esse arts + opinions","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Literal and figurative language; Art; Narrative; Painting; Metaphor; Humanities; Art history; Literature; Philosophy; Linguistics","score_opus":0.049460761534998524,"score_gpt":0.3122607237106305,"score_spread":0.262799962175632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3181255444","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4780879,0.0019311785,0.0029204914,0.001854652,0.00015210298,0.000025715031,0.00005462777,0.000034335022,0.514939],"genre_scores_gemma":[0.9766227,0.00031870801,0.0003392021,0.00005658141,0.00003791552,0.000011183558,0.000018654922,0.000031796102,0.022563152],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99868745,0.00070508046,0.000038047212,0.00018222438,0.00021803602,0.00016911863],"domain_scores_gemma":[0.99847275,0.0009109078,0.0001705705,0.0001489679,0.000119785975,0.00017708927],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016075966,0.0004051226,0.00025566737,0.0021601121,0.011898272,0.010224682,0.00081324717,0.0015914305,0.012419655],"category_scores_gemma":[0.0048741824,0.0003674466,0.0002113833,0.0020155099,0.01798289,0.0048174984,0.0054179966,0.003306757,0.00059591205],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004117285,0.000033391098,0.0012639058,0.000049014143,0.0000073136694,0.0005787714,0.82971984,0.00005594581,0.00045775156,0.15867777,0.00093639473,0.008178733],"study_design_scores_gemma":[0.000018662378,0.00005993562,0.012372641,0.00029058242,0.00003115207,0.0022180467,0.71173567,0.00028327317,0.0010106352,0.025096051,0.24685042,0.00003286683],"about_ca_topic_score_codex":0.008091407,"about_ca_topic_score_gemma":0.015213955,"teacher_disagreement_score":0.012419655,"about_ca_system_score_codex":0.0030888065,"about_ca_system_score_gemma":0.0011523855,"threshold_uncertainty_score":0.041547835},"labels":[],"label_agreement":null},{"id":"W3185481210","doi":"10.4000/ces.5144","title":"Intermedial Transpositions: The Visible and the Visual in Jane Urquhart’s Changing Heaven","year":2014,"lang":"en","type":"article","venue":"Commonwealth Essays and Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Heaven; Performative utterance; Painting; Contemplation; Opposition (politics); Art; Art history; Aesthetics; Visual arts; Philosophy; Literature; Theology","score_opus":0.03734027673496234,"score_gpt":0.29941233431711417,"score_spread":0.26207205758215185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3185481210","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23422667,0.0014816321,0.01362503,0.012733859,0.0005243285,0.00003382184,0.000037156304,0.000107944565,0.7372296],"genre_scores_gemma":[0.9806789,0.00017509653,0.00084254786,0.00036996062,0.000039084407,0.000008068716,0.000009832347,0.00006147615,0.017815072],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981224,0.00078242,0.000034613633,0.00027636628,0.00046076224,0.00032344405],"domain_scores_gemma":[0.99882346,0.0004763615,0.00010918805,0.00025914866,0.00017777715,0.00015402447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016251574,0.00036602316,0.00019788172,0.00096342206,0.008463747,0.007978886,0.0011063109,0.0015991003,0.0057631964],"category_scores_gemma":[0.0051703695,0.00025848753,0.00022977294,0.00083906966,0.03177904,0.0072395806,0.0058596246,0.004411154,0.00032880518],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027571381,0.000011854606,0.00035402089,0.000019564579,0.0000030819656,0.00039545496,0.22475012,0.00008699047,0.0006687972,0.7641421,0.0017698993,0.0077706017],"study_design_scores_gemma":[0.00002867976,0.000044546072,0.003133631,0.0002756713,0.000018338387,0.0010074949,0.34303576,0.00055735005,0.0024560431,0.23118953,0.4181845,0.000068558984],"about_ca_topic_score_codex":0.05524505,"about_ca_topic_score_gemma":0.06591372,"teacher_disagreement_score":0.05524505,"about_ca_system_score_codex":0.0061202976,"about_ca_system_score_gemma":0.00268327,"threshold_uncertainty_score":0.10984695},"labels":[],"label_agreement":null},{"id":"W3194153125","doi":"10.7202/1079792ar","title":"Induire une écoute audiotechnique au moyen de la stéréophonie monumentale. Musique pour les premiers spectacles son et lumière1","year":2021,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.02160262790161119,"score_gpt":0.27480270816856095,"score_spread":0.25320008026694973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194153125","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20086059,0.03687294,0.087808326,0.01729877,0.006638089,0.00018996972,0.0003927662,0.00070413464,0.6492345],"genre_scores_gemma":[0.6677672,0.01028143,0.024577625,0.0023206114,0.0009150735,0.00011503064,0.00013270842,0.00018721989,0.29370305],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994266,0.00010444423,0.000015757701,0.00009413667,0.0002815429,0.00007764154],"domain_scores_gemma":[0.9993358,0.00025270428,0.00006574574,0.00007345625,0.0001788667,0.000093390176],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008204146,0.00038013307,0.00012732379,0.00060664583,0.0019879795,0.002070337,0.0004770776,0.0011706761,0.01613559],"category_scores_gemma":[0.0016758841,0.00018236661,0.00022666657,0.0004438842,0.002534529,0.0016452302,0.002200733,0.0012808851,0.0026965828],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036813912,0.00007046481,0.0044553108,0.0012618353,0.000025800324,0.0014841137,0.023953523,0.0004718868,0.13587032,0.25452894,0.027454682,0.5500549],"study_design_scores_gemma":[0.000026888438,0.00029494936,0.012020136,0.0005824082,0.000022930875,0.002373287,0.009247632,0.0006571868,0.02791443,0.016265366,0.93052435,0.000070375485],"about_ca_topic_score_codex":0.0046207877,"about_ca_topic_score_gemma":0.013916638,"teacher_disagreement_score":0.01613559,"about_ca_system_score_codex":0.001309638,"about_ca_system_score_gemma":0.0012408237,"threshold_uncertainty_score":0.05397898},"labels":[],"label_agreement":null},{"id":"W3194591586","doi":"10.3366/dlgs.2021.0448","title":"Framing and Staging Madness in the Ethico-aesthetic Paradigm: How Witold Gombrowicz's <i>Operetka</i> Expresses Nicolas Philibert's <i>La moindre des choses</i>","year":2021,"lang":"en","type":"article","venue":"Deleuze and Guattari Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Framing (construction); Movie theater; Art; Sociology; Literature; History","score_opus":0.06825663247796575,"score_gpt":0.29103309502120844,"score_spread":0.22277646254324268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194591586","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2454156,0.0071556973,0.013833099,0.04423909,0.0011350445,0.00007718456,0.000052941738,0.00007241468,0.688019],"genre_scores_gemma":[0.9813681,0.0009077057,0.0014678304,0.0009390405,0.00012844252,0.000028773411,0.000012889747,0.000053771757,0.015093468],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99738437,0.0020164754,0.000026244401,0.00014961691,0.00020701293,0.00021625485],"domain_scores_gemma":[0.9981509,0.001236067,0.00017909677,0.00015584806,0.00012452467,0.00015354471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029355756,0.00057376974,0.00023833278,0.0017545727,0.008620314,0.012203539,0.00091726845,0.0016323902,0.0030961817],"category_scores_gemma":[0.0047989525,0.00027958333,0.00022447715,0.0007973075,0.050581913,0.0058680917,0.0049870186,0.0042097773,0.00023635903],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003042236,0.00001530246,0.00058437785,0.0000629723,0.000004883614,0.00040064869,0.44954544,0.000116178344,0.0007131679,0.53612727,0.005208806,0.007190535],"study_design_scores_gemma":[0.000022344606,0.0000524677,0.003257825,0.00057919207,0.000023260964,0.00092394254,0.5249985,0.00059765426,0.0012808364,0.112484805,0.35573524,0.000043972814],"about_ca_topic_score_codex":0.013735331,"about_ca_topic_score_gemma":0.025011998,"teacher_disagreement_score":0.013735331,"about_ca_system_score_codex":0.005861041,"about_ca_system_score_gemma":0.001658414,"threshold_uncertainty_score":0.042525053},"labels":[],"label_agreement":null},{"id":"W3195056320","doi":"10.1386/jill_00038_1","title":"‘The Great Bowyer Bible’: Robert Bowyer and the Macklin Bible1","year":2021,"lang":"en","type":"article","venue":"Journal of Illustration","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Literature; Quarter (Canadian coin); BLISS; History; Classics; Sociology; Art; Archaeology","score_opus":0.025360809031991536,"score_gpt":0.24444810570038042,"score_spread":0.2190872966683889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3195056320","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12101674,0.08636296,0.0016233124,0.048266545,0.0026950191,0.000020993964,0.000042178664,0.00009886021,0.7398734],"genre_scores_gemma":[0.85843885,0.016093936,0.0014267743,0.0052517937,0.001388937,0.000018112078,0.000022166425,0.00014827216,0.117211044],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854577,0.0008874674,0.000025594292,0.0001387928,0.0002601571,0.00014222083],"domain_scores_gemma":[0.99923754,0.00044802873,0.00009328726,0.000066250956,0.00006407181,0.00009086834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001277104,0.0003332489,0.00022574974,0.0008562714,0.0066383416,0.0056105396,0.0005618216,0.0013131241,0.008497278],"category_scores_gemma":[0.0034782405,0.00027557978,0.00010813326,0.0009164408,0.013026227,0.0032667397,0.0025692582,0.002890117,0.0011436031],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009018837,0.000034134206,0.0010007407,0.0002983157,0.000011131695,0.00083297247,0.26704216,0.00013131455,0.00096119125,0.52196884,0.14201769,0.06561125],"study_design_scores_gemma":[0.000014790307,0.000047893456,0.0026958229,0.0004466267,0.0000068416985,0.00096388365,0.04056601,0.00008742721,0.00044564938,0.016946154,0.9377515,0.000027475686],"about_ca_topic_score_codex":0.018226469,"about_ca_topic_score_gemma":0.05492163,"teacher_disagreement_score":0.018226469,"about_ca_system_score_codex":0.0036040943,"about_ca_system_score_gemma":0.0010384218,"threshold_uncertainty_score":0.036240757},"labels":[],"label_agreement":null},{"id":"W3195661687","doi":"","title":"The Malahat review at fifty : Canada's iconic literary journal","year":2017,"lang":"en","type":"book","venue":"University of Victoria Libraries eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art; Literature; Media studies; Art history; Sociology","score_opus":0.016080725559212482,"score_gpt":0.1809753313628192,"score_spread":0.16489460580360674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3195661687","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031793548,0.5323159,0.00023058531,0.1737842,0.036553882,0.0000526914,0.00093569234,0.00015182426,0.25279588],"genre_scores_gemma":[0.083771415,0.29806748,0.0007464013,0.059673242,0.015776705,0.00009522254,0.0008740812,0.0005437842,0.5404517],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99618477,0.00031040158,0.00013692158,0.00018454391,0.0022739687,0.0009094387],"domain_scores_gemma":[0.9862773,0.0018816375,0.00033713164,0.0003425246,0.008406608,0.0027548084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00288861,0.0007787681,0.0009936539,0.011754788,0.016227098,0.023846481,0.0017021091,0.00375011,0.03454085],"category_scores_gemma":[0.013320077,0.0005293919,0.00039918305,0.014989297,0.007788968,0.004405989,0.0039243163,0.0043386146,0.0053225732],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013478953,0.0000056605413,0.00015632632,0.0002708361,0.000006981215,0.00006601193,0.0010897019,0.00003164458,0.000055851237,0.022667732,0.95250577,0.023129918],"study_design_scores_gemma":[0.0000018468331,0.0000013684166,0.0007813901,0.0005210057,0.0000053554627,0.000026999096,0.0011312383,0.000009283747,0.000019881154,0.0006740239,0.9968195,0.000008035018],"about_ca_topic_score_codex":0.9091847,"about_ca_topic_score_gemma":0.97552925,"teacher_disagreement_score":0.090815306,"about_ca_system_score_codex":0.07453209,"about_ca_system_score_gemma":0.17461395,"threshold_uncertainty_score":0.5407707},"labels":[],"label_agreement":null},{"id":"W3198668408","doi":"10.3167/arcs.2021.070105","title":"Listening to Terror Soundscapes","year":2021,"lang":"en","type":"article","venue":"Conflict and Society","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Active listening; Soundscape; Terrorism; Mnemonic; Meaning (existential); Psychology; Space (punctuation); Event (particle physics); Affect (linguistics); Sound (geography); History; Social psychology; Cognitive psychology; Communication; Linguistics; Acoustics","score_opus":0.038231822770242334,"score_gpt":0.2690180825618921,"score_spread":0.23078625979164974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3198668408","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72759444,0.0032744086,0.00747785,0.003991733,0.00055081525,0.00007924398,0.00021730697,0.00019558422,0.25661862],"genre_scores_gemma":[0.9863578,0.0010186132,0.00085579813,0.00034353108,0.000119080054,0.000025670039,0.000041754774,0.000038217688,0.011199517],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947566,0.00024853216,0.000015223352,0.000053474192,0.00011651824,0.000090570895],"domain_scores_gemma":[0.9992968,0.00038251682,0.00009745295,0.00008118065,0.00006312758,0.00007889376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005471034,0.00035865422,0.00013694359,0.0008864935,0.002747127,0.003604026,0.0003350852,0.0009226354,0.007749517],"category_scores_gemma":[0.0027006203,0.00012220931,0.00023171293,0.0005392635,0.005004713,0.001824758,0.0032366598,0.0009927895,0.0007111622],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025383846,0.000047825688,0.007897557,0.0005007567,0.00005092834,0.0036006875,0.8251129,0.00036752183,0.02186717,0.036030218,0.008726638,0.09554398],"study_design_scores_gemma":[0.000015707383,0.00020978639,0.027500933,0.0005891449,0.00004230507,0.004780074,0.75461847,0.00023933763,0.00495955,0.010794157,0.19617829,0.00007231483],"about_ca_topic_score_codex":0.00119294,"about_ca_topic_score_gemma":0.0018944336,"teacher_disagreement_score":0.007749517,"about_ca_system_score_codex":0.0006002906,"about_ca_system_score_gemma":0.0003057801,"threshold_uncertainty_score":0.025924742},"labels":[],"label_agreement":null},{"id":"W3199460204","doi":"10.11606/issn.2316-4077.v4i7p52-63","title":"Recycled Images: the Art and Politics of Found Footage Films","year":2021,"lang":"en","type":"article","venue":"Revista Laika","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":163,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Film director; Nothing; Persuasion; Politics; Entertainment; Art; Postmodernism; Shot (pellet); Mosaic; Aesthetics; Visual arts; Movie theater; Literature; Psychology; Materials science; Political science; Philosophy; Law; Epistemology; Social psychology","score_opus":0.029090798583628376,"score_gpt":0.26046318443675476,"score_spread":0.2313723858531264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3199460204","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14970121,0.010154622,0.00484982,0.021788934,0.00044589737,0.000029884544,0.00005872867,0.00006597025,0.812905],"genre_scores_gemma":[0.96537846,0.0014102276,0.00064338424,0.00094292493,0.00018745194,0.000019093892,0.000010965276,0.000069463866,0.031338047],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99696463,0.0020126842,0.000045941677,0.00030761337,0.0003818926,0.00028717352],"domain_scores_gemma":[0.9967339,0.0022094965,0.0002487735,0.00045783882,0.00020876153,0.00014119007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029363264,0.0002932618,0.0002647157,0.0017623772,0.006867735,0.0182003,0.0008551108,0.0024871554,0.008544719],"category_scores_gemma":[0.0072040935,0.0002969047,0.00024354916,0.0013287561,0.034140468,0.008971724,0.0033794926,0.0033993286,0.00064809335],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003278976,0.000018255125,0.00042079968,0.000071137,0.000009012645,0.0002906601,0.09915538,0.00007488156,0.00027070547,0.8818209,0.004669788,0.013165657],"study_design_scores_gemma":[0.000051650488,0.00006986464,0.002615139,0.0011700834,0.000044694018,0.0007515521,0.15497275,0.00054136704,0.0019908973,0.32320464,0.5145472,0.00004020726],"about_ca_topic_score_codex":0.0053834366,"about_ca_topic_score_gemma":0.00616028,"teacher_disagreement_score":0.0182003,"about_ca_system_score_codex":0.0043842304,"about_ca_system_score_gemma":0.0014458321,"threshold_uncertainty_score":0.031809986},"labels":[],"label_agreement":null},{"id":"W3203479039","doi":"10.3917/comla1.208.0135","title":"Regard intermédial sur l’imaginaire de la technique dans le cinéma de Frederick Wiseman","year":2021,"lang":"fr","type":"article","venue":"Communication & langages","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ministère de l’Emploi et de la Solidarité Sociale (Québec)","funders":"","keywords":"Humanities; Art","score_opus":0.019005613462812293,"score_gpt":0.27412333251707866,"score_spread":0.2551177190542664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3203479039","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21623512,0.032401368,0.011061338,0.14038503,0.001662837,0.0000532392,0.00006734958,0.000042221644,0.59809154],"genre_scores_gemma":[0.9211669,0.008407741,0.002107101,0.0033011397,0.00037155303,0.00003559294,0.000009465917,0.000038858143,0.06456153],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99817395,0.0012262651,0.000028958617,0.00018834614,0.00022491318,0.0001575846],"domain_scores_gemma":[0.99711823,0.0021594868,0.00026187964,0.000091427166,0.00021716362,0.0001518111],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023026492,0.00034140275,0.000146035,0.0009987234,0.005898638,0.006079106,0.00043416632,0.0013529081,0.003415253],"category_scores_gemma":[0.004275124,0.00028966664,0.00014306506,0.00066056143,0.017400928,0.004256915,0.0015801116,0.00400869,0.00035340103],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035089284,0.000018849914,0.0009996351,0.00009992776,0.000004701032,0.00039799022,0.25698438,0.00013742833,0.00090471434,0.6920442,0.02324694,0.025126288],"study_design_scores_gemma":[0.000008831869,0.00003951173,0.0053905565,0.0007620943,0.000015853686,0.000841458,0.1289155,0.00041958722,0.0014297147,0.055297308,0.8068324,0.000047279027],"about_ca_topic_score_codex":0.026453964,"about_ca_topic_score_gemma":0.03809104,"teacher_disagreement_score":0.026453964,"about_ca_system_score_codex":0.00500738,"about_ca_system_score_gemma":0.0028471858,"threshold_uncertainty_score":0.052599967},"labels":[],"label_agreement":null},{"id":"W3203919118","doi":"10.1080/0969725x.2018.1497264","title":"CRITICAL IMAGE CONFIGURATIONS","year":2018,"lang":"en","type":"article","venue":"Angelaki","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Computer science; Computer vision; Artificial intelligence","score_opus":0.03919035381848786,"score_gpt":0.30894215602414976,"score_spread":0.2697518022056619,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3203919118","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00520064,0.0010600652,0.008798014,0.02282097,0.005987135,0.00015824061,0.00047464826,0.0007678746,0.95473236],"genre_scores_gemma":[0.32139006,0.0015563681,0.011865889,0.009159185,0.0033392569,0.0006222169,0.0009218973,0.0033382461,0.6478069],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99594265,0.0015878449,0.00015592798,0.0007846442,0.0010224301,0.00050648773],"domain_scores_gemma":[0.99247664,0.0022404536,0.0004926244,0.0015344716,0.0022616854,0.000994165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00301776,0.00081883,0.0004447853,0.0026347083,0.007911643,0.009735796,0.0019730595,0.0030344878,0.18636566],"category_scores_gemma":[0.020699436,0.0003772493,0.0005472628,0.0014825432,0.009029717,0.009911625,0.008475476,0.0035858662,0.03782016],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012977552,0.000023851067,0.00041501995,0.0002315427,0.000009955583,0.000609697,0.026438229,0.00007899499,0.0005518591,0.5164006,0.40474588,0.050364714],"study_design_scores_gemma":[0.000011499461,0.000011118057,0.00029867256,0.00022296996,0.000006432613,0.0002923189,0.0069310297,0.00013010325,0.00034899812,0.04643073,0.9453019,0.000014253137],"about_ca_topic_score_codex":0.0024610208,"about_ca_topic_score_gemma":0.0032562064,"teacher_disagreement_score":0.18636566,"about_ca_system_score_codex":0.005064074,"about_ca_system_score_gemma":0.003256154,"threshold_uncertainty_score":0.6234553},"labels":[],"label_agreement":null},{"id":"W3204157006","doi":"10.1093/isle/isz112","title":"Museums and Materials: Ekphrasis in<i>Books and Islands in Ojibwe Country</i>","year":2019,"lang":"en","type":"article","venue":"ISLE Interdisciplinary Studies in Literature and Environment","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memoir; Narrative; History; Archaeology; Literature; Art; Visual arts; Art history","score_opus":0.01735009093065438,"score_gpt":0.2678177787159017,"score_spread":0.2504676877852473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3204157006","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5836568,0.0046300245,0.00074515364,0.005291111,0.00046530395,0.00009472761,0.00040729545,0.000062436295,0.4046472],"genre_scores_gemma":[0.94148225,0.0020024271,0.00059003057,0.0005844845,0.00005781382,0.000050847106,0.00017130781,0.000078745434,0.054982],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995726,0.00013636512,0.000018219856,0.000038571066,0.00007454456,0.00015963406],"domain_scores_gemma":[0.99962485,0.00016284044,0.000048449732,0.000030072566,0.000032873268,0.000100859725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055876747,0.00032916744,0.00019235164,0.0012362936,0.012078915,0.0055209226,0.00076270115,0.00071499834,0.0088803535],"category_scores_gemma":[0.0011303535,0.0003421078,0.0001319696,0.0020274278,0.008270902,0.0032049106,0.0043514646,0.0021836492,0.00044017806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004210479,0.00004614694,0.0027813253,0.00019922506,0.0000051447423,0.0023070886,0.9214496,0.00005201167,0.0012461034,0.041847672,0.0130497655,0.01697382],"study_design_scores_gemma":[0.00000934222,0.000015912277,0.011279386,0.00038837097,0.0000074604523,0.0006445558,0.5843931,0.000033671,0.0004768319,0.0009621321,0.4017731,0.000016136215],"about_ca_topic_score_codex":0.1311567,"about_ca_topic_score_gemma":0.35070902,"teacher_disagreement_score":0.1311567,"about_ca_system_score_codex":0.0055533764,"about_ca_system_score_gemma":0.0034419878,"threshold_uncertainty_score":0.26078653},"labels":[],"label_agreement":null},{"id":"W3210696526","doi":"10.32920/ryerson.14644113.v1","title":"Made From Movement: Michael Snow's That/Cela/Dat, Marie Menken's Arabesque for Kenneth Anger, and Richard Serra's Double Torqued Ellipse","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Movement (music); Philosophy; Dialogical self; Epistemology; Art; Aesthetics; Art history","score_opus":0.053374772496649535,"score_gpt":0.25811420798663715,"score_spread":0.2047394354899876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3210696526","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1989175,0.01748485,0.009218495,0.064053014,0.0049046217,0.00021253646,0.00045579494,0.00011503959,0.7046382],"genre_scores_gemma":[0.7977298,0.008745194,0.005115941,0.006382062,0.0007538695,0.00021055133,0.00028368412,0.00024893522,0.18053007],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931693,0.00026568334,0.000016769729,0.0001326975,0.00019453255,0.000073362455],"domain_scores_gemma":[0.9993783,0.0002987433,0.00007573884,0.00005719298,0.00008439196,0.000105553954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007587547,0.0005830448,0.0002451609,0.001073834,0.007038006,0.0044149733,0.00055795506,0.0011220628,0.008258602],"category_scores_gemma":[0.0022060806,0.00027735266,0.00037452756,0.001312982,0.009340933,0.004132567,0.0037136618,0.0023954473,0.00087517],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009892665,0.00004521691,0.0024301212,0.00032647353,0.000017394676,0.0010417103,0.57486784,0.000118075746,0.0025382368,0.20754677,0.14711359,0.06385553],"study_design_scores_gemma":[0.000009313923,0.000021829926,0.0034409978,0.00028526507,0.0000064259357,0.0004305,0.15752031,0.00007198179,0.00067114923,0.009414754,0.82811373,0.000013750653],"about_ca_topic_score_codex":0.047366574,"about_ca_topic_score_gemma":0.11796972,"teacher_disagreement_score":0.047366574,"about_ca_system_score_codex":0.0045238235,"about_ca_system_score_gemma":0.0018238019,"threshold_uncertainty_score":0.09418172},"labels":[],"label_agreement":null},{"id":"W3210805043","doi":"10.32920/ryerson.14645580.v1","title":"Abu Ghraib and the commemorative violence of war trophy photography","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Manitoba; University of Winnipeg; Centre for Social Innovation; York University","funders":"","keywords":"Trophy; Photojournalism; Photography; Visual culture; Narrative; Visual arts; Adversary; Materiality (auditing); Spanish Civil War; Media studies; History; Sociology; Art; Aesthetics; Literature; Archaeology","score_opus":0.024068057248713286,"score_gpt":0.2439287683023015,"score_spread":0.21986071105358823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3210805043","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70116735,0.00940868,0.0012316029,0.010270276,0.00078435056,0.000042184674,0.00012453395,0.000046215315,0.27692476],"genre_scores_gemma":[0.9820219,0.0019106138,0.00042921875,0.0004220456,0.00012109927,0.000015376192,0.000027078298,0.000022821596,0.015029913],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990036,0.0005790863,0.000015559868,0.00008928675,0.0001367283,0.00017575009],"domain_scores_gemma":[0.999185,0.00039902038,0.00013839695,0.00009179359,0.00007886478,0.00010683427],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010753026,0.0003689004,0.0001529673,0.0010675214,0.009052975,0.0060944567,0.0005804094,0.0008860463,0.00947771],"category_scores_gemma":[0.0023857153,0.00020830432,0.00013858762,0.0013235089,0.00905692,0.002713052,0.0026602726,0.001236485,0.00065707293],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021449584,0.00006877754,0.013337346,0.0003588507,0.000027570915,0.0018834412,0.7811496,0.00014559276,0.0029585229,0.067013904,0.021241931,0.11159999],"study_design_scores_gemma":[0.000008464195,0.00006215106,0.03002248,0.00047455257,0.00002219135,0.0012830466,0.6918156,0.00010206599,0.0011184904,0.00382962,0.27123964,0.000021725346],"about_ca_topic_score_codex":0.025553634,"about_ca_topic_score_gemma":0.056573927,"teacher_disagreement_score":0.025553634,"about_ca_system_score_codex":0.0022504057,"about_ca_system_score_gemma":0.0011737619,"threshold_uncertainty_score":0.0508098},"labels":[],"label_agreement":null},{"id":"W3210947604","doi":"10.7202/1080954ar","title":"Entre les visages : l’image-témoin en glissement","year":2021,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.02911133606094679,"score_gpt":0.2984242797889111,"score_spread":0.2693129437279643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3210947604","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1121319,0.008059385,0.026381556,0.022492832,0.0020933573,0.00004544187,0.00016935274,0.00026853298,0.8283576],"genre_scores_gemma":[0.8240404,0.0040066866,0.005796703,0.0019923167,0.0006574755,0.00005695035,0.00010077681,0.00041979484,0.1629289],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987143,0.0006302449,0.000023059183,0.00019271676,0.0002706019,0.00016896841],"domain_scores_gemma":[0.9992077,0.00035180087,0.000081008315,0.00009772186,0.00013734531,0.00012452179],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010251909,0.00058669713,0.00024851665,0.00094022515,0.004537307,0.0077986796,0.00069760584,0.0018015038,0.021053616],"category_scores_gemma":[0.003357309,0.00021221957,0.00027569357,0.00069051975,0.01084723,0.008168351,0.004539552,0.0038306473,0.0023418174],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008873322,0.000018397255,0.0009913265,0.00016456134,0.000008110868,0.00049026136,0.1469458,0.00013528446,0.0024074677,0.78797036,0.013885891,0.046893835],"study_design_scores_gemma":[0.000012019041,0.0000758734,0.0022324587,0.0005395391,0.000015992737,0.0010514013,0.094611496,0.0003389653,0.002254944,0.055430043,0.8434051,0.00003213191],"about_ca_topic_score_codex":0.005662131,"about_ca_topic_score_gemma":0.008304744,"teacher_disagreement_score":0.021053616,"about_ca_system_score_codex":0.002268335,"about_ca_system_score_gemma":0.0013462316,"threshold_uncertainty_score":0.07043135},"labels":[],"label_agreement":null},{"id":"W3211585847","doi":"10.3138/tric.42.2.a02","title":"Age and Memory in Robert Lepage’s <i>887</i>","year":2021,"lang":"fr","type":"article","venue":"Theatre Research in Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics; Philosophy","score_opus":0.06645983361895862,"score_gpt":0.3175559433366763,"score_spread":0.2510961097177177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3211585847","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.062009826,0.086477086,0.0013374317,0.31293753,0.009066408,0.000024385701,0.000079147605,0.000070593065,0.5279977],"genre_scores_gemma":[0.6763814,0.021267617,0.00084424665,0.033217117,0.0062795384,0.000049109804,0.000038537684,0.00016300485,0.26175946],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9990939,0.00048287382,0.000024812458,0.00010546164,0.00012824323,0.00016475366],"domain_scores_gemma":[0.9993364,0.00030722714,0.00008941715,0.000040597963,0.00008483149,0.00014147814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001428471,0.00040326352,0.00023388749,0.00059048354,0.006211974,0.005639349,0.0005653021,0.0022374592,0.005839277],"category_scores_gemma":[0.0023527045,0.00016862381,0.00021628117,0.0003323808,0.008830566,0.0043983106,0.002532708,0.0043503144,0.0010186329],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101150785,0.000038320628,0.001089588,0.0001430576,0.000008221528,0.00090369704,0.15990646,0.00006721953,0.00045849688,0.5188789,0.28682348,0.03158146],"study_design_scores_gemma":[0.0000054957172,0.000022425465,0.00093390123,0.00022283025,0.0000040728955,0.0005132087,0.024993163,0.000028476039,0.00021599446,0.023569236,0.9494767,0.00001442241],"about_ca_topic_score_codex":0.011080585,"about_ca_topic_score_gemma":0.021715026,"teacher_disagreement_score":0.011080585,"about_ca_system_score_codex":0.0032899838,"about_ca_system_score_gemma":0.0013435187,"threshold_uncertainty_score":0.023870587},"labels":[],"label_agreement":null},{"id":"W3212026616","doi":"10.22230/src.2021v12n1a375","title":"Lecture 7: Visual Persuasion","year":2021,"lang":"fr","type":"article","venue":"Scholarly and Research Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Persuasion; Idolatry; Philosophy; Humanities; Rhetorical question; Metaphysics; Epistemology; Theology; Linguistics","score_opus":0.10061380741209726,"score_gpt":0.392688381891613,"score_spread":0.29207457447951574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212026616","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0055727717,0.023486141,0.035315156,0.16121389,0.05963332,0.00018967614,0.00020394588,0.00064022606,0.7137449],"genre_scores_gemma":[0.17142864,0.017185621,0.012717349,0.027490651,0.03452943,0.00026780495,0.00029180947,0.000573582,0.7355152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99803036,0.00069894583,0.000067063,0.00030961452,0.0005788519,0.00031515403],"domain_scores_gemma":[0.9973984,0.0014306554,0.00010824466,0.00018659173,0.0005408832,0.00033525567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020898867,0.00090804446,0.0006031431,0.0007512029,0.002551467,0.00693924,0.0013900038,0.0039548343,0.07836575],"category_scores_gemma":[0.008370109,0.00035190347,0.0009887683,0.00043205838,0.0036557661,0.005475116,0.0027371945,0.008427744,0.02258306],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009126481,0.00013491487,0.00016049003,0.00027522736,0.000016294456,0.00021144366,0.0019406612,0.00061817054,0.0014285132,0.5389501,0.36935967,0.086813204],"study_design_scores_gemma":[0.000024790192,0.00008963958,0.00033522694,0.00039274237,0.000010390725,0.00026123313,0.001615511,0.0006753995,0.0012329341,0.18906796,0.80626374,0.000030485331],"about_ca_topic_score_codex":0.0022343774,"about_ca_topic_score_gemma":0.0019115538,"teacher_disagreement_score":0.07836575,"about_ca_system_score_codex":0.0035577205,"about_ca_system_score_gemma":0.0015476223,"threshold_uncertainty_score":0.26215953},"labels":[],"label_agreement":null},{"id":"W3212573504","doi":"","title":"Икона «Богоматерь Тихвинская, с клеймами сказания»","year":2021,"lang":"ru","type":"article","venue":"Secreta Artis","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Painting; Art; Art history; Quarter (Canadian coin); Visual arts; History; Computer science; Archaeology","score_opus":0.028694650962294427,"score_gpt":0.2506128943882214,"score_spread":0.22191824342592695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212573504","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020433752,0.018296346,0.017257541,0.004252774,0.0030562633,0.00008536175,0.00020556661,0.00017624644,0.9362362],"genre_scores_gemma":[0.7697029,0.024827747,0.02134437,0.0011219736,0.0017461884,0.0002521203,0.0002923852,0.00037188976,0.18034035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886596,0.00033841276,0.000057342535,0.00015292947,0.00045070177,0.00013463506],"domain_scores_gemma":[0.99959165,0.00014196563,0.00005052015,0.000068251684,0.00011261142,0.000035043413],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010084996,0.00031954888,0.00019430502,0.0010492412,0.002096129,0.004675871,0.00031788464,0.00055512163,0.009462015],"category_scores_gemma":[0.0017963791,0.00020795545,0.00020594732,0.0013682285,0.004347298,0.0013798204,0.0012621563,0.0021428424,0.004710525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033058495,0.000013462112,0.00045887352,0.00012876098,0.000006061776,0.0002695994,0.0067014038,0.00018613032,0.0012252063,0.90312344,0.013555508,0.07429845],"study_design_scores_gemma":[0.0000034824795,0.000014163864,0.0012149132,0.00007807157,0.0000050584754,0.00046484923,0.0018390275,0.00010776692,0.00072134164,0.04118864,0.95435077,0.000011801757],"about_ca_topic_score_codex":0.0057155406,"about_ca_topic_score_gemma":0.0072491383,"teacher_disagreement_score":0.009462015,"about_ca_system_score_codex":0.0020421154,"about_ca_system_score_gemma":0.0025649408,"threshold_uncertainty_score":0.031653643},"labels":[],"label_agreement":null},{"id":"W3212909878","doi":"10.16995/ntn.4732","title":"Counter-Ceremonial: Contemporary Artists and Queen Victoria Monuments","year":2021,"lang":"en","type":"article","venue":"19 Interdisciplinary Studies in the Long Nineteenth Century","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Arts and Humanities Research Council","keywords":"Sculpture; Allegiance; Art; Art history; Scrutiny; Coronation; Visual arts; History; Ancient history; Law; Politics; Political science","score_opus":0.05962084718284704,"score_gpt":0.34208269476313735,"score_spread":0.2824618475802903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212909878","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41212982,0.014000477,0.0013177326,0.031534784,0.0024524864,0.000046909063,0.00004701866,0.00005831678,0.5384125],"genre_scores_gemma":[0.9050594,0.0019464252,0.0002747355,0.0021046107,0.00022343484,0.000018703084,0.000016429622,0.000079880185,0.09027633],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99597955,0.0016798404,0.000082200786,0.0004283164,0.0008137991,0.0010163554],"domain_scores_gemma":[0.9972893,0.0013318573,0.0002631168,0.00027230027,0.00030053238,0.00054296723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033164348,0.0005229115,0.00047508246,0.0014368307,0.03904625,0.012655507,0.0018783797,0.004083665,0.007976939],"category_scores_gemma":[0.0066141924,0.0005300789,0.0002986114,0.0014046122,0.030634074,0.0035408358,0.008561013,0.007945253,0.00077566894],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036955764,0.000024617422,0.0005957113,0.00011481714,0.000006579453,0.00073934015,0.8609248,0.000045636276,0.00053314003,0.11854469,0.010496358,0.007937373],"study_design_scores_gemma":[0.0000071198297,0.000023817565,0.0033155074,0.00036634578,0.00001157638,0.00042122375,0.38740057,0.00016852363,0.0005489268,0.0057159243,0.60198575,0.000034723496],"about_ca_topic_score_codex":0.17612012,"about_ca_topic_score_gemma":0.38298398,"teacher_disagreement_score":0.17612012,"about_ca_system_score_codex":0.019609414,"about_ca_system_score_gemma":0.006629877,"threshold_uncertainty_score":0.35018992},"labels":[],"label_agreement":null},{"id":"W3213976472","doi":"10.2478/mik-2021-0003","title":"In Search of Missing Collection: The Case of Artist Albert Rappaport","year":2021,"lang":"en","type":"article","venue":"Art History & Criticism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rappaport; Exhibition; Art history; Portrait; Art; Theology","score_opus":0.04983026264707345,"score_gpt":0.28018270636578835,"score_spread":0.23035244371871488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3213976472","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25629076,0.0150337005,0.0053120293,0.3627544,0.006005791,0.00012740628,0.0001307621,0.00025811058,0.35408702],"genre_scores_gemma":[0.80495405,0.0064324015,0.0026378664,0.061477143,0.002581537,0.00011749555,0.000084505155,0.0004516448,0.12126341],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9913107,0.0036463062,0.00033520433,0.0009804335,0.0017366703,0.0019906503],"domain_scores_gemma":[0.99148494,0.0039784457,0.000851198,0.00078123057,0.001037606,0.0018665459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0077186143,0.0007477867,0.0006184431,0.0018975503,0.04283019,0.010354813,0.0037548,0.012760918,0.011922424],"category_scores_gemma":[0.02383597,0.00067763706,0.00072851643,0.0017815857,0.015346069,0.008209274,0.0089039495,0.015553062,0.0022914405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008741455,0.00017910122,0.0050269812,0.00020173038,0.000035979905,0.103949085,0.42816046,0.00034545816,0.00062914705,0.18944609,0.2314295,0.04050903],"study_design_scores_gemma":[0.000008022306,0.000027739781,0.000979111,0.00065425783,0.000016381306,0.03477877,0.18807888,0.00045157076,0.0002706092,0.011830364,0.762846,0.000058253278],"about_ca_topic_score_codex":0.019988917,"about_ca_topic_score_gemma":0.032054625,"teacher_disagreement_score":0.04283019,"about_ca_system_score_codex":0.007943471,"about_ca_system_score_gemma":0.0073696575,"threshold_uncertainty_score":0.057634175},"labels":[],"label_agreement":null},{"id":"W3214920225","doi":"","title":"Mapping New Genre Arctic Art","year":2021,"lang":"en","type":"article","venue":"LaCRIS (University of Lapland)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Arctic; The arctic; Political science; Geology; Geography; Oceanography","score_opus":0.029828716242143696,"score_gpt":0.20140884018969674,"score_spread":0.17158012394755304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214920225","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1495361,0.00959467,0.014520052,0.0015620764,0.0014166364,0.00030069708,0.0014755392,0.00017510458,0.8214192],"genre_scores_gemma":[0.86218965,0.012040167,0.026268763,0.0008075892,0.00079195766,0.00060231844,0.0035787784,0.0008736044,0.09284718],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955171,0.0014927015,0.0002240866,0.0007528199,0.0014706614,0.00054275553],"domain_scores_gemma":[0.9963965,0.0016759397,0.00033338845,0.0005681311,0.00069419807,0.0003318737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028999543,0.0005827792,0.00044878016,0.013885504,0.0065262853,0.012517683,0.0009972294,0.0014437896,0.017970685],"category_scores_gemma":[0.0065228296,0.0003814175,0.00083674426,0.010195143,0.0054464173,0.0064165764,0.005774648,0.0017632642,0.0025770268],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028699954,0.00009117339,0.029750181,0.002388012,0.000067249486,0.003594028,0.33591592,0.0008505292,0.0027378036,0.27198026,0.035375353,0.31696245],"study_design_scores_gemma":[0.000007399524,0.000039806106,0.032687966,0.0018757888,0.000035445606,0.0030837113,0.17983228,0.0006746177,0.0007613187,0.012868529,0.76809126,0.00004189258],"about_ca_topic_score_codex":0.018034453,"about_ca_topic_score_gemma":0.033098307,"teacher_disagreement_score":0.018034453,"about_ca_system_score_codex":0.0042016674,"about_ca_system_score_gemma":0.0021583398,"threshold_uncertainty_score":0.0601179},"labels":[],"label_agreement":null},{"id":"W3216426996","doi":"10.32920/ryerson.14665587.v1","title":"Sound, Shape, Space : The Ontology of Space in Architecture","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Architecture; Space (punctuation); Ontology; Sound (geography); Criticism; Work (physics); Computer science; Process (computing); Architectural engineering; Epistemology; Aesthetics; Cognitive science; Sociology; Psychology; Philosophy; Engineering; Acoustics; Art; Visual arts; Literature; Physics","score_opus":0.03717848410477437,"score_gpt":0.2662972438988184,"score_spread":0.22911875979404406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3216426996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042419035,0.009589175,0.25126317,0.019058906,0.0013568337,0.000052989162,0.00015339123,0.00025969546,0.6758468],"genre_scores_gemma":[0.9252993,0.0030887427,0.037211828,0.001143964,0.00040309818,0.00008921968,0.00010113877,0.00018037915,0.03248239],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99830097,0.00094859325,0.000053296455,0.00016689622,0.0003876329,0.00014266843],"domain_scores_gemma":[0.9991468,0.00035317952,0.00007500531,0.00020011433,0.00011643592,0.00010835399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015457202,0.0004766006,0.00030194107,0.0015901438,0.0033252903,0.009037533,0.0009357121,0.001876448,0.0043158005],"category_scores_gemma":[0.002881914,0.0002727838,0.0005125793,0.001817161,0.027382694,0.008634515,0.0038899365,0.0026858426,0.0006760281],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037490395,0.000002350281,0.00008433268,0.00001442209,0.0000013105109,0.000019591345,0.0030441452,0.00028925363,0.000082173465,0.99245465,0.0006130189,0.0033909199],"study_design_scores_gemma":[0.00000478059,0.000008454584,0.000219393,0.00006201598,0.0000042514994,0.000060495728,0.0030812374,0.0012065799,0.0001279552,0.92101616,0.07420039,0.000008294797],"about_ca_topic_score_codex":0.0062988014,"about_ca_topic_score_gemma":0.0073093968,"teacher_disagreement_score":0.009037533,"about_ca_system_score_codex":0.0032622153,"about_ca_system_score_gemma":0.0022736837,"threshold_uncertainty_score":0.023669183},"labels":[],"label_agreement":null},{"id":"W3217679068","doi":"10.32920/ryerson.14647905.v1","title":"Weak material: light, time, location and the stuff of architecture","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Architecture; Ontic; Materiality (auditing); Ontology; Architectural theory; Epistemology; Aesthetics; Sociology; Computer science; Philosophy; Visual arts; Art","score_opus":0.01417804379876717,"score_gpt":0.22565092997117753,"score_spread":0.21147288617241036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3217679068","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11149091,0.028849559,0.06366178,0.030483915,0.0012374305,0.00004790136,0.000107547254,0.00010970515,0.76401114],"genre_scores_gemma":[0.9568527,0.005511744,0.0066042123,0.001070798,0.0003499647,0.000037211845,0.00004013534,0.00009242329,0.029440792],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896073,0.00056579104,0.000026649426,0.00011247018,0.0002223052,0.000112005095],"domain_scores_gemma":[0.99899024,0.0005843499,0.00011623108,0.0001161307,0.000121043,0.000072076116],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016717049,0.0005349143,0.00026600395,0.0016832398,0.004443133,0.009942665,0.0008563966,0.0014188787,0.006375911],"category_scores_gemma":[0.0030739168,0.00025117816,0.0003221326,0.0021576919,0.03049682,0.0104986075,0.0048005222,0.0021151085,0.00057198125],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019890093,0.0000075011,0.00035788034,0.000041339234,0.0000044233075,0.000058297053,0.010132863,0.00015695581,0.00014826062,0.9781532,0.001143561,0.009775819],"study_design_scores_gemma":[0.0000108113645,0.0000263859,0.0009065268,0.00018283317,0.000012399547,0.00010936203,0.015950365,0.00027863047,0.0004463339,0.8657177,0.11634284,0.000015696858],"about_ca_topic_score_codex":0.0047962936,"about_ca_topic_score_gemma":0.006879873,"teacher_disagreement_score":0.009942665,"about_ca_system_score_codex":0.0033457489,"about_ca_system_score_gemma":0.0014129524,"threshold_uncertainty_score":0.024275184},"labels":[],"label_agreement":null},{"id":"W326582626","doi":"","title":"L’indicible vie. The Tree of Life de Terrence Malick, États-Unis, 2011, 138 minThe Tree of Life de Terrence Malick, États-Unis, 2011, 138 min","year":2011,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Tree of life (biology); Art; Tree (set theory); Art history; Chemistry","score_opus":0.04387948311167773,"score_gpt":0.2510407756903682,"score_spread":0.20716129257869048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W326582626","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013180983,0.24546683,0.001033665,0.40733004,0.035923492,0.00002507377,0.00070282345,0.00022306679,0.3079769],"genre_scores_gemma":[0.03470809,0.056260746,0.0010644334,0.045403957,0.010784118,0.00012230057,0.00033374346,0.00046786945,0.8508548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891186,0.00042450384,0.00003463708,0.00017894636,0.00027068998,0.00017938994],"domain_scores_gemma":[0.99918014,0.00024587105,0.00008377012,0.000062924286,0.00022708796,0.0002002008],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012332187,0.0010068283,0.00041246356,0.0008409114,0.0058551873,0.006827449,0.00086238584,0.0034302673,0.054810774],"category_scores_gemma":[0.0034667428,0.0004804119,0.00026714258,0.0009529119,0.00314755,0.007755111,0.0029331774,0.006659383,0.014724102],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001634413,0.000007586517,0.00009925461,0.000056641984,0.0000017975275,0.000020776899,0.001157714,0.000015440552,0.000058120902,0.063951276,0.9082997,0.026315419],"study_design_scores_gemma":[0.0000011307358,0.0000011325769,0.00015663075,0.000048956495,3.663914e-7,0.000014572599,0.00025407807,0.000005120857,0.000011280695,0.0010845043,0.99842036,0.0000018931673],"about_ca_topic_score_codex":0.03203539,"about_ca_topic_score_gemma":0.08804948,"teacher_disagreement_score":0.054810774,"about_ca_system_score_codex":0.0061984393,"about_ca_system_score_gemma":0.0031876066,"threshold_uncertainty_score":0.18336034},"labels":[],"label_agreement":null},{"id":"W3530908","doi":"","title":"Still(ed) Life: The Ekphrastic Prose Poems of Ernesto Gim?nez Caballero","year":2001,"lang":"es","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":49,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Poetry; Humanities; Literature","score_opus":0.025988067990437118,"score_gpt":0.25118797221138456,"score_spread":0.22519990422094743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3530908","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020083329,0.11975787,0.0026430946,0.11127734,0.010744534,0.00003083185,0.00019298817,0.00013034369,0.73513967],"genre_scores_gemma":[0.35614428,0.043492813,0.0017556851,0.018860351,0.004543154,0.0000997174,0.00012015225,0.00035435415,0.57462955],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995435,0.0002537001,0.00000972887,0.00005906784,0.00007532748,0.00005865598],"domain_scores_gemma":[0.9996376,0.00019404496,0.000032969165,0.000021440006,0.00005357306,0.00006027409],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006731806,0.00055408495,0.00024076426,0.0006621299,0.004036448,0.0038220026,0.00039023446,0.0012500624,0.009172959],"category_scores_gemma":[0.0016568067,0.00019468668,0.0001373549,0.00061126077,0.0052124574,0.005325083,0.0018684247,0.0034743145,0.0026879138],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009396188,0.00002720206,0.00049875013,0.00015785794,0.0000044986828,0.00064182817,0.10602596,0.000063109794,0.00046873128,0.41111416,0.43281806,0.04808589],"study_design_scores_gemma":[0.0000029519713,0.000010180209,0.00055262336,0.00014483152,0.0000017071995,0.0003380175,0.013390147,0.000035240744,0.00008906649,0.009330654,0.9760982,0.000006510805],"about_ca_topic_score_codex":0.0075170533,"about_ca_topic_score_gemma":0.018867234,"teacher_disagreement_score":0.009172959,"about_ca_system_score_codex":0.0020921156,"about_ca_system_score_gemma":0.00090887496,"threshold_uncertainty_score":0.030686557},"labels":[],"label_agreement":null},{"id":"W35649875","doi":"10.4000/map.1645","title":"Revisiting Mitry’s Esthétique et Psychologie du Cinéma at Fifty","year":2014,"lang":"fr","type":"article","venue":"Mise au point","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Humanities; Philosophy","score_opus":0.033103476714987326,"score_gpt":0.28477763465498496,"score_spread":0.25167415793999764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W35649875","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2008463,0.07462478,0.014057402,0.2538156,0.0070211906,0.00009118931,0.00011697923,0.00013527913,0.44929135],"genre_scores_gemma":[0.9092037,0.014176721,0.0021732775,0.0098012155,0.001520526,0.000057672136,0.000020686211,0.000078384815,0.062967755],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998187,0.0010644726,0.000053777112,0.00022190815,0.0002823395,0.00019048848],"domain_scores_gemma":[0.9948543,0.004092767,0.0002596778,0.00013833221,0.00041818863,0.00023671956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002762929,0.0003806957,0.00029996902,0.001855285,0.0049262163,0.0058301245,0.0005659792,0.0020955876,0.0050333617],"category_scores_gemma":[0.0054519507,0.00025214633,0.0002117026,0.0007738744,0.011906975,0.006029234,0.0030382872,0.0042789825,0.00042622676],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029994628,0.000025134763,0.00095894886,0.00026769613,0.0000075777207,0.00040844645,0.18997084,0.00013046517,0.00071316503,0.7431316,0.037446834,0.026909323],"study_design_scores_gemma":[0.0000074122313,0.0000653994,0.006726614,0.0010466384,0.000018985773,0.00065423007,0.07878197,0.0004787326,0.0010327222,0.04349843,0.86765164,0.000037177837],"about_ca_topic_score_codex":0.010899772,"about_ca_topic_score_gemma":0.025635516,"teacher_disagreement_score":0.010899772,"about_ca_system_score_codex":0.005799023,"about_ca_system_score_gemma":0.0026244659,"threshold_uncertainty_score":0.042075098},"labels":[],"label_agreement":null},{"id":"W413131572","doi":"10.31165/nk.2015.81.360","title":"A Japanese Approach to Haptic/Multimodal Art Practice and Perception","year":2015,"lang":"en","type":"article","venue":"Networking Knowledge Journal of the MeCCSA Postgraduate Network","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Canadian Institute for Advanced Research; University of Michigan; Harvard University","keywords":"Underpinning; Context (archaeology); Perception; Natural (archaeology); Sociology; Haptic technology; Aesthetics; Spirituality; Contemporary art; Visual arts; Epistemology; Psychology; Computer science; Art; Engineering; History; Artificial intelligence","score_opus":0.05545699023832501,"score_gpt":0.27982610934998425,"score_spread":0.22436911911165924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W413131572","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19845591,0.01220929,0.12628543,0.0054622926,0.00043547255,0.00008182068,0.00007026904,0.00013526292,0.65686435],"genre_scores_gemma":[0.97108275,0.0020671736,0.009524069,0.0003044551,0.000076230666,0.00004725025,0.00001407856,0.00003029119,0.01685372],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957424,0.00018021183,0.000020879324,0.00008205008,0.000076746925,0.00006588855],"domain_scores_gemma":[0.99966216,0.00012806605,0.000037530608,0.000048016114,0.00007224616,0.00005197779],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073157274,0.000459575,0.0001928094,0.0011887153,0.0016958816,0.005272931,0.00053090334,0.000705841,0.0073716324],"category_scores_gemma":[0.0011578839,0.00016820629,0.0002855234,0.0009739292,0.008779382,0.002771481,0.002485457,0.0009113516,0.00035045063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006611958,0.000053754073,0.004011884,0.00046696977,0.0000277558,0.0005966278,0.13415937,0.0014471121,0.0072718784,0.7746274,0.002029533,0.07524161],"study_design_scores_gemma":[0.000038719427,0.00031426048,0.046976283,0.0010586698,0.00021039076,0.002131362,0.24628012,0.017237093,0.0056460714,0.38750985,0.2924409,0.0001562758],"about_ca_topic_score_codex":0.0099287005,"about_ca_topic_score_gemma":0.009173471,"teacher_disagreement_score":0.0099287005,"about_ca_system_score_codex":0.0020983287,"about_ca_system_score_gemma":0.0012535761,"threshold_uncertainty_score":0.024660587},"labels":[],"label_agreement":null},{"id":"W4200200438","doi":"10.32920/ifmj.v1i2.1499","title":"Off the Wall with Shchedryk","year":2021,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Foregrounding; Dialectic; Pleasure; Point (geometry); Aesthetics; Frame (networking); Art; Spectacle; Shadow (psychology); Visual arts; Art history; Philosophy; Literature; Computer science; Epistemology; Psychology; Psychoanalysis; Law; Political science","score_opus":0.021897684946444857,"score_gpt":0.24834945095430191,"score_spread":0.22645176600785705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200200438","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2162955,0.0037474167,0.0029862996,0.020342046,0.0057688993,0.00016831684,0.0006652928,0.00034939407,0.7496768],"genre_scores_gemma":[0.5572032,0.0018322864,0.001857658,0.0027595956,0.0005545315,0.00006312728,0.00035594995,0.0004954867,0.43487814],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997321,0.000058987727,0.0000074211302,0.000058682603,0.00005739072,0.00008536339],"domain_scores_gemma":[0.9998721,0.00004020783,0.000013823025,0.000014486253,0.000018000002,0.000041333667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034547414,0.00042227295,0.0003295081,0.00036784547,0.0065235654,0.0033405202,0.00037473807,0.001076516,0.0238107],"category_scores_gemma":[0.0010436021,0.00022670375,0.00025615608,0.00040791792,0.003514907,0.0033423954,0.004005936,0.0034507038,0.0040429304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000593348,0.00014343802,0.002486742,0.0007744409,0.00003285332,0.008503763,0.3394325,0.0004903193,0.0060882927,0.2063967,0.34251505,0.09254253],"study_design_scores_gemma":[0.000020425492,0.000056473877,0.0031950192,0.00032106103,0.00000991371,0.0014441197,0.061017275,0.00013692948,0.0011300308,0.004125115,0.9285202,0.000023503499],"about_ca_topic_score_codex":0.008959061,"about_ca_topic_score_gemma":0.022681464,"teacher_disagreement_score":0.0238107,"about_ca_system_score_codex":0.001766242,"about_ca_system_score_gemma":0.00083563756,"threshold_uncertainty_score":0.07965475},"labels":[],"label_agreement":null},{"id":"W4205139987","doi":"10.1080/17514517.2021.2004706","title":"John Møller’s ‘Photographic Memory’ – Professional Photography of Greenlandic Inuit and Danish Administrators at the Turn of the Twentieth Century","year":2022,"lang":"en","type":"article","venue":"Photography and Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Danish; Art history; Art; Visual arts; Archaeology; History; Philosophy","score_opus":0.011211089181804811,"score_gpt":0.21764783413743424,"score_spread":0.20643674495562944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205139987","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.384785,0.03369053,0.003165155,0.03313433,0.0026307344,0.0000668487,0.00031147717,0.00008969024,0.5421262],"genre_scores_gemma":[0.84360176,0.009196943,0.0016844444,0.0019940597,0.00023609173,0.000020168889,0.000067262015,0.00008095093,0.14311822],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999521,0.00017275954,0.00001699622,0.000096622585,0.00009679108,0.00009578084],"domain_scores_gemma":[0.99961156,0.00015844146,0.000047412508,0.000033316323,0.000066498986,0.000082771956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070927315,0.00035917634,0.0001441335,0.00091110845,0.011670769,0.0042494508,0.00044142312,0.0008416233,0.005898569],"category_scores_gemma":[0.0016868879,0.00024970347,0.0001448784,0.0007391189,0.0057165897,0.0032887892,0.0022532009,0.0015645958,0.00040511644],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007967743,0.000024581412,0.0029836188,0.0002304679,0.000013026311,0.0012594904,0.7660496,0.000098866505,0.0018687397,0.12504247,0.06889817,0.033451196],"study_design_scores_gemma":[0.000003298724,0.000024850196,0.005694881,0.00034676938,0.000009539623,0.0008194202,0.24213172,0.000047748723,0.00094331376,0.0030457377,0.7469098,0.000022898052],"about_ca_topic_score_codex":0.108087435,"about_ca_topic_score_gemma":0.31032786,"teacher_disagreement_score":0.108087435,"about_ca_system_score_codex":0.0039224303,"about_ca_system_score_gemma":0.0018326185,"threshold_uncertainty_score":0.21491659},"labels":[],"label_agreement":null},{"id":"W4205543710","doi":"10.4000/cher.2394","title":"L’ekphrasis comme réécriture","year":2018,"lang":"fr","type":"article","venue":"Recherches","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Art history; Philosophy","score_opus":0.3324129287392323,"score_gpt":0.380358071678083,"score_spread":0.047945142938850716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205543710","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056180865,0.003452076,0.03174219,0.014073662,0.0012702289,0.00007536633,0.000084437044,0.0002190544,0.8929021],"genre_scores_gemma":[0.69510037,0.0025366032,0.0077500674,0.0018144321,0.0006137336,0.00010273944,0.00007161085,0.00047779258,0.2915326],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99592614,0.00198938,0.00011526575,0.00054329186,0.0010055407,0.00042037954],"domain_scores_gemma":[0.997551,0.0010426255,0.00022884722,0.00061077386,0.0003701836,0.00019661768],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033082396,0.0009234811,0.00038817452,0.0011781798,0.0057215136,0.012310616,0.0011444777,0.0026468956,0.02027871],"category_scores_gemma":[0.0059234076,0.00034039674,0.0004738381,0.0010256022,0.024577955,0.01015707,0.0067109065,0.004941785,0.0047482206],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036608297,0.000016487691,0.0003442065,0.00009914489,0.0000072119083,0.00032043073,0.054534167,0.00011315317,0.0012645333,0.918791,0.005493317,0.018979613],"study_design_scores_gemma":[0.00001626504,0.000070554415,0.0010331345,0.00041828572,0.000016343172,0.0009999771,0.03969896,0.0003550967,0.0031081461,0.13306184,0.8211837,0.000037730133],"about_ca_topic_score_codex":0.002634762,"about_ca_topic_score_gemma":0.0038512656,"teacher_disagreement_score":0.02027871,"about_ca_system_score_codex":0.003619157,"about_ca_system_score_gemma":0.0030567963,"threshold_uncertainty_score":0.067839086},"labels":[],"label_agreement":null},{"id":"W4206514435","doi":"10.18778/1733-8077.4.1.01","title":"On the Pragmatics and Problematics of Defining Beauty and Character: The Greek Poet Lucian (120-200) Engages Exacting Portraitures and Difficult Subjects","year":2008,"lang":"en","type":"article","venue":"Qualitative Sociology Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Beauty; Admiration; Viewpoints; Character (mathematics); Aesthetics; Sociology; Epistemology; Philosophy; Representation (politics); Literature; Art; Politics; Law","score_opus":0.10440433298413462,"score_gpt":0.3407319907331646,"score_spread":0.23632765774903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206514435","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19249965,0.014212679,0.015162519,0.041715704,0.00072168856,0.000057961795,0.000073254574,0.00014359932,0.735413],"genre_scores_gemma":[0.96772456,0.0011809546,0.0016395664,0.0033756758,0.00025789844,0.00003396449,0.000015869815,0.00008131511,0.025690109],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99745303,0.0018418983,0.000040350194,0.0001900533,0.00030022732,0.00017445478],"domain_scores_gemma":[0.99872285,0.00087466295,0.00014378055,0.00009182168,0.00009648413,0.000070422815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022162294,0.000605724,0.0003321543,0.0011003368,0.0056399717,0.0061068544,0.00058184593,0.0022783992,0.0017545461],"category_scores_gemma":[0.0039806305,0.00026593497,0.00025191158,0.0008054141,0.04823691,0.006846763,0.0035827751,0.0036623962,0.00048088148],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023507151,0.0000084021085,0.00028293813,0.000048145765,0.0000031354436,0.00023993946,0.15074207,0.00010705366,0.00033500564,0.83853686,0.004837469,0.0048354813],"study_design_scores_gemma":[0.000040665862,0.00009867899,0.0027476358,0.000452988,0.000015177546,0.0012975489,0.10729884,0.0007834383,0.001277996,0.3380596,0.54785717,0.00007021849],"about_ca_topic_score_codex":0.0044401893,"about_ca_topic_score_gemma":0.0058682505,"teacher_disagreement_score":0.0061068544,"about_ca_system_score_codex":0.0036436422,"about_ca_system_score_gemma":0.00117001,"threshold_uncertainty_score":0.026436627},"labels":[],"label_agreement":null},{"id":"W4207081040","doi":"10.5206/aqnb6869","title":"Symphony of Lights: An Exploration of the Stained Glass Windows in St. John the Evangelist Anglican Church, London, Ontario. February 9-18, 2021. Artlab Gallery","year":2021,"lang":"en","type":"book","venue":"Department of Visual Arts, Western University eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Symphony; Stained glass; Art; Art history; Visual arts; Art gallery; Performance art; Computer science; World Wide Web; Window (computing)","score_opus":0.04286685648771502,"score_gpt":0.2473246424767665,"score_spread":0.20445778598905148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4207081040","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0099995425,0.028207555,0.00044499937,0.0029844493,0.0010665334,0.000060377835,0.0009046835,0.00010364702,0.95622826],"genre_scores_gemma":[0.02291491,0.0082809655,0.0003630453,0.00036277896,0.00011294949,0.000028103637,0.00028004125,0.0001740581,0.96748316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998492,0.000022797707,0.0000038130631,0.000015258625,0.000073976094,0.00003486993],"domain_scores_gemma":[0.9999249,0.000021035532,0.0000042852266,0.0000064707397,0.000019549692,0.000023716977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016562134,0.00045170746,0.00017510077,0.00088120264,0.003857296,0.0024873968,0.00038266802,0.0005511469,0.05704392],"category_scores_gemma":[0.0002036317,0.00035858477,0.00020037041,0.0013795071,0.0015417213,0.0010503923,0.0015086253,0.0009921107,0.008977496],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005582973,0.000015329459,0.00046665728,0.0004638869,0.000004975166,0.00048094508,0.030002223,0.00006885378,0.0015984598,0.017714314,0.8849134,0.064215206],"study_design_scores_gemma":[0.0000015993476,0.0000035185665,0.0017411235,0.00012650796,0.0000010370426,0.0001203437,0.0046775755,0.0000061618284,0.00009854179,0.00022037893,0.99300003,0.0000031316395],"about_ca_topic_score_codex":0.18515351,"about_ca_topic_score_gemma":0.7021287,"teacher_disagreement_score":0.8148465,"about_ca_system_score_codex":0.0039140764,"about_ca_system_score_gemma":0.0021683667,"threshold_uncertainty_score":0.3681516},"labels":[],"label_agreement":null},{"id":"W4210437482","doi":"10.7202/1085439ar","title":"Charlotte Guichard, La griffe du peintre. La valeur de l’art (1730-1820), Paris, Seuil, Coll. « L’Univers Historique », 2018, 368 pp. 98 illus. n&amp;b et couleur, € 31 (relié) ISBN 9782021402315","year":2021,"lang":"fr","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Universities Art Association of Canada","funders":"","keywords":"Art; Humanities","score_opus":0.0163600396822523,"score_gpt":0.21923228957047355,"score_spread":0.20287224988822125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210437482","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042836796,0.8515104,0.00062282704,0.034861553,0.0078176875,0.000022662018,0.00046643338,0.00011320487,0.10415689],"genre_scores_gemma":[0.019016342,0.48171505,0.0013173331,0.0068172542,0.0035360835,0.000058263697,0.00044458293,0.0003025506,0.4867925],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998796,0.00026292715,0.00004834128,0.00022192604,0.000541462,0.00012928066],"domain_scores_gemma":[0.99902725,0.00035397056,0.00007592054,0.00004532273,0.0003740024,0.0001236115],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011891333,0.0013970302,0.0006062958,0.0033910177,0.0036461896,0.0052893884,0.0010051065,0.0027403752,0.08960852],"category_scores_gemma":[0.0024006767,0.0006998429,0.00041409893,0.0048233657,0.0028494883,0.0057262136,0.00205125,0.0040688836,0.02910726],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000256277,0.000005875329,0.00012024062,0.00047716295,0.000004972949,0.00007298815,0.0014587882,0.00004158878,0.000065976914,0.015012253,0.92078626,0.061928213],"study_design_scores_gemma":[0.00000211432,0.000002007545,0.00041714494,0.0003738917,0.0000017411339,0.0000753353,0.00048007112,0.00000830042,0.00003452873,0.00096481014,0.9976349,0.000005066919],"about_ca_topic_score_codex":0.2398453,"about_ca_topic_score_gemma":0.3853744,"teacher_disagreement_score":0.2398453,"about_ca_system_score_codex":0.011168701,"about_ca_system_score_gemma":0.007362086,"threshold_uncertainty_score":0.4768985},"labels":[],"label_agreement":null},{"id":"W4211263103","doi":"10.32920/ryerson.14655945.v1","title":"Ornamenting a Narrative: an Embroidered Portrait","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Portrait; Subjectification; Depiction; Shot (pellet); Narrative; Subject (documents); Representation (politics); Aesthetics; Agency (philosophy); Face (sociological concept); Visual arts; Painting; Subject matter; Photography; Psychology; Art; Epistemology; Sociology; Computer science; Literature; Philosophy; Linguistics; Politics","score_opus":0.05950554129143091,"score_gpt":0.29604933122386673,"score_spread":0.23654378993243583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4211263103","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4342998,0.004136251,0.048766404,0.018067677,0.0013527336,0.00024825387,0.00026129422,0.00030627236,0.4925613],"genre_scores_gemma":[0.92443347,0.0008394315,0.011911025,0.00070273306,0.00010696179,0.000043219934,0.00006390051,0.00010659621,0.061792646],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991393,0.0005528049,0.000013914727,0.00009003274,0.00015461972,0.000049255643],"domain_scores_gemma":[0.9996038,0.00017469095,0.000033866872,0.000045604247,0.0000380778,0.000103910024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079502433,0.00049895566,0.00019461653,0.0005179807,0.0026876465,0.003606196,0.000577644,0.0013031171,0.003962733],"category_scores_gemma":[0.0019793296,0.00021561819,0.00034085737,0.00033608064,0.0043897056,0.002631405,0.0025688966,0.0024648062,0.00070806226],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013897421,0.000072489645,0.0013115787,0.00015923142,0.000022119315,0.0053399284,0.8027104,0.0007871702,0.018551078,0.12717317,0.016540963,0.027192928],"study_design_scores_gemma":[0.000023146602,0.0002682758,0.0032309345,0.00031970057,0.000026282141,0.011094714,0.30014345,0.0022273343,0.006940809,0.017651157,0.6580097,0.00006445291],"about_ca_topic_score_codex":0.0009960942,"about_ca_topic_score_gemma":0.0020045168,"teacher_disagreement_score":0.003962733,"about_ca_system_score_codex":0.0009235866,"about_ca_system_score_gemma":0.00037271515,"threshold_uncertainty_score":0.013256609},"labels":[],"label_agreement":null},{"id":"W4212983463","doi":"10.26686/wgtn.14573124","title":"Life in Movement: A French Impressionist Critical Approach to Terrence Malick's Films","year":2021,"lang":"en","type":"dissertation","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; Northwestern University; Princeton University","keywords":"Trilogy; Art; Filmmaking; Movie theater; Praise; Criticism; Art history; Performance art; Poetry; Literature; Film director; Wonder; Hollywood; Aesthetics; Philosophy; Epistemology","score_opus":0.03324729713361395,"score_gpt":0.29391412659055444,"score_spread":0.2606668294569405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4212983463","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13161476,0.1145569,0.012824446,0.13424392,0.0053112777,0.00023648342,0.00020502505,0.00015607839,0.6008511],"genre_scores_gemma":[0.9573616,0.010465719,0.0016024899,0.005043389,0.0012341188,0.000085612795,0.000033287983,0.00008790337,0.024085859],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99394387,0.00482172,0.00005812675,0.00027461574,0.00038370755,0.0005178993],"domain_scores_gemma":[0.99655896,0.0024859167,0.00026026618,0.00009108902,0.00037711646,0.0002266796],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0045306594,0.0012207725,0.0004665411,0.003680327,0.015826931,0.018648107,0.00152756,0.0035005764,0.003974623],"category_scores_gemma":[0.0058158888,0.0003073077,0.00046203355,0.0021268537,0.029920796,0.006188821,0.0027559693,0.004845858,0.0003217508],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037818012,0.000038388578,0.0003558911,0.00019009136,0.000013707831,0.0011350977,0.39443883,0.00021284117,0.000314219,0.57521796,0.018460631,0.009584473],"study_design_scores_gemma":[0.0000144524165,0.000052235995,0.0022966245,0.0009173261,0.00002015537,0.0006731313,0.39410537,0.0004895897,0.00045484223,0.04651727,0.55441004,0.000048843147],"about_ca_topic_score_codex":0.100855865,"about_ca_topic_score_gemma":0.08181651,"teacher_disagreement_score":0.100855865,"about_ca_system_score_codex":0.029410992,"about_ca_system_score_gemma":0.0043081273,"threshold_uncertainty_score":0.21339267},"labels":[],"label_agreement":null},{"id":"W4220828714","doi":"10.30687/el/2420-823x/2021/08/004","title":"Memories of the Limbaugh Administration 1990s Politics, Conservative Media, and <i>Infinite Jest </i>as a Novel of Radio","year":2022,"lang":"en","type":"article","venue":"English Literature","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Politics; Narrative; Presidency; Entertainment; Sociology; Media studies; Literature; Law; Art; Political science","score_opus":0.014360063081460846,"score_gpt":0.21710417557340494,"score_spread":0.2027441124919441,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4220828714","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5300204,0.011484635,0.0013600057,0.056637615,0.0021839603,0.000018075698,0.00008719462,0.000114507864,0.39809355],"genre_scores_gemma":[0.94986594,0.0016158955,0.00010218034,0.0039306576,0.0006411609,0.000011566261,0.000021858268,0.00006313395,0.043747697],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991372,0.0004914347,0.000010885418,0.00008074908,0.00012533361,0.00015454038],"domain_scores_gemma":[0.9990182,0.0005893245,0.0001280143,0.000049623544,0.00005419428,0.0001605898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097431295,0.00036580945,0.00017236007,0.0008615244,0.010039834,0.0067136693,0.00057744276,0.001547145,0.0034545723],"category_scores_gemma":[0.0023284226,0.00021936632,0.00011008737,0.0008363425,0.01100406,0.0033239536,0.002379939,0.0038882517,0.00059090497],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010059113,0.000037630194,0.0013325283,0.00007483102,0.000008026408,0.0013630509,0.69120455,0.00008682081,0.0012727856,0.23616974,0.055734303,0.0126150735],"study_design_scores_gemma":[0.000011103035,0.000047727448,0.0030570077,0.00022406482,0.00000870894,0.0007404446,0.23192666,0.000092015136,0.0008303082,0.01077434,0.7522631,0.000024439643],"about_ca_topic_score_codex":0.007981211,"about_ca_topic_score_gemma":0.01832784,"teacher_disagreement_score":0.010039834,"about_ca_system_score_codex":0.0037005558,"about_ca_system_score_gemma":0.000922606,"threshold_uncertainty_score":0.026849508},"labels":[],"label_agreement":null},{"id":"W4220890914","doi":"10.15829/2686-973x-2022-87","title":"Old Believers’ icons “Image of the Catholic and Apostolic Church”","year":2022,"lang":"en","type":"article","venue":"Russian Journal of Church History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Passion; Quarter (Canadian coin); Art; Ancient history; History; Archaeology; Psychology; Computer science","score_opus":0.0225865026962351,"score_gpt":0.2168911447919401,"score_spread":0.194304642095705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4220890914","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19882663,0.0021108626,0.0026412294,0.003715779,0.0011590882,0.000038345384,0.00034329158,0.00011597715,0.79104877],"genre_scores_gemma":[0.9355244,0.00062500435,0.00051648985,0.00035156493,0.00018377583,0.000013035914,0.0001313914,0.00009954482,0.06255479],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976176,0.00011926968,0.0000061106184,0.000027354801,0.000047695616,0.000037867718],"domain_scores_gemma":[0.999835,0.00007424142,0.000018785802,0.000018269327,0.000028760494,0.0000249431],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002853242,0.0002912706,0.00010664303,0.0008542853,0.0018201069,0.0022161598,0.00018999857,0.00050863845,0.011138802],"category_scores_gemma":[0.0008314327,0.00008208667,0.000089278656,0.000477182,0.0029876144,0.0009932171,0.00085294206,0.0011731588,0.00094857207],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016396795,0.000031551426,0.0034684336,0.00026845429,0.000012662073,0.00094478426,0.3299051,0.00022107648,0.0038448563,0.56253165,0.056920312,0.04168714],"study_design_scores_gemma":[0.000010059933,0.000054133918,0.013122336,0.00033260038,0.000016861106,0.0010346657,0.099350035,0.00043845447,0.0019230003,0.008584853,0.8751054,0.000027608088],"about_ca_topic_score_codex":0.0063338564,"about_ca_topic_score_gemma":0.012406012,"teacher_disagreement_score":0.011138802,"about_ca_system_score_codex":0.0013144747,"about_ca_system_score_gemma":0.0003791944,"threshold_uncertainty_score":0.037262976},"labels":[],"label_agreement":null},{"id":"W4220926605","doi":"10.1093/ct/qtac007","title":"The Many-Sided Franklin Ford and the History of a Post-Discipline","year":2022,"lang":"en","type":"article","venue":"Communication Theory","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"HEC Montréal","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Discipline; Institutionalisation; Historiography; Sociology; Order (exchange); Intellectual history; Social science; Epistemology; Engineering ethics; Law; Political science; Engineering","score_opus":0.027290768101521756,"score_gpt":0.2441453720223518,"score_spread":0.21685460392083003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4220926605","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09277188,0.061499402,0.009408419,0.4288607,0.005803317,0.0000409126,0.00013805016,0.000094003415,0.40138322],"genre_scores_gemma":[0.9461491,0.008762531,0.0011544798,0.008113059,0.0016750782,0.000037281618,0.000014981018,0.0000587512,0.03403477],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99621177,0.0023811243,0.000078257246,0.00048876565,0.0005445091,0.00029557137],"domain_scores_gemma":[0.98858005,0.008500387,0.00055215176,0.00065176556,0.0009673556,0.00074825546],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0054222224,0.00026439133,0.0003354387,0.001954757,0.0097608,0.007540808,0.0007023842,0.0037351043,0.0045890776],"category_scores_gemma":[0.00945455,0.0002613951,0.00013158635,0.0014268503,0.04955094,0.0074782693,0.0029460157,0.0055246516,0.00050949125],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018939685,0.000010536316,0.0002675223,0.00003803098,0.0000014508181,0.00009479917,0.019843265,0.00006376119,0.00004404138,0.95516753,0.015941476,0.008508532],"study_design_scores_gemma":[0.000010477924,0.00002609285,0.0006066072,0.00037967713,0.0000027342214,0.00028049512,0.015616507,0.00020533678,0.00032708404,0.19725811,0.7852609,0.000026070038],"about_ca_topic_score_codex":0.01216021,"about_ca_topic_score_gemma":0.011039712,"teacher_disagreement_score":0.9902392,"about_ca_system_score_codex":0.0109712435,"about_ca_system_score_gemma":0.0060342024,"threshold_uncertainty_score":0.07960236},"labels":[],"label_agreement":null},{"id":"W4224123076","doi":"10.36253/dramma-13549","title":"Un teatro ‘a bassa definizione’. Ernesto Brod fotoreporter sul ‘journal’ «Comœdia»","year":2022,"lang":"en","type":"article","venue":"Drammaturgia","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Newspaper; Photography; Visual arts; Context (archaeology); Art; Phenomenon; The arts; Quarter (Canadian coin); Novelty; Space (punctuation); Period (music); History; Sociology; Media studies; Aesthetics; Psychology; Archaeology; Computer science","score_opus":0.01791519818980706,"score_gpt":0.214726542669742,"score_spread":0.19681134447993495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224123076","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012305349,0.09349686,0.0022148401,0.033121668,0.014681093,0.0000307705,0.00021414763,0.00022372816,0.84371156],"genre_scores_gemma":[0.39724997,0.04199831,0.003199227,0.00727268,0.017260248,0.00011940731,0.00033508686,0.000567561,0.5319975],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920124,0.00032808282,0.00002023984,0.00015563416,0.0001873293,0.00010741373],"domain_scores_gemma":[0.99946004,0.00022049696,0.00007592186,0.00006231347,0.00010670022,0.00007456154],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085845427,0.0006684414,0.00024617158,0.0017465908,0.0027146782,0.007313072,0.0004500937,0.001092047,0.014063707],"category_scores_gemma":[0.0017850065,0.00022613232,0.00021678762,0.0010261793,0.00457236,0.0023894315,0.002286031,0.0022404757,0.003568057],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012109907,0.000041838106,0.0013039283,0.00034918913,0.000010827721,0.00038988536,0.016042188,0.00009736319,0.0010692092,0.50866675,0.35643843,0.11546927],"study_design_scores_gemma":[0.0000027425203,0.000008629776,0.000988494,0.000121302204,0.0000018396946,0.00014700725,0.0010407444,0.00002868199,0.00011991689,0.0024360714,0.99510044,0.0000041305866],"about_ca_topic_score_codex":0.0053346567,"about_ca_topic_score_gemma":0.0077541578,"teacher_disagreement_score":0.014063707,"about_ca_system_score_codex":0.0027881677,"about_ca_system_score_gemma":0.0008485868,"threshold_uncertainty_score":0.047047794},"labels":[],"label_agreement":null},{"id":"W4225774081","doi":"10.5206/tba.v3i1.13934","title":"A Knot, A Network, A Thing, A World: Composition as Generative Meaning-making in Still Life Photography","year":2021,"lang":"en","type":"article","venue":"tba Journal of Art Media and Visual Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Photography; Generative grammar; Meaning (existential); Coherence (philosophical gambling strategy); Representation (politics); Composition (language); Knot (papermaking); Art; Aesthetics; Visual arts; Epistemology; Literature; Linguistics; Philosophy; Mathematics","score_opus":0.02459959286772362,"score_gpt":0.2881003429993012,"score_spread":0.2635007501315776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4225774081","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14035483,0.0050475374,0.082227655,0.01724711,0.0006830646,0.00014162365,0.00005941522,0.0002303919,0.7540085],"genre_scores_gemma":[0.95463884,0.0015468806,0.013883389,0.00047535732,0.00012814815,0.00008400155,0.000031096377,0.00017746839,0.02903491],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997133,0.001972282,0.00006433836,0.00024220267,0.0003925403,0.00019565465],"domain_scores_gemma":[0.9976399,0.0013003413,0.0002126756,0.0004061341,0.0001957108,0.00024525382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037761235,0.00043330115,0.0002587368,0.0017777635,0.006982736,0.010716599,0.0008642248,0.0013924862,0.00533475],"category_scores_gemma":[0.0060590347,0.00038010385,0.0003533941,0.0013661713,0.04230867,0.017003154,0.0070179836,0.0023204144,0.00057501934],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017824912,0.000010479155,0.0005392159,0.000054261523,0.0000039344977,0.00015599941,0.13232015,0.00017890027,0.00033471792,0.85255945,0.0014090396,0.012415986],"study_design_scores_gemma":[0.000022942486,0.000046220182,0.0018973021,0.00039434206,0.000022646671,0.00044459375,0.12246008,0.00095272285,0.0009933371,0.6717178,0.20101106,0.00003699043],"about_ca_topic_score_codex":0.0059468676,"about_ca_topic_score_gemma":0.0079425275,"teacher_disagreement_score":0.010716599,"about_ca_system_score_codex":0.0036696084,"about_ca_system_score_gemma":0.0025245585,"threshold_uncertainty_score":0.026624978},"labels":[],"label_agreement":null},{"id":"W4226083174","doi":"10.1353/book.94978","title":"The Academic Sabbatical","year":2022,"lang":"en","type":"book-chapter","venue":"University of Ottawa Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Ontario Arts Council; Government of Canada; Canada Council for the Arts; Federation for the Humanities and Social Sciences; University of Ottawa","keywords":"Mathematics education; Psychology","score_opus":0.0468266147784072,"score_gpt":0.2226310905591945,"score_spread":0.17580447578078728,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226083174","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012609316,0.01170521,0.00027943938,0.0548735,0.02828058,0.000060435425,0.0011906095,0.00033316223,0.90201616],"genre_scores_gemma":[0.0019356399,0.0006352501,0.00004744308,0.0009931825,0.00024950982,0.000006853269,0.00008812382,0.00005036654,0.9959936],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978459,0.00020004675,0.000059623762,0.00032786693,0.00090787973,0.0006587936],"domain_scores_gemma":[0.99643373,0.00017746618,0.00008185393,0.0003460393,0.0013188251,0.0016420729],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014871244,0.0011925009,0.0008788434,0.0019716395,0.011459367,0.012904482,0.001835286,0.0041594505,0.4709302],"category_scores_gemma":[0.0044551254,0.00072025333,0.00069420587,0.0022698995,0.0033940664,0.003176606,0.0058849533,0.0050498904,0.26344973],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023831783,0.000009978643,0.000095166084,0.000034744622,0.0000020162884,0.000031595446,0.00014972185,0.00002196756,0.00006539733,0.01190568,0.9747532,0.012906768],"study_design_scores_gemma":[0.0000019591266,0.000002655204,0.00019392034,0.000024930288,9.656202e-7,0.000011165423,0.00025549319,0.000008816721,0.000028468676,0.0004833847,0.9989851,0.0000031801035],"about_ca_topic_score_codex":0.22184166,"about_ca_topic_score_gemma":0.47577074,"teacher_disagreement_score":0.4709302,"about_ca_system_score_codex":0.017942358,"about_ca_system_score_gemma":0.021731494,"threshold_uncertainty_score":0.7546539},"labels":[],"label_agreement":null},{"id":"W4230094777","doi":"10.4000/revss.2247","title":"La narration visuelle, une pensée en présence","year":2015,"lang":"fr","type":"article","venue":"Revue des sciences sociales","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.28864509207499034,"score_gpt":0.3719315715630662,"score_spread":0.08328647948807588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230094777","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.097910084,0.011240671,0.23673233,0.04950446,0.0050333785,0.00035149837,0.0007982137,0.0007817547,0.5976476],"genre_scores_gemma":[0.8087086,0.0053671347,0.03831439,0.003902734,0.0012478777,0.00042519145,0.00035769725,0.0007593198,0.14091705],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9885826,0.008431435,0.00024196086,0.0011584267,0.0012563623,0.0003291374],"domain_scores_gemma":[0.991437,0.0052262517,0.00052113755,0.0014330469,0.000981815,0.00040080195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066189817,0.0010187727,0.00065068225,0.0012970164,0.0061431555,0.012121579,0.0016620393,0.0025859491,0.01659597],"category_scores_gemma":[0.016619217,0.00042441871,0.0006800561,0.0014179831,0.023518136,0.01583789,0.008554973,0.0045505418,0.003949751],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095087635,0.00003031735,0.0008068302,0.00052365026,0.000024835343,0.00046047088,0.3702126,0.00028180642,0.0037183163,0.57660323,0.012723237,0.034519628],"study_design_scores_gemma":[0.000014783692,0.0000960504,0.0008157034,0.0006997548,0.000028246845,0.00082852715,0.114458114,0.00053506077,0.0029309506,0.090819634,0.7887198,0.00005345398],"about_ca_topic_score_codex":0.002447791,"about_ca_topic_score_gemma":0.002492135,"teacher_disagreement_score":0.01659597,"about_ca_system_score_codex":0.0026971856,"about_ca_system_score_gemma":0.002747681,"threshold_uncertainty_score":0.055519044},"labels":[],"label_agreement":null},{"id":"W4230363226","doi":"10.32920/ryerson.14665308.v1","title":"Aphantasia : silence in the mind","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Vlaamse regering","keywords":"Silence; Aesthetics; Psychology; Sociology; Art","score_opus":0.06079084438169324,"score_gpt":0.28097860347307196,"score_spread":0.22018775909137872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230363226","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95672166,0.0011936071,0.002048745,0.0024829681,0.00019702238,0.000055287634,0.0001913931,0.00007113963,0.037038166],"genre_scores_gemma":[0.9908359,0.0004328878,0.00065494643,0.00036048054,0.000034674067,0.000027474971,0.00006162209,0.000035621437,0.007556296],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993124,0.00026247342,0.000031352705,0.000089214154,0.0002074149,0.000097154916],"domain_scores_gemma":[0.9988764,0.0005857668,0.00013316947,0.00014548929,0.00011649225,0.00014273649],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006414201,0.00022592176,0.0002320096,0.00044130822,0.00248874,0.002515101,0.00031369508,0.000818729,0.004291703],"category_scores_gemma":[0.004134569,0.00013223829,0.0002041786,0.00045213482,0.0050356286,0.0010985635,0.0031545009,0.0013661797,0.00042905202],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033876568,0.000067325906,0.010834637,0.00031130647,0.00003385924,0.007904599,0.8879854,0.00009216228,0.032123245,0.010073007,0.0075552673,0.042680472],"study_design_scores_gemma":[0.00004368557,0.0003339351,0.06307321,0.0005417625,0.000055810946,0.023378301,0.75211805,0.0002213399,0.009693477,0.009642919,0.14078109,0.00011643011],"about_ca_topic_score_codex":0.011749936,"about_ca_topic_score_gemma":0.015199494,"teacher_disagreement_score":0.011749936,"about_ca_system_score_codex":0.0010427366,"about_ca_system_score_gemma":0.00085396715,"threshold_uncertainty_score":0.023363054},"labels":[],"label_agreement":null},{"id":"W4230417186","doi":"10.3138/ecf.31.1.1","title":"Material Fictions: A Dialogue as Introduction","year":2018,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Materiality (auditing); Conversation; Embodied cognition; Interpretation (philosophy); Epistemology; Pleasure; Kinship; Aesthetics; Context (archaeology); Sociology; Reading (process); Hermeneutics; Discipline; Philosophy; Linguistics; Anthropology; History; Social science; Psychology","score_opus":0.016279237871450705,"score_gpt":0.23554867604326657,"score_spread":0.21926943817181588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230417186","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0101859635,0.043695822,0.012347017,0.36840564,0.33136645,0.00016543086,0.00047323183,0.00053231197,0.23282814],"genre_scores_gemma":[0.32361192,0.019675497,0.011487944,0.081634216,0.3207489,0.00047239766,0.0008237057,0.0017957625,0.23974973],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9887617,0.006907116,0.0005140683,0.00089119794,0.0022114853,0.0007144248],"domain_scores_gemma":[0.9686951,0.023945592,0.00084655086,0.0015740896,0.0033392846,0.0015994353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009215141,0.0011025371,0.0010158883,0.005522405,0.00935012,0.016177056,0.0019247037,0.007887726,0.019846175],"category_scores_gemma":[0.04116612,0.00041426357,0.000761332,0.0028467025,0.013665992,0.009567556,0.0066388138,0.009620058,0.003389637],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005793799,0.00005083943,0.00025005962,0.0004074171,0.000013965705,0.00072626973,0.0314504,0.00018570272,0.00047304956,0.22600067,0.69531834,0.04506528],"study_design_scores_gemma":[0.0000020882653,0.000008750001,0.00010805393,0.00017272832,0.0000021687433,0.00015849338,0.0019411639,0.000060346174,0.00012541794,0.0047317976,0.99268097,0.000007935476],"about_ca_topic_score_codex":0.001169023,"about_ca_topic_score_gemma":0.0016703146,"teacher_disagreement_score":0.019846175,"about_ca_system_score_codex":0.0052193087,"about_ca_system_score_gemma":0.0024670654,"threshold_uncertainty_score":0.066392064},"labels":[],"label_agreement":null},{"id":"W4230661724","doi":"10.3138/tjt.28.1.105","title":"Emanuel Swedenborg's Aesthetic Philosophy and Its Impact on Nineteenth-Century American Art","year":2012,"lang":"en","type":"article","venue":"Toronto Journal of Theology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Philosophy; Clothing; Art history; George (robot); Rendering (computer graphics); Aesthetics; History","score_opus":0.021810499781226293,"score_gpt":0.28821900433806685,"score_spread":0.26640850455684056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230661724","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0979188,0.009589786,0.0025184036,0.020967586,0.0008248503,0.000012406393,0.000010311848,0.000031982945,0.86812586],"genre_scores_gemma":[0.9433146,0.0031702977,0.0008827521,0.0015996357,0.00014751313,0.000016672988,0.0000044905564,0.000034462762,0.05082958],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986241,0.00082172727,0.00003114486,0.000086838016,0.00024942454,0.00018675157],"domain_scores_gemma":[0.9992066,0.000430244,0.0000494279,0.00006554743,0.0001489225,0.0000993636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026505261,0.0003990495,0.00020763943,0.0016636463,0.011469105,0.0069583897,0.00053611974,0.0018166458,0.0031146426],"category_scores_gemma":[0.001692185,0.00020233616,0.00022085659,0.0009969054,0.031967323,0.002346433,0.0048140865,0.0042405943,0.00040614235],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014290515,0.000023352008,0.00029406036,0.00002639513,0.0000028016998,0.00016403363,0.04681305,0.0000895946,0.000081038605,0.93911195,0.0063085915,0.007070808],"study_design_scores_gemma":[0.00001827533,0.00003161331,0.0015209037,0.0005032599,0.000016970287,0.000577047,0.059064455,0.00051617203,0.000644873,0.23094691,0.7061352,0.000024276218],"about_ca_topic_score_codex":0.013952633,"about_ca_topic_score_gemma":0.030425644,"teacher_disagreement_score":0.013952633,"about_ca_system_score_codex":0.009730111,"about_ca_system_score_gemma":0.0035573656,"threshold_uncertainty_score":0.07059723},"labels":[],"label_agreement":null},{"id":"W4230725700","doi":"10.7228/manchester/9781526101198.003.0001","title":"Introduction","year":2018,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Argument (complex analysis); Power (physics); Context (archaeology); Relation (database); Narrative; Sociology; Incarnation; Aesthetics; History; Art; Literature; Philosophy; Archaeology","score_opus":0.03854350278459225,"score_gpt":0.19392368796128892,"score_spread":0.15538018517669666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230725700","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005386602,0.0060455664,0.0018193503,0.004300322,0.0051761833,0.000065539556,0.0007099541,0.00025781736,0.98108655],"genre_scores_gemma":[0.0033041749,0.0038300431,0.0009061316,0.0015459307,0.0011133191,0.00004644192,0.00066143833,0.00015774155,0.9884348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993212,0.0000774778,0.00002946742,0.00017956192,0.00032012264,0.000072259005],"domain_scores_gemma":[0.9993893,0.00011863501,0.000029356805,0.000080005055,0.0002617287,0.00012103708],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004520124,0.0006667592,0.0004566538,0.0013292795,0.00210801,0.0053061442,0.0011779357,0.0020803506,0.32456142],"category_scores_gemma":[0.0016810667,0.0002692696,0.00036932444,0.0013836082,0.0012332839,0.0033469272,0.0023728758,0.002384658,0.17414263],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018957431,0.00003451649,0.00016841298,0.00025180963,0.0000021651686,0.00011110376,0.0010853228,0.00010219411,0.0003431525,0.113256834,0.75981325,0.124812335],"study_design_scores_gemma":[6.1394417e-7,0.0000030577473,0.000060027323,0.000068555055,3.504232e-7,0.00004752122,0.00008699119,0.000008106339,0.000025224854,0.002186098,0.9975122,0.0000012127343],"about_ca_topic_score_codex":0.0037229308,"about_ca_topic_score_gemma":0.0061276173,"teacher_disagreement_score":0.6754386,"about_ca_system_score_codex":0.0020163984,"about_ca_system_score_gemma":0.0019356663,"threshold_uncertainty_score":0.9634312},"labels":[],"label_agreement":null},{"id":"W4231099845","doi":"10.1162/leon_a_01088","title":"The Dual Skins of a Media Façade: Explicit and Implicit Interactions","year":2015,"lang":"en","type":"article","venue":"Leonardo","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Performative utterance; Downtown; Visual arts; Dual (grammatical number); Mode (computer interface); Block (permutation group theory); Dual mode; Art; Computer science; History; Aesthetics; Archaeology; Engineering; Human–computer interaction; Literature","score_opus":0.05863608911066377,"score_gpt":0.279625863775021,"score_spread":0.22098977466435726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231099845","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6748623,0.0011451674,0.025745254,0.0030274673,0.00015172009,0.000044492826,0.000042515392,0.00012423415,0.2948568],"genre_scores_gemma":[0.99026555,0.00013477461,0.0021606036,0.00012936919,0.000012042588,0.000010848625,0.000011197396,0.00003933789,0.0072362977],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998444,0.0010004193,0.000024816472,0.00015984695,0.00021811803,0.00015271812],"domain_scores_gemma":[0.9989254,0.00066016865,0.000081471604,0.00015661228,0.00007951293,0.00009682248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013103473,0.00044025588,0.00018947282,0.0006742243,0.0038351023,0.0050208233,0.0006050809,0.00087960163,0.0045927274],"category_scores_gemma":[0.003769795,0.0003098235,0.00018097235,0.00035357778,0.012058215,0.0040426753,0.005816812,0.0017005507,0.0003570191],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012884097,0.000034752826,0.0036997292,0.0001489135,0.000019212146,0.00057816267,0.7775647,0.00032053454,0.011782956,0.15054807,0.0016861411,0.053488117],"study_design_scores_gemma":[0.000034340428,0.00017200502,0.017057102,0.00052273716,0.000065704604,0.001279359,0.6710399,0.0026675833,0.0060038343,0.036151066,0.26491734,0.00008904358],"about_ca_topic_score_codex":0.0063574286,"about_ca_topic_score_gemma":0.01460947,"teacher_disagreement_score":0.0063574286,"about_ca_system_score_codex":0.0013383025,"about_ca_system_score_gemma":0.0005834767,"threshold_uncertainty_score":0.01536417},"labels":[],"label_agreement":null},{"id":"W4231926578","doi":"10.1108/s1529-2096201819","title":"Visual Ethics","year":2018,"lang":"en","type":"book","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Brock University; York University; University of St. Thomas; University of Northern British Columbia; Queensland University of Technology; Georgetown University; Loyola University Chicago; University of Notre Dame; DePaul University; Yeshiva University; Harvard Business School; University of Minnesota; George Washington University; University of Tasmania; University of Northern Iowa; Harvard University; Bowling Green State University","keywords":"Psychology; Philosophy; Sociology","score_opus":0.08444737774865772,"score_gpt":0.31629503063282055,"score_spread":0.2318476528841628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231926578","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069594063,0.008553729,0.0019451436,0.006252705,0.0017294675,0.000025604591,0.00006572214,0.000108129556,0.98062354],"genre_scores_gemma":[0.022387462,0.006373891,0.0011060614,0.0020609235,0.00095673447,0.000041120093,0.00008424432,0.00013752028,0.9668521],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994037,0.00016238946,0.000018118955,0.00005811717,0.00029981378,0.0000577643],"domain_scores_gemma":[0.9994301,0.0002438884,0.000033413555,0.000065979955,0.00015782235,0.0000687507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045454787,0.00046052292,0.00021674338,0.0009819878,0.0025729095,0.0051350296,0.0004216123,0.0011930872,0.048121106],"category_scores_gemma":[0.0019543718,0.00017585454,0.00026612522,0.0006714803,0.003214079,0.0030486118,0.0017358672,0.0020535619,0.011806087],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000082619745,0.0000101990645,0.00008065543,0.00006896286,0.0000014688073,0.000044413297,0.0015458494,0.00009116172,0.00018107814,0.54819894,0.38766187,0.062107034],"study_design_scores_gemma":[7.894357e-7,0.0000025699092,0.000088587905,0.00009372028,4.5958757e-7,0.000079783844,0.0003044195,0.000034506746,0.00006357636,0.031516794,0.96781194,0.000002727599],"about_ca_topic_score_codex":0.0023669738,"about_ca_topic_score_gemma":0.0041207015,"teacher_disagreement_score":0.048121106,"about_ca_system_score_codex":0.002613125,"about_ca_system_score_gemma":0.0014895167,"threshold_uncertainty_score":0.16098112},"labels":[],"label_agreement":null},{"id":"W4233846373","doi":"10.16995/dm.54","title":"Stephen Murray and Andrew Tallon, 2012-. Mapping Gothic France. http://mappinggothic.org/","year":2015,"lang":"en","type":"article","venue":"Digital Medievalist","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Timeline; Architecture; Rendering (computer graphics); Art history; Space (punctuation); Narrative; Politics; Art; Visual arts; History; Computer science; Computer graphics (images); Archaeology; Law; Literature; Political science","score_opus":0.06139746282260985,"score_gpt":0.2546950925847416,"score_spread":0.19329762976213175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233846373","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013760302,0.13020368,0.0053919367,0.33314365,0.007977807,0.0001669644,0.003974741,0.0015569794,0.5038239],"genre_scores_gemma":[0.13570575,0.053312894,0.009672303,0.023430401,0.0021557314,0.00020097477,0.0027292236,0.0011174934,0.7716752],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995937,0.00010347544,0.0000125125725,0.00003711382,0.00020471205,0.000048523914],"domain_scores_gemma":[0.9993851,0.00015028765,0.000049702026,0.000035822934,0.00024168941,0.00013730461],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060855015,0.0005474928,0.0001903812,0.0015878598,0.0033866048,0.00528678,0.0006344117,0.0017129921,0.039205585],"category_scores_gemma":[0.0017558184,0.00032592952,0.00015779726,0.0020967876,0.001646973,0.004991218,0.0020123858,0.0020262105,0.012089332],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012787427,0.000010363438,0.0008206333,0.0000812918,0.0000023106718,0.000080142534,0.0036400056,0.000033740736,0.00011362766,0.014794366,0.90501994,0.07539092],"study_design_scores_gemma":[0.0000023050202,0.0000033995532,0.0014882118,0.000103483944,0.0000014519845,0.000095449046,0.00375506,0.00002347314,0.00011619965,0.0012116581,0.9931931,0.0000061373134],"about_ca_topic_score_codex":0.09581467,"about_ca_topic_score_gemma":0.2475058,"teacher_disagreement_score":0.09581467,"about_ca_system_score_codex":0.0019591863,"about_ca_system_score_gemma":0.0019161609,"threshold_uncertainty_score":0.19051397},"labels":[],"label_agreement":null},{"id":"W4234528128","doi":"10.4324/9781135000356-rem691-1","title":"Zolotoe runo [The Golden Fleece] (1906–1909)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Beauty; Art; Value (mathematics); Treasure; Art history; Literature; Philosophy; Aesthetics; Theology","score_opus":0.04986588078745664,"score_gpt":0.2445721990057258,"score_spread":0.19470631821826917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234528128","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01619717,0.15348248,0.0011014659,0.0038599644,0.00502752,0.000045372708,0.00029090198,0.00008573961,0.81990933],"genre_scores_gemma":[0.15104134,0.09458557,0.0012300399,0.0008902196,0.0019897898,0.000047968013,0.00030527962,0.0001898417,0.7497199],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99990237,0.000012006328,0.00000463968,0.000025584717,0.00003744123,0.000017918162],"domain_scores_gemma":[0.99994934,0.000014492113,0.000008787631,0.0000027834144,0.0000099198805,0.000014642595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016788759,0.0003860498,0.00025129746,0.0013173241,0.0015162989,0.0022074613,0.00022919924,0.00039464445,0.012073653],"category_scores_gemma":[0.0002954029,0.00015718695,0.00012623228,0.0007466574,0.0015433427,0.0013212948,0.0010184544,0.0008938573,0.003503625],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015067955,0.000049556147,0.0015369873,0.00097047107,0.000014395527,0.00063949253,0.013349371,0.0003737309,0.0031149827,0.5567245,0.20131327,0.22176252],"study_design_scores_gemma":[0.0000035535352,0.000013382258,0.0011937469,0.00015652138,0.0000025084853,0.00021820285,0.00035992864,0.00001507532,0.00022526702,0.0031317177,0.9946773,0.0000029063608],"about_ca_topic_score_codex":0.0030352324,"about_ca_topic_score_gemma":0.009517409,"teacher_disagreement_score":0.012073653,"about_ca_system_score_codex":0.0018087744,"about_ca_system_score_gemma":0.001567576,"threshold_uncertainty_score":0.040390432},"labels":[],"label_agreement":null},{"id":"W4234660287","doi":"10.1111/j.0141-6790.2004.02702005_2.x","title":"Impressions of difference: the painted canvases of Helen McNicoll","year":2004,"lang":"en","type":"article","venue":"Art History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Femininity; Painting; Nationality; Style (visual arts); Context (archaeology); Art; Ideology; Representation (politics); Relation (database); Visual arts; Ideal (ethics); Literature; Sociology; Gender studies; History; Philosophy; Politics","score_opus":0.03844687432081284,"score_gpt":0.22601737461950083,"score_spread":0.187570500298688,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234660287","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27039972,0.012307146,0.0027610755,0.020892698,0.0012927733,0.00005861153,0.000112612775,0.00011671791,0.6920586],"genre_scores_gemma":[0.9297099,0.0026181513,0.0010705288,0.0009903426,0.00012410624,0.00001587397,0.000023559978,0.00007230333,0.065375246],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881727,0.0003630611,0.000012065239,0.00008556797,0.00048085305,0.00024119529],"domain_scores_gemma":[0.9990206,0.00042936977,0.00006928742,0.00009501497,0.00020172993,0.00018400066],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011476617,0.0003904501,0.00018969372,0.0017964562,0.013161585,0.008651614,0.0007529061,0.0010387641,0.008212349],"category_scores_gemma":[0.003981073,0.0002102877,0.00017086383,0.0013340159,0.016902065,0.0031252897,0.0034548517,0.0020083885,0.00038879353],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060398408,0.00002381564,0.00085827487,0.00009773701,0.000010387132,0.0010176086,0.7652469,0.00014845296,0.0012464031,0.15935065,0.031701818,0.040237542],"study_design_scores_gemma":[0.000008003801,0.000028058403,0.0027908809,0.00020521048,0.000011375456,0.0006418007,0.33043265,0.00012411962,0.0009811351,0.007798284,0.6569414,0.000036969446],"about_ca_topic_score_codex":0.23798792,"about_ca_topic_score_gemma":0.4667533,"teacher_disagreement_score":0.23798792,"about_ca_system_score_codex":0.010848074,"about_ca_system_score_gemma":0.0038013074,"threshold_uncertainty_score":0.4732054},"labels":[],"label_agreement":null},{"id":"W4234885270","doi":"10.4000/communication.2533","title":"William BOURTON (2008), Le western, une histoire parallèle des États-Unis","year":2011,"lang":"fr","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.07006203664286491,"score_gpt":0.268168100857213,"score_spread":0.19810606421434807,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234885270","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04225573,0.1903041,0.029030915,0.25054333,0.02315184,0.00014453962,0.00073526445,0.00034944533,0.46348482],"genre_scores_gemma":[0.42535728,0.05273448,0.011633409,0.057828985,0.0030273204,0.00019157855,0.0002557624,0.00047260692,0.44849858],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856925,0.0007829435,0.000049586015,0.00023139924,0.00024479846,0.00012203448],"domain_scores_gemma":[0.99873024,0.00072978326,0.00011030449,0.000085274834,0.00027146845,0.00007295174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021790534,0.0008618815,0.0002698836,0.0013250728,0.0054780743,0.0072926907,0.00092689827,0.0027724418,0.0067325835],"category_scores_gemma":[0.0039198957,0.00030866923,0.00028894673,0.0014825417,0.008090041,0.0059410804,0.0020103813,0.005243697,0.0019516225],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000098912584,0.000028163991,0.0015633722,0.00034479066,0.000020638274,0.00028392993,0.058328357,0.0001563572,0.0007312781,0.7106025,0.18897188,0.038869776],"study_design_scores_gemma":[0.000010109205,0.000015057399,0.0011382045,0.0004917051,0.000012239022,0.00022189763,0.012542725,0.000155439,0.0010610219,0.07921795,0.90510595,0.000027710568],"about_ca_topic_score_codex":0.023485573,"about_ca_topic_score_gemma":0.046092663,"teacher_disagreement_score":0.023485573,"about_ca_system_score_codex":0.0050094333,"about_ca_system_score_gemma":0.003179195,"threshold_uncertainty_score":0.046697736},"labels":[],"label_agreement":null},{"id":"W4234961005","doi":"10.24124/2005/bpgub1293","title":"Language of art","year":2005,"lang":"en","type":"dissertation","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Northern British Columbia","funders":"","keywords":"Computer science; Linguistics; Philosophy","score_opus":0.01699172917744637,"score_gpt":0.27433090684810996,"score_spread":0.2573391776706636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234961005","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027731133,0.003019264,0.0036431362,0.0044404645,0.00040801696,0.000011286755,0.00010050454,0.000031774314,0.9855724],"genre_scores_gemma":[0.4871943,0.004059568,0.0031043715,0.001889065,0.0016354686,0.00010920663,0.0003597305,0.0002609134,0.50138736],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99861455,0.0007474046,0.000050717565,0.0002063669,0.0002511237,0.00012980094],"domain_scores_gemma":[0.99891746,0.00046245838,0.00007320107,0.00020495396,0.00024657437,0.00009524575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011365534,0.0005771888,0.00035735217,0.0018865068,0.003326024,0.011219597,0.0007960534,0.0013911844,0.033348437],"category_scores_gemma":[0.0028339282,0.00020881619,0.00026518252,0.0017760289,0.010751455,0.0063076005,0.0018734498,0.002659133,0.005212688],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000029318714,0.0000031190775,0.000029681958,0.000010230504,8.448002e-7,0.000007682972,0.001641688,0.000020039279,0.000033470078,0.9866202,0.007724427,0.0039057208],"study_design_scores_gemma":[0.0000067693613,0.00000848657,0.00037623046,0.0001058664,0.0000049022524,0.00010390205,0.0033558714,0.00016250543,0.00014164206,0.5161978,0.4795299,0.0000060998236],"about_ca_topic_score_codex":0.0049213665,"about_ca_topic_score_gemma":0.005461665,"teacher_disagreement_score":0.033348437,"about_ca_system_score_codex":0.0032309624,"about_ca_system_score_gemma":0.0021268618,"threshold_uncertainty_score":0.111561656},"labels":[],"label_agreement":null},{"id":"W4235849290","doi":"10.1353/mdr.0.0066","title":"Resonating Bodies and the Poetics of Aurality; Or, Gertrude Stein’s Theatre","year":2008,"lang":"en","type":"article","venue":"Modern Drama","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Portrait; Perception; Drama; Modernism (music); Poetics; Mode (computer interface); Aesthetics; Art; Gaze; Visual arts; Literature; Psychology; Computer science; Psychoanalysis; Philosophy; Epistemology; Poetry","score_opus":0.04905025223208759,"score_gpt":0.2553030504960501,"score_spread":0.20625279826396253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235849290","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057915505,0.013586287,0.023481894,0.017854784,0.001234985,0.000027790504,0.00003441685,0.00013068714,0.8857337],"genre_scores_gemma":[0.92472994,0.0039051853,0.0026659432,0.0012478258,0.00032358497,0.000027693915,0.000015043398,0.000098228695,0.066986725],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9989955,0.000531608,0.000026845753,0.000101143545,0.00020209418,0.00014289777],"domain_scores_gemma":[0.99960583,0.00017999834,0.000048561677,0.000054568805,0.000056817797,0.000054190175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008647273,0.0006284404,0.0001733847,0.00095479994,0.002866007,0.005676681,0.00047996631,0.001168123,0.003333038],"category_scores_gemma":[0.002182733,0.00015861397,0.00019317374,0.00057491247,0.0206522,0.0050997846,0.004019486,0.0017772797,0.0007198197],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025584508,0.0000078249805,0.00015778093,0.000044071574,0.0000029474431,0.000101889585,0.021283392,0.00018207243,0.0005318932,0.95746005,0.006020924,0.014181487],"study_design_scores_gemma":[0.000012769341,0.000051912,0.0008324746,0.00023319112,0.000012582621,0.00062293664,0.025924277,0.0005892119,0.0015597368,0.3781002,0.592034,0.000026775555],"about_ca_topic_score_codex":0.0019948266,"about_ca_topic_score_gemma":0.0018663815,"teacher_disagreement_score":0.005676681,"about_ca_system_score_codex":0.0017657755,"about_ca_system_score_gemma":0.00084953505,"threshold_uncertainty_score":0.012811661},"labels":[],"label_agreement":null},{"id":"W4236581830","doi":"10.4000/communication.2161","title":"Réda BENSMAÏA et al. (2008), L’art sans sujet ?","year":2010,"lang":"fr","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Art; Political science","score_opus":0.03493018214234383,"score_gpt":0.2964693163822875,"score_spread":0.2615391342399437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236581830","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042298052,0.1715815,0.018100448,0.2254411,0.011653762,0.00013766509,0.00086255075,0.00012435843,0.52980065],"genre_scores_gemma":[0.5707127,0.13339075,0.017470192,0.0496138,0.0043843705,0.00032282196,0.00068158784,0.0002391964,0.22318463],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988172,0.00047413545,0.00005547676,0.00016091573,0.00035790406,0.00013439065],"domain_scores_gemma":[0.9976847,0.0013278029,0.00021475613,0.000092318616,0.0005817223,0.00009861194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020957992,0.000670724,0.0004882714,0.002210321,0.004508258,0.0067365775,0.0010554473,0.002842476,0.014274201],"category_scores_gemma":[0.0060417033,0.00028166862,0.0003146125,0.0019369815,0.003962193,0.005816873,0.0025059686,0.0042254436,0.0031801579],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012322901,0.00007422427,0.0034115745,0.00067767623,0.000027427885,0.0003238542,0.04262597,0.00014235759,0.0005659422,0.7763017,0.082746215,0.09297981],"study_design_scores_gemma":[0.000028537052,0.000031945725,0.0073987413,0.0013776607,0.000055900662,0.00085275533,0.03215237,0.00037830955,0.0012543235,0.10400654,0.8524079,0.000054997436],"about_ca_topic_score_codex":0.008593509,"about_ca_topic_score_gemma":0.018240657,"teacher_disagreement_score":0.014274201,"about_ca_system_score_codex":0.0025306055,"about_ca_system_score_gemma":0.0027006085,"threshold_uncertainty_score":0.047751963},"labels":[],"label_agreement":null},{"id":"W4236994367","doi":"10.1093/oso/9780198798422.001.0001","title":"The Messages We Send","year":2017,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Metaphor; Storytelling; Quarter (Canadian coin); The arts; Argument (complex analysis); Psychology; Linguistics; History; Visual arts; Narrative; Literature; Art; Philosophy","score_opus":0.04317149443887135,"score_gpt":0.2235591702152097,"score_spread":0.18038767577633835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236994367","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006629763,0.010814234,0.0070796115,0.11691737,0.019844549,0.00022513834,0.0020464037,0.0011348762,0.83530796],"genre_scores_gemma":[0.06687216,0.012330225,0.0046456293,0.032851484,0.007205606,0.0002708144,0.0015294158,0.0009303038,0.8733644],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954991,0.0017344415,0.0002104593,0.00040260304,0.0017581306,0.00039531672],"domain_scores_gemma":[0.9971916,0.0008471799,0.00038446274,0.00030438227,0.00072651386,0.0005458505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019261845,0.00096905965,0.0004073983,0.0015726861,0.0034757059,0.010420555,0.0008839294,0.002938002,0.13224147],"category_scores_gemma":[0.011040284,0.0004281799,0.0004822026,0.0015598788,0.0039418517,0.010043726,0.004795067,0.004157237,0.122952595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007282287,0.000052619685,0.0012656323,0.00042908496,0.000026062773,0.00026832445,0.018005818,0.000110151115,0.0011446561,0.12350401,0.7226348,0.13248603],"study_design_scores_gemma":[0.0000040962364,0.000013458019,0.00033648996,0.00014621064,0.000004200044,0.00009735828,0.003116196,0.00002388891,0.00021540264,0.0047140135,0.9913169,0.000011706119],"about_ca_topic_score_codex":0.0023422462,"about_ca_topic_score_gemma":0.0018896511,"teacher_disagreement_score":0.13224147,"about_ca_system_score_codex":0.0014725976,"about_ca_system_score_gemma":0.0018628512,"threshold_uncertainty_score":0.4423918},"labels":[],"label_agreement":null},{"id":"W4237486675","doi":"10.1007/978-3-476-05728-0_17592-1","title":"Robin, Régine","year":2020,"lang":"fr","type":"book-chapter","venue":"J.B. Metzler eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Habilitation; Art; Humanities","score_opus":0.054908950271730345,"score_gpt":0.2443466204808304,"score_spread":0.18943767020910005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237486675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00092258,0.033358615,0.0008478347,0.019585436,0.007640503,0.00003202115,0.0006666361,0.0002568739,0.9366896],"genre_scores_gemma":[0.0070011085,0.006693067,0.0004587401,0.0025058426,0.0006425426,0.00003201377,0.00014243038,0.00017941998,0.98234487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993349,0.0001194097,0.000033296303,0.00019565444,0.00023502235,0.00008173275],"domain_scores_gemma":[0.9994779,0.00010961131,0.000041766114,0.00008323153,0.00018858464,0.000098882505],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000633015,0.0007729362,0.0004798465,0.0011022295,0.0033177983,0.0053019174,0.00097238645,0.002112417,0.20685588],"category_scores_gemma":[0.0024425848,0.0003572951,0.00032281023,0.0014340286,0.0018748117,0.003907211,0.0023692911,0.0031807416,0.08532182],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026285243,0.000012042618,0.00016540934,0.00014004052,0.0000029155372,0.0001400902,0.0014710479,0.00010070486,0.00019781938,0.10341645,0.8129495,0.0813776],"study_design_scores_gemma":[7.377952e-7,0.0000014701073,0.00007978046,0.000040567884,4.2427772e-7,0.000038709517,0.0001831338,0.0000069503085,0.000023072265,0.0012066084,0.998417,0.0000015142011],"about_ca_topic_score_codex":0.019716082,"about_ca_topic_score_gemma":0.05083824,"teacher_disagreement_score":0.7931441,"about_ca_system_score_codex":0.0028569903,"about_ca_system_score_gemma":0.0026853064,"threshold_uncertainty_score":0.6920018},"labels":[],"label_agreement":null},{"id":"W4237579363","doi":"10.32920/ryerson.14652654","title":"Methods of inscription: Illustrating Tattoo Method, Image and Meaning","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Meaning (existential); Perspective (graphical); Aesthetics; Feeling; Semiotics; Art; Set (abstract data type); Visual arts; Intersection (aeronautics); Psychology; The arts; Computer science; Social psychology; Epistemology; Cartography; Geography; Philosophy","score_opus":0.09425279629265522,"score_gpt":0.3743350888904317,"score_spread":0.2800822925977765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237579363","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08374941,0.0029514763,0.30762365,0.0063155135,0.00093485025,0.00040994972,0.00028935063,0.00055888644,0.597167],"genre_scores_gemma":[0.72964287,0.0020361235,0.19491866,0.0008047028,0.00013270666,0.0006723268,0.00016863547,0.0006257596,0.07099809],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99856514,0.0009543183,0.00003500355,0.000092405455,0.00024420262,0.00010901198],"domain_scores_gemma":[0.99795806,0.0014195248,0.000074747084,0.00036600203,0.00010837132,0.000073289535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016863934,0.0006893435,0.00022715879,0.0013012748,0.0027721014,0.0053833677,0.000870389,0.0014234708,0.010712991],"category_scores_gemma":[0.0033717412,0.00031807442,0.0005332687,0.0011329142,0.012501785,0.0038070236,0.0038002406,0.0021144594,0.0013612671],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007750338,0.000049188046,0.0005814212,0.00034820056,0.000008881192,0.00053282455,0.11454527,0.00086697534,0.0043325583,0.8360645,0.0076357303,0.034956973],"study_design_scores_gemma":[0.000027262273,0.000093303985,0.002144304,0.0006453867,0.000015249582,0.0020568266,0.054480307,0.0041676983,0.009551377,0.23961034,0.68714136,0.00006654953],"about_ca_topic_score_codex":0.0012602425,"about_ca_topic_score_gemma":0.0020820443,"teacher_disagreement_score":0.010712991,"about_ca_system_score_codex":0.0013861622,"about_ca_system_score_gemma":0.0012431873,"threshold_uncertainty_score":0.035838485},"labels":[],"label_agreement":null},{"id":"W4237644266","doi":"10.1002/9781118766804.wbiect211","title":"Art History","year":2016,"lang":"en","type":"other","venue":"The International Encyclopedia of Communication Theory and Philosophy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"CONTEST; Discipline; Normative; Epistemology; Generative grammar; History of art; Sociology; Computer science; Philosophy; Art; Visual arts; Social science; Artificial intelligence","score_opus":0.026047642704197006,"score_gpt":0.25550338464280625,"score_spread":0.22945574193860924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237644266","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008905755,0.004757899,0.00063757977,0.0020467916,0.0005683513,0.00001338046,0.00013141378,0.000040216844,0.99091387],"genre_scores_gemma":[0.09876014,0.0106608085,0.0011284541,0.0013244791,0.0016173796,0.000039346334,0.00042601692,0.00016874405,0.8858746],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875426,0.00041665306,0.000058744416,0.00019124219,0.00046190244,0.00011717021],"domain_scores_gemma":[0.9989587,0.00035412033,0.00007919606,0.0002545394,0.00020310224,0.00015022968],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008585982,0.00041514557,0.00028307876,0.0035116072,0.004249122,0.00869142,0.00075022277,0.0012111997,0.1250289],"category_scores_gemma":[0.003073664,0.00014970245,0.00026798595,0.0037439906,0.00475249,0.00458305,0.0034263607,0.0018526695,0.016773116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015689822,0.000012661153,0.0003487979,0.00014788144,0.0000042057213,0.00013133846,0.0031400449,0.0001847406,0.000124589,0.7702076,0.13959743,0.08608507],"study_design_scores_gemma":[7.7410385e-7,0.0000026973155,0.00024257293,0.00020017601,0.000001152269,0.000090284506,0.0006075301,0.000037876314,0.00006363003,0.02076985,0.9779808,0.000002657902],"about_ca_topic_score_codex":0.0038176482,"about_ca_topic_score_gemma":0.0075709973,"teacher_disagreement_score":0.1250289,"about_ca_system_score_codex":0.0035469031,"about_ca_system_score_gemma":0.00229689,"threshold_uncertainty_score":0.41826332},"labels":[],"label_agreement":null},{"id":"W4238345430","doi":"10.26686/wgtn.14573124.v1","title":"Life in Movement: A French Impressionist Critical Approach to Terrence Malick's Films","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; Northwestern University; Princeton University","keywords":"Trilogy; Art; Filmmaking; Praise; Movie theater; Criticism; Art history; Poetry; Film director; Wonder; Performance art; Literature; Hollywood; Philosophy; Aesthetics; Epistemology","score_opus":0.054605445413027864,"score_gpt":0.2932458460138736,"score_spread":0.23864040060084574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238345430","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12822859,0.11618868,0.01473836,0.13163541,0.005233726,0.0002139133,0.00021549936,0.00015795654,0.60338783],"genre_scores_gemma":[0.95997906,0.010110435,0.0017075285,0.0043509454,0.0012246585,0.00007648285,0.000032759337,0.00008547874,0.02243265],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9942129,0.004599445,0.000058125574,0.0002764242,0.00036954318,0.00048361544],"domain_scores_gemma":[0.99654704,0.0025146839,0.0002592002,0.0000947161,0.00037003894,0.00021429411],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004328663,0.0012340654,0.00046134106,0.0037133163,0.014400481,0.018296702,0.0014648228,0.0033948375,0.00408557],"category_scores_gemma":[0.005734054,0.000302569,0.00046211216,0.0021189747,0.028900856,0.0060572606,0.0026865567,0.00458096,0.0003095929],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003641001,0.000034227956,0.00033698027,0.00017784355,0.000014061921,0.0010570191,0.3192235,0.00022858966,0.0002999652,0.6533783,0.016357262,0.008855758],"study_design_scores_gemma":[0.00001679305,0.000052429787,0.0024634355,0.00095994497,0.00002295964,0.00071543566,0.3422383,0.0006048835,0.0005116612,0.06374555,0.5886156,0.00005302672],"about_ca_topic_score_codex":0.09453291,"about_ca_topic_score_gemma":0.07184001,"teacher_disagreement_score":0.09453291,"about_ca_system_score_codex":0.02850265,"about_ca_system_score_gemma":0.00382957,"threshold_uncertainty_score":0.20680219},"labels":[],"label_agreement":null},{"id":"W4238425709","doi":"10.1353/utq.2011.0151","title":"Dante Gabriel Rossetti's 'Inner Standing-Point' and 'Jenny' Reconstrued","year":2011,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Literature; Empathy; Point (geometry); Period (music); Art; Aesthetics; Philosophy; Psychology; Social psychology","score_opus":0.02233361588941616,"score_gpt":0.19006408746443543,"score_spread":0.16773047157501927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238425709","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.050168123,0.022758162,0.0043759714,0.14704607,0.0036626195,0.000026660231,0.000043676286,0.0001091028,0.77180964],"genre_scores_gemma":[0.7379182,0.0048610414,0.0020144326,0.016240962,0.0011812686,0.000071044924,0.00002180745,0.00014665752,0.23754461],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853146,0.0007669945,0.000026009173,0.00018366765,0.0003119757,0.00017982186],"domain_scores_gemma":[0.9989963,0.00044233288,0.000120470904,0.000089479945,0.00018639461,0.00016493579],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001357024,0.00058110274,0.00025830374,0.0007941554,0.0054847,0.005677707,0.00077756424,0.0022941555,0.005045788],"category_scores_gemma":[0.004061185,0.000154207,0.00016441982,0.00040893955,0.0229829,0.0035641647,0.0035943263,0.0040481715,0.0009340985],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023932082,0.000009891539,0.00047798117,0.00007387153,0.00000346898,0.00024736137,0.10663081,0.000046039495,0.00039322235,0.8001508,0.07349155,0.018451115],"study_design_scores_gemma":[0.0000055844675,0.000016680444,0.0010606817,0.00021902341,0.000004468925,0.00045974273,0.019636063,0.00008958083,0.00041075938,0.03746758,0.94061315,0.00001675672],"about_ca_topic_score_codex":0.03185101,"about_ca_topic_score_gemma":0.057515826,"teacher_disagreement_score":0.03185101,"about_ca_system_score_codex":0.005354007,"about_ca_system_score_gemma":0.0023680516,"threshold_uncertainty_score":0.06333119},"labels":[],"label_agreement":null},{"id":"W4240220560","doi":"10.31542/j.muse.207","title":"Flatland","year":2015,"lang":"en","type":"article","venue":"MacEwan University Student eJournal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Typography; Novella; Computer science; Romance; Section (typography); Desktop publishing; Art; Visual arts; Literature","score_opus":0.050893382502303366,"score_gpt":0.24827605776310419,"score_spread":0.19738267526080083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240220560","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012177051,0.0009675256,0.0041998765,0.0013467581,0.0004897832,0.00014311612,0.0035957037,0.0014497454,0.9756304],"genre_scores_gemma":[0.048716716,0.0005318071,0.0057269363,0.00032990595,0.000041210547,0.0001526163,0.0037530917,0.000882324,0.9398654],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993093,0.00009278448,0.000022336719,0.00016200429,0.00029325453,0.00012023315],"domain_scores_gemma":[0.99945873,0.00005543214,0.000023185852,0.00013897404,0.00020171217,0.00012190787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006252373,0.0005319605,0.0003147778,0.0014613465,0.0033752231,0.0041011875,0.0007099478,0.0007709328,0.3169387],"category_scores_gemma":[0.0012526457,0.00038529278,0.00030909744,0.0016209664,0.00074954354,0.0018443133,0.0019374995,0.0008085731,0.065477274],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040254113,0.00011684657,0.0025805281,0.00040625661,0.000014000937,0.00072732253,0.0021731304,0.0004514649,0.00661801,0.09933079,0.47661722,0.41056195],"study_design_scores_gemma":[0.0000062508243,0.0000191581,0.0013804466,0.000043509404,0.000001759736,0.00010643668,0.0003412011,0.000106147985,0.00067571644,0.001389053,0.9959233,0.0000070251763],"about_ca_topic_score_codex":0.02650147,"about_ca_topic_score_gemma":0.08540588,"teacher_disagreement_score":0.3169387,"about_ca_system_score_codex":0.00294294,"about_ca_system_score_gemma":0.0028773122,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4240286207","doi":"10.4324/9781135000356-rem1208-1","title":"Tarkovsky, Andrei (1943–1986)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Subjectivity; Subtext; Art; Literature; Plot (graphics); Aesthetics; Humanism; Faith; Art history; Philosophy; Epistemology","score_opus":0.045977483043736264,"score_gpt":0.2378534231904873,"score_spread":0.19187594014675102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240286207","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0066374172,0.23335151,0.0045852084,0.0096733635,0.0049686125,0.00006868374,0.00033215646,0.00019090994,0.74019206],"genre_scores_gemma":[0.21139967,0.074513085,0.0032577347,0.003117054,0.0017632861,0.00009871625,0.0003050962,0.00036933404,0.70517594],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997503,0.000066964676,0.000011907039,0.000072546805,0.00006021849,0.000038027887],"domain_scores_gemma":[0.9998648,0.00005803081,0.000021561811,0.000009519766,0.00002503746,0.000021048398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003236015,0.0006637742,0.00024765707,0.0012662725,0.0018120817,0.00246657,0.0003832229,0.00081690896,0.008871767],"category_scores_gemma":[0.00084055896,0.00027429877,0.00019405896,0.000849918,0.0026614899,0.0022912247,0.00094480446,0.0021563014,0.0041719913],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086408305,0.000029475334,0.00046833887,0.00039042256,0.000010308079,0.00017102581,0.01387038,0.00029812416,0.00109627,0.6602147,0.24479763,0.0785668],"study_design_scores_gemma":[0.000003061583,0.000009243718,0.0005438891,0.00024209001,0.0000034539203,0.00016547865,0.00055969285,0.000052782623,0.00027166554,0.012187124,0.9859562,0.00000534973],"about_ca_topic_score_codex":0.005486758,"about_ca_topic_score_gemma":0.009375515,"teacher_disagreement_score":0.008871767,"about_ca_system_score_codex":0.0028391883,"about_ca_system_score_gemma":0.0012490364,"threshold_uncertainty_score":0.029679},"labels":[],"label_agreement":null},{"id":"W4240331446","doi":"10.7202/1031226ar","title":"Ekphrasis","year":2015,"lang":"fr","type":"article","venue":"Études françaises","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","score_opus":0.058745391031097986,"score_gpt":0.27371047882109095,"score_spread":0.21496508778999296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240331446","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026201852,0.0035137977,0.03678273,0.005168269,0.002283554,0.00024637533,0.0011269804,0.0007221089,0.9239544],"genre_scores_gemma":[0.39926133,0.0032494252,0.0276154,0.0019314744,0.00077348255,0.00033466492,0.0015026552,0.0010758854,0.56425565],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981603,0.0006406066,0.00012875078,0.00029774333,0.0005360486,0.00023651482],"domain_scores_gemma":[0.9976052,0.0008563641,0.0001709145,0.00048405895,0.0007223388,0.00016111087],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013070618,0.00095045916,0.00035596016,0.0020260767,0.00412306,0.006029863,0.000997725,0.0013297823,0.04372085],"category_scores_gemma":[0.0048434786,0.0003089207,0.0005570833,0.0016125514,0.0071467664,0.0067712357,0.0033762099,0.0024831316,0.010871011],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013489803,0.000028050526,0.0006472411,0.000401707,0.000012575923,0.0008289202,0.0425208,0.00012384618,0.0023657365,0.81900924,0.059211116,0.074715905],"study_design_scores_gemma":[0.00000841691,0.000024429948,0.00073146116,0.00017791067,0.0000062114154,0.0010276152,0.009715288,0.00014813818,0.001154502,0.027913326,0.95907366,0.000019072133],"about_ca_topic_score_codex":0.007845727,"about_ca_topic_score_gemma":0.009128893,"teacher_disagreement_score":0.04372085,"about_ca_system_score_codex":0.003613209,"about_ca_system_score_gemma":0.0024773662,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4241707128","doi":"10.7228/manchester/9781526101198.001.0001","title":"Engendering an avant-garde","year":2018,"lang":"en","type":"book","venue":"Manchester University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conceptualism; Painting; Contemporary art; Framing (construction); Art world; Art; Appeal; Aesthetics; Art history; Sociology; Visual arts; History; Political science; Law; Performance art","score_opus":0.0656196702832881,"score_gpt":0.2179569800834729,"score_spread":0.15233730980018478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241707128","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.077309996,0.0058363713,0.004498726,0.017305572,0.0005972498,0.00005384385,0.000030787043,0.000058626654,0.89430887],"genre_scores_gemma":[0.8418655,0.0026577797,0.0016901328,0.0016827106,0.00012478943,0.00003428991,0.000023807486,0.00008813186,0.15183292],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986039,0.0005650956,0.000018187067,0.0001398727,0.0004145311,0.00025838672],"domain_scores_gemma":[0.9993185,0.00027060628,0.000043891847,0.0000662392,0.00010710247,0.00019378962],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001352977,0.00040015494,0.00019335876,0.0008402042,0.013951906,0.011429028,0.00071575854,0.0015885517,0.0058334502],"category_scores_gemma":[0.0013030724,0.0002591558,0.00016450357,0.0008685883,0.0302533,0.0030056743,0.0049163788,0.002876422,0.0005869813],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001838497,0.000011768826,0.0005850116,0.000066780456,0.0000030464314,0.00047320145,0.2712689,0.00009915833,0.0009924897,0.6903435,0.015590242,0.020547526],"study_design_scores_gemma":[0.0000038085193,0.000014551646,0.0009191807,0.00017674762,0.0000040448363,0.0003553636,0.106750965,0.0000966059,0.00051225896,0.0207778,0.8703779,0.000010775518],"about_ca_topic_score_codex":0.10926047,"about_ca_topic_score_gemma":0.24857262,"teacher_disagreement_score":0.10926047,"about_ca_system_score_codex":0.009845992,"about_ca_system_score_gemma":0.0038426695,"threshold_uncertainty_score":0.21724898},"labels":[],"label_agreement":null},{"id":"W4242258959","doi":"10.29173/pandpr29366","title":"Book Review","year":2018,"lang":"en","type":"article","venue":"Phenomenology & Practice","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Photography; History; Art history; Art; Visual arts","score_opus":0.040800283405665556,"score_gpt":0.3179016238958443,"score_spread":0.27710134049017876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242258959","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001661524,0.9154158,0.00064367225,0.017704988,0.01941519,0.00005581593,0.0011953757,0.00013639915,0.04526669],"genre_scores_gemma":[0.0016685999,0.8848306,0.00091397075,0.017737485,0.012951092,0.00007573034,0.001796941,0.00012915673,0.07989646],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991942,0.0001141603,0.00008308991,0.00011373236,0.0004291048,0.00006569049],"domain_scores_gemma":[0.99525213,0.001746012,0.00034617115,0.00017759415,0.002061211,0.00041681313],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001015915,0.0006454192,0.0012919066,0.0050210855,0.00069824804,0.0029262675,0.0018195751,0.0018465118,0.13332044],"category_scores_gemma":[0.009412687,0.00033649182,0.0006961331,0.0065958803,0.00066390645,0.0026462448,0.0014991517,0.0025771188,0.09015863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014131197,0.000013328793,0.00006191437,0.002220865,0.000014524357,0.00008895906,0.000040553314,0.00004234884,0.00006833905,0.001336848,0.8353139,0.16078432],"study_design_scores_gemma":[0.0000036906758,0.000005779653,0.00012089121,0.0016877677,0.000012288101,0.0003344439,0.000023252585,0.0000067379096,0.000019722736,0.00042475978,0.99735606,0.0000045347197],"about_ca_topic_score_codex":0.0035680197,"about_ca_topic_score_gemma":0.007504779,"teacher_disagreement_score":0.13332044,"about_ca_system_score_codex":0.0015761799,"about_ca_system_score_gemma":0.004299651,"threshold_uncertainty_score":0.4460013},"labels":[],"label_agreement":null},{"id":"W4242856258","doi":"10.32920/ryerson.14652654.v1","title":"Methods of inscription: Illustrating Tattoo Method, Image and Meaning","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Meaning (existential); Perspective (graphical); Aesthetics; Semiotics; Feeling; Set (abstract data type); Psychology; The arts; Art; Visual arts; Intersection (aeronautics); Computer science; Social psychology; Epistemology; Cartography; Geography; Philosophy","score_opus":0.09425279629265522,"score_gpt":0.3743350888904317,"score_spread":0.2800822925977765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242856258","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08374941,0.0029514763,0.30762365,0.0063155135,0.00093485025,0.00040994972,0.00028935063,0.00055888644,0.597167],"genre_scores_gemma":[0.72964287,0.0020361235,0.19491866,0.0008047028,0.00013270666,0.0006723268,0.00016863547,0.0006257596,0.07099809],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99856514,0.0009543183,0.00003500355,0.000092405455,0.00024420262,0.00010901198],"domain_scores_gemma":[0.99795806,0.0014195248,0.000074747084,0.00036600203,0.00010837132,0.000073289535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016863934,0.0006893435,0.00022715879,0.0013012748,0.0027721014,0.0053833677,0.000870389,0.0014234708,0.010712991],"category_scores_gemma":[0.0033717412,0.00031807442,0.0005332687,0.0011329142,0.012501785,0.0038070236,0.0038002406,0.0021144594,0.0013612671],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007750338,0.000049188046,0.0005814212,0.00034820056,0.000008881192,0.00053282455,0.11454527,0.00086697534,0.0043325583,0.8360645,0.0076357303,0.034956973],"study_design_scores_gemma":[0.000027262273,0.000093303985,0.002144304,0.0006453867,0.000015249582,0.0020568266,0.054480307,0.0041676983,0.009551377,0.23961034,0.68714136,0.00006654953],"about_ca_topic_score_codex":0.0012602425,"about_ca_topic_score_gemma":0.0020820443,"teacher_disagreement_score":0.010712991,"about_ca_system_score_codex":0.0013861622,"about_ca_system_score_gemma":0.0012431873,"threshold_uncertainty_score":0.035838485},"labels":[],"label_agreement":null},{"id":"W4242987220","doi":"10.4000/communication.7520","title":"Andrea SEMPRINI (2016), Communiquer par l’image. Trois essais de culture visuelle","year":2018,"lang":"fr","type":"article","venue":"Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.026582253385057573,"score_gpt":0.29203647760805407,"score_spread":0.26545422422299647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242987220","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008411646,0.1774215,0.005917091,0.32921275,0.023530468,0.00005108428,0.0003529104,0.00026729415,0.45483518],"genre_scores_gemma":[0.2702767,0.058907293,0.0034895842,0.040048562,0.010946979,0.00014017578,0.00021584144,0.0005100814,0.61546475],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9987791,0.0005588637,0.000039000483,0.0002514788,0.00027601927,0.00009544986],"domain_scores_gemma":[0.9989273,0.0005682611,0.00011327253,0.00007783496,0.00019221524,0.000121189216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012663244,0.00092331076,0.00024807276,0.0011165938,0.004076517,0.0059952866,0.00053835183,0.0029411903,0.0122197075],"category_scores_gemma":[0.0034430954,0.00024976727,0.0002780511,0.0007914613,0.0050316304,0.0060831183,0.0021309503,0.0047936174,0.00472878],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005202266,0.000024337925,0.0007619668,0.0002467398,0.000010748903,0.00019216407,0.023644613,0.00007007054,0.00044262127,0.4538991,0.46542186,0.055233836],"study_design_scores_gemma":[0.0000041945077,0.000008155332,0.00083643344,0.00018042434,0.0000033852284,0.00022712919,0.0029584158,0.000052213014,0.0002932078,0.0183744,0.9770533,0.000008850873],"about_ca_topic_score_codex":0.0066587836,"about_ca_topic_score_gemma":0.012773088,"teacher_disagreement_score":0.0122197075,"about_ca_system_score_codex":0.0030356625,"about_ca_system_score_gemma":0.0019248172,"threshold_uncertainty_score":0.04087895},"labels":[],"label_agreement":null},{"id":"W4244555945","doi":"10.5663/aps.v3i1-2.21708","title":"Walking With Our Sisters: An Art Installation Centered in Ceremony","year":2014,"lang":"en","type":"article","venue":"aboriginal policy studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Ceremony; Art; Visual arts; History; Archaeology","score_opus":0.053427588498922506,"score_gpt":0.3500623867021536,"score_spread":0.29663479820323113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244555945","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35510647,0.002440479,0.015786495,0.03541208,0.009124193,0.00040743366,0.00030335123,0.0011561003,0.5802634],"genre_scores_gemma":[0.72425777,0.0015889404,0.021547673,0.0029381667,0.0011116505,0.00026490234,0.00018665449,0.00082661764,0.24727753],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983255,0.00092584733,0.000027818684,0.00015933701,0.00024993756,0.00031146195],"domain_scores_gemma":[0.99878544,0.00024747723,0.00006626198,0.0001423129,0.00008359014,0.0006749202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002261156,0.0006261509,0.0003470307,0.00046089446,0.018178456,0.004406204,0.0017224131,0.00193947,0.03301731],"category_scores_gemma":[0.0032427376,0.00042113406,0.00061139534,0.0005497086,0.0055056596,0.0034137182,0.0078101335,0.004733158,0.004182377],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002606625,0.00057575986,0.0017539702,0.0006440565,0.000032540906,0.0057187756,0.65897393,0.00021994239,0.0058883782,0.047630068,0.1965743,0.08172763],"study_design_scores_gemma":[0.000031755182,0.00020571443,0.0032674852,0.00031531224,0.000019309211,0.0012138061,0.23123783,0.00023587256,0.000848893,0.0025335639,0.76004905,0.00004141546],"about_ca_topic_score_codex":0.007061391,"about_ca_topic_score_gemma":0.031212673,"teacher_disagreement_score":0.03301731,"about_ca_system_score_codex":0.0017505034,"about_ca_system_score_gemma":0.0019714986,"threshold_uncertainty_score":0.1104539},"labels":[],"label_agreement":null},{"id":"W4244848558","doi":"10.1386/pop.4.1.113_5","title":"Reviews","year":2013,"lang":"en","type":"article","venue":"Philosophy of Photography","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art; Painting; Politics; Publishing; Media studies; Sociology; Humanities; Political science; Law; Literature","score_opus":0.05127718498262858,"score_gpt":0.24899201086611325,"score_spread":0.19771482588348466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244848558","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043516484,0.5494493,0.0016098935,0.042023845,0.07761443,0.00025801838,0.00501188,0.0007606717,0.32283682],"genre_scores_gemma":[0.0056097885,0.5031806,0.001864115,0.036757495,0.03404759,0.00034491328,0.007735239,0.0006077778,0.40985242],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99818134,0.00023851541,0.00016178364,0.0003214437,0.0009393267,0.00015752131],"domain_scores_gemma":[0.99646014,0.0006394301,0.00025514507,0.00032823227,0.0019001502,0.00041697052],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012758924,0.0010336235,0.0013123975,0.0034471129,0.0009541579,0.0052772895,0.0023008522,0.0028412219,0.29352868],"category_scores_gemma":[0.0071392795,0.00039194687,0.00092174404,0.0033448664,0.0008591585,0.0034159443,0.0023475606,0.0027267623,0.21970193],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024328896,0.00001540398,0.0000490933,0.0018017153,0.000012964093,0.000060720966,0.000047550784,0.000045794302,0.00017936275,0.0035220876,0.88791525,0.106325634],"study_design_scores_gemma":[0.0000030173971,0.0000047705184,0.00006562802,0.0008394683,0.0000050272624,0.00006398894,0.00002460506,0.000004959192,0.00003205618,0.00061552355,0.9983382,0.0000027661272],"about_ca_topic_score_codex":0.003300795,"about_ca_topic_score_gemma":0.0042723464,"teacher_disagreement_score":0.7064713,"about_ca_system_score_codex":0.0027458498,"about_ca_system_score_gemma":0.005468123,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4245118308","doi":"10.22230/cjc.2013v38n4a2801","title":"Editorial: The “Greening” of Communication","year":2013,"lang":"en","type":"editorial","venue":"Canadian Journal of Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Greening; Political science; Law","score_opus":0.023733388522571293,"score_gpt":0.25450289844589596,"score_spread":0.23076950992332468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245118308","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023640892,0.0024126328,0.000053277912,0.022934016,0.9733665,0.000022390604,0.000033458382,0.00003613972,0.0011178633],"genre_scores_gemma":[0.0005242661,0.0034427573,0.000090106914,0.017456982,0.9699865,0.000034212277,0.00003739716,0.00004324474,0.008384587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9892347,0.001767071,0.00096555846,0.0011326189,0.0061481395,0.00075192354],"domain_scores_gemma":[0.96450657,0.012198283,0.0016327334,0.0008036185,0.016514882,0.004343985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008035833,0.004588799,0.0044366266,0.0064049833,0.006951734,0.009751937,0.0051411474,0.015303545,0.016687268],"category_scores_gemma":[0.04761954,0.0011332543,0.0034340024,0.0031655142,0.0048409766,0.0055085295,0.0018206883,0.016729997,0.010548015],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019313378,0.000006528098,0.000011330904,0.00010937527,0.000006142759,0.000055057848,0.0000114411605,0.000016281838,0.000017949693,0.00018213461,0.9975968,0.0019677237],"study_design_scores_gemma":[0.00006955952,0.00003245027,0.00034654676,0.0008525022,0.000044385615,0.00030732073,0.00009508947,0.00017985023,0.00012024919,0.0011347454,0.99678975,0.00002757927],"about_ca_topic_score_codex":0.006379616,"about_ca_topic_score_gemma":0.015693054,"teacher_disagreement_score":0.016687268,"about_ca_system_score_codex":0.007471947,"about_ca_system_score_gemma":0.009852768,"threshold_uncertainty_score":0.05582452},"labels":[],"label_agreement":null},{"id":"W4246141946","doi":"10.22215/etd/2021-14546","title":"Nature's Course: Unearthing the Kingdom of the Grey","year":2021,"lang":"en","type":"dissertation","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conceptualization; Dominion; Context (archaeology); Commodification; Sociology; Agency (philosophy); Epistemology; Faith; Environmental ethics; Media studies; History; Computer science; Social science; Philosophy; Archaeology; Artificial intelligence","score_opus":0.021001927608281054,"score_gpt":0.2814032491039809,"score_spread":0.26040132149569983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246141946","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25632295,0.01704168,0.016696205,0.06574598,0.0013507241,0.00008116163,0.00017859942,0.00022709586,0.6423556],"genre_scores_gemma":[0.92905545,0.004222859,0.0023493995,0.001970942,0.00012590141,0.000027002572,0.00003319774,0.00012547408,0.062089656],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99889874,0.0005869397,0.000010981132,0.000109350614,0.00019806504,0.00019600186],"domain_scores_gemma":[0.9980393,0.0011524811,0.00008798387,0.0002651264,0.00020003536,0.00025508364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026000277,0.0004994603,0.00029651745,0.0010283617,0.010903994,0.0096308915,0.0009901569,0.0013145293,0.009950313],"category_scores_gemma":[0.004068439,0.00023040212,0.00024542375,0.0010245328,0.039939143,0.007421214,0.0042417645,0.0023278687,0.0006272281],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004056414,0.000012532745,0.0012781,0.00013890708,0.0000072840085,0.0005826893,0.46171513,0.00034097323,0.00090397015,0.48523563,0.015159755,0.034584556],"study_design_scores_gemma":[0.0000061298383,0.000028447666,0.0014899259,0.0002613571,0.000008512727,0.00021702309,0.18398401,0.0002018426,0.0005351733,0.055673417,0.75757724,0.000016928836],"about_ca_topic_score_codex":0.18307248,"about_ca_topic_score_gemma":0.3709786,"teacher_disagreement_score":0.18307248,"about_ca_system_score_codex":0.016074328,"about_ca_system_score_gemma":0.009163277,"threshold_uncertainty_score":0.36401373},"labels":[],"label_agreement":null},{"id":"W4246481122","doi":"10.4018/978-1-5225-5622-0.ch012","title":"Orders of Experience","year":2018,"lang":"en","type":"book-chapter","venue":"Advances in multimedia and interactive technologies book series","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Epitome; Panorama; Aesthetics; Art; Art history; Visual arts; Literature","score_opus":0.016709570510633234,"score_gpt":0.2746442946736931,"score_spread":0.2579347241630599,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246481122","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010352869,0.0039517363,0.0032692787,0.004694388,0.0005310534,0.000022872637,0.00011027419,0.00005655776,0.9770108],"genre_scores_gemma":[0.75101364,0.0052259965,0.0035361568,0.0021876153,0.00044849835,0.00010248401,0.00029274714,0.00017917012,0.23701364],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873906,0.00051918434,0.000055051863,0.00020495018,0.00030052525,0.0001812706],"domain_scores_gemma":[0.99914813,0.00027885623,0.000055003442,0.00019400673,0.0001653666,0.00015866036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008402089,0.00031844826,0.0002350549,0.00086045376,0.0026231145,0.009915163,0.00050262985,0.0009989258,0.027488967],"category_scores_gemma":[0.0029041863,0.00014516313,0.0002463162,0.00092108385,0.010865972,0.008268974,0.003763184,0.001932544,0.003501082],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020639121,0.000008384797,0.000372491,0.000059337734,0.000002249481,0.000078085424,0.027657328,0.000047347385,0.00023841263,0.93934625,0.011307469,0.020862015],"study_design_scores_gemma":[0.000009705272,0.000036533398,0.0013839954,0.00027835998,0.000003600827,0.00036789614,0.03257372,0.000110716675,0.00017481463,0.22407955,0.74096835,0.000012740268],"about_ca_topic_score_codex":0.0027396102,"about_ca_topic_score_gemma":0.0029061767,"teacher_disagreement_score":0.027488967,"about_ca_system_score_codex":0.0025859885,"about_ca_system_score_gemma":0.0013490552,"threshold_uncertainty_score":0.091959774},"labels":[],"label_agreement":null},{"id":"W4246975400","doi":"10.32920/ryerson.14663919.v1","title":"Photographic ritual: visual conditions of behaviour and definitions of self","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University; University of Toronto","funders":"","keywords":"Photography; Representation (politics); Identity (music); Digital photography; Visual arts; Object (grammar); Style (visual arts); Phenomenon; Art; Aesthetics; Computer science; Epistemology; Artificial intelligence","score_opus":0.05068865076799464,"score_gpt":0.28113239348113966,"score_spread":0.23044374271314502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246975400","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73393804,0.0042409147,0.01769357,0.0011679563,0.00011233956,0.00009058862,0.00015341649,0.00008749998,0.24251561],"genre_scores_gemma":[0.99461836,0.0003624901,0.0017342544,0.00004207941,0.000020619258,0.000029767034,0.00002952001,0.000023906967,0.0031389175],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99855095,0.00096925895,0.00006142232,0.00014422637,0.00018259278,0.00009154866],"domain_scores_gemma":[0.9979596,0.0011246264,0.0003077604,0.00034315017,0.00015129431,0.00011349774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011825784,0.00015605436,0.00014835954,0.0008826076,0.0011934305,0.0034781364,0.0003560547,0.00053481595,0.0045595015],"category_scores_gemma":[0.005088004,0.00014784452,0.00019104873,0.00060745154,0.007721518,0.002173794,0.0019193096,0.0005040176,0.00030335234],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007408781,0.00013604868,0.020792108,0.001037282,0.000048554877,0.0013385217,0.32734647,0.000432987,0.024934415,0.5155904,0.0031247183,0.10447768],"study_design_scores_gemma":[0.00014801728,0.000818873,0.20292541,0.001436975,0.0001163579,0.007728145,0.33934906,0.0022103859,0.024731014,0.17460738,0.24575134,0.00017707067],"about_ca_topic_score_codex":0.0010479849,"about_ca_topic_score_gemma":0.0009285181,"teacher_disagreement_score":0.0045595015,"about_ca_system_score_codex":0.0006226606,"about_ca_system_score_gemma":0.00041776095,"threshold_uncertainty_score":0.015253007},"labels":[],"label_agreement":null},{"id":"W4247157226","doi":"10.11141/10.11141/ia.56.8","title":"Listening to Dura Europos: An Experiment in Archaeological Image Sonification","year":2021,"lang":"en","type":"article","venue":"Internet Archaeology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"Social Sciences and Humanities Research Council of Canada; Yale University","keywords":"Active listening; Sonification; Visual arts; Photography; Affect (linguistics); Art; History; Aesthetics; Archaeology; Literature; Psychology; Communication; Computer science; Human–computer interaction","score_opus":0.040111168003110605,"score_gpt":0.30340478427320167,"score_spread":0.26329361627009107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247157226","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98158115,0.00012452979,0.001422632,0.00045107788,0.00009789503,0.00015149139,0.00005291607,0.00003763938,0.016080765],"genre_scores_gemma":[0.9859343,0.00021211228,0.004591071,0.0005940588,0.000077227385,0.00029180327,0.00008906799,0.00011271173,0.008097611],"study_design_codex":"qualitative","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99727136,0.0016006374,0.00012905501,0.00042986037,0.00032064077,0.00024841577],"domain_scores_gemma":[0.9876567,0.0099052265,0.0003265226,0.0010184277,0.00062918116,0.00046398194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003893537,0.0006766952,0.000535695,0.00068508706,0.0030523224,0.0035942155,0.0010600439,0.0022934526,0.0061221137],"category_scores_gemma":[0.016691033,0.0005006514,0.0003331933,0.00067870354,0.004090511,0.0026437053,0.0033418885,0.0020609293,0.0008210932],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00797917,0.009631631,0.011476376,0.0010207038,0.00015736053,0.0032811349,0.7702257,0.0010643365,0.074807085,0.01872366,0.0045390213,0.09709381],"study_design_scores_gemma":[0.0021162096,0.016400581,0.051282212,0.00066136185,0.0003727619,0.0027513457,0.73784274,0.005308069,0.040350735,0.017915925,0.124576956,0.00042113435],"about_ca_topic_score_codex":0.0039040036,"about_ca_topic_score_gemma":0.004648277,"teacher_disagreement_score":0.0061221137,"about_ca_system_score_codex":0.00077231077,"about_ca_system_score_gemma":0.00046951036,"threshold_uncertainty_score":0.020591259},"labels":[],"label_agreement":null},{"id":"W4248461131","doi":"10.1093/obo/9780195399301-0078","title":"Jan van Eyck","year":2013,"lang":"en","type":"reference-entry","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Painting; Brother; Altarpiece; Portrait; Art; Art history; Dozen; The Renaissance; Van Dyke beard; Assertion; Statue; Classics; Law","score_opus":0.03238832636150033,"score_gpt":0.25021247234203536,"score_spread":0.21782414598053504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248461131","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027626357,0.09140188,0.0038793758,0.043626,0.04321372,0.00008824913,0.0020995918,0.00061348535,0.81231505],"genre_scores_gemma":[0.014728136,0.022631459,0.001160226,0.0039678332,0.0018788432,0.000055613014,0.00061906903,0.0004933719,0.9544653],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989095,0.00013723402,0.00005642815,0.00031767684,0.00047067585,0.00010846181],"domain_scores_gemma":[0.99945396,0.00011839933,0.00005608438,0.000045801986,0.00016865919,0.0001570518],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068117894,0.0010048671,0.00042423565,0.00088091637,0.0014136719,0.005110555,0.00076756557,0.0015642822,0.25042048],"category_scores_gemma":[0.003504419,0.00035225536,0.00025160576,0.0005843421,0.0008671614,0.0023701265,0.0022550044,0.0024516513,0.13042474],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053697095,0.000022718164,0.0003046083,0.00023269503,0.0000067287206,0.0003199883,0.00025754215,0.00016874007,0.00045097512,0.030873766,0.8271629,0.14014566],"study_design_scores_gemma":[0.0000010259139,0.0000021707851,0.00006539235,0.000055529057,6.155246e-7,0.0001284096,0.000038572107,0.000017805845,0.00007308616,0.00057186524,0.9990429,0.0000026192984],"about_ca_topic_score_codex":0.0035219623,"about_ca_topic_score_gemma":0.005919043,"teacher_disagreement_score":0.25042048,"about_ca_system_score_codex":0.0011479815,"about_ca_system_score_gemma":0.001726044,"threshold_uncertainty_score":0.83773994},"labels":[],"label_agreement":null},{"id":"W4248836498","doi":"10.32920/ryerson.14655945","title":"Ornamenting a Narrative: an Embroidered Portrait","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Subjectification; Portrait; Depiction; Narrative; Shot (pellet); Subject (documents); Representation (politics); Aesthetics; Agency (philosophy); Subject matter; Face (sociological concept); Visual arts; Painting; Psychology; Photography; Art; Epistemology; Literature; Computer science; Philosophy; Linguistics; Pedagogy","score_opus":0.05950554129143091,"score_gpt":0.29604933122386673,"score_spread":0.23654378993243583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248836498","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4342998,0.004136251,0.048766404,0.018067677,0.0013527336,0.00024825387,0.00026129422,0.00030627236,0.4925613],"genre_scores_gemma":[0.92443347,0.0008394315,0.011911025,0.00070273306,0.00010696179,0.000043219934,0.00006390051,0.00010659621,0.061792646],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991393,0.0005528049,0.000013914727,0.00009003274,0.00015461972,0.000049255643],"domain_scores_gemma":[0.9996038,0.00017469095,0.000033866872,0.000045604247,0.0000380778,0.000103910024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079502433,0.00049895566,0.00019461653,0.0005179807,0.0026876465,0.003606196,0.000577644,0.0013031171,0.003962733],"category_scores_gemma":[0.0019793296,0.00021561819,0.00034085737,0.00033608064,0.0043897056,0.002631405,0.0025688966,0.0024648062,0.00070806226],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013897421,0.000072489645,0.0013115787,0.00015923142,0.000022119315,0.0053399284,0.8027104,0.0007871702,0.018551078,0.12717317,0.016540963,0.027192928],"study_design_scores_gemma":[0.000023146602,0.0002682758,0.0032309345,0.00031970057,0.000026282141,0.011094714,0.30014345,0.0022273343,0.006940809,0.017651157,0.6580097,0.00006445291],"about_ca_topic_score_codex":0.0009960942,"about_ca_topic_score_gemma":0.0020045168,"teacher_disagreement_score":0.003962733,"about_ca_system_score_codex":0.0009235866,"about_ca_system_score_gemma":0.00037271515,"threshold_uncertainty_score":0.013256609},"labels":[],"label_agreement":null},{"id":"W4249947048","doi":"10.32920/ryerson.14665587","title":"Sound, Shape, Space : The Ontology of Space in Architecture","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Architecture; Space (punctuation); Sound (geography); Ontology; Criticism; Architectural engineering; Work (physics); Process (computing); Computer science; Aesthetics; Epistemology; Sociology; Engineering; Philosophy; Acoustics; Visual arts; Art; Literature; Physics; Mechanical engineering","score_opus":0.03717848410477437,"score_gpt":0.2662972438988184,"score_spread":0.22911875979404406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249947048","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042419035,0.009589175,0.25126317,0.019058906,0.0013568337,0.000052989162,0.00015339123,0.00025969546,0.6758468],"genre_scores_gemma":[0.9252993,0.0030887427,0.037211828,0.001143964,0.00040309818,0.00008921968,0.00010113877,0.00018037915,0.03248239],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99830097,0.00094859325,0.000053296455,0.00016689622,0.0003876329,0.00014266843],"domain_scores_gemma":[0.9991468,0.00035317952,0.00007500531,0.00020011433,0.00011643592,0.00010835399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015457202,0.0004766006,0.00030194107,0.0015901438,0.0033252903,0.009037533,0.0009357121,0.001876448,0.0043158005],"category_scores_gemma":[0.002881914,0.0002727838,0.0005125793,0.001817161,0.027382694,0.008634515,0.0038899365,0.0026858426,0.0006760281],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000037490395,0.000002350281,0.00008433268,0.00001442209,0.0000013105109,0.000019591345,0.0030441452,0.00028925363,0.000082173465,0.99245465,0.0006130189,0.0033909199],"study_design_scores_gemma":[0.00000478059,0.000008454584,0.000219393,0.00006201598,0.0000042514994,0.000060495728,0.0030812374,0.0012065799,0.0001279552,0.92101616,0.07420039,0.000008294797],"about_ca_topic_score_codex":0.0062988014,"about_ca_topic_score_gemma":0.0073093968,"teacher_disagreement_score":0.009037533,"about_ca_system_score_codex":0.0032622153,"about_ca_system_score_gemma":0.0022736837,"threshold_uncertainty_score":0.023669183},"labels":[],"label_agreement":null},{"id":"W4250223139","doi":"10.32920/ryerson.14644113","title":"Made From Movement: Michael Snow's That/Cela/Dat, Marie Menken's Arabesque for Kenneth Anger, and Richard Serra's Double Torqued Ellipse","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Movement (music); Embodied cognition; Philosophy; Art; Aesthetics; Epistemology","score_opus":0.053374772496649535,"score_gpt":0.25811420798663715,"score_spread":0.2047394354899876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250223139","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1989175,0.01748485,0.009218495,0.064053014,0.0049046217,0.00021253646,0.00045579494,0.00011503959,0.7046382],"genre_scores_gemma":[0.7977298,0.008745194,0.005115941,0.006382062,0.0007538695,0.00021055133,0.00028368412,0.00024893522,0.18053007],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931693,0.00026568334,0.000016769729,0.0001326975,0.00019453255,0.000073362455],"domain_scores_gemma":[0.9993783,0.0002987433,0.00007573884,0.00005719298,0.00008439196,0.000105553954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007587547,0.0005830448,0.0002451609,0.001073834,0.007038006,0.0044149733,0.00055795506,0.0011220628,0.008258602],"category_scores_gemma":[0.0022060806,0.00027735266,0.00037452756,0.001312982,0.009340933,0.004132567,0.0037136618,0.0023954473,0.00087517],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009892665,0.00004521691,0.0024301212,0.00032647353,0.000017394676,0.0010417103,0.57486784,0.000118075746,0.0025382368,0.20754677,0.14711359,0.06385553],"study_design_scores_gemma":[0.000009313923,0.000021829926,0.0034409978,0.00028526507,0.0000064259357,0.0004305,0.15752031,0.00007198179,0.00067114923,0.009414754,0.82811373,0.000013750653],"about_ca_topic_score_codex":0.047366574,"about_ca_topic_score_gemma":0.11796972,"teacher_disagreement_score":0.047366574,"about_ca_system_score_codex":0.0045238235,"about_ca_system_score_gemma":0.0018238019,"threshold_uncertainty_score":0.09418172},"labels":[],"label_agreement":null},{"id":"W4250577199","doi":"10.1111/j.0141-6790.2004.444_6_6.x","title":"Making sense out/of the visual: Aboriginal presentations and representations in nineteenth‐century Canada","year":2004,"lang":"en","type":"article","venue":"Art History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Colonialism; Performative utterance; Amateur; Representation (politics); Visual arts; Visual culture; Modernity; Aesthetics; Power (physics); Art; Agency (philosophy); History; Sociology; Politics; Archaeology; Epistemology; Social science; Law; Philosophy","score_opus":0.03220655144078391,"score_gpt":0.2892483786866101,"score_spread":0.25704182724582614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250577199","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5483451,0.0057542566,0.0014357023,0.015487228,0.00053480524,0.000058326277,0.0001408916,0.00010195019,0.4281418],"genre_scores_gemma":[0.9592099,0.0022157044,0.00043566193,0.0004990513,0.000041435287,0.000014586759,0.000033564953,0.00006813586,0.037481967],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976241,0.0006081797,0.000035531062,0.0001548738,0.0007029051,0.00087440596],"domain_scores_gemma":[0.9981621,0.00044623515,0.00013253797,0.00010274905,0.0005700086,0.0005864034],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017468268,0.0007120621,0.00033094498,0.0021604656,0.037010502,0.014017862,0.0019711272,0.0016647681,0.0072887363],"category_scores_gemma":[0.0039655967,0.00040483617,0.00032040518,0.0028919615,0.026938068,0.002608007,0.0067453543,0.004462267,0.00040221118],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028301392,0.0000137171755,0.0012316912,0.000051990377,0.000006086281,0.00053484493,0.9414907,0.00009262923,0.00033276583,0.040235613,0.005380955,0.010600687],"study_design_scores_gemma":[0.0000051341726,0.000011336518,0.0028333392,0.0001506243,0.000017412282,0.00026425885,0.807727,0.00013103987,0.00032153967,0.002206939,0.18629405,0.00003739665],"about_ca_topic_score_codex":0.9802136,"about_ca_topic_score_gemma":0.9888481,"teacher_disagreement_score":0.074591085,"about_ca_system_score_codex":0.074591085,"about_ca_system_score_gemma":0.07442375,"threshold_uncertainty_score":0.54119873},"labels":[],"label_agreement":null},{"id":"W4250636205","doi":"10.1093/obo/9780195399301-0414","title":"Erwin Panofsky","year":2019,"lang":"en","type":"reference-entry","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Iconology; History of art; Interpretation (philosophy); Relation (database); Art history; Art; Philosophy; Meaning (existential); Contemporary art; Literature; Epistemology; Visual arts; Performance art; Iconography","score_opus":0.03286515129242316,"score_gpt":0.2517679917940721,"score_spread":0.21890284050164896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250636205","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00571371,0.2513536,0.0073049893,0.19022715,0.026347369,0.000045633715,0.0011212273,0.0005655319,0.5173208],"genre_scores_gemma":[0.10911965,0.10334406,0.0035632728,0.02724213,0.0077324393,0.00011149737,0.00080488075,0.0008933589,0.7471887],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986896,0.0002597446,0.000053552223,0.00049351825,0.000384282,0.000119274904],"domain_scores_gemma":[0.99941695,0.00021789501,0.00007090292,0.000047841997,0.00014119838,0.00010520648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074346724,0.0009854002,0.0004482921,0.00096966745,0.0021004984,0.0036931336,0.00047089465,0.0020150861,0.04189314],"category_scores_gemma":[0.0040380103,0.00026282453,0.00023196227,0.0008224428,0.0020389627,0.0035833812,0.0024637394,0.003454907,0.033706535],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057101326,0.000026466629,0.0004135409,0.00019690747,0.000008757917,0.0002009026,0.00094741955,0.0001576271,0.00039801942,0.15534888,0.7187094,0.12353495],"study_design_scores_gemma":[0.0000017526047,0.000003378788,0.0001021644,0.000076268945,9.477071e-7,0.00011531159,0.00007129511,0.00003305844,0.00010760468,0.008152398,0.9913312,0.0000046603313],"about_ca_topic_score_codex":0.002530666,"about_ca_topic_score_gemma":0.0026152357,"teacher_disagreement_score":0.04189314,"about_ca_system_score_codex":0.0019249199,"about_ca_system_score_gemma":0.001585661,"threshold_uncertainty_score":0.14014655},"labels":[],"label_agreement":null},{"id":"W4250938976","doi":"10.4324/9781135000356-rem757-1","title":"Apollo (1909–1917)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Apollo; Art; Art history; Modernism (music); The arts; Dance; Woodcut; Craft; Visual arts","score_opus":0.051205398166544305,"score_gpt":0.2459083031872604,"score_spread":0.19470290502071608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250938976","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007150301,0.044483643,0.00054208864,0.0033560728,0.0062332735,0.00004705166,0.00030196013,0.00011816812,0.9377675],"genre_scores_gemma":[0.07686071,0.020806247,0.00056236057,0.0013910284,0.002990414,0.000059448506,0.0002627385,0.00013482766,0.89693224],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998035,0.00002061307,0.000007870003,0.000057240013,0.000076829056,0.000033951776],"domain_scores_gemma":[0.9998791,0.000034616834,0.000017303028,0.000011967137,0.000029293036,0.000027726948],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025096297,0.0004442427,0.00015744887,0.0020955817,0.0019774353,0.0033260281,0.00036070487,0.0009279352,0.028693495],"category_scores_gemma":[0.00051475025,0.00014481087,0.00015757489,0.0011740912,0.0016078968,0.0016101197,0.0013137214,0.0009213563,0.008078737],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011487509,0.00007635258,0.0010494603,0.0009111141,0.0000073530327,0.0005722694,0.0069552585,0.00015731661,0.0013531614,0.27402067,0.4093878,0.30539432],"study_design_scores_gemma":[0.000002247228,0.0000075689827,0.0005961446,0.00009936595,9.4835724e-7,0.00008882583,0.000104612314,0.000010457984,0.00010102261,0.0011148228,0.99787235,0.0000016966768],"about_ca_topic_score_codex":0.0035230704,"about_ca_topic_score_gemma":0.007087101,"teacher_disagreement_score":0.028693495,"about_ca_system_score_codex":0.0029812,"about_ca_system_score_gemma":0.0016409883,"threshold_uncertainty_score":0.09598929},"labels":[],"label_agreement":null},{"id":"W4251150720","doi":"10.2307/j.ctv6gqrcg.7","title":"Thoughts on First Nations Art, Some on Politics","year":2018,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Political science; Law","score_opus":0.038313394703250465,"score_gpt":0.20727639753513105,"score_spread":0.1689630028318806,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251150720","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017944758,0.12470588,0.0003408311,0.049441647,0.0044485875,0.0000069816306,0.00005344262,0.000026089256,0.8191821],"genre_scores_gemma":[0.07014645,0.06800253,0.0007138511,0.020088116,0.0030075843,0.000044127544,0.00010064586,0.00017543293,0.8377212],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935144,0.00023854712,0.000015612488,0.000079562386,0.00016597082,0.00014889878],"domain_scores_gemma":[0.9992888,0.00037249795,0.000027940063,0.00006415239,0.00013357888,0.000112967595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001293724,0.00071880064,0.00049504754,0.0022620286,0.008981608,0.01493091,0.0009961738,0.003430238,0.03786316],"category_scores_gemma":[0.0022004785,0.00040310956,0.0003505435,0.002712705,0.013002151,0.006668767,0.0020586213,0.0070189307,0.0045724465],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011962965,0.000015783526,0.00008858506,0.00007083177,0.0000026984255,0.00006332363,0.005522859,0.00011318841,0.000057407564,0.70794237,0.2658214,0.020289604],"study_design_scores_gemma":[0.0000023725247,0.0000016452094,0.00023080567,0.0003000182,0.0000011963847,0.00002362519,0.004191371,0.000023919412,0.000033937158,0.041177243,0.9540096,0.000004246806],"about_ca_topic_score_codex":0.09401793,"about_ca_topic_score_gemma":0.20528555,"teacher_disagreement_score":0.9059821,"about_ca_system_score_codex":0.016515346,"about_ca_system_score_gemma":0.005882047,"threshold_uncertainty_score":0.18694133},"labels":[],"label_agreement":null},{"id":"W4252763399","doi":"10.1007/978-3-030-71830-5_45","title":"Visual Sociology","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Sociology; Epistemology; Discipline; Context (archaeology); Field (mathematics); Depiction; Interdisciplinarity; Social science; TRACE (psycholinguistics); Visual arts; History; Art; Philosophy","score_opus":0.0481367386518884,"score_gpt":0.26934559028466826,"score_spread":0.22120885163277987,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252763399","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025128323,0.004703978,0.0004699369,0.0025341331,0.0006128916,0.0000137240295,0.00006089923,0.000043915425,0.9913093],"genre_scores_gemma":[0.0040243585,0.0018406247,0.00015072344,0.0007373053,0.00019808236,0.000014621014,0.000039936745,0.00004158519,0.99295276],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999683,0.00009135811,0.000007772684,0.000056290162,0.00011853245,0.000043076758],"domain_scores_gemma":[0.9996803,0.000092019865,0.000012637616,0.000052196057,0.000097968936,0.00006495793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039536686,0.0006864958,0.00031008857,0.0018382366,0.003496271,0.006116456,0.0006560473,0.002204082,0.18477196],"category_scores_gemma":[0.0011564405,0.0002779941,0.00022027742,0.0015713224,0.0025888004,0.0035480724,0.0021263165,0.002408182,0.05967737],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008935789,0.000028116598,0.00008848052,0.000084134925,0.0000015946677,0.000038072132,0.0011536037,0.00006582241,0.00014084374,0.37155527,0.5460577,0.08077748],"study_design_scores_gemma":[9.598552e-7,0.0000015568285,0.00007236487,0.00006315943,5.645626e-7,0.000020989824,0.00029861604,0.000022485552,0.000034633373,0.01693954,0.98254377,0.0000013993836],"about_ca_topic_score_codex":0.017569622,"about_ca_topic_score_gemma":0.046604794,"teacher_disagreement_score":0.18477196,"about_ca_system_score_codex":0.004386054,"about_ca_system_score_gemma":0.002278425,"threshold_uncertainty_score":0.61812377},"labels":[],"label_agreement":null},{"id":"W4253382742","doi":"10.7765/9781526126733.00005","title":"Introduction","year":2018,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Argument (complex analysis); Power (physics); Context (archaeology); Relation (database); Narrative; Sociology; Incarnation; Aesthetics; History; Art; Literature; Philosophy; Archaeology","score_opus":0.03854350278459225,"score_gpt":0.19392368796128892,"score_spread":0.15538018517669666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253382742","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005386602,0.0060455664,0.0018193503,0.004300322,0.0051761833,0.000065539556,0.0007099541,0.00025781736,0.98108655],"genre_scores_gemma":[0.0033041749,0.0038300431,0.0009061316,0.0015459307,0.0011133191,0.00004644192,0.00066143833,0.00015774155,0.9884348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993212,0.0000774778,0.00002946742,0.00017956192,0.00032012264,0.000072259005],"domain_scores_gemma":[0.9993893,0.00011863501,0.000029356805,0.000080005055,0.0002617287,0.00012103708],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004520124,0.0006667592,0.0004566538,0.0013292795,0.00210801,0.0053061442,0.0011779357,0.0020803506,0.32456142],"category_scores_gemma":[0.0016810667,0.0002692696,0.00036932444,0.0013836082,0.0012332839,0.0033469272,0.0023728758,0.002384658,0.17414263],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018957431,0.00003451649,0.00016841298,0.00025180963,0.0000021651686,0.00011110376,0.0010853228,0.00010219411,0.0003431525,0.113256834,0.75981325,0.124812335],"study_design_scores_gemma":[6.1394417e-7,0.0000030577473,0.000060027323,0.000068555055,3.504232e-7,0.00004752122,0.00008699119,0.000008106339,0.000025224854,0.002186098,0.9975122,0.0000012127343],"about_ca_topic_score_codex":0.0037229308,"about_ca_topic_score_gemma":0.0061276173,"teacher_disagreement_score":0.32456142,"about_ca_system_score_codex":0.0020163984,"about_ca_system_score_gemma":0.0019356663,"threshold_uncertainty_score":0.9634312},"labels":[],"label_agreement":null},{"id":"W4254153423","doi":"10.4212/cjhp.v72i4.2922","title":"Congratulations to the 2019 Recipients of the Foundation Sabbatical Grant and PLA Scholarship","year":2019,"lang":"en","type":"article","venue":"The Canadian Journal of Hospital Pharmacy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Scholarship; Foundation (evidence); Library science; Medicine; Family medicine; Political science; Medical education; Law; Computer science","score_opus":0.033543743803461305,"score_gpt":0.27469140021143057,"score_spread":0.24114765640796926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254153423","genre_codex":"commentary","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014594946,0.003246831,0.0004667709,0.7020363,0.26037824,0.00015122202,0.0010375383,0.00032389988,0.030899698],"genre_scores_gemma":[0.007628239,0.001931317,0.001083442,0.23556475,0.030661624,0.0001840686,0.0007339469,0.0003594895,0.721853],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960368,0.0005916636,0.0001319456,0.00040095436,0.0017173056,0.0011213333],"domain_scores_gemma":[0.9747172,0.0009154781,0.0007503759,0.0004895395,0.008658048,0.014469326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004455451,0.0011912583,0.0011937217,0.0013497652,0.0065850005,0.008670762,0.0016636796,0.0070524365,0.12488498],"category_scores_gemma":[0.016168507,0.00057242846,0.0012621966,0.0006007989,0.0017841969,0.0028469001,0.007918839,0.014559505,0.101339154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036503632,0.00003838078,0.00018994657,0.000012437158,0.0000043465107,0.000043715925,0.000048514474,0.000019622794,0.00008116305,0.0009920904,0.99476177,0.0037714678],"study_design_scores_gemma":[0.00001876046,0.000036701713,0.0010271765,0.00003968943,0.0000045226334,0.00006317698,0.00062703545,0.00006618081,0.00008724919,0.000795119,0.997212,0.000022273689],"about_ca_topic_score_codex":0.021621905,"about_ca_topic_score_gemma":0.053814247,"teacher_disagreement_score":0.12488498,"about_ca_system_score_codex":0.005165155,"about_ca_system_score_gemma":0.011761981,"threshold_uncertainty_score":0.4177819},"labels":[],"label_agreement":null},{"id":"W4254846686","doi":"10.32920/ryerson.14665308","title":"Aphantasia : silence in the mind","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Vlaamse regering","keywords":"Silence; Psychology; Aesthetics; Sociology; Art","score_opus":0.06079084438169324,"score_gpt":0.28097860347307196,"score_spread":0.22018775909137872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254846686","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95672154,0.0011936092,0.0020487513,0.0024829772,0.00019702311,0.000055287834,0.00019139363,0.00007113981,0.037038267],"genre_scores_gemma":[0.9908359,0.00043288863,0.00065494835,0.0003604812,0.00003467417,0.000027475076,0.00006162221,0.000035621506,0.007556306],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993124,0.00026247444,0.000031352763,0.00008921441,0.00020741568,0.0000971551],"domain_scores_gemma":[0.9988764,0.0005857679,0.00013316971,0.00014548957,0.000116492585,0.00014273691],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006414219,0.0002259222,0.0002320096,0.00044130845,0.0024887458,0.0025151058,0.0003136954,0.00081872975,0.004291709],"category_scores_gemma":[0.0041345726,0.00013223842,0.0002041786,0.0004521352,0.0050356383,0.0010985656,0.0031545102,0.0013661823,0.0004290526],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003387651,0.00006732579,0.010834624,0.00031130627,0.000033859214,0.00790456,0.8879856,0.00009216221,0.032123152,0.010073004,0.0075552645,0.04268042],"study_design_scores_gemma":[0.000043685457,0.0003339346,0.06307305,0.0005417624,0.000055810804,0.023378143,0.7521183,0.00022133955,0.009693467,0.009642917,0.14078113,0.00011643014],"about_ca_topic_score_codex":0.011749948,"about_ca_topic_score_gemma":0.015199545,"teacher_disagreement_score":0.011749948,"about_ca_system_score_codex":0.0010427381,"about_ca_system_score_gemma":0.0008539687,"threshold_uncertainty_score":0.023363113},"labels":[],"label_agreement":null},{"id":"W4255036791","doi":"10.32920/ryerson.14663919","title":"Photographic ritual: visual conditions of behaviour and definitions of self","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University; University of Toronto","funders":"","keywords":"Photography; Representation (politics); Digital photography; Identity (music); Visual arts; Object (grammar); Self representation; Style (visual arts); Phenomenon; Art; Aesthetics; Computer science; Epistemology; Artificial intelligence; Humanities","score_opus":0.05068865076799464,"score_gpt":0.28113239348113966,"score_spread":0.23044374271314502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255036791","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73393804,0.0042409147,0.01769357,0.0011679563,0.00011233956,0.00009058862,0.00015341649,0.00008749998,0.24251561],"genre_scores_gemma":[0.99461836,0.0003624901,0.0017342544,0.00004207941,0.000020619258,0.000029767034,0.00002952001,0.000023906967,0.0031389175],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855095,0.00096925895,0.00006142232,0.00014422637,0.00018259278,0.00009154866],"domain_scores_gemma":[0.9979596,0.0011246264,0.0003077604,0.00034315017,0.00015129431,0.00011349774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011825784,0.00015605436,0.00014835954,0.0008826076,0.0011934305,0.0034781364,0.0003560547,0.00053481595,0.0045595015],"category_scores_gemma":[0.005088004,0.00014784452,0.00019104873,0.00060745154,0.007721518,0.002173794,0.0019193096,0.0005040176,0.00030335234],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007408781,0.00013604868,0.020792108,0.001037282,0.000048554877,0.0013385217,0.32734647,0.000432987,0.024934415,0.5155904,0.0031247183,0.10447768],"study_design_scores_gemma":[0.00014801728,0.000818873,0.20292541,0.001436975,0.0001163579,0.007728145,0.33934906,0.0022103859,0.024731014,0.17460738,0.24575134,0.00017707067],"about_ca_topic_score_codex":0.0010479849,"about_ca_topic_score_gemma":0.0009285181,"teacher_disagreement_score":0.0045595015,"about_ca_system_score_codex":0.0006226606,"about_ca_system_score_gemma":0.00041776095,"threshold_uncertainty_score":0.015253007},"labels":[],"label_agreement":null},{"id":"W4281491626","doi":"10.32920/ifmj.v2i2.1565","title":"Signs of Life","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Semiotics; Sign (mathematics); Interpretation (philosophy); Epistemology; Biosemiotics; Sign system; Criticism; Value (mathematics); Consciousness; Ambiguity; Aesthetics; Psychology; Linguistics; Philosophy; Literature; Computer science; Art","score_opus":0.03160005928003602,"score_gpt":0.25464009934549087,"score_spread":0.22304004006545486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281491626","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009337154,0.012716866,0.01147629,0.04960899,0.0038788521,0.000040440118,0.00016285808,0.0001722263,0.9126064],"genre_scores_gemma":[0.7088631,0.011323851,0.0061053024,0.01227951,0.0030747834,0.00016385048,0.00034560895,0.00033314226,0.25751087],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965101,0.0017693925,0.00012164933,0.00041420988,0.0007845374,0.00040012054],"domain_scores_gemma":[0.99843353,0.00049853657,0.00017275516,0.00020953034,0.00034480772,0.0003409328],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015768111,0.0008128238,0.00047880135,0.001973022,0.0068869274,0.011174616,0.00089738553,0.0031526124,0.02078336],"category_scores_gemma":[0.0050453087,0.00021927242,0.00040546383,0.0011527148,0.023921197,0.015081996,0.0076869563,0.004624842,0.0057719494],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008552533,0.000004103816,0.00006616827,0.000028473769,0.0000010952701,0.00003771158,0.006675877,0.00002404801,0.000073702584,0.9761085,0.009783847,0.0071878918],"study_design_scores_gemma":[0.000004323382,0.000018706362,0.00015576486,0.00015604247,0.0000025359489,0.00017531715,0.006115719,0.000051614275,0.00013716515,0.20485467,0.7883136,0.000014388327],"about_ca_topic_score_codex":0.0019345816,"about_ca_topic_score_gemma":0.0021402377,"teacher_disagreement_score":0.02078336,"about_ca_system_score_codex":0.0038462745,"about_ca_system_score_gemma":0.0023594585,"threshold_uncertainty_score":0.06952727},"labels":[],"label_agreement":null},{"id":"W4281492002","doi":"10.3138/cras-2021-008","title":"Refashioning Noir: Do Dead Girls Still Live in L.A.?","year":2022,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Uncanny; Mainstream; Art; Representation (politics); Reading (process); Art history; Sociology; Aesthetics; Politics; Philosophy; Law","score_opus":0.044178831092596,"score_gpt":0.30099200053204345,"score_spread":0.25681316943944743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281492002","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21886586,0.0710759,0.0008531373,0.17178509,0.0036559775,0.000039483144,0.00031823307,0.000108538945,0.5332979],"genre_scores_gemma":[0.878285,0.023971904,0.0002777238,0.013340052,0.00060077023,0.000046926718,0.00011813925,0.00010587956,0.083253585],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846375,0.00083250337,0.000023108361,0.00016968182,0.00020270389,0.0003083278],"domain_scores_gemma":[0.99863166,0.0005712622,0.00017387317,0.00009758275,0.00019407184,0.00033147124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020602127,0.00040240717,0.0003776192,0.0011616793,0.013807618,0.007775896,0.0010698874,0.0013935076,0.009531503],"category_scores_gemma":[0.0036409928,0.00025859204,0.00020796439,0.0009064491,0.018139755,0.008181225,0.0036890549,0.0048314477,0.0015281666],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004534002,0.000060396345,0.006013496,0.00035114583,0.000014709983,0.00045495172,0.7007971,0.00002642041,0.00017337846,0.11244344,0.09720808,0.08241161],"study_design_scores_gemma":[0.0000044557105,0.000020405361,0.0044638794,0.00050913775,0.000007258645,0.00020120309,0.63174945,0.000010352204,0.00012770087,0.0027835527,0.36011156,0.000011103519],"about_ca_topic_score_codex":0.07098181,"about_ca_topic_score_gemma":0.18352051,"teacher_disagreement_score":0.07098181,"about_ca_system_score_codex":0.005070276,"about_ca_system_score_gemma":0.0031414588,"threshold_uncertainty_score":0.1411373},"labels":[],"label_agreement":null},{"id":"W4285191605","doi":"10.15826/izv2.2022.24.2.025","title":"Afterimage by H. Humphreys as a Photoreconstruction Novel: Genre Peculiarities","year":2022,"lang":"en","type":"article","venue":"Izvestia of the Ural federal university Series 2 Humanities and Arts","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Portsmouth","keywords":"Character (mathematics); Mythology; Narrative; Literature; Art; Poetics; Plot (graphics); History; Poetry","score_opus":0.01838314613815033,"score_gpt":0.17916208729303112,"score_spread":0.16077894115488078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285191605","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3458175,0.015436618,0.001525428,0.02621367,0.0027605868,0.00006650765,0.00035205434,0.00018754238,0.60764],"genre_scores_gemma":[0.84468627,0.004187837,0.0006075068,0.0018471843,0.0005156738,0.00001771102,0.000077760415,0.00013906027,0.14792103],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993612,0.00016360855,0.000011466273,0.00011110573,0.00021908658,0.00013352896],"domain_scores_gemma":[0.9993765,0.00022830573,0.00006587922,0.00004016913,0.00015513918,0.00013410245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069587375,0.00032820765,0.0002626587,0.0008987063,0.010422085,0.0058507174,0.00044225325,0.0009217717,0.0056545334],"category_scores_gemma":[0.0013873581,0.00014687807,0.00014387495,0.0009919835,0.008997377,0.0022072447,0.0016585271,0.0012708827,0.00049289764],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016451521,0.00003392118,0.0021053678,0.00025488486,0.000012386459,0.003090443,0.5852527,0.00014831602,0.00300961,0.230185,0.12600836,0.04973446],"study_design_scores_gemma":[0.0000048462794,0.000035519337,0.0033979935,0.00011752471,0.0000061876,0.0011764779,0.10796901,0.00006232601,0.0010824272,0.0030447217,0.88308173,0.000021266014],"about_ca_topic_score_codex":0.3205625,"about_ca_topic_score_gemma":0.4589378,"teacher_disagreement_score":0.3205625,"about_ca_system_score_codex":0.011221258,"about_ca_system_score_gemma":0.005816575,"threshold_uncertainty_score":0.63739324},"labels":[],"label_agreement":null},{"id":"W4285226732","doi":"10.1017/s1060150320000364","title":"Interpreting the Labor and Legacy of the Independent Literary Typist; or, the Typing of Ethel Kate Dickens","year":2022,"lang":"en","type":"article","venue":"Victorian Literature and Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Originality; Literature; Literary criticism; Copying; Scholarship; Value (mathematics); History of literature; Literary science; History; Art; Sociology; Social science; Law; Political science","score_opus":0.009692685589333143,"score_gpt":0.2220961180695492,"score_spread":0.21240343248021606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285226732","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2871553,0.05652246,0.008799786,0.15485394,0.006193767,0.000050254388,0.000097979064,0.000103236045,0.48622328],"genre_scores_gemma":[0.91027623,0.0066282093,0.0012242895,0.004732215,0.0008042429,0.0000440106,0.000022335415,0.00017125459,0.0760973],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9961998,0.002414961,0.00008132233,0.00044163995,0.00060291635,0.00025927945],"domain_scores_gemma":[0.9895629,0.007036793,0.00088499644,0.00067854906,0.0011053145,0.00073138595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00551576,0.0004463196,0.00031680038,0.0038554403,0.017067278,0.01396643,0.0012977219,0.0018864431,0.0022512688],"category_scores_gemma":[0.013474993,0.0003438616,0.00013029619,0.0021147723,0.051087003,0.0073843612,0.005583003,0.0038885728,0.00043512028],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024089588,0.000019291696,0.0014877855,0.00009050415,0.000006057978,0.00037447177,0.4694766,0.00010299609,0.00021607126,0.46424714,0.038373582,0.02558136],"study_design_scores_gemma":[0.0000069864313,0.0000149708985,0.0016031376,0.00054504204,0.00000935836,0.00047534448,0.29369044,0.00020045212,0.00066574616,0.07354351,0.62921625,0.00002866374],"about_ca_topic_score_codex":0.023671197,"about_ca_topic_score_gemma":0.05547014,"teacher_disagreement_score":0.023671197,"about_ca_system_score_codex":0.009691904,"about_ca_system_score_gemma":0.0063691926,"threshold_uncertainty_score":0.07032007},"labels":[],"label_agreement":null},{"id":"W4285497631","doi":"10.54097/ehss.v1i.678","title":"Differences in Renoir’s paintings after his trip from 1881 to 1883: the human body, color and compositions","year":2022,"lang":"en","type":"article","venue":"Journal of Education Humanities and Social Sciences","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Painting; Style (visual arts); Art; The Renaissance; Visual arts; Art history","score_opus":0.06482880862330449,"score_gpt":0.3013056960409687,"score_spread":0.2364768874176642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285497631","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9420216,0.0024143476,0.0004524043,0.0006069918,0.000115127994,0.000016163633,0.00027778346,0.000030009138,0.05406561],"genre_scores_gemma":[0.9782029,0.00088540197,0.00042530938,0.00007682468,0.000037231566,0.000008611627,0.00009722012,0.000055502176,0.020211147],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995832,0.00016449593,0.000007209692,0.00007332842,0.000096469026,0.00007522429],"domain_scores_gemma":[0.99972385,0.000104745755,0.000042041815,0.00002825363,0.000052027866,0.000049032333],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068814063,0.00027636913,0.00019570212,0.0007430596,0.0020033524,0.0014872873,0.00023169082,0.00036796558,0.008362561],"category_scores_gemma":[0.001034688,0.0001345725,0.00020519599,0.0005966264,0.002624034,0.0005737432,0.0008421667,0.0006495007,0.00059186516],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004219254,0.00005647792,0.030252235,0.0003834299,0.00007781342,0.0022184965,0.8316124,0.000451108,0.00941591,0.009157257,0.013215408,0.102737576],"study_design_scores_gemma":[0.000009341518,0.00016717301,0.5103881,0.000279999,0.000028872502,0.0023733096,0.22263852,0.00011491146,0.0015757801,0.00037572166,0.26196966,0.000078709214],"about_ca_topic_score_codex":0.028092725,"about_ca_topic_score_gemma":0.08897375,"teacher_disagreement_score":0.028092725,"about_ca_system_score_codex":0.0012846794,"about_ca_system_score_gemma":0.0003095681,"threshold_uncertainty_score":0.055858374},"labels":[],"label_agreement":null},{"id":"W4285792842","doi":"10.1162/leon_r_02266","title":"The Digital Image and Reality: Affect, Metaphysics and Post-Cinema","year":2022,"lang":"en","type":"article","venue":"Leonardo","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Movie theater; Computer science; Download; Citation; Digital media; Metaphysics; World Wide Web; Art; Art history; Philosophy; Theology","score_opus":0.018394969956735733,"score_gpt":0.23967373098488734,"score_spread":0.2212787610281516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285792842","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021778285,0.23473617,0.0007878054,0.026093898,0.01070315,0.000047838374,0.0013940295,0.00033317658,0.7237261],"genre_scores_gemma":[0.018891774,0.067568675,0.0006100991,0.0018073675,0.0026685165,0.000048092996,0.00087455823,0.00020833345,0.9073225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968815,0.00005858318,0.000014946013,0.00006585402,0.0001209333,0.000051522282],"domain_scores_gemma":[0.99979323,0.00005120727,0.000016120368,0.000017472546,0.0000742088,0.000047790865],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050818897,0.00092167465,0.00045188534,0.0014695437,0.0011665829,0.005672086,0.00048495215,0.0017502344,0.14050657],"category_scores_gemma":[0.0010068264,0.00042710017,0.0003058445,0.0016545532,0.0014083439,0.0031940963,0.0020701855,0.0017594611,0.049350094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004452669,0.000014638616,0.0002636229,0.00032519014,0.0000060340717,0.000074824544,0.00080640224,0.000059576527,0.00032474,0.016097551,0.8526852,0.12929772],"study_design_scores_gemma":[0.0000020454684,0.0000046695486,0.0008509559,0.0003089611,0.0000024320855,0.0000732902,0.00027461463,0.000018826679,0.00006651362,0.0010358497,0.99735826,0.000003614919],"about_ca_topic_score_codex":0.009421592,"about_ca_topic_score_gemma":0.01584809,"teacher_disagreement_score":0.14050657,"about_ca_system_score_codex":0.002006586,"about_ca_system_score_gemma":0.0009883328,"threshold_uncertainty_score":0.47004128},"labels":[],"label_agreement":null},{"id":"W4287151859","doi":"10.18282/l-e.v10i8.3071","title":"The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example","year":2022,"lang":"en","type":"article","venue":"Learning & Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brandon Regional Health Authority","funders":"","keywords":"Criticism; Art criticism; Aesthetics; Realism; Art; Sociology; Epistemology; Visual arts; Art history; Philosophy; Literature; Performance art","score_opus":0.05703740980974393,"score_gpt":0.3385077797155397,"score_spread":0.28147036990579577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287151859","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08226942,0.024383776,0.15341529,0.2096301,0.0024422954,0.00029227423,0.00008245358,0.00040110943,0.52708334],"genre_scores_gemma":[0.95548314,0.002896092,0.019563748,0.0057030316,0.00054683245,0.00018807712,0.000017668051,0.00017187397,0.015429436],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99233645,0.005917859,0.000107897824,0.0005653657,0.00075582473,0.00031659962],"domain_scores_gemma":[0.9905511,0.0073568756,0.00049092376,0.00081637927,0.0005317347,0.00025302952],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00620499,0.0007978399,0.0005616037,0.0039643142,0.005129094,0.0068133827,0.0015202306,0.0043137274,0.001984654],"category_scores_gemma":[0.013086178,0.00028961693,0.0004417232,0.0016642072,0.05940199,0.008867818,0.0065565924,0.005492847,0.00038607497],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000847806,0.000006928123,0.000073867915,0.00006610449,0.0000044019985,0.000117669246,0.0356758,0.0000829954,0.00014961357,0.9567046,0.0020138363,0.005095613],"study_design_scores_gemma":[0.000027818913,0.000028269986,0.00039481805,0.0005608631,0.00001337915,0.0004604519,0.01872998,0.0010649369,0.0010758291,0.7474066,0.23020034,0.00003671291],"about_ca_topic_score_codex":0.005207189,"about_ca_topic_score_gemma":0.0042080423,"teacher_disagreement_score":0.0072472407,"about_ca_system_score_codex":0.0072472407,"about_ca_system_score_gemma":0.0020778656,"threshold_uncertainty_score":0.05258262},"labels":[],"label_agreement":null},{"id":"W4287845867","doi":"10.18778/0208-6107.40.07","title":"Jak podpisywać dzieła sztuki w przestrzeni publicznej? Problematyka i wybrane przykłady","year":2022,"lang":"pl","type":"article","venue":"Acta Universitatis Lodziensis Folia Philosophica Ethica-Aesthetica-Practica","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Ministerstwo Edukacji i Nauki","keywords":"Physics; Theology; Philosophy","score_opus":0.04184696575833053,"score_gpt":0.2572320831780587,"score_spread":0.21538511741972816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287845867","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2621232,0.03330313,0.018609013,0.24711601,0.0020082921,0.00023239633,0.0011408603,0.0003643516,0.4351027],"genre_scores_gemma":[0.9545657,0.013188334,0.0024469304,0.005032784,0.0004659247,0.000135813,0.00029139032,0.00011420536,0.023759011],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99460727,0.0019020356,0.00023254128,0.00083696464,0.0013410765,0.0010801584],"domain_scores_gemma":[0.9948395,0.00208653,0.0010888688,0.0005415095,0.00077052077,0.0006731551],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041411454,0.0005355702,0.00079102593,0.0034033905,0.0053269854,0.021442274,0.001442339,0.0026345553,0.019977802],"category_scores_gemma":[0.0108473385,0.00047699144,0.0005673122,0.0062678643,0.013320629,0.01676281,0.0066433153,0.0044773766,0.002732731],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015767914,0.00025267078,0.03184228,0.0015741612,0.00014692548,0.0014148138,0.09471388,0.0009253037,0.0009846023,0.6841068,0.04861053,0.13527033],"study_design_scores_gemma":[0.000033197513,0.00007526847,0.035811584,0.0021353704,0.00010977012,0.00082592526,0.18386057,0.0008823133,0.00094181695,0.21166289,0.5635339,0.00012737881],"about_ca_topic_score_codex":0.0147800455,"about_ca_topic_score_gemma":0.014841628,"teacher_disagreement_score":0.021442274,"about_ca_system_score_codex":0.009861648,"about_ca_system_score_gemma":0.009934707,"threshold_uncertainty_score":0.07155162},"labels":[],"label_agreement":null},{"id":"W4288050211","doi":"10.33929/gcrrpress.2022.03","title":"Violence in Art: Essays in Aesthetics and Philosophy","year":2022,"lang":"en","type":"article","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Theme (computing); Art; Aesthetics; Sociology; Visual arts","score_opus":0.025896928458325672,"score_gpt":0.23290437307990575,"score_spread":0.20700744462158008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4288050211","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015135178,0.22454639,0.0053454284,0.13868128,0.03678167,0.00004985479,0.000048775477,0.0000649787,0.5793465],"genre_scores_gemma":[0.50414556,0.10973054,0.005218625,0.030924344,0.041658815,0.00025439088,0.0000746353,0.0004584161,0.30753466],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99669373,0.0020491579,0.000093949835,0.00019919475,0.0007206019,0.00024329209],"domain_scores_gemma":[0.99684674,0.0022308975,0.00020051502,0.0001599386,0.0002561297,0.00030588772],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029370862,0.0009748241,0.0006271062,0.0019559443,0.0098507535,0.0096246535,0.00093908986,0.0029952812,0.006259124],"category_scores_gemma":[0.0072777895,0.0003046098,0.0006242236,0.0019308389,0.021903323,0.005244592,0.0044938745,0.0059797405,0.00078530586],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002871309,0.00004628027,0.00029641174,0.00042931538,0.000014623411,0.0002420622,0.060326673,0.00018281506,0.00026085426,0.66780007,0.24291672,0.027455429],"study_design_scores_gemma":[0.000008721136,0.000019637251,0.0005894601,0.0013367302,0.0000077522645,0.0002725566,0.022878826,0.00010286349,0.00012805121,0.06395117,0.91069376,0.0000104269975],"about_ca_topic_score_codex":0.0014984395,"about_ca_topic_score_gemma":0.003824634,"teacher_disagreement_score":0.0098507535,"about_ca_system_score_codex":0.0041058036,"about_ca_system_score_gemma":0.0021112994,"threshold_uncertainty_score":0.029789865},"labels":[],"label_agreement":null},{"id":"W4288385312","doi":"10.36025/arj.v9i1.29667","title":"Apóstrofe – Warburg, 1896: páthos ameríndio y acto fotográfico","year":2022,"lang":"es","type":"article","venue":"ARJ – Art Research Journal / Revista de Pesquisa em Artes","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.0655878693840355,"score_gpt":0.3622697817159951,"score_spread":0.2966819123319596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4288385312","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51048386,0.007439937,0.0016063713,0.005977564,0.00042199582,0.000047767728,0.00029252717,0.000019375482,0.47371054],"genre_scores_gemma":[0.93138784,0.0027719045,0.00064993877,0.00031415877,0.000061361796,0.000022672859,0.000104540115,0.00002743513,0.06466018],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996939,0.00008203618,0.000008643427,0.000046945133,0.00006506439,0.000103395345],"domain_scores_gemma":[0.9997881,0.00008804604,0.00004302315,0.000017218625,0.000035527097,0.000028152723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005040228,0.00026666315,0.0001011554,0.0014955478,0.003865886,0.0025873603,0.0003517111,0.0005164711,0.012956865],"category_scores_gemma":[0.0010182947,0.00012820547,0.00010796357,0.0021070433,0.0053192824,0.0023380003,0.0016212873,0.0014747398,0.0008486729],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085449356,0.000035389967,0.01369681,0.00013040646,0.0000067457063,0.00073236483,0.50308603,0.00013788807,0.0011473465,0.37960368,0.011115059,0.09022282],"study_design_scores_gemma":[0.000005525902,0.00003107335,0.046100173,0.0003274251,0.0000073232704,0.00046189403,0.16184895,0.00008423476,0.00076722703,0.010530029,0.77982336,0.000012905295],"about_ca_topic_score_codex":0.09340523,"about_ca_topic_score_gemma":0.19761956,"teacher_disagreement_score":0.09340523,"about_ca_system_score_codex":0.0061215074,"about_ca_system_score_gemma":0.0028040626,"threshold_uncertainty_score":0.18572313},"labels":[],"label_agreement":null},{"id":"W4292656384","doi":"10.1086/722230","title":"Front Cover","year":2022,"lang":"en","type":"paratext","venue":"Critical Inquiry","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Front cover; Cover (algebra); Painting; Art history; Download; Front (military); Code (set theory); Media studies; Library science; Visual arts; Art; Sociology; Computer science; World Wide Web; Engineering; Programming language","score_opus":0.10891126441564655,"score_gpt":0.3506032628160795,"score_spread":0.24169199840043296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4292656384","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016374253,0.00034396778,0.0005592162,0.000620188,0.0020413408,0.0001049024,0.0034695398,0.0020492377,0.99064773],"genre_scores_gemma":[0.00061126554,0.00029905958,0.00030777982,0.00036370687,0.00037425326,0.000036458077,0.0021538658,0.0009516261,0.9949019],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947673,0.00003859666,0.000020770109,0.000093884344,0.0002936835,0.00007637141],"domain_scores_gemma":[0.9981342,0.0002547449,0.00008150852,0.0002363569,0.00077015924,0.0005230512],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000335467,0.0012260234,0.0009436606,0.0023304494,0.0017590299,0.0056158677,0.0012453414,0.0019693258,0.96931195],"category_scores_gemma":[0.0037365453,0.00051606266,0.00073819706,0.0021454939,0.000552317,0.003874787,0.0030563283,0.0018601143,0.9482338],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012104286,0.000018604836,0.000041209416,0.00010316379,0.0000011134969,0.000025869158,0.000021940135,0.000018062718,0.00017784606,0.0009118388,0.95262545,0.04604287],"study_design_scores_gemma":[0.0000038799058,0.000007036095,0.00016411893,0.00006968053,0.0000010916809,0.000033186512,0.000035784073,0.000021363001,0.00009882231,0.00051013194,0.9990515,0.0000033437466],"about_ca_topic_score_codex":0.0017405462,"about_ca_topic_score_gemma":0.003026157,"teacher_disagreement_score":0.030688047,"about_ca_system_score_codex":0.0011401165,"about_ca_system_score_gemma":0.0010549462,"threshold_uncertainty_score":0.043772697},"labels":[],"label_agreement":null},{"id":"W4293727958","doi":"10.1080/20539320.2021.2083369","title":"“The Appearance that Becomes an Image”. Review of <i>Looking Through Images: A Phenomenology of Visual Media</i>","year":2021,"lang":"en","type":"article","venue":"Journal of Aesthetics and Phenomenology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of New Brunswick","funders":"","keywords":"Phenomenology (philosophy); Aesthetics; Image (mathematics); Psychology; Psychoanalysis; Visual arts; Art; Epistemology; Computer vision; Philosophy; Computer science","score_opus":0.030639577337007236,"score_gpt":0.2868116694127347,"score_spread":0.2561720920757275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293727958","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068214454,0.9809192,0.0004469323,0.008237573,0.0020395648,0.000007196222,0.000016191347,0.000004802292,0.007646344],"genre_scores_gemma":[0.030059917,0.9496197,0.0005602352,0.008471482,0.0040930323,0.000044948192,0.000042904343,0.000037388265,0.0070704394],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980044,0.0011917006,0.00012818562,0.00018835707,0.00037693747,0.00011058452],"domain_scores_gemma":[0.99578106,0.0031654015,0.00024232174,0.00013088305,0.00057908666,0.00010131555],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002720236,0.0006435522,0.00085382315,0.003213958,0.0015866689,0.005948962,0.0011217193,0.0027314876,0.003194291],"category_scores_gemma":[0.006169401,0.0003550933,0.0004914451,0.0043507125,0.010887898,0.007725896,0.0020954781,0.0034869153,0.00080174435],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011489792,0.00004690446,0.0006163068,0.015789693,0.000063344494,0.00043936216,0.03250724,0.00022060116,0.00093765464,0.242904,0.20546012,0.5008999],"study_design_scores_gemma":[0.0000056856848,0.000032280946,0.001425583,0.009922836,0.000019004101,0.0011331997,0.008016859,0.00006015205,0.00022437247,0.00979979,0.9693401,0.00002024099],"about_ca_topic_score_codex":0.008893873,"about_ca_topic_score_gemma":0.012265942,"teacher_disagreement_score":0.008893873,"about_ca_system_score_codex":0.0028688468,"about_ca_system_score_gemma":0.0032225223,"threshold_uncertainty_score":0.020815015},"labels":[],"label_agreement":null},{"id":"W4294219410","doi":"10.1017/s0034670522000626","title":"Caleb J. Basnett: Adorno, Politics, and the Aesthetic Animal. (Toronto: University of Toronto Press, 2021. Pp. x, 205.)","year":2022,"lang":"en","type":"article","venue":"The Review of Politics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Media studies; Sociology; Political science; Law","score_opus":0.017028313235823874,"score_gpt":0.24018913733994893,"score_spread":0.22316082410412505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4294219410","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001679946,0.9424283,0.00034149204,0.02310329,0.004148761,0.000008893755,0.00025627896,0.00003800255,0.029506966],"genre_scores_gemma":[0.012815008,0.85178435,0.0010423213,0.006591733,0.0048645386,0.000047805377,0.00042120536,0.00015907535,0.122273944],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991762,0.00023941754,0.00006030548,0.000074803145,0.00033381674,0.000115455885],"domain_scores_gemma":[0.9983925,0.00055678096,0.00019353842,0.000078040364,0.00055520306,0.00022388693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012932387,0.0013259888,0.0007865836,0.004483819,0.003041838,0.0051358603,0.0014141162,0.0031060511,0.06097755],"category_scores_gemma":[0.0033994205,0.001085146,0.00050960976,0.0057469956,0.0031817756,0.007618535,0.0017299346,0.0034035374,0.017810978],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019429404,0.0000058551236,0.00015198851,0.00050266326,0.000008068321,0.000074856216,0.0011420967,0.000045963643,0.000055190572,0.017480902,0.9281442,0.05236889],"study_design_scores_gemma":[0.0000044914364,0.000003079069,0.0013948798,0.0010549689,0.0000071161116,0.00010689943,0.0010096702,0.00002337038,0.000045556513,0.0050173667,0.9913236,0.000008878198],"about_ca_topic_score_codex":0.20333935,"about_ca_topic_score_gemma":0.4033325,"teacher_disagreement_score":0.20333935,"about_ca_system_score_codex":0.0071245143,"about_ca_system_score_gemma":0.0060639395,"threshold_uncertainty_score":0.40431154},"labels":[],"label_agreement":null},{"id":"W4295713142","doi":"","title":"Revisiting the Origins of Communication Research: Walter Lippmann's World War II Adventure in Propaganda and Psychological Warfare","year":2017,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Adventure; World War II; First world war; Psychoanalysis; Psychology; Sociology; Media studies; Political science; History; Art history; Law; Ancient history","score_opus":0.1046236215924251,"score_gpt":0.33735843300238505,"score_spread":0.23273481140995994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4295713142","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06234763,0.07272946,0.017078087,0.4617836,0.0072437315,0.000047399753,0.00013362887,0.00009421478,0.3785423],"genre_scores_gemma":[0.918932,0.016484901,0.0031040285,0.012829543,0.0031171895,0.00005313923,0.00003239686,0.00017309473,0.04527369],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.997218,0.0018906741,0.00006143481,0.0002787173,0.00034024846,0.00021085949],"domain_scores_gemma":[0.9856499,0.012596407,0.0003661738,0.00057112117,0.00053901423,0.00027749568],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0058609443,0.00048282027,0.00038252614,0.00238466,0.004953741,0.008224939,0.00074545265,0.0038063254,0.0039443313],"category_scores_gemma":[0.013039838,0.00032421912,0.000266958,0.0015170621,0.038776234,0.011491801,0.004301119,0.0063375947,0.0004973889],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010021841,0.000008076679,0.00009645381,0.000041533396,0.000002336366,0.000055297405,0.01742851,0.00010732008,0.000065870954,0.96819156,0.0071240603,0.006868963],"study_design_scores_gemma":[0.00001529722,0.000012905382,0.00056503864,0.0005244573,0.0000072201783,0.00017358847,0.012496142,0.00032500227,0.00048582884,0.6353998,0.34997183,0.000022887174],"about_ca_topic_score_codex":0.008004297,"about_ca_topic_score_gemma":0.009490271,"teacher_disagreement_score":0.99504626,"about_ca_system_score_codex":0.005369649,"about_ca_system_score_gemma":0.002869877,"threshold_uncertainty_score":0.038959682},"labels":[],"label_agreement":null},{"id":"W4296205512","doi":"10.1080/17400309.2022.2121529","title":"The political dimension of ekphrasis","year":2022,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Painting; Representation (politics); Popularity; Politics; Mythology; Inclusion (mineral); Art; Art history; Aesthetics; Sociology; Literature; Law; Social science; Political science","score_opus":0.05540026637802253,"score_gpt":0.32752481094358765,"score_spread":0.2721245445655651,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296205512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04903541,0.0057981666,0.008047428,0.008339397,0.00043432225,0.00001940877,0.000035884663,0.00003443712,0.9282555],"genre_scores_gemma":[0.97447383,0.002152002,0.0006996906,0.00059493637,0.000308835,0.000025935864,0.000017403136,0.000048262213,0.021679053],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99625176,0.002209521,0.00010826529,0.0004267025,0.00058411516,0.00041968885],"domain_scores_gemma":[0.997203,0.00173126,0.0003429296,0.00034971096,0.00022044574,0.00015268911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002537238,0.0002931634,0.00020505303,0.0015954662,0.0055037593,0.010801199,0.0006892738,0.00111638,0.007605157],"category_scores_gemma":[0.006130298,0.00020719052,0.0001543313,0.0016995651,0.026621414,0.007715357,0.004147829,0.002342109,0.0006318974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009246359,0.0000066351654,0.00032414,0.000037243073,0.000002798878,0.000057779656,0.023417028,0.000045407778,0.00012864204,0.96297663,0.0016949582,0.011299458],"study_design_scores_gemma":[0.000026460071,0.000041652038,0.0031492526,0.00045317438,0.000015720925,0.00040996532,0.052303787,0.00035284707,0.00095345464,0.3505292,0.59174377,0.00002073034],"about_ca_topic_score_codex":0.0033754478,"about_ca_topic_score_gemma":0.003073816,"teacher_disagreement_score":0.010801199,"about_ca_system_score_codex":0.0036103912,"about_ca_system_score_gemma":0.0014873764,"threshold_uncertainty_score":0.026195288},"labels":[],"label_agreement":null},{"id":"W4296510859","doi":"10.4000/belphegor.4739","title":"Slopek, Edward. Bodies of Art: The Shaping of Aesthetic Experience","year":2022,"lang":"en","type":"article","venue":"Belphégor","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"The King's University","funders":"","keywords":"Aesthetics; Aesthetic experience; Art; Visual arts","score_opus":0.0570432377418328,"score_gpt":0.27270720871149606,"score_spread":0.21566397096966328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296510859","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01085251,0.23241626,0.0045548324,0.17752168,0.003869005,0.00003418904,0.00019998617,0.00010316106,0.57044846],"genre_scores_gemma":[0.556367,0.15919623,0.003591565,0.026830565,0.0018786455,0.00016534518,0.00013953725,0.00041187744,0.25141916],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996811,0.00014098299,0.000013354309,0.000047953505,0.00008233878,0.00003427537],"domain_scores_gemma":[0.9993144,0.00043573973,0.00004932323,0.000029492327,0.00010791961,0.00006308025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045091455,0.0005900512,0.00034141092,0.00091745553,0.004749769,0.0055149174,0.00066817104,0.0024654837,0.0077284523],"category_scores_gemma":[0.0016445747,0.0003922399,0.00026458828,0.0014782732,0.013505556,0.007994685,0.0020367235,0.004472658,0.002240431],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057091755,0.00002238698,0.0005650844,0.00044571937,0.000010964209,0.00032130684,0.057795405,0.00024097555,0.00035612285,0.6328879,0.2576464,0.04965061],"study_design_scores_gemma":[0.000016772048,0.00002056474,0.0017475052,0.00080977083,0.000012935097,0.00046565913,0.030284058,0.00012148127,0.00024998255,0.24716364,0.719088,0.000019653331],"about_ca_topic_score_codex":0.008811167,"about_ca_topic_score_gemma":0.013262431,"teacher_disagreement_score":0.008811167,"about_ca_system_score_codex":0.0019217335,"about_ca_system_score_gemma":0.001213952,"threshold_uncertainty_score":0.02585429},"labels":[],"label_agreement":null},{"id":"W4300002054","doi":"10.29173/pandpr29524","title":"Lange-Weile","year":2022,"lang":"en","type":"article","venue":"Phenomenology & Practice","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phenomenon; Aesthetics; Perception; Embodied cognition; Mode (computer interface); Process (computing); Interdependence; Epistemology; Phenomenology (philosophy); Sociology; Perspective (graphical); Visual arts; Art; Psychology; Computer science; Philosophy; Human–computer interaction","score_opus":0.04118478971904889,"score_gpt":0.2790300474987625,"score_spread":0.2378452577797136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4300002054","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00545291,0.029103661,0.019345773,0.0064992667,0.0061775395,0.00027394947,0.0075402884,0.0050701806,0.9205364],"genre_scores_gemma":[0.05257086,0.02812267,0.017225495,0.0015472084,0.0010184485,0.0005444413,0.0054877787,0.0035734186,0.88990974],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975007,0.00030980632,0.0002137734,0.0009949985,0.0006667438,0.00031388362],"domain_scores_gemma":[0.9986394,0.0004328783,0.00014343929,0.0003381234,0.00023670464,0.0002094161],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00127219,0.0028277806,0.0019664322,0.0024703494,0.002056934,0.008464916,0.001793781,0.0034730185,0.5659811],"category_scores_gemma":[0.0034251804,0.0010052946,0.0012822279,0.002408055,0.0018033328,0.0064155036,0.006280199,0.0049438816,0.50599074],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003689788,0.00018565613,0.0014130239,0.0016171589,0.000063459345,0.0015117292,0.00068380515,0.002329125,0.0041407514,0.11955003,0.16247298,0.7056633],"study_design_scores_gemma":[0.000030437679,0.00006404264,0.0005205125,0.00039093077,0.000013946299,0.0010505175,0.00014497094,0.0006848181,0.0017409483,0.013277007,0.9820458,0.000036101057],"about_ca_topic_score_codex":0.0015203804,"about_ca_topic_score_gemma":0.0015262107,"teacher_disagreement_score":0.5659811,"about_ca_system_score_codex":0.0015500829,"about_ca_system_score_gemma":0.0018209466,"threshold_uncertainty_score":0.6190753},"labels":[],"label_agreement":null},{"id":"W4304185051","doi":"10.5117/9789462980730_ch01","title":"Mind(ing) the Gap","year":2022,"lang":"en","type":"book-chapter","venue":"Amsterdam University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Iconicity; Indexicality; Filmmaking; Argument (complex analysis); Movie theater; Representation (politics); Epistemology; Realism; Perspective (graphical); Space (punctuation); Aesthetics; Linguistics; Sociology; Art; Philosophy; Visual arts; Political science; Law","score_opus":0.060910530748939866,"score_gpt":0.21304571521850338,"score_spread":0.1521351844695635,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4304185051","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010950833,0.0076142806,0.007903694,0.016376235,0.0019744167,0.00002228794,0.000060874307,0.00011682023,0.9549806],"genre_scores_gemma":[0.6684747,0.0070794923,0.0052830307,0.0122570535,0.0013338085,0.00010130058,0.00014151189,0.00026089512,0.30506817],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931884,0.0002313628,0.000027109056,0.00018072696,0.00013819298,0.000103729326],"domain_scores_gemma":[0.99940634,0.00021675673,0.00003519042,0.00014001287,0.00011296052,0.00008883664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081593875,0.00038471157,0.00032710432,0.0007267957,0.0027571872,0.0054821023,0.00056033436,0.0016230945,0.024841566],"category_scores_gemma":[0.0023501373,0.00017041735,0.00029477527,0.0005961296,0.008462387,0.008724307,0.0050759898,0.003135186,0.004756179],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016832435,0.000010229944,0.00017089758,0.00009088523,0.00000372074,0.00014313398,0.013515715,0.00005542536,0.00041590416,0.9377795,0.021100167,0.026697597],"study_design_scores_gemma":[0.000004812219,0.000015423924,0.00027623473,0.00017339988,0.0000057749985,0.0003918654,0.007908821,0.00011621119,0.00024971273,0.21722761,0.7736243,0.0000059727554],"about_ca_topic_score_codex":0.0022610677,"about_ca_topic_score_gemma":0.001727282,"teacher_disagreement_score":0.024841566,"about_ca_system_score_codex":0.0016750338,"about_ca_system_score_gemma":0.0012386475,"threshold_uncertainty_score":0.08310336},"labels":[],"label_agreement":null},{"id":"W4310490290","doi":"10.33137/rr.v45i2.39760","title":"The Art of Poetry and the Art of Memory: Philip Sidney’s Mnemonic Poetics","year":2022,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetics; Mnemonic; Poetry; Literature; Art; Originality; Philosophy; Art history; Psychology; Linguistics; Creativity","score_opus":0.01504738529818444,"score_gpt":0.22298221440737956,"score_spread":0.2079348291091951,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4310490290","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065793514,0.040677506,0.022742765,0.107567824,0.0039065965,0.000038648577,0.00006167666,0.0001613344,0.7590501],"genre_scores_gemma":[0.9179307,0.0062903254,0.0040416443,0.0057161986,0.0010244383,0.000036976322,0.000013250503,0.0000888234,0.06485764],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99885154,0.00077232264,0.00002608872,0.000103501414,0.0001557464,0.000090804664],"domain_scores_gemma":[0.9987452,0.00079474365,0.00007640756,0.000113696864,0.000116149386,0.00015365063],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001146782,0.00047514905,0.00024443687,0.0008580675,0.005330114,0.005984833,0.000531323,0.0016008157,0.0027675722],"category_scores_gemma":[0.0033050445,0.00016592199,0.00016304968,0.0007645251,0.03131993,0.005703108,0.0029745915,0.0035824021,0.000438677],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010751521,0.0000053551835,0.00010220683,0.000029751658,0.0000016522133,0.00015816462,0.039191972,0.00007738999,0.00008945587,0.9419742,0.011370126,0.0069889505],"study_design_scores_gemma":[0.000011615614,0.000033865366,0.00025803837,0.00021724938,0.0000043354817,0.0009159154,0.026197422,0.00041578495,0.0004093302,0.4058922,0.56562644,0.000017823819],"about_ca_topic_score_codex":0.006048471,"about_ca_topic_score_gemma":0.007040956,"teacher_disagreement_score":0.006048471,"about_ca_system_score_codex":0.002341492,"about_ca_system_score_gemma":0.001988904,"threshold_uncertainty_score":0.016988814},"labels":[],"label_agreement":null},{"id":"W4310734280","doi":"10.3138/seminar.58.4.1","title":"From Marginalia to the Museum: The Transfiguration of the Doodle by Gottfried Keller, Hans Prinzhorn, and Jean Dubuffet","year":2022,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Marginalia; Art; Art history; Power (physics); German; Literature; Philosophy; Linguistics","score_opus":0.02742980730289946,"score_gpt":0.2590143018562433,"score_spread":0.23158449455334384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4310734280","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4228167,0.040090464,0.004952281,0.09574197,0.0018140215,0.0000538685,0.000073090676,0.00012859401,0.4343289],"genre_scores_gemma":[0.9830194,0.002071094,0.0004323561,0.0026660764,0.00010298416,0.000026196438,0.000007953124,0.00004301929,0.011630959],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980531,0.0011800927,0.000033857246,0.0001726154,0.00018379773,0.00037647193],"domain_scores_gemma":[0.9991985,0.00038384035,0.00009010104,0.00011201295,0.000056656965,0.00015888504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002242282,0.0005124349,0.00033243943,0.0015776302,0.01279612,0.008522183,0.0008928614,0.0019901954,0.0029059877],"category_scores_gemma":[0.0032511358,0.00031317963,0.0003145129,0.0009499781,0.055957083,0.0063995356,0.011169385,0.0036501745,0.0002649899],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003198364,0.0000131530505,0.00050666,0.0000613282,0.0000045462793,0.00035090177,0.36926082,0.00003824055,0.00019105218,0.6141513,0.006080187,0.009309773],"study_design_scores_gemma":[0.000026122225,0.0000386498,0.0015393504,0.0005141513,0.000012660731,0.00062448776,0.30875835,0.0000974765,0.00047710413,0.09800433,0.5898706,0.00003676959],"about_ca_topic_score_codex":0.021717863,"about_ca_topic_score_gemma":0.031381726,"teacher_disagreement_score":0.021717863,"about_ca_system_score_codex":0.007317993,"about_ca_system_score_gemma":0.0035091848,"threshold_uncertainty_score":0.053095996},"labels":[],"label_agreement":null},{"id":"W4311627865","doi":"10.1177/14703572221111804","title":"The optometry of visual communication: the Museum of Vision Science","year":2022,"lang":"en","type":"article","venue":"Visual Communication","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Vision science; Conversation; Visual arts; Sociology; History of science; Point (geometry); Optometry; Art; Medicine; Computer science; Epistemology; Communication; Artificial intelligence","score_opus":0.02796606345908199,"score_gpt":0.3541181672072011,"score_spread":0.3261521037481191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311627865","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065753765,0.03817149,0.009684361,0.119676225,0.0019134445,0.000048785012,0.00009271366,0.00019105808,0.7644682],"genre_scores_gemma":[0.9472277,0.008771672,0.002958407,0.0034108649,0.0007503859,0.00004932303,0.00003051563,0.00009365331,0.03670751],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967828,0.0017823433,0.000058995043,0.0002155863,0.0006744546,0.00048583126],"domain_scores_gemma":[0.9975266,0.001161928,0.00027756646,0.00033742166,0.00026604458,0.0004305578],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026625518,0.00031838572,0.00029999678,0.0017807683,0.0142232,0.014235576,0.0012273549,0.0031073417,0.008418612],"category_scores_gemma":[0.0045921807,0.00027208144,0.00031858098,0.0022615176,0.032019824,0.010095451,0.009957245,0.0036828876,0.00053045695],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028260358,0.000015141402,0.00080459105,0.0001509579,0.0000066198,0.00031671947,0.099488616,0.000122871,0.0002810859,0.8399286,0.022036148,0.0368204],"study_design_scores_gemma":[0.000014444007,0.000034869285,0.0022613395,0.00060234556,0.00001361414,0.0007466503,0.08420064,0.00021652492,0.00038792528,0.11724793,0.794232,0.000041639443],"about_ca_topic_score_codex":0.039718587,"about_ca_topic_score_gemma":0.062398955,"teacher_disagreement_score":0.039718587,"about_ca_system_score_codex":0.010380719,"about_ca_system_score_gemma":0.010257394,"threshold_uncertainty_score":0.07897484},"labels":[],"label_agreement":null},{"id":"W4311877818","doi":"10.21827/krisis.42.1.38698","title":"Art's Work in Mnemonic Care","year":2022,"lang":"en","type":"article","venue":"Krisis | Journal for Contemporary Philosophy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Emily Carr University of Art and Design","funders":"","keywords":"Complicity; Mnemonic; Resistance (ecology); Work (physics); Politics; Aesthetics; Memory work; Sociology; Psychology; Art; Political science; Engineering; Law; Cognitive psychology; Epistemology; Philosophy","score_opus":0.07010908486315953,"score_gpt":0.27511087081533997,"score_spread":0.20500178595218044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311877818","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011953695,0.96624136,0.00006253073,0.023155259,0.0037976054,0.0000019995869,0.000005684218,0.0000024843505,0.006613648],"genre_scores_gemma":[0.007686647,0.94850427,0.00016726875,0.026612679,0.0107519375,0.000017230566,0.0000157988,0.000017411177,0.0062266714],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9980648,0.00093077996,0.00013393283,0.00015911472,0.0005789961,0.0001324087],"domain_scores_gemma":[0.9943205,0.00430474,0.00021268985,0.00014783164,0.00074107666,0.00027324923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032551251,0.0005302952,0.0008066964,0.0026508449,0.002274812,0.005416748,0.0010763402,0.0035622432,0.0059850262],"category_scores_gemma":[0.0073716464,0.0003451114,0.0003804742,0.0031696681,0.007697311,0.0056714457,0.0023224254,0.0066899196,0.0015142736],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046681922,0.000033300785,0.00019852736,0.0035524084,0.000027254655,0.00015241273,0.0040225512,0.00011524527,0.00008322825,0.16687189,0.5298056,0.29509094],"study_design_scores_gemma":[0.0000037388936,0.000008208307,0.00028837816,0.0035280134,0.000006706892,0.0002014604,0.00059384195,0.000010582257,0.000024687952,0.006241863,0.9890866,0.000005844713],"about_ca_topic_score_codex":0.009153369,"about_ca_topic_score_gemma":0.017785927,"teacher_disagreement_score":0.009153369,"about_ca_system_score_codex":0.0039226934,"about_ca_system_score_gemma":0.0051057325,"threshold_uncertainty_score":0.028461218},"labels":[],"label_agreement":null},{"id":"W4312192242","doi":"10.1086/722589","title":"Pastoral between Words and Things: Theocritus, Ekphrasis, and Ontology","year":2022,"lang":"en","type":"article","venue":"Classical Philology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Irony; Negation; Materiality (auditing); Philosophy; Object (grammar); Meaning (existential); Literature; Ontology; Epistemology; Linguistics; Aesthetics; Art","score_opus":0.03769982224194402,"score_gpt":0.26152270956563667,"score_spread":0.22382288732369265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312192242","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17721389,0.009107613,0.059482083,0.03173674,0.001453206,0.00005761941,0.00007718591,0.000083161045,0.7207884],"genre_scores_gemma":[0.98623335,0.00088288466,0.0028481525,0.0008694501,0.00019540923,0.000033264663,0.00001688347,0.000040719537,0.008879956],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99733186,0.0015993575,0.000105967345,0.00030399108,0.0003974759,0.00026139975],"domain_scores_gemma":[0.9981158,0.0011477005,0.00018839516,0.00025945477,0.00016529567,0.0001234216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002725724,0.00037150053,0.00039118627,0.0012364037,0.005143184,0.008337825,0.0008870711,0.0018849237,0.002895908],"category_scores_gemma":[0.0045100665,0.00028728708,0.0002607059,0.0011035622,0.06108012,0.014067423,0.0051048193,0.004134298,0.00028176073],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007658212,0.0000036029335,0.00006882119,0.0000142277295,8.9718657e-7,0.00003130177,0.011246334,0.00002692474,0.00006960275,0.9867409,0.00026031467,0.001529461],"study_design_scores_gemma":[0.000013582868,0.000013994509,0.00034675395,0.00012361052,0.000004200227,0.000106628664,0.019203633,0.00026712375,0.00026879014,0.93367016,0.045969352,0.000012233672],"about_ca_topic_score_codex":0.0037429822,"about_ca_topic_score_gemma":0.0029941695,"teacher_disagreement_score":0.008337825,"about_ca_system_score_codex":0.0036688296,"about_ca_system_score_gemma":0.00195396,"threshold_uncertainty_score":0.026619375},"labels":[],"label_agreement":null},{"id":"W4312342506","doi":"10.7146/periskop.v2022i27.133729","title":"Dukken som animeret billede – mellem idolatri og idollatry, mellem dukkekult og dukkekærlighed","year":2022,"lang":"en","type":"article","venue":"Periskop – Forum for kunsthistorisk debat","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Military College Saint-Jean","funders":"","keywords":"Animation; Contemplation; Materiality (auditing); Historiography; Liminality; Art; Visual arts; Aesthetics; Kitsch; History; Philosophy; Epistemology","score_opus":0.024915151702021594,"score_gpt":0.24017583459168584,"score_spread":0.21526068288966424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312342506","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03335489,0.019936945,0.0044810465,0.008976856,0.005695118,0.00004816864,0.0006028863,0.00027333514,0.9266307],"genre_scores_gemma":[0.3984463,0.010602879,0.0040444876,0.00094788836,0.00070708955,0.000054836157,0.0004028996,0.00054707925,0.5842465],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943954,0.00016349113,0.000027740885,0.00010283366,0.00016714472,0.00009922576],"domain_scores_gemma":[0.99980634,0.00006987151,0.00001695483,0.000025706106,0.000030420506,0.000050800667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006115979,0.000350968,0.00024749537,0.00054626446,0.0029079237,0.0058876043,0.0004280809,0.0008705765,0.053374104],"category_scores_gemma":[0.0010848752,0.00023941231,0.00019774686,0.00039330608,0.003325989,0.0020148118,0.003734705,0.0018602349,0.0071638394],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002701344,0.00010623699,0.002709975,0.0007530078,0.000021600157,0.0012554625,0.053360518,0.00079021254,0.0051500327,0.48345056,0.20967193,0.24246037],"study_design_scores_gemma":[0.0000033904112,0.000011726355,0.0009313465,0.00015311147,0.0000032958599,0.00019553414,0.0041028266,0.00006031725,0.0005702964,0.0028260613,0.9911345,0.0000075135463],"about_ca_topic_score_codex":0.006680886,"about_ca_topic_score_gemma":0.011845237,"teacher_disagreement_score":0.053374104,"about_ca_system_score_codex":0.002253828,"about_ca_system_score_gemma":0.0010873817,"threshold_uncertainty_score":0.17855418},"labels":[],"label_agreement":null},{"id":"W4313394281","doi":"10.22204/2587-8956-2022-111-04-68-78","title":"The Imperial Academy of Arts and Moscow’s Life Class in the Era of Nicholas I","year":2022,"lang":"en","type":"article","venue":"Russian Foundation for Basic Research Journal Humanities and social sciences","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Emperor; Sculpture; Reign; The arts; Painting; Institution; Quarter (Canadian coin); Visual arts; Class (philosophy); Art; Art history; Art school; Visual arts education; Classics; History; Ancient history; Sociology; Law; Political science; Archaeology; Social science; Philosophy; Politics","score_opus":0.21675295090859542,"score_gpt":0.40939993379871786,"score_spread":0.19264698289012244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313394281","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31661257,0.046320204,0.00081142713,0.01592303,0.0016620364,0.000021982933,0.0001468906,0.000028825616,0.61847305],"genre_scores_gemma":[0.97387344,0.0040319506,0.00017449359,0.00028199606,0.0002829505,0.0000074949085,0.000031510594,0.00002186642,0.021294324],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993861,0.00023757505,0.00003261765,0.00009978925,0.00011726591,0.00012669316],"domain_scores_gemma":[0.99953866,0.0001841175,0.00008847974,0.00005591652,0.00003616713,0.000096557415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009188023,0.00019506406,0.00029502914,0.0017377365,0.0032746878,0.00607457,0.00039021735,0.0006822265,0.0044952207],"category_scores_gemma":[0.0017496204,0.0001347975,0.00012548904,0.0011901605,0.0084796725,0.0025446608,0.002535607,0.0013887276,0.00050865614],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011119511,0.000025665571,0.003139835,0.0001198895,0.000014717176,0.000367404,0.05952687,0.00010682012,0.00028826226,0.8834983,0.009885844,0.04291515],"study_design_scores_gemma":[0.000017733228,0.000045902187,0.028846545,0.0005652474,0.000022381118,0.00044581195,0.034235667,0.00014956098,0.0009005516,0.097148575,0.8375926,0.00002938561],"about_ca_topic_score_codex":0.005445911,"about_ca_topic_score_gemma":0.0056464393,"teacher_disagreement_score":0.00607457,"about_ca_system_score_codex":0.0040805656,"about_ca_system_score_gemma":0.0016612293,"threshold_uncertainty_score":0.0296067},"labels":[],"label_agreement":null},{"id":"W4318011609","doi":"10.1163/9789004515956_052","title":"“… because enmity and admiration go hand in hand” – Guy Maddin’s Tales from the Gimli Hospital","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Admiration; Icelandic; Iconography; Art; Feature film; Ethnography; Literature; Art history; History; Aesthetics; Philosophy; Archaeology; Movie theater; Linguistics","score_opus":0.03122220640247557,"score_gpt":0.22304569528113447,"score_spread":0.1918234888786589,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318011609","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054460872,0.02456378,0.000841357,0.08027319,0.004091427,0.000033079665,0.00017560179,0.0001095879,0.8354512],"genre_scores_gemma":[0.61790705,0.009900338,0.001126021,0.01154892,0.00090713205,0.000024137405,0.00010605348,0.00021267237,0.35826766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995802,0.00014695046,0.0000060054012,0.000039913535,0.000087187655,0.00013972509],"domain_scores_gemma":[0.9997447,0.00005924409,0.000017734503,0.000015408534,0.0000574576,0.0001054208],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005846736,0.0005278468,0.00015666624,0.00069884385,0.007793799,0.005642216,0.0004495151,0.0007443527,0.0051194867],"category_scores_gemma":[0.00081619574,0.00013339787,0.00011073582,0.00067545264,0.011268214,0.0019087056,0.0019272637,0.0027546277,0.00077358354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009275741,0.000019302228,0.0014289292,0.0001278443,0.00001082668,0.0009614035,0.21618916,0.00020655607,0.0006646693,0.26121378,0.4814138,0.037670914],"study_design_scores_gemma":[0.0000033980832,0.000007535419,0.0014033145,0.0001053988,0.0000039982924,0.00027286637,0.056846194,0.00003635714,0.00024551875,0.001891488,0.93917525,0.000008756674],"about_ca_topic_score_codex":0.27754766,"about_ca_topic_score_gemma":0.4477991,"teacher_disagreement_score":0.27754766,"about_ca_system_score_codex":0.014685511,"about_ca_system_score_gemma":0.0045183613,"threshold_uncertainty_score":0.55186427},"labels":[],"label_agreement":null},{"id":"W4318658887","doi":"10.1386/eme.6.2.149_1","title":"Reviews","year":2007,"lang":"en","type":"article","venue":"Explorations in Media Ecology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity Western University","funders":"","keywords":"Veneration; Postmodernism; Art; Philosophy; Art history; Humanities; Sociology; Theology; Literature","score_opus":0.09213392338548436,"score_gpt":0.3124102983723285,"score_spread":0.2202763749868441,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318658887","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029340922,0.6313345,0.0012823278,0.036596403,0.049475078,0.00014096912,0.0028334446,0.0006286818,0.2774152],"genre_scores_gemma":[0.0041026315,0.5089095,0.0018253525,0.025816988,0.020212764,0.00020038335,0.0035265149,0.00045086685,0.43495494],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866474,0.00014499282,0.00010055933,0.00025759006,0.0007036491,0.00012837729],"domain_scores_gemma":[0.99740195,0.0004874873,0.00015124943,0.00021987595,0.0014359195,0.0003035402],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011016966,0.0010036855,0.0011952656,0.0040949536,0.0012666314,0.004456555,0.00255476,0.003075611,0.23636162],"category_scores_gemma":[0.00513331,0.0005631485,0.00074623094,0.0034705915,0.00093780505,0.003605934,0.0022448045,0.002826478,0.22803727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011265679,0.0000111131485,0.000049823917,0.0007254058,0.0000053563354,0.000046661906,0.00007631595,0.000020654306,0.00007241805,0.002518997,0.8768573,0.119604625],"study_design_scores_gemma":[0.0000016210373,0.0000025595743,0.00007377517,0.0003922183,0.0000020870184,0.00006555888,0.000025195182,0.0000023545274,0.00001502119,0.00044321537,0.9989743,0.0000020012194],"about_ca_topic_score_codex":0.006343125,"about_ca_topic_score_gemma":0.009427513,"teacher_disagreement_score":0.7636384,"about_ca_system_score_codex":0.0028094358,"about_ca_system_score_gemma":0.004769642,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4318679879","doi":"10.1162/leon_r_02346","title":"The Lab Book: Situated Practices in Media Studies","year":2023,"lang":"en","type":"article","venue":"Leonardo","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Dalhousie University","funders":"","keywords":"Situated; Icon; Citation; Nova scotia; Download; Computer science; Library science; World Wide Web; Art history; Art; History; Archaeology; Artificial intelligence","score_opus":0.13325400044386193,"score_gpt":0.34882701644087166,"score_spread":0.21557301599700973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318679879","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009640432,0.17708334,0.033673555,0.07475033,0.0065208473,0.00015407363,0.0007941767,0.0004959561,0.6968873],"genre_scores_gemma":[0.45770392,0.17815559,0.03894722,0.025657965,0.013076414,0.0011294057,0.0012105608,0.0012556104,0.28286332],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99784565,0.0015567304,0.00007149993,0.0001528843,0.00029254588,0.00008074444],"domain_scores_gemma":[0.9890548,0.0097793555,0.00029901718,0.0003965501,0.00026160455,0.00020859958],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0020910953,0.00070638,0.0005431359,0.0038212352,0.0030449864,0.008047092,0.0010972489,0.0025433262,0.0160792],"category_scores_gemma":[0.0062030437,0.00042424313,0.00033754474,0.0049572303,0.009860009,0.014784935,0.0032154678,0.0029206616,0.0021845314],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003063267,0.00004803123,0.00045105722,0.00054632156,0.000014360325,0.00019561253,0.019236885,0.00030471705,0.0003279335,0.7733769,0.1390298,0.06643775],"study_design_scores_gemma":[0.0000135735045,0.000026584807,0.0007718042,0.0011553819,0.000009491788,0.0002641537,0.0076832506,0.0002959926,0.00031115208,0.13947318,0.8499744,0.00002111506],"about_ca_topic_score_codex":0.0022535224,"about_ca_topic_score_gemma":0.003932859,"teacher_disagreement_score":0.99695504,"about_ca_system_score_codex":0.0032946733,"about_ca_system_score_gemma":0.0017228002,"threshold_uncertainty_score":0.05379021},"labels":[],"label_agreement":null},{"id":"W4318828211","doi":"10.1162/artm_x_00345","title":"Contributors","year":2022,"lang":"en","type":"article","venue":"ARTMargins","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.02296703086992316,"score_gpt":0.22432846143439106,"score_spread":0.2013614305644679,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318828211","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001513593,0.0058710207,0.0025176634,0.0308383,0.07005306,0.00061093195,0.007621228,0.0011687672,0.87980545],"genre_scores_gemma":[0.005628268,0.0037458234,0.0017079535,0.004978476,0.0064699184,0.0003074004,0.004933884,0.0006220568,0.9716062],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99729496,0.00039092146,0.00013920396,0.00046163835,0.0013961764,0.00031700733],"domain_scores_gemma":[0.99029434,0.0010358595,0.00022841227,0.000911011,0.0060479846,0.0014824248],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0022430846,0.00081157783,0.00062617176,0.0034430823,0.003568974,0.00782866,0.0022536907,0.0020382137,0.49004677],"category_scores_gemma":[0.013775903,0.00034899413,0.00048263487,0.0034484647,0.0008222387,0.00445143,0.0033581946,0.0023497427,0.28551573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001465328,0.000010243628,0.00010111823,0.00008159291,0.0000013448536,0.000037892733,0.00019368126,0.000021525517,0.00005380089,0.006159051,0.9569942,0.036330882],"study_design_scores_gemma":[0.0000017727954,0.000002894477,0.00012874787,0.00007574364,7.188951e-7,0.000030490517,0.00021677701,0.000010062735,0.000023958726,0.0007729662,0.9987338,0.0000020327798],"about_ca_topic_score_codex":0.0028854199,"about_ca_topic_score_gemma":0.0041527837,"teacher_disagreement_score":0.49004677,"about_ca_system_score_codex":0.0032813796,"about_ca_system_score_gemma":0.0050357,"threshold_uncertainty_score":0.72738636},"labels":[],"label_agreement":null},{"id":"W4320732028","doi":"10.1080/10848770.2023.2178730","title":"Art and Posthistory: Conversations on the End of Aesthetics <b>Art and Posthistory: Conversations on the End of Aesthetics</b> , by Arthur C. Danto and Demetrio Paparoni, New York, Columbia University Press, 2022, lxvi + 110 pp., $80.00/£62.00 (cloth), $20.00/£14.99 (paper)","year":2023,"lang":"en","type":"article","venue":"The European Legacy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Aesthetics; Art; Visual arts","score_opus":0.03158856910417041,"score_gpt":0.20279509214090646,"score_spread":0.17120652303673606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320732028","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02239825,0.20263411,0.0012669306,0.27593568,0.0069294875,0.000013874122,0.00007487958,0.00004750054,0.49069926],"genre_scores_gemma":[0.62025464,0.08818693,0.001317689,0.045211393,0.0059607187,0.000120424345,0.000088221204,0.000267466,0.23859258],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99785775,0.0014503733,0.000042177144,0.00011663489,0.00027482424,0.00025816853],"domain_scores_gemma":[0.9983354,0.0010726171,0.00012066869,0.00010939219,0.00015939739,0.00020256246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034551944,0.00043597227,0.00033402024,0.0012831991,0.011085425,0.010841543,0.0007581345,0.0034625824,0.012064528],"category_scores_gemma":[0.0046474407,0.00026450577,0.00022294396,0.00269116,0.02700214,0.01244467,0.0037251138,0.0045282296,0.0013058989],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005117958,0.000023781793,0.00044688335,0.00017059389,0.000005556241,0.00029435474,0.13807939,0.0000464821,0.00020752673,0.54860896,0.26859978,0.043465532],"study_design_scores_gemma":[0.0000042733036,0.0000065543263,0.0013867004,0.0004999931,0.00000229272,0.0001665378,0.06266126,0.00002699266,0.00009769547,0.042084116,0.8930542,0.000009383662],"about_ca_topic_score_codex":0.02913164,"about_ca_topic_score_gemma":0.05108349,"teacher_disagreement_score":0.02913164,"about_ca_system_score_codex":0.0071607474,"about_ca_system_score_gemma":0.0038611125,"threshold_uncertainty_score":0.05792415},"labels":[],"label_agreement":null},{"id":"W4321515150","doi":"10.4324/9781135000356-rem1947-1","title":"Panofsky, Erwin (1892–1968)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Iconology; German; Art history; Art; Philosophy; Iconography","score_opus":0.05106398013864602,"score_gpt":0.23981556813412128,"score_spread":0.18875158799547526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321515150","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0091625005,0.103711516,0.0044470406,0.012296741,0.0026881536,0.000060086903,0.00046370432,0.0001269491,0.86704326],"genre_scores_gemma":[0.21060227,0.059584033,0.00393919,0.004198648,0.001095499,0.00012546567,0.0003645249,0.00031505869,0.7197753],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999742,0.000046351528,0.000008868458,0.00010206234,0.00006395656,0.000036789635],"domain_scores_gemma":[0.9999163,0.000030811818,0.000012663646,0.0000078541925,0.00002019935,0.000012243081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023698251,0.0006491894,0.00017460891,0.0010704553,0.0022479843,0.002564136,0.000285635,0.0009754075,0.012163906],"category_scores_gemma":[0.0007435215,0.00022322728,0.00011942445,0.0012505386,0.0029997076,0.0047081066,0.0014020377,0.0018082767,0.00317105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057567406,0.00001654766,0.0005016124,0.00021119606,0.0000052047626,0.00025285056,0.011357942,0.00010923518,0.0007661955,0.66408414,0.18748732,0.13515018],"study_design_scores_gemma":[0.0000014257603,0.000004049241,0.00026904832,0.00008363711,0.0000010060687,0.000119487195,0.00031599676,0.000010421237,0.0001306045,0.0131975645,0.9858641,0.0000026553746],"about_ca_topic_score_codex":0.00841981,"about_ca_topic_score_gemma":0.014436619,"teacher_disagreement_score":0.012163906,"about_ca_system_score_codex":0.0023691042,"about_ca_system_score_gemma":0.0010613636,"threshold_uncertainty_score":0.04069233},"labels":[],"label_agreement":null},{"id":"W4327973108","doi":"","title":"Ekphrasis, Photographic Illustration and Theatrical Adaptation. A Study of Annie Ernaux’s Intermedial Autobiographic and Photographic Production","year":2023,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto; Canada Research Chairs","funders":"","keywords":"Art; Adaptation (eye); Visual arts; Art history; Psychology","score_opus":0.04016328648076152,"score_gpt":0.24103761232199747,"score_spread":0.20087432584123593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4327973108","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36080024,0.004107992,0.005863633,0.0042391988,0.0002817275,0.00004642587,0.00008364901,0.000069692884,0.6245075],"genre_scores_gemma":[0.95455366,0.001026533,0.0012925033,0.00014054557,0.000048903952,0.000016926124,0.000019335828,0.00007013992,0.042831544],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99807715,0.0012525575,0.000044950528,0.00019380655,0.00029495772,0.000136524],"domain_scores_gemma":[0.99739325,0.0017504384,0.00021988577,0.00032831694,0.0001848864,0.0001232643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018199577,0.00039862478,0.00017646763,0.0013036373,0.0041188975,0.00615929,0.000741726,0.0008828818,0.010137768],"category_scores_gemma":[0.007257368,0.0002361221,0.00016919154,0.001668123,0.008561474,0.0040093125,0.003565237,0.002282281,0.0008040188],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010000815,0.00006659546,0.0015385983,0.00013605232,0.000008151928,0.001091294,0.5953081,0.00017718441,0.0029567091,0.33674765,0.00731481,0.054554787],"study_design_scores_gemma":[0.000021936652,0.00006310172,0.0124009,0.00027854944,0.000014673848,0.0030532775,0.30031487,0.00059155386,0.0034628322,0.024491437,0.6552687,0.000038090006],"about_ca_topic_score_codex":0.005326379,"about_ca_topic_score_gemma":0.009351312,"teacher_disagreement_score":0.010137768,"about_ca_system_score_codex":0.0027954066,"about_ca_system_score_gemma":0.0009802814,"threshold_uncertainty_score":0.03391421},"labels":[],"label_agreement":null},{"id":"W4362519409","doi":"10.24908/iqurcp16329","title":"Botticelli’s \"The Birth of Venus\" and the Visual Politics of Desirability","year":2023,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Art; Painting; Politics; Art history; Emblem; Beauty; Subject (documents); Censorship; Renaissance art; The arts; Visual arts; The Renaissance; Aesthetics; Philosophy; Law; Theology","score_opus":0.15202397416667982,"score_gpt":0.3728895343290707,"score_spread":0.22086556016239087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362519409","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06996891,0.00881326,0.0024152235,0.021383043,0.0013430589,0.000018999486,0.000044787546,0.000101346974,0.89591134],"genre_scores_gemma":[0.88142973,0.0021417532,0.0007922569,0.00192112,0.00035476653,0.000019056144,0.000023160283,0.00014439508,0.11317386],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991806,0.00040717272,0.000008798479,0.0001204605,0.00014522954,0.00013776321],"domain_scores_gemma":[0.99949706,0.00021280364,0.000039123242,0.00007983371,0.000047363694,0.00012378833],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009510693,0.00036011852,0.0001541845,0.0009520524,0.008899801,0.0071598357,0.00052119815,0.0015621172,0.0065646227],"category_scores_gemma":[0.0016964789,0.00015646187,0.00015874472,0.00047862338,0.022025937,0.0040366054,0.003705881,0.0032225824,0.0007379885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055173317,0.000014639844,0.0007489716,0.0000699313,0.000003857157,0.0003491252,0.1191529,0.00006507978,0.00057830545,0.82045585,0.038874447,0.019631686],"study_design_scores_gemma":[0.0000056618605,0.000018723946,0.0014096638,0.00020906236,0.0000036687595,0.00043685053,0.031662904,0.0000888532,0.0005531385,0.028517812,0.9370729,0.000020803382],"about_ca_topic_score_codex":0.011357799,"about_ca_topic_score_gemma":0.038102973,"teacher_disagreement_score":0.011357799,"about_ca_system_score_codex":0.005004286,"about_ca_system_score_gemma":0.0012272595,"threshold_uncertainty_score":0.036308825},"labels":[],"label_agreement":null},{"id":"W4362698624","doi":"10.5430/wjel.v13n5p277","title":"The Significance of Ekphrasis in the Select Works of Mark Doty","year":2023,"lang":"en","type":"article","venue":"World Journal of English Language","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Realism; Representation (politics); Abstraction; Poetry; Skepticism; Modernism (music); Literary criticism; Politics; Illusion; Aesthetics; Literature; Epistemology; Philosophy; Art; Psychology; Law; Cognitive psychology; Political science","score_opus":0.015815462723464048,"score_gpt":0.2537050992769723,"score_spread":0.23788963655350828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362698624","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29885334,0.04732504,0.030976877,0.12079573,0.006209435,0.0001370436,0.00017862607,0.000359773,0.49516425],"genre_scores_gemma":[0.9412029,0.0053105936,0.0034110525,0.0031149022,0.0008857888,0.000055969216,0.000021050979,0.00017857378,0.045819167],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982967,0.00089198013,0.000078812765,0.00024849293,0.00035099342,0.00013308278],"domain_scores_gemma":[0.99641377,0.0026386422,0.00030777167,0.00019555324,0.00027397077,0.00017022624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018840965,0.0004395866,0.00038248455,0.001133537,0.0070553753,0.0073783067,0.0003539844,0.001388596,0.0014510895],"category_scores_gemma":[0.006551789,0.00025595468,0.00019288882,0.0009874227,0.018802254,0.00605065,0.0027063603,0.004145726,0.00046315885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006870605,0.000028130564,0.00080316665,0.00013229855,0.0000085494685,0.00077473785,0.12999335,0.0002149999,0.0011766389,0.8230979,0.022986501,0.020714955],"study_design_scores_gemma":[0.000011497417,0.00005656346,0.0011330626,0.00027176988,0.000011518775,0.0013952301,0.035069693,0.0005572799,0.0028325808,0.06867847,0.8899345,0.00004793991],"about_ca_topic_score_codex":0.0034110132,"about_ca_topic_score_gemma":0.0042808135,"teacher_disagreement_score":0.0073783067,"about_ca_system_score_codex":0.0039376155,"about_ca_system_score_gemma":0.0017546789,"threshold_uncertainty_score":0.02856952},"labels":[],"label_agreement":null},{"id":"W4367157326","doi":"10.7202/1091835ar","title":"Un « divertissement cinématographique » : machine/nature dans la musique de Tibor Harsányi pour le dessin animé La Joie de vivre (1934)","year":2022,"lang":"fr","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.011577303921052108,"score_gpt":0.22376611230051607,"score_spread":0.21218880837946397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367157326","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42291227,0.008115406,0.0068945177,0.008540009,0.0016164236,0.000051382718,0.00022343348,0.0000928268,0.55155385],"genre_scores_gemma":[0.93693125,0.0012944842,0.0011059504,0.00022497251,0.00014090752,0.00001602191,0.00003546601,0.000030505693,0.060220443],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985623,0.00006879103,0.0000028438924,0.000018740142,0.00002074105,0.00003263505],"domain_scores_gemma":[0.9999,0.000052838303,0.000007911483,0.000008120476,0.000011924892,0.000019315628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052299345,0.000395654,0.0001216974,0.00059368607,0.003469881,0.0024489008,0.00024051487,0.00054629287,0.008804336],"category_scores_gemma":[0.000660264,0.00014425216,0.00010692824,0.00056555565,0.0062989094,0.0011904463,0.000836716,0.0011396691,0.00035602142],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021386771,0.000022501605,0.0023447378,0.00029258142,0.0000124064945,0.0008911834,0.5223435,0.00039676108,0.010050486,0.4046059,0.017045794,0.04178026],"study_design_scores_gemma":[0.000031551874,0.00012283758,0.018368136,0.0004227736,0.000027454682,0.00087553414,0.17687863,0.0009763773,0.0027817162,0.021385182,0.77807754,0.00005226645],"about_ca_topic_score_codex":0.015493419,"about_ca_topic_score_gemma":0.044204026,"teacher_disagreement_score":0.015493419,"about_ca_system_score_codex":0.002381725,"about_ca_system_score_gemma":0.0007999974,"threshold_uncertainty_score":0.030806482},"labels":[],"label_agreement":null},{"id":"W4367159254","doi":"10.7202/1078330ar","title":"N. Ross CRUMRINE and Marjorie HALPIN, The Power of Symbols: Masks and Masquerade in the Americas, Vancouver, University of British Columbia Press, 1983. 244 pages, $40.00 (cloth)","year":2021,"lang":"en","type":"article","venue":"Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Power (physics); Media studies; Art; Art history; History; Sociology; Physics","score_opus":0.020156057043775003,"score_gpt":0.2078911613224988,"score_spread":0.1877351042787238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367159254","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005799087,0.90601736,0.00083285203,0.03326757,0.005220513,0.00004456157,0.0005232296,0.00008191438,0.053432085],"genre_scores_gemma":[0.0060270876,0.8419109,0.0013211375,0.0059476146,0.0023921055,0.00006622131,0.00044407786,0.000113819195,0.14177708],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931145,0.00011172602,0.000048975246,0.000074288924,0.00038852778,0.000065059794],"domain_scores_gemma":[0.99825686,0.0007014817,0.00014759836,0.00003379944,0.0006910796,0.0001692033],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010587244,0.0016276195,0.0009321336,0.0030645689,0.0024347804,0.0036300402,0.0016230458,0.0027806354,0.048084624],"category_scores_gemma":[0.0028037012,0.000838227,0.00040359347,0.0042871917,0.0018421507,0.006592113,0.0015826494,0.0029778006,0.027914597],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027297738,0.000013258347,0.00023109464,0.00049916346,0.000005514008,0.000050621464,0.0007661669,0.000032276723,0.00010464362,0.002958697,0.9467832,0.04852803],"study_design_scores_gemma":[0.0000097254215,0.000007677361,0.0036284076,0.0011046727,0.000014268544,0.00024304447,0.0018385944,0.00003750112,0.00016028371,0.0037048617,0.98922896,0.000022026416],"about_ca_topic_score_codex":0.15937038,"about_ca_topic_score_gemma":0.3947399,"teacher_disagreement_score":0.15937038,"about_ca_system_score_codex":0.0033792146,"about_ca_system_score_gemma":0.003917121,"threshold_uncertainty_score":0.31688547},"labels":[],"label_agreement":null},{"id":"W4367664207","doi":"10.14321/crnewcentrevi.22.3.0057","title":"Archiving Black Diasporas","year":2022,"lang":"en","type":"article","venue":"CR The New Centennial Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Explication; Subaltern; White (mutation); Interpretation (philosophy); Epigraph; History; Art; Art history; Literature; Aesthetics; Sociology; Philosophy; Politics; Epistemology; Law; Linguistics","score_opus":0.04274195342336483,"score_gpt":0.26571358870082934,"score_spread":0.2229716352774645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367664207","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5008111,0.0061523076,0.009444016,0.009632172,0.0020884138,0.00022393627,0.00094628765,0.00037913368,0.47032267],"genre_scores_gemma":[0.8618039,0.003982074,0.010173514,0.0013925995,0.00037867905,0.00018414747,0.00038954217,0.0005530774,0.1211425],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993717,0.00028897592,0.000023452732,0.00008663732,0.00011222646,0.00011704892],"domain_scores_gemma":[0.99905306,0.00028935116,0.00008563478,0.00025316386,0.00015159477,0.00016719662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015426478,0.00053400453,0.00029092954,0.0017482385,0.009957476,0.0067057335,0.00091938017,0.0011856215,0.011961915],"category_scores_gemma":[0.0026887613,0.00025167988,0.00026225284,0.0015074183,0.004260342,0.0031843977,0.0077522756,0.0018409578,0.0015973989],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014862245,0.00004280951,0.003597293,0.0003783928,0.000018082796,0.0021296768,0.7883298,0.00011432539,0.0059616584,0.08374118,0.028902093,0.086636044],"study_design_scores_gemma":[0.000007682945,0.00002860801,0.00224432,0.0004879534,0.000015829883,0.0007889489,0.33470744,0.00014048052,0.002820252,0.0058293706,0.65290594,0.00002313932],"about_ca_topic_score_codex":0.00783936,"about_ca_topic_score_gemma":0.031282824,"teacher_disagreement_score":0.011961915,"about_ca_system_score_codex":0.002029841,"about_ca_system_score_gemma":0.002027721,"threshold_uncertainty_score":0.04001659},"labels":[],"label_agreement":null},{"id":"W4376486736","doi":"10.1017/slr.2023.80","title":"The Pedagogy of Images: Depicting Communism for Children. Ed. Marina Balina and Serguei Alex. Oushakine. Studies in Book and Print Culture Series. Toronto: University of Toronto Press, 2021. xx, 568 pp. Notes. Bibliography. Index. Illustrations. $95.00, hard bound.","year":2022,"lang":"en","type":"article","venue":"Slavic Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Communism; Index (typography); Art history; Media studies; History; Bibliography; Sociology; Library science; Political science; Law; Politics; Computer science","score_opus":0.03760177080180096,"score_gpt":0.3102926584548889,"score_spread":0.27269088765308797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4376486736","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027377056,0.87509227,0.0011824272,0.024557369,0.0015867639,0.000028895367,0.000119602235,0.000064450396,0.09463061],"genre_scores_gemma":[0.14339349,0.7543751,0.003936416,0.0032155828,0.0017653025,0.00013278043,0.00013975742,0.00021327277,0.09282825],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946445,0.0003335919,0.000017272216,0.00004063776,0.000095861586,0.000048092446],"domain_scores_gemma":[0.9992793,0.00045140006,0.000066633285,0.000032467255,0.000094822746,0.00007538179],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010701922,0.0007419434,0.00044306155,0.0021038423,0.0019212791,0.0041458677,0.00092465995,0.0013856982,0.012001345],"category_scores_gemma":[0.0022656044,0.0004077587,0.00026380463,0.0019263595,0.0060470374,0.0040440327,0.001842905,0.001709233,0.0016163966],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051958523,0.00003585082,0.0006049318,0.0031043924,0.000024201658,0.00047360169,0.07775594,0.00019810865,0.00057956873,0.1547671,0.5138485,0.24855594],"study_design_scores_gemma":[0.000007673374,0.000011064622,0.0015103383,0.0021595885,0.0000099344425,0.00035443806,0.013937302,0.00003863701,0.0001743455,0.01287855,0.9689106,0.0000075318867],"about_ca_topic_score_codex":0.02808669,"about_ca_topic_score_gemma":0.07017502,"teacher_disagreement_score":0.02808669,"about_ca_system_score_codex":0.0037727547,"about_ca_system_score_gemma":0.0039077178,"threshold_uncertainty_score":0.055846393},"labels":[],"label_agreement":null},{"id":"W4376623584","doi":"10.1007/978-3-031-27238-7_1","title":"Introduction","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"The Holocaust; Storytelling; Politics; Narrative; Sociology; Ethnography; Praxis; Media studies; Power (physics); Aesthetics; History; Law; Art; Literature; Political science; Anthropology","score_opus":0.04894168459233833,"score_gpt":0.2339738636945862,"score_spread":0.18503217910224787,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4376623584","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029579198,0.001452569,0.0026544263,0.0026371197,0.0039379885,0.00015507491,0.002466117,0.00068168505,0.98571914],"genre_scores_gemma":[0.0007711249,0.00077619555,0.00079789007,0.00089117425,0.0004502382,0.00007256352,0.0013435972,0.00016603651,0.9947312],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936146,0.000070593625,0.00002157267,0.00012885986,0.00034559474,0.00007194375],"domain_scores_gemma":[0.99908745,0.00012979281,0.000028558507,0.000119189135,0.00044308507,0.0001919154],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00069761276,0.00079442566,0.00047669647,0.0016714464,0.0015897887,0.0043572737,0.0015354377,0.0017220326,0.6858271],"category_scores_gemma":[0.0024767146,0.0002976609,0.00047673963,0.00145236,0.00057326275,0.0026734346,0.002449402,0.0017630619,0.58041793],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020224377,0.00003461767,0.00008542362,0.00012147862,0.0000013610618,0.000037585658,0.00011102467,0.00007564469,0.00026158855,0.02363862,0.8506488,0.12496371],"study_design_scores_gemma":[0.0000015078406,0.000004112549,0.00006281031,0.000050742805,5.5107853e-7,0.000017982109,0.000038507125,0.000012610807,0.000046474957,0.0021948148,0.9975682,0.0000016988],"about_ca_topic_score_codex":0.0038779539,"about_ca_topic_score_gemma":0.006284501,"teacher_disagreement_score":0.31417292,"about_ca_system_score_codex":0.0015378235,"about_ca_system_score_gemma":0.0025103013,"threshold_uncertainty_score":0.44812953},"labels":[],"label_agreement":null},{"id":"W4379744057","doi":"10.1353/mos.2020.0038","title":"The Photograph as Trace: Barthes, Benjamin, and the Intermediality of Photographic Discourse","year":2020,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Photography; TRACE (psycholinguistics); Visual arts; Art; History; Philosophy; Linguistics","score_opus":0.019484730425025503,"score_gpt":0.24482270597995262,"score_spread":0.22533797555492713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379744057","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.110633135,0.024001786,0.009501122,0.057711426,0.001174931,0.00003763036,0.00011102174,0.00014467583,0.79668427],"genre_scores_gemma":[0.95475376,0.004828248,0.0015796483,0.0014596602,0.00054336834,0.000036589932,0.000025252797,0.00011565681,0.036657784],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99721634,0.0018627642,0.000042419004,0.00025464952,0.00043213405,0.00019169725],"domain_scores_gemma":[0.99573886,0.003183249,0.0003045502,0.0003724164,0.00022824793,0.00017265539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003405029,0.00041031407,0.00030139202,0.0027601884,0.011499874,0.01060433,0.0009470553,0.0026772665,0.00706339],"category_scores_gemma":[0.009218303,0.00032739135,0.00016843854,0.0027148705,0.049644817,0.015437925,0.005082641,0.002982442,0.00059621345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022294547,0.0000059608565,0.00017496763,0.00003990342,0.0000015468312,0.000100133,0.1298029,0.000037899972,0.000118095166,0.8572791,0.005089929,0.00732732],"study_design_scores_gemma":[0.000027293092,0.000024770903,0.0008202754,0.0007077828,0.000012414904,0.00036664665,0.16641292,0.00028572488,0.0007168857,0.3624795,0.46811742,0.000028346756],"about_ca_topic_score_codex":0.021507349,"about_ca_topic_score_gemma":0.021683967,"teacher_disagreement_score":0.021507349,"about_ca_system_score_codex":0.008132774,"about_ca_system_score_gemma":0.0036936724,"threshold_uncertainty_score":0.059007645},"labels":[],"label_agreement":null},{"id":"W4379881142","doi":"10.37693/pjos.2023.10.24762","title":"Icons and metaphors in visual communication: The relevance of Peirce’s theory of iconicity for the analysis of visual communication","year":2023,"lang":"en","type":"article","venue":"Public Journal of Semiotics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Iconicity; Relevance (law); Visual communication; Relevance theory; Linguistics; Psychology; Cognitive science; Communication; Cognitive psychology; Philosophy; Computer science; Neuroscience; Cognition; Multimedia; Political science","score_opus":0.06246724320009839,"score_gpt":0.3175782052431734,"score_spread":0.255110962043075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379881142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05813652,0.012595055,0.45086268,0.019075802,0.0010903098,0.0001380827,0.00007983045,0.00015931432,0.4578624],"genre_scores_gemma":[0.93758506,0.003486141,0.04462938,0.0010085208,0.00047311667,0.00022149488,0.000037131547,0.00011265126,0.012446465],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9969003,0.0022436704,0.000106789914,0.00021997209,0.00038271034,0.00014658793],"domain_scores_gemma":[0.9940678,0.00441309,0.0003387122,0.0005070692,0.00048417863,0.0001891534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037205014,0.0006276712,0.00040206627,0.003965802,0.0032022397,0.0070152064,0.0008380178,0.0020813805,0.003871391],"category_scores_gemma":[0.008546092,0.00028026896,0.00058108417,0.0019921598,0.033207666,0.013990149,0.003378839,0.0031493097,0.00050690473],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004327326,0.0000031320856,0.00006382369,0.000040382747,0.0000016940301,0.000074218384,0.008751304,0.00018682948,0.00014085665,0.98710585,0.00034703416,0.0032804373],"study_design_scores_gemma":[0.000008314046,0.000024531184,0.0002478689,0.00016175982,0.000005622143,0.00037830297,0.0074950256,0.0014629805,0.00055104913,0.9407892,0.048855066,0.000020280007],"about_ca_topic_score_codex":0.0014391615,"about_ca_topic_score_gemma":0.0006578448,"teacher_disagreement_score":0.0070152064,"about_ca_system_score_codex":0.002334965,"about_ca_system_score_gemma":0.0011453497,"threshold_uncertainty_score":0.019676149},"labels":[],"label_agreement":null},{"id":"W4380263995","doi":"10.1080/13688804.2023.2220191","title":"Roundtable: The European Illustrated Press and the Emergence of a Transnational Visual News Culture, 1842-1870","year":2023,"lang":"en","type":"article","venue":"Media History","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Visual culture; Political science; History; Media studies; Sociology; Anthropology","score_opus":0.05886706444378387,"score_gpt":0.24792159414719328,"score_spread":0.1890545297034094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380263995","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053055014,0.033610996,0.0004145602,0.030910017,0.002156547,0.000013448162,0.00046434163,0.000059547518,0.87931556],"genre_scores_gemma":[0.4594323,0.0052617006,0.00027106798,0.0030520272,0.0005825701,0.000013806211,0.00014302245,0.0001102315,0.5311333],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994861,0.00014348426,0.000017767392,0.000075387834,0.00013677204,0.00014045925],"domain_scores_gemma":[0.9991109,0.00038008572,0.00010269686,0.00008294776,0.0001854257,0.0001379625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000929846,0.00024227741,0.00014918618,0.0013613695,0.0038595872,0.010362634,0.00036047955,0.0019501472,0.026513752],"category_scores_gemma":[0.003636726,0.0002193682,0.00012574164,0.0019328817,0.0034847818,0.0045729307,0.001922546,0.0016824708,0.002505026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016916447,0.000024575158,0.0023525055,0.00014566765,0.00001448573,0.0009846375,0.047913805,0.00015998783,0.0004547847,0.52184933,0.36063632,0.06529482],"study_design_scores_gemma":[0.0000036824258,0.000005551539,0.00393481,0.000107009575,0.0000019498757,0.00011928802,0.0048468905,0.000017029737,0.00020130172,0.001844285,0.98891,0.000008235065],"about_ca_topic_score_codex":0.041238483,"about_ca_topic_score_gemma":0.09635907,"teacher_disagreement_score":0.041238483,"about_ca_system_score_codex":0.00524214,"about_ca_system_score_gemma":0.0014217192,"threshold_uncertainty_score":0.088697374},"labels":[],"label_agreement":null},{"id":"W4380874676","doi":"10.3138/ctr.137.006","title":"Living the Image","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conversation; Style (visual arts); Ask price; Visual arts; Signature (topology); Art; Image (mathematics); Aesthetics; Computer science; Sociology; Communication; Artificial intelligence; Mathematics; Business","score_opus":0.025269378494664346,"score_gpt":0.2507867182446273,"score_spread":0.22551733974996294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874676","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034875756,0.012291788,0.0025211757,0.10066101,0.013924271,0.000052937656,0.00031422923,0.0004901738,0.8662569],"genre_scores_gemma":[0.048368767,0.007781347,0.0014659658,0.021574056,0.0017031623,0.000036081798,0.00022416895,0.000542678,0.9183038],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889886,0.00019350956,0.000019092879,0.0001144435,0.00054073025,0.00023343512],"domain_scores_gemma":[0.9985886,0.00012070068,0.000050525847,0.00012893051,0.00067650824,0.00043469135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001012277,0.00045487948,0.0002767536,0.0007122199,0.008988002,0.007440653,0.00094165996,0.0019116829,0.10221029],"category_scores_gemma":[0.004321661,0.00017876647,0.00030260967,0.0006217101,0.004745801,0.0043968325,0.0042477786,0.004109114,0.03277008],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009779499,0.000007792495,0.00013177845,0.00005821687,0.0000032756404,0.000096279604,0.0049126954,0.000016583059,0.00023547003,0.039324198,0.9146799,0.040523972],"study_design_scores_gemma":[0.0000010086105,0.0000027928368,0.00015622115,0.00004958317,0.0000011324897,0.000075698445,0.0030266445,0.000006698645,0.000061016035,0.00080957555,0.99580646,0.0000032371097],"about_ca_topic_score_codex":0.1803548,"about_ca_topic_score_gemma":0.2970317,"teacher_disagreement_score":0.1803548,"about_ca_system_score_codex":0.006166329,"about_ca_system_score_gemma":0.005759072,"threshold_uncertainty_score":0.35861003},"labels":[],"label_agreement":null},{"id":"W4380926183","doi":"10.3138/ctr.110.021","title":"Perceiving <i>Hommages</i> at Toronto’s World Leaders: A Festival of Creative Genius: On the Role of Innovative Light-Based Scenography in Creating a Space for the Celebration of “Cultural Icons.”","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Genius; Art history; Film director; Exhibition; Visual arts; Context (archaeology); Performance art; Painting; Scenography; Performing arts; Spectacle; Movie theater; History; Law","score_opus":0.043301644149655545,"score_gpt":0.2584425739503136,"score_spread":0.21514092980065808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926183","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.544764,0.005316727,0.002602935,0.021265527,0.0019817804,0.00019384416,0.001068646,0.0004141044,0.4223925],"genre_scores_gemma":[0.9094448,0.0018042665,0.0012473094,0.0017827243,0.00015956396,0.000041431038,0.00031283082,0.00016325244,0.085043706],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962413,0.0000951786,0.000003848008,0.000036673595,0.00007792254,0.00016224476],"domain_scores_gemma":[0.9993812,0.00007294828,0.000036788915,0.000030154022,0.00009477554,0.00038403907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005771913,0.0006167564,0.00014984098,0.0005977511,0.011751388,0.006895967,0.0006509868,0.0008945262,0.014270512],"category_scores_gemma":[0.00080463773,0.00030305804,0.00029016362,0.0006029989,0.005716009,0.0013263607,0.0030348918,0.001773704,0.0008547833],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017847313,0.0000617252,0.012024304,0.00032968662,0.000047790196,0.002143596,0.5669823,0.00026371208,0.006026729,0.017835539,0.36928564,0.024820542],"study_design_scores_gemma":[0.000018125962,0.00005910699,0.028910538,0.0002446319,0.00003168362,0.00022490835,0.46169952,0.000122052086,0.0010451623,0.0006391908,0.5069542,0.000050834158],"about_ca_topic_score_codex":0.76448864,"about_ca_topic_score_gemma":0.9599028,"teacher_disagreement_score":0.23551136,"about_ca_system_score_codex":0.0150952125,"about_ca_system_score_gemma":0.0092380345,"threshold_uncertainty_score":0.47379667},"labels":[],"label_agreement":null},{"id":"W4381300010","doi":"10.1007/978-3-031-27665-1_15","title":"Unmasking the Pandemic: Self, Other, and the Mask as a Visual Signifier of COVID-19","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Royal Roads University","funders":"","keywords":"Autoethnography; Performative utterance; Aesthetics; Identity (music); Sociology; Invisibility; Coronavirus disease 2019 (COVID-19); Perspective (graphical); Pandemic; Visual arts; Psychology; Media studies; Gender studies; Art; Medicine","score_opus":0.0652114562280384,"score_gpt":0.2954296280563936,"score_spread":0.23021817182835522,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381300010","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013478302,0.0046686856,0.0030109312,0.024332277,0.0016135178,0.000022276165,0.00003292147,0.00007024607,0.9527708],"genre_scores_gemma":[0.71423054,0.0029605934,0.0028585962,0.0077575985,0.0010082503,0.0000910361,0.00004976773,0.000303185,0.2707404],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991454,0.000467433,0.000012758626,0.00007718948,0.00013473976,0.00016254827],"domain_scores_gemma":[0.9992865,0.0003938402,0.00005097847,0.00008212492,0.00006647508,0.00012015864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011823947,0.00050917565,0.00024187604,0.000665847,0.007599584,0.010133974,0.0008587075,0.0031594143,0.014346689],"category_scores_gemma":[0.0027375084,0.00018903431,0.00026657825,0.00046458736,0.025226425,0.009353579,0.005974638,0.0049514687,0.001609361],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016215989,0.0000072373286,0.00008696949,0.00003366083,0.000001558304,0.00013374556,0.03234207,0.00004538887,0.0002636608,0.9335059,0.023254931,0.010308601],"study_design_scores_gemma":[0.000010514475,0.000031233656,0.0003713479,0.00029267147,0.000005731797,0.00042656608,0.050801307,0.00022487341,0.00065479166,0.32215333,0.6250072,0.000020450385],"about_ca_topic_score_codex":0.005099422,"about_ca_topic_score_gemma":0.01012275,"teacher_disagreement_score":0.014346689,"about_ca_system_score_codex":0.0027463862,"about_ca_system_score_gemma":0.0035103739,"threshold_uncertainty_score":0.047994435},"labels":[],"label_agreement":null},{"id":"W4381430043","doi":"10.7202/1098046ar","title":"Milieu animal, modèle musical et optique cinématographique. Jakob von Uexküll contre Tod Browning","year":2023,"lang":"fr","type":"article","venue":"Captures","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Vampire; Philosophy; Literature","score_opus":0.04633630322769894,"score_gpt":0.2799123374152303,"score_spread":0.23357603418753137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381430043","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08616002,0.07801633,0.038955867,0.09251186,0.0040291958,0.000058905243,0.00016758761,0.0002272153,0.6998729],"genre_scores_gemma":[0.85155994,0.020086048,0.0064722365,0.0028142172,0.00070328463,0.00008006601,0.00005498303,0.00008976774,0.1181394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968636,0.00014863677,0.000007980883,0.000061758685,0.00006893294,0.000026400425],"domain_scores_gemma":[0.99957544,0.0002661569,0.000031196123,0.000037227892,0.000048472662,0.00004146877],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071049633,0.00036828898,0.0001732776,0.0005097334,0.0014345837,0.0043459293,0.00034385882,0.001034488,0.005582241],"category_scores_gemma":[0.0014594092,0.00017829766,0.00016907784,0.0003486807,0.0073179137,0.0036471616,0.0015748903,0.0015857199,0.0005419243],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028155084,0.000012538791,0.00023718673,0.00009048824,0.000005517597,0.0000641785,0.007454488,0.00035854313,0.0015624866,0.95699054,0.016130727,0.01706508],"study_design_scores_gemma":[0.000019032528,0.000056304303,0.0015612516,0.00035356975,0.000018014736,0.00031789867,0.009745194,0.001437695,0.0018547421,0.26897624,0.7156287,0.000031366348],"about_ca_topic_score_codex":0.005093822,"about_ca_topic_score_gemma":0.004297076,"teacher_disagreement_score":0.005582241,"about_ca_system_score_codex":0.0018538515,"about_ca_system_score_gemma":0.000720102,"threshold_uncertainty_score":0.018674493},"labels":[],"label_agreement":null},{"id":"W4381746518","doi":"10.1215/23290048-10362418","title":"From Convention to Subversion: Case Studies on the Female Gaze in Premodern China","year":2023,"lang":"en","type":"article","venue":"Journal of Chinese Literature and Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Subversion; Gaze; Representation (politics); China; Poetry; Painting; Convention; Visual culture; Art; History; Aesthetics; Gender studies; Visual arts; Literature; Sociology; Psychology; Political science; Law; Psychoanalysis; Politics; Archaeology; Social science","score_opus":0.026598093292532588,"score_gpt":0.2960519713053017,"score_spread":0.2694538780127691,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381746518","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97773916,0.00030690976,0.00046248874,0.00096754206,0.000023636383,0.000038973933,0.000023369079,0.000007111347,0.020430788],"genre_scores_gemma":[0.9951304,0.00022998962,0.00027939156,0.00010352731,0.000012022459,0.000024633267,0.0000084145395,0.0000090739195,0.0042025764],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975737,0.0014314274,0.00005648575,0.00022538003,0.00029327587,0.00041981152],"domain_scores_gemma":[0.99776006,0.0015381341,0.00019103505,0.00019230747,0.00015487304,0.000163601],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032990857,0.00061139505,0.00041715827,0.001642259,0.011768051,0.0028798936,0.0012165427,0.0022656594,0.0051932023],"category_scores_gemma":[0.0048939297,0.00031509637,0.000299455,0.0015653789,0.010493156,0.002414494,0.004653979,0.0023504985,0.00025713755],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028353683,0.000034266333,0.0046702297,0.000060422706,0.000004869603,0.0051824898,0.9738011,0.000057975154,0.0012950622,0.0071377754,0.00048836187,0.0072390963],"study_design_scores_gemma":[0.000009057205,0.00007730997,0.010256344,0.000175291,0.00000963198,0.0026033781,0.9585427,0.00028603943,0.0014695277,0.0016154341,0.024933781,0.000021591602],"about_ca_topic_score_codex":0.04209587,"about_ca_topic_score_gemma":0.09801777,"teacher_disagreement_score":0.04209587,"about_ca_system_score_codex":0.005528547,"about_ca_system_score_gemma":0.0022961076,"threshold_uncertainty_score":0.08370167},"labels":[],"label_agreement":null},{"id":"W4382600567","doi":"10.5539/jel.v12n5p42","title":"Knowledge Management in Local Wisdom of Mor Hom Natural Dyed","year":2023,"lang":"en","type":"article","venue":"Journal of Education and Learning","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Respondent; Natural (archaeology); Citizen journalism; Qualitative research; Psychology; Sociology; Clothing; Local community; Geography; Social science; Political science","score_opus":0.026710514702011908,"score_gpt":0.3121207401949142,"score_spread":0.2854102254929023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382600567","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9587763,0.00082690653,0.0021208674,0.0023722118,0.00003039773,0.000055517015,0.000019419771,0.000013998892,0.035784435],"genre_scores_gemma":[0.9954991,0.00019101032,0.0006982517,0.00015497975,0.0000062620848,0.000021284479,0.0000074347076,0.0000029975176,0.0034186714],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972339,0.0019359878,0.000079743935,0.00017169601,0.00030434935,0.0002742768],"domain_scores_gemma":[0.99607444,0.002463915,0.0005076034,0.00022379313,0.00035553653,0.00037473813],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027491185,0.00013614274,0.00027311532,0.001016754,0.00447437,0.003388397,0.0009037361,0.00087064947,0.0032389762],"category_scores_gemma":[0.0046415594,0.00013204248,0.00013725435,0.0011349645,0.00581416,0.0033506642,0.003460954,0.00093079614,0.00023795904],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003469547,0.00008495151,0.009293737,0.00033943422,0.0000063261896,0.0023736327,0.9226679,0.00016949883,0.001444146,0.012339502,0.0011324708,0.05011364],"study_design_scores_gemma":[0.0000039485076,0.000056637837,0.0044556544,0.00019687816,0.000005278454,0.00047936547,0.9686161,0.00016287765,0.00036215613,0.0031331573,0.022517266,0.000010732582],"about_ca_topic_score_codex":0.0023398576,"about_ca_topic_score_gemma":0.004719247,"teacher_disagreement_score":0.00447437,"about_ca_system_score_codex":0.0024084453,"about_ca_system_score_gemma":0.0028981846,"threshold_uncertainty_score":0.017474592},"labels":[],"label_agreement":null},{"id":"W4382865596","doi":"10.1515/9780773569782-004","title":"Mural Painting in Canada, 18605 to 19305: A New Paradigm for Kitsch","year":2002,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mural; Kitsch; Painting; Art; Art history; Aesthetics; Visual arts","score_opus":0.03256614405005401,"score_gpt":0.2012539243691577,"score_spread":0.1686877803191037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382865596","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08769331,0.009864452,0.0011978985,0.0064017097,0.00046703592,0.00006130629,0.0005533417,0.00008030167,0.8936806],"genre_scores_gemma":[0.59498745,0.005002664,0.0015232249,0.0013190738,0.00009043957,0.000038258422,0.00019819336,0.00011752684,0.39672315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990496,0.000077306206,0.000016054224,0.00013891477,0.00031199117,0.0004060509],"domain_scores_gemma":[0.9995072,0.00006061784,0.000025479567,0.000034558645,0.00024420186,0.00012783817],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006362812,0.00044147213,0.00032477317,0.0023691582,0.017303063,0.0076824147,0.0010807851,0.0013705434,0.023195542],"category_scores_gemma":[0.001660313,0.00033288312,0.00033871358,0.0031368453,0.0100550875,0.0018177001,0.0029002042,0.0028596038,0.00092026417],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014968564,0.00005840308,0.007067727,0.00020433005,0.000028587545,0.00075003516,0.10273147,0.000617018,0.00088071,0.65415096,0.081770614,0.15159045],"study_design_scores_gemma":[0.000006136299,0.000018080378,0.022333806,0.0002697204,0.000012165339,0.00016581293,0.024847986,0.000106428175,0.0003540542,0.005048978,0.9468096,0.000027224274],"about_ca_topic_score_codex":0.98282164,"about_ca_topic_score_gemma":0.99639076,"teacher_disagreement_score":0.08851802,"about_ca_system_score_codex":0.08851802,"about_ca_system_score_gemma":0.061104815,"threshold_uncertainty_score":0.64224625},"labels":[],"label_agreement":null},{"id":"W4383115643","doi":"10.7202/1100476ar","title":"Paratraduire l’imaginaire : approche méthodologique du sous-titrage espagnol des films ocelotiens","year":2023,"lang":"fr","type":"article","venue":"Meta Journal des traducteurs","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.08861261860922894,"score_gpt":0.28865874279541043,"score_spread":0.2000461241861815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4383115643","genre_codex":"methods","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":"methods","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010236363,0.00045622574,0.95995766,0.0006250564,0.00013320727,0.00024935594,0.0001370172,0.000555286,0.027649894],"genre_scores_gemma":[0.2266912,0.0007713584,0.7403442,0.00023942422,0.00008942518,0.00062523544,0.0004478954,0.0007738259,0.03001742],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943104,0.002911874,0.00026763935,0.0011326226,0.0011789587,0.00019859093],"domain_scores_gemma":[0.9932601,0.003941257,0.00027960062,0.001383153,0.0010175928,0.000118316646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004911021,0.0013795833,0.00063030684,0.0025099218,0.0015982441,0.009588087,0.0023616033,0.0019623982,0.02076361],"category_scores_gemma":[0.016059725,0.000885785,0.0013097934,0.0016402534,0.0053866315,0.006348161,0.003976279,0.0027143194,0.0041445624],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027311745,0.00008876254,0.0025420894,0.001287963,0.00010917678,0.0005929621,0.03359737,0.0050974907,0.020138096,0.62394935,0.003918309,0.3084054],"study_design_scores_gemma":[0.0001501499,0.0002779146,0.0045135925,0.0013251359,0.0001756177,0.0021111348,0.031531844,0.09785139,0.04200448,0.4602677,0.3595879,0.00020319854],"about_ca_topic_score_codex":0.0037752662,"about_ca_topic_score_gemma":0.0038616888,"teacher_disagreement_score":0.02076361,"about_ca_system_score_codex":0.0016644258,"about_ca_system_score_gemma":0.0015970598,"threshold_uncertainty_score":0.06946117},"labels":[],"label_agreement":null},{"id":"W4384304701","doi":"10.5406/23256672.99.4.03","title":"Antonella Anedda's <i>La vita dei dettagli</i>: Icon-textuality as a Relational Practice","year":2022,"lang":"en","type":"article","venue":"Italica","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Icon; Textuality; Perspective (graphical); Relation (database); Focus (optics); Sociology; Art; Aesthetics; Visual arts; Literature; Computer science","score_opus":0.02887469730349253,"score_gpt":0.28017658170021026,"score_spread":0.25130188439671775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384304701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08448653,0.009944483,0.0070992885,0.04005337,0.0019524507,0.000045027013,0.00006491054,0.00020523781,0.8561488],"genre_scores_gemma":[0.9616882,0.0016604972,0.00078082894,0.0010528372,0.0007212942,0.000027901437,0.00001561929,0.00010871921,0.033944007],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99795437,0.0013714917,0.000028863613,0.00020489504,0.0002911099,0.00014919658],"domain_scores_gemma":[0.99775034,0.0012340843,0.00025500564,0.00037710342,0.00020208304,0.00018135142],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023829103,0.00052384456,0.00027842566,0.0016127848,0.004117863,0.008468767,0.00069571764,0.0013130696,0.005905406],"category_scores_gemma":[0.004061491,0.00016552379,0.00023711995,0.0008862646,0.0231758,0.0039410433,0.0040672296,0.002628397,0.00084284187],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004811131,0.000025564888,0.00074892107,0.00017233564,0.0000059715276,0.00034904556,0.15808557,0.00016271407,0.00071607,0.7929629,0.026456669,0.020266216],"study_design_scores_gemma":[0.000017109762,0.00005066173,0.002442686,0.0007373755,0.000013915722,0.0008464487,0.05509983,0.0005796159,0.00092002837,0.051649515,0.88761705,0.000025817873],"about_ca_topic_score_codex":0.0037762225,"about_ca_topic_score_gemma":0.004208438,"teacher_disagreement_score":0.008468767,"about_ca_system_score_codex":0.0042748726,"about_ca_system_score_gemma":0.0009759974,"threshold_uncertainty_score":0.031016529},"labels":[],"label_agreement":null},{"id":"W4384693996","doi":"10.59391/inscriptions.v6i2.220","title":"Carving out the absence within","year":2023,"lang":"en","type":"article","venue":"Inscriptions","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Carving; Negation; Dialectic; Relation (database); Object (grammar); Painting; Philosophy; Literature; The Renaissance; Epistemology; Art; Aesthetics; Art history; Visual arts; Linguistics; Computer science","score_opus":0.09875630022609572,"score_gpt":0.2868583256960653,"score_spread":0.18810202546996957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384693996","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16104268,0.0021163335,0.048130397,0.011497283,0.0011034266,0.000044594217,0.0000485074,0.0002863489,0.77573043],"genre_scores_gemma":[0.9681524,0.00040333808,0.0040745125,0.00070840144,0.00012718016,0.00003640473,0.00002387922,0.00020265114,0.026271217],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964945,0.0016233941,0.0001057838,0.0005162822,0.0009473789,0.00031269708],"domain_scores_gemma":[0.9965857,0.0012620478,0.0002787779,0.0012506272,0.00046402361,0.00015876412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040793894,0.0005497073,0.0006029903,0.0011725505,0.006723747,0.007672646,0.0013069118,0.0015899234,0.004819826],"category_scores_gemma":[0.009426899,0.0004183518,0.00046255466,0.0004391573,0.040139623,0.009067697,0.008084143,0.0048712436,0.0010691151],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025137051,0.000014267284,0.00038095197,0.0000710312,0.000005042747,0.00021855168,0.06694345,0.0001161108,0.0015969651,0.9152899,0.0016416353,0.01369694],"study_design_scores_gemma":[0.000027872391,0.00011606886,0.0016841367,0.0005849136,0.000033087385,0.0013497387,0.06864404,0.0010880881,0.006511501,0.4063459,0.51355124,0.00006336589],"about_ca_topic_score_codex":0.0024376207,"about_ca_topic_score_gemma":0.00287323,"teacher_disagreement_score":0.007672646,"about_ca_system_score_codex":0.0025564253,"about_ca_system_score_gemma":0.0026840142,"threshold_uncertainty_score":0.02157414},"labels":[],"label_agreement":null},{"id":"W4384785233","doi":"10.7202/1101528ar","title":"Le pouvoir des images. Le regard mémoriel dans Tabou de Miguel Gomes","year":2023,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.031227288701918373,"score_gpt":0.25724693685197964,"score_spread":0.22601964815006126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384785233","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19510457,0.011318047,0.0044715316,0.059044093,0.0023825036,0.000058535035,0.00011703139,0.000064648135,0.7274391],"genre_scores_gemma":[0.92114586,0.0014256735,0.00062364194,0.0016326833,0.0001404842,0.00002305534,0.00001492596,0.000036977002,0.07495687],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944335,0.00030863506,0.0000057689267,0.00005860934,0.00008648939,0.00009712549],"domain_scores_gemma":[0.99969804,0.00014373411,0.00004048817,0.00002351693,0.00003832619,0.000055854758],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007096045,0.0003154005,0.00012335693,0.00054224493,0.00548636,0.0032489349,0.0003249841,0.001356856,0.006352861],"category_scores_gemma":[0.0021058065,0.00014321247,0.00013951537,0.0004423222,0.009414697,0.0027315395,0.0020101354,0.0031789595,0.00044916855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000559034,0.000011804119,0.00072270836,0.00008541984,0.0000030243293,0.000498087,0.27011618,0.00007133502,0.00110929,0.69339037,0.014963028,0.018972864],"study_design_scores_gemma":[0.000009638363,0.000043060172,0.0041511985,0.00028581655,0.000008044457,0.0004825752,0.11906587,0.0001249518,0.0006717714,0.028138129,0.8470005,0.000018442153],"about_ca_topic_score_codex":0.028866889,"about_ca_topic_score_gemma":0.053914197,"teacher_disagreement_score":0.028866889,"about_ca_system_score_codex":0.0040120496,"about_ca_system_score_gemma":0.0015590444,"threshold_uncertainty_score":0.057397723},"labels":[],"label_agreement":null},{"id":"W4384928561","doi":"10.1093/oso/9780190057763.001.0001","title":"A Medium Seen Otherwise","year":2023,"lang":"en","type":"book","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Vernacular; Visual arts; Art; Representation (politics); Indexicality; Meaning (existential); Politics; Rhetorical question; Subject (documents); Value (mathematics); History; Literature; Law; Political science","score_opus":0.04882994996066119,"score_gpt":0.25422819422329485,"score_spread":0.20539824426263364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384928561","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023587717,0.0025535861,0.003039968,0.00761885,0.001751885,0.000057018184,0.0001428328,0.00010741886,0.9611407],"genre_scores_gemma":[0.74002707,0.0031852396,0.0021553703,0.0026936696,0.0007929527,0.000109941335,0.00023109758,0.00023802105,0.25056654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987149,0.0005366512,0.00003578102,0.0001941508,0.00025298042,0.0002654225],"domain_scores_gemma":[0.9989328,0.0003697831,0.00009468677,0.00020909401,0.00015950085,0.00023422735],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008600377,0.00048832915,0.00035491074,0.0015042896,0.006348248,0.015778577,0.0009805191,0.0019950306,0.045735594],"category_scores_gemma":[0.002818072,0.00026259734,0.00039501936,0.0011497112,0.00992125,0.011016526,0.00695892,0.003610458,0.0034123491],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001396691,0.00006107891,0.001335715,0.00024518088,0.000016271446,0.0017655245,0.04865156,0.0001495059,0.002354483,0.8719323,0.035637874,0.037710752],"study_design_scores_gemma":[0.00001713684,0.00005527494,0.0010096306,0.00062868977,0.000019002935,0.00070277957,0.039440136,0.00015236101,0.0009549892,0.027498657,0.92949927,0.000022101343],"about_ca_topic_score_codex":0.0045828978,"about_ca_topic_score_gemma":0.0049443715,"teacher_disagreement_score":0.045735594,"about_ca_system_score_codex":0.00401144,"about_ca_system_score_gemma":0.0017182579,"threshold_uncertainty_score":0.15300083},"labels":[],"label_agreement":null},{"id":"W4385280975","doi":"10.1093/oso/9780190226077.003.0003","title":"Immersive Reflexivity","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soundscape; Reflexivity; Foregrounding; Framing (construction); Filmmaking; Visual arts; Aesthetics; Representation (politics); Art; Sociology; Media studies; History; Movie theater; Literature; Sound (geography); Social science; Political science; Acoustics","score_opus":0.11397758766738737,"score_gpt":0.2990011687407897,"score_spread":0.18502358107340233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385280975","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03638444,0.0038577295,0.13319023,0.011080595,0.0019161551,0.00024770168,0.00022341883,0.00088177895,0.812218],"genre_scores_gemma":[0.8640578,0.0026099535,0.03900407,0.0027754686,0.0006252936,0.00051627477,0.00023923513,0.00065946206,0.08951252],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99219525,0.0047495235,0.0002363306,0.001039395,0.0013041965,0.00047540572],"domain_scores_gemma":[0.99310666,0.004275273,0.00026620564,0.0014201702,0.0005967892,0.00033484036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005344764,0.0009495012,0.00059519114,0.0011741733,0.0033974585,0.010455894,0.001974397,0.002254258,0.027891885],"category_scores_gemma":[0.011271849,0.000542822,0.0009955529,0.0006377371,0.020589363,0.011150694,0.0133266905,0.004594018,0.0033489398],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006358669,0.000059720154,0.00033242715,0.0003413258,0.000025701687,0.0005016102,0.093395844,0.00045641436,0.004128192,0.86283416,0.006905961,0.030955028],"study_design_scores_gemma":[0.000048310576,0.00014445228,0.00041932205,0.00061041117,0.000029032199,0.0008426747,0.035224307,0.0010382473,0.0034983987,0.3173821,0.6407093,0.00005344067],"about_ca_topic_score_codex":0.0009003562,"about_ca_topic_score_gemma":0.000758137,"teacher_disagreement_score":0.027891885,"about_ca_system_score_codex":0.002117344,"about_ca_system_score_gemma":0.0012130666,"threshold_uncertainty_score":0.093307614},"labels":[],"label_agreement":null},{"id":"W4385489751","doi":"10.1007/978-3-030-91263-5_20-1","title":"Case Studies as a Heuristic of Intermediality","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Saint Paul University; Université de Montréal","funders":"","keywords":"Context (archaeology); Epistemology; Sociology; Discipline; Unobservable; Social science; Geography; Philosophy","score_opus":0.1525614876179179,"score_gpt":0.32726270310820094,"score_spread":0.17470121549028303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385489751","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017334769,0.00076520874,0.321255,0.009029786,0.00028344223,0.00064073154,0.00017467917,0.00026004863,0.6502563],"genre_scores_gemma":[0.737181,0.00073338026,0.21088849,0.0012752311,0.00020783416,0.0023440018,0.0003057185,0.00041830188,0.046646062],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9831049,0.012481414,0.0005353794,0.001428268,0.001740844,0.0007092175],"domain_scores_gemma":[0.9419156,0.046347443,0.0012505198,0.007358248,0.0021143325,0.001013845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01356564,0.00092331745,0.0010533395,0.007681103,0.007853005,0.012633702,0.0048518335,0.005305092,0.048266277],"category_scores_gemma":[0.044393316,0.0013140254,0.0013595665,0.0055422927,0.036480557,0.039706327,0.013367413,0.0062857484,0.0029736494],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007340895,0.000009327042,0.000049396454,0.000017494776,0.0000018983184,0.000047608733,0.0012717312,0.00007922166,0.000022518412,0.99531835,0.00056925067,0.0026058308],"study_design_scores_gemma":[0.000019436908,0.000008218543,0.00005156271,0.000099031415,0.000010745613,0.00016591825,0.002921061,0.0013491682,0.00018217132,0.9747732,0.020411978,0.000007479944],"about_ca_topic_score_codex":0.0016710988,"about_ca_topic_score_gemma":0.0025729612,"teacher_disagreement_score":0.048266277,"about_ca_system_score_codex":0.004529664,"about_ca_system_score_gemma":0.0034828184,"threshold_uncertainty_score":0.16146672},"labels":[],"label_agreement":null},{"id":"W4385491535","doi":"10.3138/cras-2023-009","title":"“If You Wish a Picture”: Ekphrasis as Technique in Solmaz Sharif’s <i>Look</i>","year":2023,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Visibility; Wish; Sight; History; Literature; Art; Art history; Geography; Astronomy; Meteorology","score_opus":0.03783381550752031,"score_gpt":0.3096821623223054,"score_spread":0.2718483468147851,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385491535","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31491104,0.055640027,0.012298024,0.017749809,0.0013963806,0.0001251794,0.000090916445,0.00012407739,0.59766454],"genre_scores_gemma":[0.96932137,0.01110963,0.0022022969,0.0010546133,0.00016374378,0.000042981872,0.000022491562,0.00006377493,0.016018935],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975581,0.0017639836,0.00006678994,0.00011076702,0.00034125036,0.00015895584],"domain_scores_gemma":[0.99768364,0.0016833437,0.00020828041,0.00016723566,0.00016996403,0.0000875646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034935474,0.00040616558,0.00025349547,0.0022401614,0.006166467,0.0057509006,0.00068028166,0.0010554836,0.0027229928],"category_scores_gemma":[0.0042095315,0.00020631643,0.00017838132,0.0022673793,0.0289414,0.0056613144,0.0028979394,0.002664974,0.00043146446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047210982,0.000028232667,0.0011724513,0.00040867168,0.000007818291,0.0006552168,0.64891535,0.000053193333,0.0007501953,0.26611158,0.0077721374,0.07407798],"study_design_scores_gemma":[0.000013105371,0.000039475734,0.0040831347,0.001105721,0.0000105004265,0.0014200887,0.54174376,0.000071363684,0.00081675313,0.022086421,0.428583,0.000026733502],"about_ca_topic_score_codex":0.007852534,"about_ca_topic_score_gemma":0.020089513,"teacher_disagreement_score":0.007852534,"about_ca_system_score_codex":0.0034984162,"about_ca_system_score_gemma":0.00318301,"threshold_uncertainty_score":0.025382936},"labels":[],"label_agreement":null},{"id":"W4385591504","doi":"10.1353/esc.2020.a903546","title":"\"Do you read me?\": Kaie Kellough, the Words and Music Show, and a Self-Curated Series Within a Series","year":2020,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Event (particle physics); Analogy; Sociology; Epistemology; History; Philosophy","score_opus":0.03975178735983067,"score_gpt":0.2356706018292811,"score_spread":0.19591881446945042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385591504","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006536829,0.12657349,0.0006055627,0.659,0.060962133,0.00009284989,0.00022488015,0.0001649151,0.14583932],"genre_scores_gemma":[0.13508157,0.07983864,0.0013137482,0.118300624,0.0128327655,0.00022157958,0.00023120632,0.0006705223,0.6515094],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982002,0.00049738516,0.000042632008,0.00017184237,0.0007819715,0.00030602125],"domain_scores_gemma":[0.99637324,0.00077962637,0.00021464162,0.00007538137,0.0012902938,0.0012668357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020707923,0.0008014716,0.0004613949,0.0012425209,0.01692182,0.00782311,0.0017283584,0.003337584,0.013155474],"category_scores_gemma":[0.0067481534,0.00036051494,0.0002510946,0.001270568,0.009243757,0.0055448613,0.0041646245,0.007219546,0.002983687],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001213823,0.000011838112,0.000121761244,0.000090026326,0.0000018147061,0.00007459311,0.014994255,0.0000071320574,0.0001464356,0.006642692,0.9690285,0.008868904],"study_design_scores_gemma":[0.0000052591968,0.000006655435,0.0009971231,0.0003628069,0.0000045679094,0.00010425298,0.035001893,0.000010651382,0.0001473316,0.0008345637,0.96250874,0.000016199729],"about_ca_topic_score_codex":0.43342465,"about_ca_topic_score_gemma":0.7533059,"teacher_disagreement_score":0.43342465,"about_ca_system_score_codex":0.014442809,"about_ca_system_score_gemma":0.025960553,"threshold_uncertainty_score":0.86180365},"labels":[],"label_agreement":null},{"id":"W4385949254","doi":"10.32920/23978793.v1","title":"Contestable Confessions of the Untranslatable: a Worldmaking Project","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Metaphor; Interpretation (philosophy); The arts; Reading (process); Categorization; Epistemology; Sociology; Affect (linguistics); Critical reading; Philosophy; Aesthetics; Linguistics; Literature; Art; Visual arts","score_opus":0.1656179513397915,"score_gpt":0.3252271293579091,"score_spread":0.15960917801811758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385949254","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4082711,0.0022363267,0.021136817,0.02694845,0.0011124022,0.00025135532,0.00009817388,0.00013583222,0.53980947],"genre_scores_gemma":[0.95240337,0.00042086767,0.0030992392,0.0008879503,0.00010410006,0.0001269364,0.000032430165,0.00011116588,0.042813946],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98006433,0.016693337,0.00016084634,0.0009882668,0.0014638301,0.00062935974],"domain_scores_gemma":[0.9834396,0.01147085,0.00051630166,0.0026663183,0.0009144786,0.0009924442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.018617202,0.00060229783,0.0004243327,0.0011219997,0.015829775,0.0155664375,0.0016597251,0.0026691686,0.008102765],"category_scores_gemma":[0.019787079,0.00033438727,0.000393846,0.0011754485,0.047905486,0.013624988,0.010839171,0.0054995324,0.0008806801],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007942296,0.00016972983,0.0002424991,0.000048453516,0.000004084199,0.000342178,0.3624026,0.00009810767,0.00068301,0.60926265,0.0056966785,0.020970583],"study_design_scores_gemma":[0.00008953985,0.00018337672,0.0009053102,0.00022558423,0.0000122734,0.00047028903,0.44921482,0.0007520897,0.0045999256,0.17132872,0.37218288,0.00003518198],"about_ca_topic_score_codex":0.0015805569,"about_ca_topic_score_gemma":0.0021714142,"teacher_disagreement_score":0.018617202,"about_ca_system_score_codex":0.0040235845,"about_ca_system_score_gemma":0.0038645712,"threshold_uncertainty_score":0.09845835},"labels":[],"label_agreement":null},{"id":"W4385949256","doi":"10.32920/23978793","title":"Contestable Confessions of the Untranslatable: a Worldmaking Project","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Metaphor; Interpretation (philosophy); The arts; Epistemology; Reading (process); Categorization; Sociology; Affect (linguistics); Critical reading; Aesthetics; Linguistics; Philosophy; Art; Visual arts","score_opus":0.1656179513397915,"score_gpt":0.3252271293579091,"score_spread":0.15960917801811758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385949256","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4082711,0.0022363267,0.021136817,0.02694845,0.0011124022,0.00025135532,0.00009817388,0.00013583222,0.53980947],"genre_scores_gemma":[0.95240337,0.00042086767,0.0030992392,0.0008879503,0.00010410006,0.0001269364,0.000032430165,0.00011116588,0.042813946],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98006433,0.016693337,0.00016084634,0.0009882668,0.0014638301,0.00062935974],"domain_scores_gemma":[0.9834396,0.01147085,0.00051630166,0.0026663183,0.0009144786,0.0009924442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.018617202,0.00060229783,0.0004243327,0.0011219997,0.015829775,0.0155664375,0.0016597251,0.0026691686,0.008102765],"category_scores_gemma":[0.019787079,0.00033438727,0.000393846,0.0011754485,0.047905486,0.013624988,0.010839171,0.0054995324,0.0008806801],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007942296,0.00016972983,0.0002424991,0.000048453516,0.000004084199,0.000342178,0.3624026,0.00009810767,0.00068301,0.60926265,0.0056966785,0.020970583],"study_design_scores_gemma":[0.00008953985,0.00018337672,0.0009053102,0.00022558423,0.0000122734,0.00047028903,0.44921482,0.0007520897,0.0045999256,0.17132872,0.37218288,0.00003518198],"about_ca_topic_score_codex":0.0015805569,"about_ca_topic_score_gemma":0.0021714142,"teacher_disagreement_score":0.018617202,"about_ca_system_score_codex":0.0040235845,"about_ca_system_score_gemma":0.0038645712,"threshold_uncertainty_score":0.09845835},"labels":[],"label_agreement":null},{"id":"W4386461138","doi":"10.1080/10848770.2023.2253635","title":"Joseph Brodsky and the Aesthetic Origins of Ethics","year":2023,"lang":"en","type":"article","venue":"The European Legacy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Sensibility; Feeling; Beauty; Aesthetics; Argument (complex analysis); Poetry; Philosophy; Value (mathematics); Evocation; Ambiguity; Epistemology; Object (grammar); Subject (documents); Sociology; Literature; Art","score_opus":0.06116748746792425,"score_gpt":0.27975997229012994,"score_spread":0.2185924848222057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386461138","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029139297,0.043610964,0.0066373996,0.13663535,0.0017537555,0.000032086635,0.000026592306,0.00004734496,0.7821172],"genre_scores_gemma":[0.8409812,0.010935383,0.0051128664,0.016669752,0.0011466075,0.000102388134,0.00002118916,0.00009109621,0.124939635],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99812716,0.0010981418,0.000041603278,0.0001960207,0.00032863533,0.0002084209],"domain_scores_gemma":[0.9992106,0.00045035835,0.00007173006,0.000062542706,0.0001215425,0.0000833291],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001845424,0.0003068454,0.0002538406,0.00078263885,0.007261932,0.0048555783,0.00043060925,0.0025428957,0.003209531],"category_scores_gemma":[0.0023863122,0.0001980025,0.00020066867,0.0004922478,0.028221326,0.0034724905,0.0028784042,0.004082585,0.0006176013],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000069668877,0.000005568946,0.00007987587,0.000015541456,0.0000013116336,0.000024412908,0.0033950014,0.00004644284,0.00006429142,0.9854857,0.007510271,0.0033646196],"study_design_scores_gemma":[0.000014245075,0.00001836816,0.00059179467,0.00018452844,0.0000032206754,0.00013162718,0.0033156998,0.00018928446,0.00021336469,0.5182064,0.4771135,0.000018014043],"about_ca_topic_score_codex":0.009205063,"about_ca_topic_score_gemma":0.010574065,"teacher_disagreement_score":0.009205063,"about_ca_system_score_codex":0.004679148,"about_ca_system_score_gemma":0.0021047175,"threshold_uncertainty_score":0.033949733},"labels":[],"label_agreement":null},{"id":"W4387064980","doi":"10.1080/02666286.2023.2195808","title":"Image/text/cliché/insight: analogical practices in the global art world","year":2023,"lang":"en","type":"article","venue":"Word & Image","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Analogy; Scholarship; Style (visual arts); Visual thinking; The arts; Art methodology; Contemporary art; Art world; Visual arts; Art; Aesthetics; Epistemology; Art history; Linguistics; Philosophy; Political science; Performance art","score_opus":0.0660664424923851,"score_gpt":0.3314106648730611,"score_spread":0.265344222380676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387064980","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058579493,0.00901741,0.0358368,0.053467035,0.004847497,0.00005832319,0.00009109376,0.00030572503,0.8377966],"genre_scores_gemma":[0.9333509,0.0036466978,0.007982828,0.004168689,0.0022714476,0.000062282335,0.000060086913,0.00034676303,0.04811031],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99639857,0.0025329588,0.00007744315,0.00033365283,0.0005014171,0.00015597943],"domain_scores_gemma":[0.99385613,0.0047514415,0.00030977023,0.0006337242,0.0002604609,0.00018844826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002857871,0.0005256983,0.00037416175,0.0025015194,0.0043855873,0.009650878,0.0010603656,0.002527037,0.013196033],"category_scores_gemma":[0.008606413,0.00016185633,0.0004062012,0.0019769808,0.024438204,0.011440099,0.005023304,0.0043047844,0.0009880394],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016975457,0.000020142346,0.0003844843,0.00013081807,0.0000063597895,0.00025241514,0.075840525,0.00014559459,0.00032496447,0.8861579,0.014123874,0.022595935],"study_design_scores_gemma":[0.000012474832,0.00003923346,0.0010255441,0.00055181846,0.000014481771,0.00079232344,0.08894597,0.0009412193,0.00079452724,0.37547657,0.5313829,0.000022888255],"about_ca_topic_score_codex":0.00094755855,"about_ca_topic_score_gemma":0.0016767867,"teacher_disagreement_score":0.013196033,"about_ca_system_score_codex":0.0024587486,"about_ca_system_score_gemma":0.0011211946,"threshold_uncertainty_score":0.044145107},"labels":[],"label_agreement":null},{"id":"W4387429161","doi":"10.33137/pbsc.v60i1.41295","title":"BOOK REVIEW: Making Pictorial Print: Media Literacy and Mass Culture in British Magazines, 1885–1918","year":2023,"lang":"en","type":"article","venue":"Papers of The Bibliographical Society of Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Athabasca University","funders":"","keywords":"Literacy; Mass culture; Media studies; Mass media; Sociology; Political science; Law; Anthropology; Pedagogy","score_opus":0.009280192954023344,"score_gpt":0.22905943815014007,"score_spread":0.21977924519611672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387429161","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014575278,0.98339635,0.000035978526,0.0042437245,0.00364798,0.000004877083,0.00014877018,0.000007742633,0.008368821],"genre_scores_gemma":[0.0026988827,0.97584355,0.00008186379,0.0012680497,0.003269955,0.000011760174,0.00023297106,0.000012771551,0.016580235],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991567,0.000112247166,0.00009124176,0.000096148804,0.0004677989,0.00007596776],"domain_scores_gemma":[0.9951007,0.0013441034,0.00028013877,0.00009487486,0.0028931764,0.00028703272],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086008443,0.0007507456,0.001419564,0.0060768137,0.0012422114,0.0026839618,0.001091645,0.0012438204,0.023033299],"category_scores_gemma":[0.004796225,0.00040409665,0.0002787917,0.014642194,0.0020870923,0.0023843811,0.00085377437,0.0015236267,0.0069431835],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023381748,0.00000818833,0.00017220846,0.005082762,0.000018225395,0.000050132818,0.0003558859,0.00007318699,0.00007191489,0.0018855651,0.8652319,0.1270267],"study_design_scores_gemma":[0.0000035870141,0.000007736461,0.0013952869,0.0046128375,0.00001527835,0.00013871254,0.00025625897,0.000010041299,0.000032612967,0.00017862074,0.99334127,0.000007717052],"about_ca_topic_score_codex":0.15400755,"about_ca_topic_score_gemma":0.2995725,"teacher_disagreement_score":0.15400755,"about_ca_system_score_codex":0.006126973,"about_ca_system_score_gemma":0.0102641005,"threshold_uncertainty_score":0.30622226},"labels":[],"label_agreement":null},{"id":"W4388112714","doi":"10.1386/jepc_00056_7","title":"‘A normal life’: Karel Tuytschaever on the dramas of Easy Tiger","year":2023,"lang":"en","type":"article","venue":"Journal of European Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Karel; Film director; Silence; Feeling; Scholarship; Short Film; Sociology; Movie theater; Aesthetics; Visual arts; Psychoanalysis; Tiger; Art; Media studies; Psychology; Art history; Law; Political science; Social psychology; Computer science","score_opus":0.04408518375251822,"score_gpt":0.24529533925433084,"score_spread":0.20121015550181262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388112714","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22484027,0.085526906,0.0049728258,0.31395453,0.010916585,0.00011302669,0.0002130625,0.00034094407,0.35912192],"genre_scores_gemma":[0.89306295,0.010146331,0.0011311712,0.023103595,0.00070118665,0.00008804606,0.00005847762,0.00032573534,0.071382545],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9970595,0.0017965862,0.000039198894,0.00028840138,0.00039644042,0.00041985651],"domain_scores_gemma":[0.99873954,0.0007909269,0.00012257388,0.00003764786,0.00009435507,0.00021483235],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001763541,0.0006029403,0.00036840714,0.000729292,0.007724719,0.0058876323,0.00080347125,0.0031902774,0.004819424],"category_scores_gemma":[0.0074206316,0.00035684116,0.00021706871,0.0005861019,0.010594369,0.0055934433,0.003309189,0.006671323,0.0012682242],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014505739,0.000060056165,0.0011823686,0.00023003753,0.000020670666,0.0032640763,0.45712388,0.00041087248,0.0012018452,0.21727456,0.29289004,0.026196575],"study_design_scores_gemma":[0.0000132220575,0.000048463124,0.0014156816,0.00059694116,0.000011166211,0.0025565214,0.19372314,0.00021827892,0.0007943765,0.012754545,0.7878145,0.00005312364],"about_ca_topic_score_codex":0.010804475,"about_ca_topic_score_gemma":0.013053468,"teacher_disagreement_score":0.010804475,"about_ca_system_score_codex":0.004896738,"about_ca_system_score_gemma":0.0021039345,"threshold_uncertainty_score":0.03552854},"labels":[],"label_agreement":null},{"id":"W4388338385","doi":"10.1007/978-981-19-4804-6_1","title":"Ignite","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Computer science; Visual arts; Art","score_opus":0.08200428989785989,"score_gpt":0.24781333678955855,"score_spread":0.16580904689169867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388338385","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003763784,0.00088697136,0.0015625881,0.0005981105,0.0004002229,0.000021240397,0.00064601627,0.0019157139,0.9935927],"genre_scores_gemma":[0.0014561183,0.00037916386,0.00064411794,0.00021154516,0.00005152238,0.000016656382,0.00045344906,0.0005235416,0.9962638],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939823,0.000056163033,0.000013601699,0.00011355041,0.00033254322,0.00008597858],"domain_scores_gemma":[0.9995976,0.00006630163,0.000019783585,0.00008793966,0.00013121704,0.00009718385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005187406,0.0013271424,0.0006856227,0.0028642672,0.0016274482,0.0058997544,0.00134063,0.0022172546,0.67250836],"category_scores_gemma":[0.0011919729,0.00045977067,0.00055694685,0.0016790185,0.00081864354,0.002816285,0.0027964623,0.0022402157,0.59225386],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000110969064,0.000078269055,0.00025788488,0.0002519321,0.0000069288426,0.0001319362,0.00021672448,0.0002263648,0.0013262508,0.052281212,0.64722204,0.2978895],"study_design_scores_gemma":[0.0000060503044,0.0000057095126,0.0000833927,0.000035400648,0.0000017648475,0.000060070375,0.000047230784,0.00006870793,0.00027272836,0.0028595007,0.99655545,0.000003857723],"about_ca_topic_score_codex":0.0033751864,"about_ca_topic_score_gemma":0.009130274,"teacher_disagreement_score":0.67250836,"about_ca_system_score_codex":0.0011873716,"about_ca_system_score_gemma":0.0013961709,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4388546376","doi":"10.1515/9781552388365-027","title":"From Local to National: Pictorial Propaganda in Alberta during the First World War","year":2016,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; History; Media studies; Sociology","score_opus":0.019679772098019428,"score_gpt":0.18958980071387446,"score_spread":0.16991002861585502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388546376","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24627686,0.009896086,0.00068305776,0.010219144,0.00046829524,0.000043193184,0.000096881246,0.000055898057,0.7322605],"genre_scores_gemma":[0.7244198,0.0048224595,0.0006127465,0.00094785594,0.00006653801,0.000020330292,0.00006196526,0.000055839537,0.2689925],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928576,0.00012000087,0.000011311553,0.00005185244,0.00023619558,0.0002949189],"domain_scores_gemma":[0.9995441,0.00015705997,0.000040040613,0.000025371122,0.00010742651,0.0001259819],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010365172,0.00034084974,0.00019996121,0.0013191082,0.019245172,0.0074096923,0.0011840487,0.0012413593,0.009380986],"category_scores_gemma":[0.0013667387,0.00026067684,0.00011107423,0.003096142,0.009601882,0.0011376229,0.0035537481,0.0025632896,0.0005217004],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013750463,0.000073390926,0.006136898,0.00018869655,0.00001022908,0.0015760317,0.59338427,0.00049540296,0.0010771008,0.18869126,0.05571981,0.15250951],"study_design_scores_gemma":[0.000011114422,0.000025236946,0.021140827,0.00032329824,0.000019630575,0.00031564556,0.35099307,0.00015273887,0.00064466597,0.0043900665,0.6219582,0.00002548585],"about_ca_topic_score_codex":0.93186516,"about_ca_topic_score_gemma":0.9856821,"teacher_disagreement_score":0.068134844,"about_ca_system_score_codex":0.03812856,"about_ca_system_score_gemma":0.037652116,"threshold_uncertainty_score":0.27664334},"labels":[],"label_agreement":null},{"id":"W4389238273","doi":"10.1007/978-3-031-28322-2_20","title":"Case Studies as a Heuristic of Intermediality","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Saint Paul University; Université de Montréal","funders":"","keywords":"Context (archaeology); Epistemology; Sociology; Unobservable; Geography; Philosophy","score_opus":0.1525614876179179,"score_gpt":0.32726270310820094,"score_spread":0.17470121549028303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389238273","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017334769,0.00076520874,0.321255,0.009029786,0.00028344223,0.00064073154,0.00017467917,0.00026004863,0.6502563],"genre_scores_gemma":[0.737181,0.00073338026,0.21088849,0.0012752311,0.00020783416,0.0023440018,0.0003057185,0.00041830188,0.046646062],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9831049,0.012481414,0.0005353794,0.001428268,0.001740844,0.0007092175],"domain_scores_gemma":[0.9419156,0.046347443,0.0012505198,0.007358248,0.0021143325,0.001013845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01356564,0.00092331745,0.0010533395,0.007681103,0.007853005,0.012633702,0.0048518335,0.005305092,0.048266277],"category_scores_gemma":[0.044393316,0.0013140254,0.0013595665,0.0055422927,0.036480557,0.039706327,0.013367413,0.0062857484,0.0029736494],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007340895,0.000009327042,0.000049396454,0.000017494776,0.0000018983184,0.000047608733,0.0012717312,0.00007922166,0.000022518412,0.99531835,0.00056925067,0.0026058308],"study_design_scores_gemma":[0.000019436908,0.000008218543,0.00005156271,0.000099031415,0.000010745613,0.00016591825,0.002921061,0.0013491682,0.00018217132,0.9747732,0.020411978,0.000007479944],"about_ca_topic_score_codex":0.0016710988,"about_ca_topic_score_gemma":0.0025729612,"teacher_disagreement_score":0.048266277,"about_ca_system_score_codex":0.004529664,"about_ca_system_score_gemma":0.0034828184,"threshold_uncertainty_score":0.16146672},"labels":[],"label_agreement":null},{"id":"W4390575364","doi":"10.53967/cje-rce.6451","title":"Book Review: The Academic Sabbatical: A Voyage of Discovery","year":2024,"lang":"en","type":"article","venue":"Canadian Journal of Education / Revue canadienne de l éducation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Mount Saint Vincent University","funders":"","keywords":"Mathematics education; Psychology","score_opus":0.043658477097230766,"score_gpt":0.2912432381220404,"score_spread":0.24758476102480964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390575364","genre_codex":"editorial","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012555088,0.21515778,0.00026845717,0.37539598,0.39743817,0.000041084288,0.00020213999,0.000095708296,0.011275109],"genre_scores_gemma":[0.0037021684,0.17762172,0.0007949831,0.26046473,0.43692404,0.00012011188,0.00040999023,0.0002635994,0.11969855],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98651266,0.00238143,0.00083310576,0.0010100519,0.008377188,0.00088552985],"domain_scores_gemma":[0.93173826,0.01606328,0.0030812435,0.002173942,0.03803436,0.008909007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011303886,0.0014368369,0.003595172,0.00642391,0.0037884489,0.019226694,0.0041274754,0.015240339,0.031375602],"category_scores_gemma":[0.056986928,0.0008830576,0.0015775394,0.007454463,0.006047803,0.008777056,0.0032741139,0.015623124,0.022096569],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004087488,0.0000026877437,0.000010513133,0.00011824838,0.0000035297262,0.00001083571,0.000013213185,0.0000064000233,0.000011042683,0.00071693474,0.9926037,0.006498687],"study_design_scores_gemma":[0.000008733657,0.000007040449,0.000088048975,0.0005235152,0.0000088390925,0.00005247611,0.00006298412,0.00001752865,0.000019548319,0.0012694842,0.9979323,0.000009567059],"about_ca_topic_score_codex":0.013619216,"about_ca_topic_score_gemma":0.0397591,"teacher_disagreement_score":0.031375602,"about_ca_system_score_codex":0.016075505,"about_ca_system_score_gemma":0.026591122,"threshold_uncertainty_score":0.116636515},"labels":[],"label_agreement":null},{"id":"W4390762639","doi":"10.1353/crc.2022.a917037","title":"Guilty Aesthetic Pleasures by Timothy Aubry (review)","year":2022,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Criticism; Aesthetics; Politics; Scholarship; Historicism; Ideology; Pleasure; Sociology; Deconstruction (building); Philosophy; Literary criticism; Literature; Psychoanalysis; Epistemology; Art; Law; Psychology","score_opus":0.03146830958277245,"score_gpt":0.2771020905785744,"score_spread":0.24563378099580194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390762639","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000039297884,0.97948587,0.00003621371,0.013030437,0.0063054594,0.000007586189,0.00002716724,0.00000622347,0.0010616856],"genre_scores_gemma":[0.0012762132,0.95471686,0.0001447924,0.025224699,0.011318236,0.00007553669,0.00011599211,0.000021847149,0.007105876],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983267,0.00050680304,0.00014777882,0.00027548068,0.00061695126,0.00012626362],"domain_scores_gemma":[0.99557316,0.0019145132,0.0005761261,0.0001001349,0.0013704065,0.00046564813],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020506703,0.0014974097,0.0018721233,0.0036590307,0.0009715886,0.0046055457,0.0018764846,0.0031957352,0.016624525],"category_scores_gemma":[0.010167536,0.0007129666,0.0009486642,0.0062772036,0.0017159887,0.004332884,0.0020827278,0.006374404,0.0075196433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028321807,0.00001081599,0.00008353842,0.008041301,0.000047283545,0.00005142659,0.00023625951,0.00005275369,0.00006263885,0.0013769671,0.91286105,0.077147685],"study_design_scores_gemma":[0.000019669244,0.000016824637,0.00062781235,0.018255796,0.000064812164,0.00034847346,0.00029302656,0.000031050633,0.000042563228,0.0012974528,0.9789763,0.000026070737],"about_ca_topic_score_codex":0.008945671,"about_ca_topic_score_gemma":0.01085985,"teacher_disagreement_score":0.016624525,"about_ca_system_score_codex":0.0029782734,"about_ca_system_score_gemma":0.0060010976,"threshold_uncertainty_score":0.05561465},"labels":[],"label_agreement":null},{"id":"W4390898380","doi":"10.7202/1108273ar","title":"L’opéra d’un médium à un autre. Pour une perception différente des corps","year":2023,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.049289016052987425,"score_gpt":0.26105871675274284,"score_spread":0.21176970069975543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390898380","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11671105,0.0045318,0.02314491,0.011223171,0.0014987985,0.000043024345,0.000118177064,0.00012738809,0.8426017],"genre_scores_gemma":[0.86430657,0.0021827722,0.004621664,0.0012483927,0.00035008066,0.000056072204,0.000072432216,0.00014046549,0.12702152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888915,0.00034542548,0.000034731824,0.00022185766,0.00032618706,0.00018266],"domain_scores_gemma":[0.9990736,0.00033977063,0.000082064216,0.00010906531,0.0001721639,0.00022328949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009939058,0.00074560463,0.00021963776,0.0015053047,0.0038845504,0.010801408,0.0005762395,0.001541071,0.018266117],"category_scores_gemma":[0.0023261206,0.0002116154,0.0004951915,0.0009827442,0.013895276,0.007522327,0.0053422577,0.003350492,0.0016778584],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015644498,0.000028262884,0.0021064132,0.00023869009,0.000019505902,0.0005201874,0.12051022,0.00017147024,0.005405411,0.8176813,0.0063985786,0.04676342],"study_design_scores_gemma":[0.000024125808,0.00017228551,0.008836135,0.000834239,0.00005092084,0.0014714707,0.16864169,0.0008290425,0.002976201,0.0891962,0.72690004,0.0000677743],"about_ca_topic_score_codex":0.010243152,"about_ca_topic_score_gemma":0.0089886775,"teacher_disagreement_score":0.018266117,"about_ca_system_score_codex":0.0025473272,"about_ca_system_score_gemma":0.001702836,"threshold_uncertainty_score":0.061106205},"labels":[],"label_agreement":null},{"id":"W4391059431","doi":"","title":"Blancs typographiques, ekphrasis photographiques et clichés dans certains textes et avant-textes autobiographiques d’Annie Ernaux","year":2023,"lang":"fr","type":"book-chapter","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canada Research Chairs; University of Toronto","funders":"","keywords":"Art; Humanities","score_opus":0.03157039271093967,"score_gpt":0.25761008158318566,"score_spread":0.226039688872246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391059431","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010321598,0.021389978,0.0060791005,0.008289038,0.0028488163,0.00006609656,0.00036257206,0.00018002531,0.9504627],"genre_scores_gemma":[0.16833465,0.015204934,0.0037189662,0.0018900099,0.0011392974,0.00013546036,0.000325436,0.00072213874,0.80852926],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993327,0.00034304848,0.000024308481,0.000085457395,0.0001494079,0.00006500467],"domain_scores_gemma":[0.99936146,0.00042377991,0.00003383245,0.00006134591,0.000088871464,0.000030663577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075823924,0.00075724814,0.00027674486,0.0019912869,0.0039440184,0.0055979327,0.00045693095,0.0014716057,0.02320389],"category_scores_gemma":[0.0019778963,0.0003283156,0.00020616126,0.0024759008,0.006484634,0.004493062,0.001091867,0.0031597023,0.0038465448],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052656258,0.000016487127,0.00018652108,0.00019986568,0.0000034210286,0.00023110122,0.033257872,0.00011735142,0.0011296887,0.8298512,0.10315099,0.03180283],"study_design_scores_gemma":[0.0000042693205,0.00000451316,0.0004749214,0.00016001053,0.0000016582195,0.00015390058,0.0046477234,0.00007670539,0.0003656664,0.01237446,0.98172945,0.000006686513],"about_ca_topic_score_codex":0.025738727,"about_ca_topic_score_gemma":0.04031565,"teacher_disagreement_score":0.025738727,"about_ca_system_score_codex":0.004148745,"about_ca_system_score_gemma":0.0019229045,"threshold_uncertainty_score":0.07762474},"labels":[],"label_agreement":null},{"id":"W4391114216","doi":"10.1386/public_00174_1","title":"A Message From the Pluriverse: The Spiritually Fluid Gift of Philip Cote’s Walls of Welcome","year":2023,"lang":"en","type":"article","venue":"Public","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mural; Humanity; Panorama; Indigenous; Painting; Power (physics); Art history; History; Art; Environmental ethics; Aesthetics; Sociology; Philosophy; Visual arts; Law; Political science","score_opus":0.0545979149267915,"score_gpt":0.24672371551737984,"score_spread":0.19212580059058834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391114216","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3039519,0.007094877,0.006151316,0.129639,0.0037985775,0.000048566293,0.000086544846,0.000117174364,0.549112],"genre_scores_gemma":[0.96285397,0.000943366,0.00058473484,0.0029810613,0.00024394433,0.000017719938,0.000012440466,0.00007681285,0.032285985],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99822253,0.0011976949,0.000018439687,0.00010418201,0.00024656247,0.00021054115],"domain_scores_gemma":[0.99760455,0.0011682061,0.00020320292,0.00018322663,0.00020332077,0.00063744985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022196125,0.0004732136,0.00024966348,0.0005644536,0.012852374,0.010498781,0.0005329791,0.0017968256,0.0059130643],"category_scores_gemma":[0.0045804298,0.00026207487,0.00016330939,0.0003835597,0.026636858,0.007811919,0.0075476915,0.0051785135,0.00046203684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054258908,0.00002112452,0.0010972471,0.0001001667,0.000006720299,0.00089015585,0.6576396,0.000056913897,0.0006898036,0.29787016,0.030692825,0.010880928],"study_design_scores_gemma":[0.000010102321,0.000039301733,0.0011580983,0.0003236347,0.000007871944,0.00076598895,0.44879603,0.000121313955,0.00063824013,0.017401291,0.5307109,0.00002729771],"about_ca_topic_score_codex":0.012979327,"about_ca_topic_score_gemma":0.02824585,"teacher_disagreement_score":0.012979327,"about_ca_system_score_codex":0.0032875203,"about_ca_system_score_gemma":0.0019263213,"threshold_uncertainty_score":0.02580756},"labels":[],"label_agreement":null},{"id":"W4391140834","doi":"10.1007/978-3-031-32134-4_8","title":"Ekphrasis, Illustration, and Adaptation: Annie Ernaux’s Intermedial Autobiographic and Photographic Production","year":2024,"lang":"en","type":"book-chapter","venue":"Palgrave studies in adaptation and visual culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Adaptation (eye); Art; Production (economics); Visual arts; Art history; Psychology; Economics","score_opus":0.09486622909119052,"score_gpt":0.3106072994268574,"score_spread":0.21574107033566686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391140834","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013106167,0.01065964,0.007221304,0.022239273,0.0010834177,0.000024685118,0.000042509117,0.00007805809,0.94554496],"genre_scores_gemma":[0.50411636,0.007020547,0.006523146,0.003063244,0.00061175524,0.000065529624,0.00004601729,0.00028041858,0.47827297],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992481,0.00048601022,0.000013546016,0.00007691031,0.00011256681,0.000062818894],"domain_scores_gemma":[0.999288,0.000480329,0.000026090564,0.00009446263,0.000067847606,0.0000432783],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011510437,0.00040552873,0.00016432736,0.00083712273,0.0048634624,0.0051723737,0.00071706524,0.0017356359,0.00932997],"category_scores_gemma":[0.0026732143,0.00023928795,0.00016074862,0.00079437986,0.012799614,0.006512437,0.0027605863,0.0034760134,0.0014083111],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015471938,0.000011002387,0.00010227288,0.00002473213,0.0000010683184,0.00015735975,0.032588687,0.00007058447,0.00021500242,0.908799,0.039314203,0.018700676],"study_design_scores_gemma":[0.000004931838,0.000005956085,0.00031871538,0.00015582265,0.0000024185708,0.00030814495,0.013911805,0.00019372276,0.00055063353,0.09703,0.88750887,0.000009053813],"about_ca_topic_score_codex":0.012041612,"about_ca_topic_score_gemma":0.032856118,"teacher_disagreement_score":0.012041612,"about_ca_system_score_codex":0.003232861,"about_ca_system_score_gemma":0.0011842274,"threshold_uncertainty_score":0.031211853},"labels":[],"label_agreement":null},{"id":"W4391772477","doi":"10.37724/rsu.2023.81.4.005","title":"Experience of using printed materials in British political struggle during election campaigns in the last quarter of the 19th and early 20th centuries","year":2023,"lang":"ru","type":"article","venue":"Вестник Рязанского государственного университета имени С А Есенина","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Politics; History; Economic history; Ancient history; Political science; Archaeology; Law","score_opus":0.0228821444022838,"score_gpt":0.2629403046461036,"score_spread":0.24005816024381976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391772477","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8075912,0.0021294882,0.0003678052,0.0031967433,0.0003010538,0.000022363203,0.000084136904,0.000060413135,0.18624687],"genre_scores_gemma":[0.92313033,0.0006419555,0.00019166632,0.00036105403,0.00005524124,0.000016914644,0.00005309352,0.00008262851,0.075467095],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99566513,0.0020954963,0.00013313994,0.00023588129,0.0010408206,0.00082954875],"domain_scores_gemma":[0.99534935,0.0029278146,0.00047844558,0.00026230613,0.0004001392,0.0005819998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025661,0.000544788,0.0005089762,0.0025039646,0.01759978,0.011460842,0.0009006101,0.0023689126,0.02419763],"category_scores_gemma":[0.0069857943,0.0005995124,0.00028249936,0.00343067,0.010234706,0.002562016,0.0048543825,0.0025255436,0.0037493566],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018730926,0.0000819547,0.0053925696,0.00016760216,0.000011427582,0.0018430114,0.93458754,0.00008639514,0.0014828279,0.013480075,0.007763038,0.034916315],"study_design_scores_gemma":[0.000021780143,0.00017912517,0.020060379,0.00028091582,0.000021567224,0.0012354169,0.52237594,0.00014455551,0.001278523,0.001036968,0.4532942,0.00007067043],"about_ca_topic_score_codex":0.044244003,"about_ca_topic_score_gemma":0.12438158,"teacher_disagreement_score":0.044244003,"about_ca_system_score_codex":0.0060191723,"about_ca_system_score_gemma":0.0017310467,"threshold_uncertainty_score":0.08797294},"labels":[],"label_agreement":null},{"id":"W4393019633","doi":"10.7202/1101400ar","title":"Horror Reverie 2: An Online Symposium Celebrating 50 Years of The Exorcist","year":2023,"lang":"en","type":"article","venue":"Monstrum","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Psychoanalysis; Philosophy; Art; Art history; Psychology","score_opus":0.04701669103011067,"score_gpt":0.2518581480253141,"score_spread":0.20484145699520342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393019633","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006643514,0.038807064,0.0014521725,0.21356006,0.35715115,0.00015588186,0.0008001549,0.0007937585,0.38063622],"genre_scores_gemma":[0.03323204,0.012470129,0.0011359917,0.04121119,0.0728849,0.00016583106,0.0005757996,0.0007861291,0.837538],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998509,0.00050286454,0.000036275644,0.00016972155,0.00046159924,0.00032049205],"domain_scores_gemma":[0.9972857,0.0006691976,0.00014930393,0.000113191585,0.0005316734,0.0012509526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020272348,0.0012723524,0.00048223222,0.0009039987,0.0050286264,0.006131786,0.0011224219,0.00399021,0.08981799],"category_scores_gemma":[0.0055057225,0.00030725115,0.0005978728,0.00056984165,0.0016084732,0.0046544075,0.0061123148,0.0068610418,0.032742515],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003536068,0.000018590388,0.000050833158,0.00006507473,0.0000025250336,0.0001332898,0.0008383965,0.000008933267,0.00020035481,0.0019450388,0.98922694,0.007474599],"study_design_scores_gemma":[0.000004093769,0.000020116408,0.000275996,0.00011209891,0.0000022472793,0.00010695501,0.001223547,0.000010019242,0.00009858168,0.00029012206,0.99784946,0.0000067767473],"about_ca_topic_score_codex":0.0021986437,"about_ca_topic_score_gemma":0.009316005,"teacher_disagreement_score":0.08981799,"about_ca_system_score_codex":0.0014735662,"about_ca_system_score_gemma":0.0014673462,"threshold_uncertainty_score":0.30047113},"labels":[],"label_agreement":null},{"id":"W4393192745","doi":"10.1007/978-3-030-01537-4_23-2","title":"Women Author Portraits in Print","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Portrait; Art; Art history; Computer science; Visual arts","score_opus":0.052206718544749925,"score_gpt":0.25735992404187585,"score_spread":0.20515320549712593,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393192745","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079206936,0.0014144544,0.00029112797,0.00066758995,0.0004382394,0.000005300553,0.000065987115,0.00003571578,0.9962895],"genre_scores_gemma":[0.0068180664,0.00072199723,0.00012555798,0.00022245444,0.00010972373,0.0000061868022,0.00003615225,0.00007643146,0.9918834],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998405,0.00003709814,0.0000040528453,0.00002632253,0.00006669487,0.000025243206],"domain_scores_gemma":[0.9998579,0.00006754918,0.0000068923823,0.000017310535,0.000030774663,0.00001955364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020204023,0.00059994916,0.00024547923,0.0014659746,0.0038384465,0.0049013593,0.00041525482,0.0009648725,0.15486121],"category_scores_gemma":[0.00054774596,0.0002103872,0.00019062386,0.001361638,0.0013805671,0.0023176894,0.0014617493,0.0016178186,0.036339786],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007369082,0.000050676143,0.00024270719,0.00017328073,0.00000494387,0.00065407413,0.016009595,0.00014984161,0.0014039476,0.30309173,0.55539155,0.1227539],"study_design_scores_gemma":[0.0000020040445,0.0000045244865,0.00016780947,0.000069290494,0.0000011867933,0.00013585297,0.0018285977,0.000022309418,0.00020659942,0.0038026005,0.9937569,0.0000022034967],"about_ca_topic_score_codex":0.005996608,"about_ca_topic_score_gemma":0.023076253,"teacher_disagreement_score":0.15486121,"about_ca_system_score_codex":0.0015129686,"about_ca_system_score_gemma":0.00064487226,"threshold_uncertainty_score":0.51806235},"labels":[],"label_agreement":null},{"id":"W4393290190","doi":"10.1515/9781552382820-005","title":"Thoughts on First Nations Art, Some on Politics","year":2002,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Political science; Law","score_opus":0.042546297350982164,"score_gpt":0.19862620308882184,"score_spread":0.15607990573783967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393290190","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020557446,0.17825375,0.000398036,0.0896005,0.0051065423,0.000007868041,0.000066021894,0.00002557498,0.72448605],"genre_scores_gemma":[0.088036574,0.10049447,0.0009745046,0.035358086,0.0041542933,0.000052425614,0.000118480995,0.00016995589,0.7706413],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929154,0.00027764475,0.000016628763,0.00008087154,0.00017524784,0.00015797556],"domain_scores_gemma":[0.99914014,0.00044966998,0.000035431014,0.000067235735,0.00017504992,0.00013252268],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014329862,0.0007080235,0.00051597564,0.002400172,0.009489926,0.015187629,0.0011235923,0.0039754724,0.0329503],"category_scores_gemma":[0.0023811755,0.00045861775,0.00039286466,0.0029505529,0.014037884,0.0071110385,0.001772988,0.0070488243,0.003672556],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013017121,0.000020524401,0.00011973017,0.00007977057,0.0000033991955,0.00007223852,0.0051935604,0.00014471417,0.00005738781,0.6580675,0.31668025,0.019547818],"study_design_scores_gemma":[0.0000029906128,0.0000020872844,0.00034324956,0.00033185218,0.0000015586742,0.000028101216,0.0053659715,0.000030184483,0.0000408516,0.049025647,0.9448224,0.000005149188],"about_ca_topic_score_codex":0.11088049,"about_ca_topic_score_gemma":0.24516544,"teacher_disagreement_score":0.11088049,"about_ca_system_score_codex":0.01589426,"about_ca_system_score_gemma":0.0057669166,"threshold_uncertainty_score":0.22047019},"labels":[],"label_agreement":null},{"id":"W4393548276","doi":"10.5206/mf.v9i1.18250","title":"La musique et l’art cinématographique","year":2024,"lang":"fr","type":"article","venue":"Mouvances Francophones","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Art","score_opus":0.014637574996404808,"score_gpt":0.269681063224561,"score_spread":0.25504348822815615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393548276","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51894206,0.010809632,0.0074713607,0.0041821995,0.00023576991,0.000060685565,0.000361391,0.00006750551,0.4578693],"genre_scores_gemma":[0.92314464,0.0027213045,0.0038153413,0.00017702622,0.00007370014,0.000022021912,0.00013401425,0.000041020816,0.06987082],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978954,0.00009028296,0.0000056117524,0.000033161436,0.000039073086,0.00004234885],"domain_scores_gemma":[0.99950266,0.00024926095,0.0000664679,0.000030377641,0.000100185105,0.000051054943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039819352,0.0002458111,0.00010309681,0.0009406212,0.0012374984,0.0026573313,0.00016998437,0.00046858753,0.019086353],"category_scores_gemma":[0.0009962711,0.00013024676,0.00014270129,0.0009506589,0.0017008949,0.0009408968,0.00052925013,0.0005192395,0.00077112525],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045451793,0.00007974394,0.024720915,0.001313221,0.00008110091,0.0030633272,0.26595968,0.0012579707,0.064822905,0.21623969,0.033050008,0.38895693],"study_design_scores_gemma":[0.000018441884,0.00010605833,0.2606054,0.000530866,0.000047624544,0.0019410959,0.11072089,0.001352472,0.0042363117,0.0086522885,0.61173826,0.000050338254],"about_ca_topic_score_codex":0.018647775,"about_ca_topic_score_gemma":0.04184887,"teacher_disagreement_score":0.019086353,"about_ca_system_score_codex":0.0013430408,"about_ca_system_score_gemma":0.0007096113,"threshold_uncertainty_score":0.063850224},"labels":[],"label_agreement":null},{"id":"W4393877728","doi":"10.5281/zenodo.10363852","title":"Jarus bird lane mural, Toronto","year":2019,"lang":"en","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mural; Geography; Archaeology; Cartography; Art; Art history; Painting","score_opus":0.06261593039954573,"score_gpt":0.266628772877484,"score_spread":0.20401284247793827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393877728","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021091691,0.00028812842,0.0003185841,0.00011425871,0.000086123386,0.00003207481,0.98891187,0.005500982,0.004537228],"genre_scores_gemma":[0.000426831,0.000109824825,0.00060963974,0.00005031111,0.0000089584655,0.000055344175,0.9954803,0.00055371365,0.0027051028],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990107,0.00011910067,0.000058245594,0.0003369224,0.0002881828,0.00018681603],"domain_scores_gemma":[0.9986966,0.00017615073,0.000072784664,0.00053800177,0.00031009022,0.0002064246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076347415,0.004596149,0.0020034316,0.0038370576,0.0014958747,0.004061902,0.0037859073,0.0024695706,0.16952664],"category_scores_gemma":[0.004415047,0.0011537111,0.001737218,0.0053523695,0.00062016456,0.0023986744,0.0038765343,0.0022310968,0.36064208],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023064033,0.000006987544,0.00010434328,0.0001909689,0.0000065740387,0.000009164567,0.000011890521,0.00006367449,0.00006460577,0.00015981437,0.9972957,0.0020632208],"study_design_scores_gemma":[0.00008240055,0.000010303984,0.0010808889,0.00016982477,0.000013807229,0.00006321666,0.00006514878,0.0005060563,0.00048170367,0.00089391996,0.99661154,0.000021306842],"about_ca_topic_score_codex":0.06035402,"about_ca_topic_score_gemma":0.16347578,"teacher_disagreement_score":0.16952664,"about_ca_system_score_codex":0.0019531725,"about_ca_system_score_gemma":0.002401941,"threshold_uncertainty_score":0.56712306},"labels":[],"label_agreement":null},{"id":"W4394053813","doi":"10.5281/zenodo.10363851","title":"Jarus bird lane mural, Toronto","year":2019,"lang":"en","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mural; Geography; Cartography; Archaeology; Art; Visual arts; Painting","score_opus":0.06261593039954573,"score_gpt":0.266628772877484,"score_spread":0.20401284247793827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394053813","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021091691,0.00028812842,0.0003185841,0.00011425871,0.000086123386,0.00003207481,0.98891187,0.005500982,0.004537228],"genre_scores_gemma":[0.000426831,0.000109824825,0.00060963974,0.00005031111,0.0000089584655,0.000055344175,0.9954803,0.00055371365,0.0027051028],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990107,0.00011910067,0.000058245594,0.0003369224,0.0002881828,0.00018681603],"domain_scores_gemma":[0.9986966,0.00017615073,0.000072784664,0.00053800177,0.00031009022,0.0002064246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076347415,0.004596149,0.0020034316,0.0038370576,0.0014958747,0.004061902,0.0037859073,0.0024695706,0.16952664],"category_scores_gemma":[0.004415047,0.0011537111,0.001737218,0.0053523695,0.00062016456,0.0023986744,0.0038765343,0.0022310968,0.36064208],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023064033,0.000006987544,0.00010434328,0.0001909689,0.0000065740387,0.000009164567,0.000011890521,0.00006367449,0.00006460577,0.00015981437,0.9972957,0.0020632208],"study_design_scores_gemma":[0.00008240055,0.000010303984,0.0010808889,0.00016982477,0.000013807229,0.00006321666,0.00006514878,0.0005060563,0.00048170367,0.00089391996,0.99661154,0.000021306842],"about_ca_topic_score_codex":0.06035402,"about_ca_topic_score_gemma":0.16347578,"teacher_disagreement_score":0.939646,"about_ca_system_score_codex":0.0019531725,"about_ca_system_score_gemma":0.002401941,"threshold_uncertainty_score":0.56712306},"labels":[],"label_agreement":null},{"id":"W4394710144","doi":"10.62212/1866/32870","title":"Passages du net au flou","year":2023,"lang":"fr","type":"book","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Computer science","score_opus":0.041559961610685384,"score_gpt":0.24889877168243005,"score_spread":0.20733881007174465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394710144","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054138064,0.004075755,0.005955443,0.0027102574,0.0017351669,0.000029399256,0.00010358314,0.0001399064,0.93111247],"genre_scores_gemma":[0.39832658,0.002635526,0.003297617,0.00047112734,0.00058915664,0.000034289857,0.00011316694,0.00021319247,0.5943194],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996055,0.00014694157,0.000009328899,0.00006976533,0.00013618285,0.000032360087],"domain_scores_gemma":[0.9992125,0.000423236,0.000055176217,0.00006339664,0.00017192414,0.000073763345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047720884,0.0003870259,0.00018815087,0.0010593119,0.0027130018,0.0037447945,0.00036857964,0.0007415349,0.017367387],"category_scores_gemma":[0.002292812,0.00014446897,0.00019047924,0.00079132564,0.003583352,0.0039930027,0.0015587645,0.0012126947,0.0023713727],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021063306,0.000023754685,0.0009799463,0.00028753057,0.000009772854,0.0011016298,0.08876707,0.0003198567,0.006259401,0.76820004,0.049179412,0.08466096],"study_design_scores_gemma":[0.000008075466,0.00006642086,0.002016043,0.00030749504,0.000006928021,0.00065922015,0.012723856,0.0004079792,0.0021286258,0.017579086,0.9640817,0.00001456509],"about_ca_topic_score_codex":0.0030264147,"about_ca_topic_score_gemma":0.005044394,"teacher_disagreement_score":0.017367387,"about_ca_system_score_codex":0.001411295,"about_ca_system_score_gemma":0.0005844009,"threshold_uncertainty_score":0.058099687},"labels":[],"label_agreement":null},{"id":"W4394943107","doi":"10.1017/slr.2024.7","title":"An Artistic Challenge to the Culture of Forgetting in Serbia: Audiovisual Discontinuity in Ognjen Glavonić's <i>Depth 2</i>","year":2023,"lang":"en","type":"article","venue":"Slavic Review","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"Science and Engineering Research Board","keywords":"Discontinuity (linguistics); Forgetting; History; Aesthetics; Art; Linguistics; Philosophy","score_opus":0.04653697243004026,"score_gpt":0.3387061716287575,"score_spread":0.2921691991987172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394943107","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34266877,0.42096427,0.0021937382,0.029094866,0.002973512,0.00004597538,0.00007043607,0.00005329805,0.20193519],"genre_scores_gemma":[0.9384711,0.05188021,0.00050340756,0.0024981252,0.0006355868,0.000022466664,0.000025967784,0.000024495394,0.0059387814],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99803454,0.0013647883,0.00006894371,0.00010733559,0.00022779248,0.00019661506],"domain_scores_gemma":[0.99840325,0.0010673515,0.00019607098,0.00011382054,0.00013845216,0.000081188016],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032996454,0.00053191156,0.00039701778,0.0021140247,0.003047231,0.0091134645,0.00076691376,0.0013629716,0.0019468165],"category_scores_gemma":[0.0030280838,0.00019936117,0.00024256448,0.0012996126,0.0113826115,0.00280583,0.0037176071,0.001965245,0.00022114337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024018444,0.000079583835,0.0035764095,0.0034861967,0.000056474684,0.0019769717,0.43966687,0.00051053456,0.0019613896,0.22566305,0.020138923,0.30264348],"study_design_scores_gemma":[0.000027352356,0.000264595,0.012156348,0.010061488,0.00007188697,0.0025284807,0.3482552,0.00011627551,0.0013144409,0.010560022,0.6145959,0.00004813099],"about_ca_topic_score_codex":0.0058413562,"about_ca_topic_score_gemma":0.009710824,"teacher_disagreement_score":0.0091134645,"about_ca_system_score_codex":0.0021355595,"about_ca_system_score_gemma":0.0020348236,"threshold_uncertainty_score":0.017450392},"labels":[],"label_agreement":null},{"id":"W4395059514","doi":"10.1515/9780776629674-002","title":"Acknowledgements","year":2021,"lang":"en","type":"book-chapter","venue":"University of Ottawa Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.04494396884360923,"score_gpt":0.21766621565999,"score_spread":0.17272224681638076,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395059514","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0052943747,0.015282422,0.022677278,0.19251685,0.122597456,0.0016449925,0.04286003,0.006229793,0.5908968],"genre_scores_gemma":[0.035252064,0.008636179,0.022531599,0.063288994,0.014336657,0.0023261316,0.03097228,0.0061424514,0.81651366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9851989,0.0034160416,0.001008753,0.0024057224,0.006686171,0.0012844495],"domain_scores_gemma":[0.95643854,0.005569609,0.0015524653,0.0042142347,0.025360866,0.0068642204],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0096634375,0.0014153848,0.001438595,0.0035569142,0.004492128,0.009474443,0.004002074,0.0034661153,0.4037879],"category_scores_gemma":[0.06549058,0.00053184567,0.001064051,0.002989672,0.0020184,0.006246321,0.008700319,0.0058580027,0.26578712],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007505918,0.000023556378,0.0005321902,0.00029681754,0.000009722503,0.0002638002,0.001230346,0.00006760156,0.00024013876,0.013554655,0.94176215,0.04194399],"study_design_scores_gemma":[0.0000056718695,0.0000072380603,0.00024281906,0.00026083022,0.000004385385,0.00019707717,0.0007588237,0.000034048746,0.000080657934,0.002318909,0.9960801,0.000009364129],"about_ca_topic_score_codex":0.0059629055,"about_ca_topic_score_gemma":0.008128629,"teacher_disagreement_score":0.5962121,"about_ca_system_score_codex":0.0057390854,"about_ca_system_score_gemma":0.013612695,"threshold_uncertainty_score":0.8504242},"labels":[],"label_agreement":null},{"id":"W4396930022","doi":"10.1080/08989575.2024.2342126","title":"Mask Aesthetics: Prophylaxis, Post -Digital Arts, and Reimagining Vulnerable Selves","year":2024,"lang":"en","type":"article","venue":"a/b Auto/Biography Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Temporalities; Reflexivity; Aesthetics; Sociology; Power (physics); Solidarity; Sculpture; Digital media; Affect (linguistics); Visual arts; Biopower; Pandemic; Photography; The arts; Coronavirus disease 2019 (COVID-19); Politics; Art; Political science; Social science","score_opus":0.03364168121531198,"score_gpt":0.2720956323422848,"score_spread":0.23845395112697282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396930022","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44947147,0.0039503383,0.00829432,0.014642244,0.0007033161,0.000054548676,0.000029500561,0.00010852894,0.5227458],"genre_scores_gemma":[0.9811149,0.00057543174,0.0009502559,0.0004162715,0.00006117671,0.0000173335,0.000005739962,0.00002923702,0.016829647],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987941,0.00073687226,0.000020124102,0.00006977534,0.00021167405,0.0001674213],"domain_scores_gemma":[0.9990086,0.00054296525,0.000096671836,0.0001657393,0.000052515574,0.0001335427],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017330766,0.00040281858,0.00014854301,0.0009478958,0.0069019357,0.0067092734,0.0006964891,0.0012125861,0.0075274194],"category_scores_gemma":[0.0032039497,0.00014612247,0.00020323796,0.00038287873,0.020611346,0.0032190764,0.006832683,0.0016072064,0.0005315725],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063602376,0.000055986853,0.0015734745,0.00017662188,0.000008417668,0.0008576806,0.50122446,0.0003151012,0.002516587,0.42789954,0.0062943147,0.059014145],"study_design_scores_gemma":[0.000018548535,0.00014993246,0.0032823803,0.00047289048,0.000019322035,0.0018217708,0.47400057,0.00052325684,0.0030553206,0.06361161,0.45301875,0.000025650274],"about_ca_topic_score_codex":0.0014005176,"about_ca_topic_score_gemma":0.00252061,"teacher_disagreement_score":0.0075274194,"about_ca_system_score_codex":0.0017577292,"about_ca_system_score_gemma":0.0013140291,"threshold_uncertainty_score":0.02518171},"labels":[],"label_agreement":null},{"id":"W4397003087","doi":"10.33137/rr.v47i1.42051","title":"Daily Beauty: A Reading of Bruni's Laudatio Florentinae Urbis","year":2024,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Beauty; Art; Aesthetics; Philosophy; Linguistics","score_opus":0.020687170509816402,"score_gpt":0.24781625211200148,"score_spread":0.2271290816021851,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4397003087","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.051169854,0.13487184,0.0019587274,0.09391689,0.019498514,0.00004856045,0.00026011595,0.00017561862,0.6980999],"genre_scores_gemma":[0.79675204,0.015422856,0.000922543,0.008715482,0.004806979,0.000079470825,0.000119879885,0.00024299689,0.17293778],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990871,0.00042212036,0.000014344811,0.000118100834,0.00019578025,0.0001626188],"domain_scores_gemma":[0.99953794,0.00026314275,0.00003667029,0.000034133987,0.00006020673,0.0000679636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090142223,0.00094957656,0.00055949145,0.0025596507,0.0077689053,0.0048132776,0.000838511,0.0018136642,0.0062796995],"category_scores_gemma":[0.0018478384,0.00021476382,0.00021764069,0.0013712341,0.01018142,0.0019318812,0.002112984,0.003304963,0.0006830794],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011863675,0.000029436433,0.00062111026,0.0003015478,0.000010331042,0.0010584153,0.19216545,0.00023131167,0.00062051933,0.44162872,0.32307464,0.040139943],"study_design_scores_gemma":[0.0000031760446,0.000010330651,0.0009830712,0.00023607156,0.0000017262472,0.00018581051,0.0147178015,0.000037127746,0.00009309644,0.0037531517,0.9799693,0.000009337915],"about_ca_topic_score_codex":0.05085428,"about_ca_topic_score_gemma":0.09866402,"teacher_disagreement_score":0.05085428,"about_ca_system_score_codex":0.013786122,"about_ca_system_score_gemma":0.0017046479,"threshold_uncertainty_score":0.10111654},"labels":[],"label_agreement":null},{"id":"W4399564416","doi":"10.1386/public_00180_1","title":"After the Witch of Malleghem (2021)","year":2024,"lang":"en","type":"article","venue":"Public","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Witch; Queen (butterfly); Rhetoric; Art; The arts; Visual arts; Art history; History; Theology; Philosophy","score_opus":0.030738276475953508,"score_gpt":0.23645089254496432,"score_spread":0.2057126160690108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399564416","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06621426,0.0032399774,0.0035056875,0.013007867,0.004112751,0.00006311585,0.0003127459,0.00044103735,0.9091025],"genre_scores_gemma":[0.48241606,0.000765136,0.0015404675,0.0018496374,0.0002898488,0.000024395034,0.000099088444,0.00038219366,0.5126332],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997398,0.000083248415,0.0000043715117,0.00004272835,0.00006674848,0.00006302014],"domain_scores_gemma":[0.999853,0.00005025255,0.000011814533,0.0000280469,0.000021867836,0.000035029716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039624,0.00030225443,0.00011260673,0.0003566971,0.005302694,0.0034153487,0.00027157736,0.0012718551,0.026619654],"category_scores_gemma":[0.0012730962,0.0001430746,0.00014737611,0.00033322984,0.0049854214,0.0014326731,0.002071072,0.0017875197,0.0037541632],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022211712,0.000030005465,0.00096791825,0.00025551923,0.000012774718,0.0014807102,0.2107821,0.00018270724,0.0039561912,0.3931129,0.29245043,0.09654663],"study_design_scores_gemma":[0.0000046110763,0.00001842639,0.00063788914,0.00008695635,0.000003281795,0.00032261867,0.013466753,0.000041833675,0.0010626534,0.0024991883,0.98184776,0.000008020023],"about_ca_topic_score_codex":0.010199076,"about_ca_topic_score_gemma":0.038226742,"teacher_disagreement_score":0.026619654,"about_ca_system_score_codex":0.0014432851,"about_ca_system_score_gemma":0.00058979314,"threshold_uncertainty_score":0.089051604},"labels":[],"label_agreement":null},{"id":"W4399664257","doi":"10.4000/11tsj","title":"Shifts in the Photographic Paradigm through Digitality AND the Aesthetics of Noise”","year":2022,"lang":"en","type":"book-chapter","venue":"Presses universitaires de Paris Nanterre eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Art; Noise (video); Computer science; Computer vision; Image (mathematics)","score_opus":0.023416316373767735,"score_gpt":0.2186688110604553,"score_spread":0.19525249468668757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399664257","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014680714,0.020594455,0.006300397,0.019547768,0.0011758681,0.000016130914,0.000025277035,0.000054226286,0.93760514],"genre_scores_gemma":[0.6360689,0.012857768,0.0050138156,0.005369749,0.0010632898,0.00006206993,0.00003718335,0.00015099725,0.33937624],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99934524,0.00040621986,0.000010611035,0.000059215894,0.00013137821,0.00004727131],"domain_scores_gemma":[0.99966025,0.00017790131,0.000023691238,0.00006014064,0.000052601627,0.000025386584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067952485,0.00037829336,0.00015114307,0.00067538954,0.002668138,0.0053911554,0.00058505515,0.0008967308,0.0068966853],"category_scores_gemma":[0.0010999003,0.00015232484,0.00020026193,0.0005859388,0.013328201,0.0046416568,0.0022634636,0.002038171,0.0010814134],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018958537,0.000008722387,0.00013117758,0.00008355683,0.000003185058,0.000072872885,0.013613605,0.00012555382,0.0003927729,0.9331161,0.024785157,0.02764845],"study_design_scores_gemma":[0.000010562141,0.000022676159,0.00083895645,0.0003305448,0.0000064094947,0.00032125646,0.010701464,0.0003631389,0.0006149458,0.16633487,0.82044214,0.000013075992],"about_ca_topic_score_codex":0.0029622288,"about_ca_topic_score_gemma":0.0067804074,"teacher_disagreement_score":0.0068966853,"about_ca_system_score_codex":0.0023955065,"about_ca_system_score_gemma":0.0010955167,"threshold_uncertainty_score":0.023071647},"labels":[],"label_agreement":null},{"id":"W4399840827","doi":"10.1515/9782760534711-015","title":"Les Études Cinématographiques Pour une Littératie Médiatique Critique","year":2012,"lang":"fr","type":"book-chapter","venue":"Presses de l'Université du Québec eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec en Abitibi-Témiscamingue","funders":"","keywords":"Philosophy","score_opus":0.032253818567455794,"score_gpt":0.23047453599205223,"score_spread":0.19822071742459643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399840827","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015238122,0.3462314,0.008686294,0.048534285,0.0061134337,0.00006302215,0.00053202565,0.0001687194,0.57443273],"genre_scores_gemma":[0.25658602,0.22346929,0.0059245965,0.0071139345,0.006324881,0.00018963679,0.0004224243,0.0003670707,0.49960223],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984641,0.00071954087,0.000033639444,0.00011777499,0.00048216645,0.00018276347],"domain_scores_gemma":[0.9968352,0.0016784415,0.000115788265,0.00017155551,0.001022917,0.00017623976],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020432265,0.0009197175,0.00051655434,0.00507119,0.0059212404,0.011687523,0.001155652,0.002597684,0.032789316],"category_scores_gemma":[0.0051659127,0.0004885463,0.00033745606,0.006610068,0.009048468,0.0039287866,0.0013873818,0.0038118078,0.0020223458],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034488792,0.000041482253,0.00046074606,0.0007416104,0.000014151107,0.00024322393,0.02574145,0.00038261397,0.0012485868,0.6727318,0.18081065,0.117549226],"study_design_scores_gemma":[0.0000039631464,0.0000041387193,0.001241078,0.0005221482,0.000006812184,0.00013436943,0.0059856335,0.00019845509,0.0002757797,0.007150184,0.98446494,0.000012505982],"about_ca_topic_score_codex":0.6425775,"about_ca_topic_score_gemma":0.6741757,"teacher_disagreement_score":0.6425775,"about_ca_system_score_codex":0.02830303,"about_ca_system_score_gemma":0.013757795,"threshold_uncertainty_score":0.7190548},"labels":[],"label_agreement":null},{"id":"W4399932543","doi":"10.31250/1815-8870-2024-20-61-236-245","title":"A Review of Marina Balina, Sergei Oushakine (eds.), The Pedagogy of Images: Depicting Communism for Children. Toronto; Buffalo, NY; London: University of Toronto Press, 2021, XX+548 pp.","year":2024,"lang":"en","type":"review","venue":"Antropologicheskij forum","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"ECW Press (Canada); University of Toronto","funders":"","keywords":"Communism; Proletariat; Ideology; Politics; Criticism; Art history; History; Media studies; Sociology; Visual arts; Art; Literature; Political science; Law","score_opus":0.03947103775350484,"score_gpt":0.3265178478972666,"score_spread":0.28704681014376177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399932543","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010013744,0.9933791,0.000086032596,0.0017301457,0.0011672287,0.000004265087,0.000036555033,0.000006447512,0.0034900724],"genre_scores_gemma":[0.0009133389,0.9923804,0.00018067028,0.0010971393,0.0009467737,0.000011884186,0.00007443373,0.0000122620395,0.0043831407],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992686,0.00017741998,0.00007412057,0.000095972944,0.00031698015,0.000066889275],"domain_scores_gemma":[0.99863476,0.00066247344,0.00011981808,0.000035546134,0.0004210877,0.00012639812],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010198394,0.0012770437,0.0013237831,0.005304964,0.0011028653,0.003600143,0.0010385361,0.0018081263,0.01203671],"category_scores_gemma":[0.0022593474,0.00069054315,0.00046519667,0.009429575,0.0015708467,0.004495464,0.0013445799,0.0024876548,0.0064234873],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003480037,0.000056856683,0.0004087217,0.016563386,0.000043916756,0.0002564333,0.0027393803,0.0001579265,0.00037698072,0.008475885,0.6233978,0.3474879],"study_design_scores_gemma":[0.0000020515183,0.0000070207197,0.0008436551,0.00455087,0.000011077527,0.00026217656,0.0005249458,0.0000096612275,0.000042803313,0.00032408777,0.9934149,0.0000068161526],"about_ca_topic_score_codex":0.018987311,"about_ca_topic_score_gemma":0.03974452,"teacher_disagreement_score":0.018987311,"about_ca_system_score_codex":0.0029285345,"about_ca_system_score_gemma":0.0056404937,"threshold_uncertainty_score":0.04026681},"labels":[],"label_agreement":null},{"id":"W4401080591","doi":"10.55765/atps.i25.2424","title":"Qu’il y a-t-il derrière le masque de la morale prolétarienne qui me réduit au silence ?","year":2024,"lang":"fr","type":"article","venue":"Revue internationale animation territoires et pratiques socioculturelles","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec en Abitibi-Témiscamingue","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.019146936790766674,"score_gpt":0.29087083311872464,"score_spread":0.27172389632795796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401080591","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29152957,0.0070675462,0.034492027,0.06878386,0.0016201042,0.00011926661,0.00016819527,0.00014404957,0.5960753],"genre_scores_gemma":[0.95047975,0.0015782765,0.0019969675,0.002643562,0.00014973321,0.00007531815,0.000042469823,0.00012827478,0.04290577],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99648714,0.002264583,0.00005915318,0.00033932537,0.0004370253,0.00041271816],"domain_scores_gemma":[0.99785304,0.0011102543,0.00025025275,0.00018018947,0.0003430515,0.00026323338],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040176935,0.00036577007,0.0003482251,0.00060640014,0.0066342466,0.007417787,0.00073208986,0.0019663975,0.0071170535],"category_scores_gemma":[0.0066226884,0.00020129608,0.00027253007,0.00065316254,0.022336988,0.0070541794,0.0037189163,0.0043311813,0.0014671568],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051074006,0.000015326394,0.0016552459,0.00013835335,0.000009738296,0.00027932582,0.39317027,0.00007681607,0.0011311683,0.5870795,0.0045124693,0.0118806865],"study_design_scores_gemma":[0.000020190902,0.000077989665,0.0036295208,0.0005450289,0.00001907266,0.00052568404,0.39040223,0.000377681,0.0015898538,0.08594292,0.5168113,0.000058632068],"about_ca_topic_score_codex":0.015545624,"about_ca_topic_score_gemma":0.02056446,"teacher_disagreement_score":0.015545624,"about_ca_system_score_codex":0.00504978,"about_ca_system_score_gemma":0.004455377,"threshold_uncertainty_score":0.036638916},"labels":[],"label_agreement":null},{"id":"W4401632392","doi":"10.22215/etd/2024-16111","title":"Representations of Monstrous Women and Feminist Myth-Making in Heresies: A Feminist Publication on Art and Politics (1977-1993)","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Heresy; Politics; Mythology; Scholarship; Feminism; Reading (process); Feminist theory; History; Literature; Sociology; Gender studies; Art; Political science; Law","score_opus":0.028124643885738956,"score_gpt":0.3105107026708694,"score_spread":0.28238605878513046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401632392","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47159445,0.084081426,0.0020199178,0.069740266,0.0041218954,0.00007982741,0.00019338095,0.000115304785,0.36805356],"genre_scores_gemma":[0.92454565,0.014037458,0.00043125392,0.0016016793,0.00088456256,0.000039050396,0.000041775507,0.00008362184,0.058334913],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9984816,0.0009049198,0.00004895105,0.000119987686,0.00025136984,0.00019323199],"domain_scores_gemma":[0.9963676,0.002863487,0.00030351878,0.00011266217,0.00019652417,0.00015623598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001937979,0.00046766916,0.00030947957,0.0015797316,0.008312035,0.005138078,0.00042683704,0.0015710023,0.005451793],"category_scores_gemma":[0.0037880912,0.00029503307,0.00018872005,0.0022309155,0.015236161,0.0041047977,0.002461337,0.0032801852,0.00039005946],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044046817,0.000030032252,0.0011261231,0.00022225942,0.000007374157,0.0013575879,0.85492116,0.00004894187,0.00083236373,0.09784501,0.01892911,0.024635877],"study_design_scores_gemma":[0.000011586539,0.000050089013,0.0070311646,0.0005998116,0.000015204573,0.0011919552,0.28370234,0.00005748531,0.0010822493,0.003405142,0.70282996,0.000022966455],"about_ca_topic_score_codex":0.012577413,"about_ca_topic_score_gemma":0.047553208,"teacher_disagreement_score":0.012577413,"about_ca_system_score_codex":0.006397289,"about_ca_system_score_gemma":0.0025474038,"threshold_uncertainty_score":0.046415806},"labels":[],"label_agreement":null},{"id":"W4401855560","doi":"10.5430/wjel.v14n6p526","title":"The Mirror of Mirror: A Philosophical and Literary Analysis of Reflexivity and Metanarrative in Velazquez's Las Meninas and Danielewski's House of Leaves","year":2024,"lang":"en","type":"article","venue":"World Journal of English Language","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Metanarrative; Reflexivity; Narrative; Contemplation; Dialectic; Philosophy; Representation (politics); Aesthetics; Art; Painting; Subject (documents); Order (exchange); Literature; Epistemology; Sociology; Visual arts; Computer science","score_opus":0.026005150825292086,"score_gpt":0.3011403393174707,"score_spread":0.2751351884921786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401855560","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5613181,0.0061691157,0.02424462,0.00922842,0.00035730875,0.0001062593,0.00006756873,0.00009895713,0.39840963],"genre_scores_gemma":[0.9905764,0.00067764486,0.0012173615,0.00015434565,0.00004201141,0.000029310431,0.000011223858,0.00003709634,0.007254603],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9983115,0.0011318462,0.00003372855,0.00012477321,0.00028308248,0.00011509115],"domain_scores_gemma":[0.99866664,0.0009088631,0.00013313744,0.00013690292,0.00010168999,0.000052886993],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002169024,0.00031247697,0.00029857922,0.001443573,0.0038221045,0.0064038998,0.00077381206,0.0011372643,0.0021332086],"category_scores_gemma":[0.0039644046,0.00020672442,0.00030033247,0.0009534559,0.017397072,0.004726365,0.0030428912,0.0014441698,0.00016043824],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053460193,0.000025993264,0.00058661005,0.000112753034,0.000009331571,0.0005987515,0.34730813,0.00017651515,0.001196107,0.6385243,0.0012014402,0.010206624],"study_design_scores_gemma":[0.00005067322,0.00011905648,0.006300887,0.000684361,0.00003872333,0.0015329579,0.49323434,0.0014687331,0.0048385477,0.15570083,0.33597443,0.000056523753],"about_ca_topic_score_codex":0.002477781,"about_ca_topic_score_gemma":0.0030319458,"teacher_disagreement_score":0.0064038998,"about_ca_system_score_codex":0.00357469,"about_ca_system_score_gemma":0.0011654762,"threshold_uncertainty_score":0.025936246},"labels":[],"label_agreement":null},{"id":"W4402215093","doi":"10.7202/1111534ar","title":"Sibbald, T., &amp; Handford, V. (Eds.). (2022). The academic sabbatical: A voyage of discovery","year":2024,"lang":"en","type":"article","venue":"Canadian Journal of Educational Administration and Policy","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Sociology","score_opus":0.032889842545457966,"score_gpt":0.3227769266353911,"score_spread":0.28988708408993313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402215093","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002763534,0.89755803,0.0018065441,0.058516238,0.00648151,0.000017548382,0.0003140402,0.00007275913,0.03495696],"genre_scores_gemma":[0.007141706,0.9180336,0.0035505279,0.0050157397,0.0020170491,0.00005369559,0.00032710115,0.00012074251,0.063739836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99731296,0.00060060254,0.00021805448,0.0002533129,0.0013868314,0.00022822642],"domain_scores_gemma":[0.9955813,0.0021789905,0.00035786512,0.00014335602,0.001197271,0.0005412176],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032912425,0.0013723641,0.0009910993,0.004039585,0.0033900943,0.01021169,0.0018592824,0.0051746857,0.026705408],"category_scores_gemma":[0.0063847196,0.0011631537,0.00072354695,0.0069708223,0.004379375,0.010188847,0.0023697084,0.00567232,0.02434198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022949172,0.000009567788,0.0003301852,0.0005870639,0.000007777221,0.000046948695,0.0009478188,0.00008285195,0.00008856005,0.016781086,0.7613822,0.21971294],"study_design_scores_gemma":[0.0000042548077,0.000004902955,0.0005982565,0.0010844277,0.000007889138,0.00009978908,0.0008461203,0.000041311967,0.000127607,0.0078637265,0.98930895,0.0000128227375],"about_ca_topic_score_codex":0.06566859,"about_ca_topic_score_gemma":0.1503834,"teacher_disagreement_score":0.06566859,"about_ca_system_score_codex":0.007527483,"about_ca_system_score_gemma":0.019503618,"threshold_uncertainty_score":0.13057268},"labels":[],"label_agreement":null},{"id":"W4402599087","doi":"10.7202/1113376ar","title":"Duffy, Jean H. Perceiving Dubuffet: Art, Embodiment, and the Viewer","year":2023,"lang":"en","type":"article","venue":"Dalhousie French Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art; Aesthetics; Visual arts; Psychology","score_opus":0.047677166212504306,"score_gpt":0.28288190170126065,"score_spread":0.23520473548875634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402599087","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017576674,0.5617021,0.0034307989,0.14742886,0.0046052574,0.000042097385,0.00047472498,0.00010145881,0.2646381],"genre_scores_gemma":[0.5732862,0.25432286,0.0023952401,0.018627323,0.0025097604,0.00014952444,0.0001512264,0.00020962894,0.14834829],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936074,0.00030636214,0.000027537746,0.00006988794,0.00015351838,0.00008188654],"domain_scores_gemma":[0.9975381,0.0016665048,0.00013495219,0.00004961258,0.0004580199,0.00015272382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010000465,0.0008359346,0.00048255338,0.00192805,0.007891353,0.0057512117,0.0010342686,0.0046224813,0.012400504],"category_scores_gemma":[0.0031634124,0.00038325085,0.00030833425,0.0020188545,0.008486186,0.006895007,0.0017467737,0.003659083,0.0011277287],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016767839,0.00005629499,0.0024486638,0.0008248245,0.000027725346,0.0011394911,0.15851885,0.00018889876,0.0012050401,0.39843032,0.348866,0.08812624],"study_design_scores_gemma":[0.00003114639,0.0000483606,0.012040489,0.0010887941,0.0000342494,0.0007142151,0.0880865,0.000092249466,0.0012908509,0.036817487,0.85970074,0.00005494459],"about_ca_topic_score_codex":0.20193999,"about_ca_topic_score_gemma":0.21030161,"teacher_disagreement_score":0.20193999,"about_ca_system_score_codex":0.004860597,"about_ca_system_score_gemma":0.0031043978,"threshold_uncertainty_score":0.40152913},"labels":[],"label_agreement":null},{"id":"W4402904684","doi":"10.1167/jov.24.10.727","title":"Art has no gender, only gender bias","year":2024,"lang":"en","type":"article","venue":"Journal of Vision","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Gender bias; Psychology; Gender studies; Sociology; Social psychology","score_opus":0.1235074372391031,"score_gpt":0.32101818824083156,"score_spread":0.19751075100172846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402904684","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9047668,0.0011096671,0.004163207,0.0010565544,0.00021241557,0.00007479535,0.00014819496,0.000037409536,0.08843099],"genre_scores_gemma":[0.99473685,0.00017928275,0.00065513083,0.00032469208,0.000039887353,0.00003172984,0.000032428743,0.00001677674,0.0039832974],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9976217,0.0005554266,0.00012754153,0.00055795896,0.0010033755,0.00013406016],"domain_scores_gemma":[0.9955888,0.0019458606,0.00095182686,0.0007485495,0.0004934341,0.00027149037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026669556,0.00027657897,0.0003656449,0.00039330064,0.0009378166,0.0018846664,0.00025943192,0.00043248653,0.011271535],"category_scores_gemma":[0.012237003,0.00023540568,0.00028938038,0.000286184,0.0028204194,0.0015847243,0.0009959281,0.0004397746,0.0009733397],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.002858631,0.0005451801,0.5143876,0.0013177207,0.0003574649,0.00095635466,0.05979093,0.0004636181,0.090433426,0.063446715,0.0070730313,0.25836924],"study_design_scores_gemma":[0.0001352163,0.0012446491,0.85805565,0.00050678506,0.0002702734,0.003955875,0.024264302,0.00082069985,0.018158877,0.032793496,0.059687406,0.00010669338],"about_ca_topic_score_codex":0.0009463153,"about_ca_topic_score_gemma":0.0017882923,"teacher_disagreement_score":0.011271535,"about_ca_system_score_codex":0.00057650293,"about_ca_system_score_gemma":0.00035886592,"threshold_uncertainty_score":0.03770703},"labels":[],"label_agreement":null},{"id":"W4403089923","doi":"10.3138/ecf.36.4.670","title":"<i>Literature and the Arts: Interdisciplinary Essays in Memory of James Anderson Winn</i>, ed. Anna Battigelli","year":2024,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Okanagan University College; University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"The arts; Sociology; Art history; Psychoanalysis; Philosophy; History; Art; Psychology; Visual arts","score_opus":0.013700322352463271,"score_gpt":0.24832739010860502,"score_spread":0.23462706775614176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403089923","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023227653,0.6244945,0.0007562031,0.23552687,0.031776696,0.0000136677445,0.00006643981,0.000026196423,0.10501659],"genre_scores_gemma":[0.0772356,0.6402169,0.0015115421,0.05430178,0.06968724,0.00013039053,0.00012941333,0.00018229938,0.15660495],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883455,0.00061847246,0.00004449037,0.00011084287,0.00029149227,0.00010017124],"domain_scores_gemma":[0.99613035,0.0028718824,0.00017054532,0.00009433455,0.00044372227,0.0002890855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020282837,0.0010803635,0.0007876682,0.003942363,0.0074131545,0.008967914,0.001100382,0.0034727629,0.0066838823],"category_scores_gemma":[0.005587389,0.00034684202,0.00040890777,0.0046524527,0.009956262,0.009024296,0.003608328,0.005381522,0.0014796841],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027031916,0.000027189133,0.0001710434,0.00039625374,0.000010779217,0.00012804745,0.014667698,0.000092762966,0.00013003127,0.11316973,0.8362857,0.034893677],"study_design_scores_gemma":[0.0000044185103,0.0000058738683,0.00049643224,0.0014966357,0.000005095306,0.00011572049,0.010180413,0.0000397138,0.000082348175,0.0154947005,0.97206974,0.000008858769],"about_ca_topic_score_codex":0.009169444,"about_ca_topic_score_gemma":0.02522224,"teacher_disagreement_score":0.009169444,"about_ca_system_score_codex":0.0041193278,"about_ca_system_score_gemma":0.0027603016,"threshold_uncertainty_score":0.029887915},"labels":[],"label_agreement":null},{"id":"W4403172163","doi":"10.7202/1112989ar","title":"Goya en Amérique. Voyage iconophage au pays sans peinture","year":2023,"lang":"fr","type":"article","venue":"MuseMedusa Revue de littérature et d’arts modernes","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.02638416917410288,"score_gpt":0.26687491565652227,"score_spread":0.2404907464824194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403172163","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23434924,0.014216415,0.0006801918,0.015092611,0.0009922844,0.00004121405,0.0002478583,0.00005025165,0.7343299],"genre_scores_gemma":[0.7897422,0.0056236717,0.000515215,0.0022209769,0.00014317206,0.00002379463,0.000098961806,0.000038523984,0.20159358],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997851,0.000046060355,0.0000036486722,0.000039334474,0.00004218613,0.000083615334],"domain_scores_gemma":[0.9998293,0.00006000505,0.0000255284,0.000017936976,0.000031247935,0.000036035748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027395927,0.00027263636,0.00011485383,0.00077280775,0.004823265,0.0019976166,0.00036187452,0.000873354,0.024537966],"category_scores_gemma":[0.00059999974,0.000120520046,0.0000982788,0.0010857017,0.005298443,0.0011950692,0.0015384554,0.0016404002,0.0010269084],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011932325,0.00005051438,0.017704261,0.00046367667,0.000012400221,0.0026578205,0.3286411,0.00015419106,0.003250671,0.4511559,0.052747916,0.1430422],"study_design_scores_gemma":[0.0000061511996,0.00002520013,0.026001101,0.00035640772,0.0000075229277,0.00056385354,0.08090672,0.000061109225,0.00026848854,0.0052424977,0.8865492,0.0000117441205],"about_ca_topic_score_codex":0.3445827,"about_ca_topic_score_gemma":0.50441116,"teacher_disagreement_score":0.3445827,"about_ca_system_score_codex":0.006487384,"about_ca_system_score_gemma":0.0046855947,"threshold_uncertainty_score":0.685154},"labels":[],"label_agreement":null},{"id":"W4403560803","doi":"10.30535/mto.30.2.5","title":"Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni","year":2024,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Gesture; Art; Lens (geology); Psychology; Communication; Philosophy; Biology; Linguistics","score_opus":0.05857881964479139,"score_gpt":0.2718179462383814,"score_spread":0.21323912659359,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403560803","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18572591,0.0019020162,0.0069217677,0.003786603,0.00027399484,0.000021847854,0.000016101398,0.000062567015,0.8012892],"genre_scores_gemma":[0.9776054,0.00044425458,0.0016109911,0.00017218514,0.000075751326,0.000015552867,0.000010941179,0.000041276697,0.020023683],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992455,0.00043794527,0.000011161061,0.000089468296,0.00013346218,0.00008252714],"domain_scores_gemma":[0.9996507,0.00019323587,0.000036358502,0.000065430824,0.000025584426,0.000028655357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008893272,0.00045739656,0.00015305425,0.00095391937,0.0036076715,0.006228109,0.00058100634,0.00088699366,0.004330318],"category_scores_gemma":[0.0023073084,0.00014956918,0.00019137528,0.0005953469,0.021301234,0.0029023697,0.0030780346,0.0017154767,0.00031770318],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034289827,0.000007973076,0.00061052345,0.00004219008,0.00000355007,0.00030630134,0.09134903,0.0002673592,0.0006171251,0.8889409,0.0016232642,0.016197594],"study_design_scores_gemma":[0.00006515136,0.00011846612,0.00777946,0.0005693922,0.000028899221,0.0017061927,0.1752112,0.002629212,0.0023060394,0.31983486,0.48968428,0.000066900306],"about_ca_topic_score_codex":0.008475424,"about_ca_topic_score_gemma":0.014801342,"teacher_disagreement_score":0.008475424,"about_ca_system_score_codex":0.0028100542,"about_ca_system_score_gemma":0.0009903187,"threshold_uncertainty_score":0.020388544},"labels":[],"label_agreement":null},{"id":"W4403601835","doi":"10.4000/12h1f","title":"Bernd Stiegler et Felix Thürlemann, Konstruierte Wirklichkeiten. Die fotografische Montage 1839‑1899","year":2021,"lang":"de","type":"article","venue":"Transbordeur.","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Die (integrated circuit); Art; Philosophy; Computer science","score_opus":0.0296040132382991,"score_gpt":0.2698897322943497,"score_spread":0.24028571905605062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403601835","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019040052,0.21324502,0.007664394,0.20188752,0.02041844,0.000106857115,0.0011284086,0.0005907971,0.5359185],"genre_scores_gemma":[0.1434038,0.052458487,0.0028891054,0.024433926,0.0016560401,0.00011065781,0.00037854968,0.00050420075,0.7741653],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884677,0.00032984215,0.000037404203,0.0002659981,0.0003349208,0.00018507251],"domain_scores_gemma":[0.999466,0.0001910967,0.000086558444,0.000037701662,0.0001077342,0.000111019726],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010000513,0.0011688521,0.00031703027,0.0013280293,0.0054621054,0.0037362492,0.0007805843,0.0029401067,0.02692833],"category_scores_gemma":[0.0026278957,0.0004797845,0.00023532196,0.00081761373,0.004903081,0.004405957,0.0027792423,0.003308077,0.009896386],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009209869,0.000030078732,0.0010909443,0.00026815876,0.000014923659,0.0006273124,0.036558196,0.0001364744,0.0008330551,0.1581417,0.6966411,0.10556583],"study_design_scores_gemma":[0.0000030368258,0.0000051049983,0.0006642198,0.00013024594,0.000002145765,0.00020838347,0.005268172,0.00002591284,0.00027620175,0.004265022,0.9891389,0.000012645408],"about_ca_topic_score_codex":0.055184714,"about_ca_topic_score_gemma":0.15277293,"teacher_disagreement_score":0.055184714,"about_ca_system_score_codex":0.0030040543,"about_ca_system_score_gemma":0.0020290706,"threshold_uncertainty_score":0.109727025},"labels":[],"label_agreement":null},{"id":"W4405443410","doi":"10.37520/anpm.2024.006","title":"Photographic Images of Labrador Moravian Missions in the Náprstek Museum Photographic Collection","year":2024,"lang":"en","type":"article","venue":"Annals of the Náprstek Museum","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Archaeology; Ethnography; Geography; Negative; Thematic map; Art; Visual arts; Cartography","score_opus":0.06309068980850897,"score_gpt":0.2989906392271929,"score_spread":0.23589994941868392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405443410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8379211,0.007122864,0.0012772462,0.0009063201,0.00023192269,0.00033419867,0.011672994,0.00013784645,0.14039549],"genre_scores_gemma":[0.9581659,0.0031276762,0.004098061,0.00017652531,0.00008306067,0.00013285367,0.0057353806,0.00013034856,0.028350256],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996093,0.000086860135,0.000015045365,0.000059864742,0.000116521376,0.00011241973],"domain_scores_gemma":[0.99973065,0.00004590126,0.000055435536,0.0000455909,0.000082704566,0.000039721424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005360469,0.00027268837,0.00013989421,0.004412767,0.0021869307,0.0010292768,0.00034347366,0.000224926,0.0068455017],"category_scores_gemma":[0.0005886326,0.00021242545,0.00015024056,0.004178409,0.00083020487,0.0004013232,0.0010292414,0.00041509254,0.0008692999],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009208067,0.00018295905,0.14507586,0.0024886215,0.0002229364,0.010168683,0.35676432,0.0018302895,0.05835312,0.011227448,0.12061295,0.29215208],"study_design_scores_gemma":[0.000009808445,0.000044463206,0.67980176,0.00053139473,0.000030340683,0.0015489768,0.079623096,0.00009154311,0.0016193715,0.00015578096,0.23650755,0.000036021793],"about_ca_topic_score_codex":0.13168405,"about_ca_topic_score_gemma":0.5024076,"teacher_disagreement_score":0.86831594,"about_ca_system_score_codex":0.002432442,"about_ca_system_score_gemma":0.0014588513,"threshold_uncertainty_score":0.26183516},"labels":[],"label_agreement":null},{"id":"W4405603304","doi":"10.1093/oso/9780197648001.003.0010","title":"Ingram in the 1570s","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.08933065172617836,"score_gpt":0.260227997831135,"score_spread":0.1708973461049566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405603304","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009091191,0.039678495,0.00018566645,0.007717003,0.0026505287,0.000011578021,0.000053432326,0.000035722314,0.94057643],"genre_scores_gemma":[0.07885895,0.01837807,0.00029886825,0.004367945,0.0009508943,0.00003358919,0.00006818193,0.0001213083,0.89692223],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999663,0.00008220806,0.000010857442,0.000057703244,0.0001113348,0.00007490556],"domain_scores_gemma":[0.99984884,0.00004556716,0.000015050205,0.000012221177,0.000034498393,0.000043843705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038065217,0.00064521836,0.0003868387,0.001510655,0.0041933,0.0035897458,0.0004397876,0.0011612826,0.026370823],"category_scores_gemma":[0.0007607641,0.00020281208,0.00014798275,0.0009940421,0.003997568,0.0030195825,0.002626274,0.0030115,0.007365707],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042242977,0.00004577375,0.000372812,0.00028901652,0.0000039152046,0.0006950212,0.062420987,0.00006382893,0.00045733305,0.48035955,0.37722087,0.0780287],"study_design_scores_gemma":[0.0000013785761,0.0000065335335,0.00024406538,0.00028726683,9.862514e-7,0.00012049088,0.0036113516,0.000010666174,0.00009326917,0.0031161453,0.9925055,0.0000023125215],"about_ca_topic_score_codex":0.013022659,"about_ca_topic_score_gemma":0.03241915,"teacher_disagreement_score":0.026370823,"about_ca_system_score_codex":0.004470326,"about_ca_system_score_gemma":0.0020081964,"threshold_uncertainty_score":0.088219166},"labels":[],"label_agreement":null},{"id":"W4405984127","doi":"10.3390/arts14010003","title":"Gateway to the East: Decorative Art and Orientalist Imagery in Moscow’s Kazan Station, 1913–1916","year":2025,"lang":"en","type":"article","venue":"Arts","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; American Historical Association; University of Saskatchewan; National Endowment for the Humanities","keywords":"Anachronism; Art history; Gateway (web page); Orientalism; History; Visual arts; Art; Archaeology; Law; Computer science; Political science; World Wide Web; Politics","score_opus":0.021062144982506106,"score_gpt":0.27002095908613666,"score_spread":0.24895881410363055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405984127","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85769564,0.0024763758,0.000634328,0.00054642453,0.0002744076,0.000011931958,0.00008277486,0.00003742037,0.13824064],"genre_scores_gemma":[0.9917462,0.00035352065,0.0001621256,0.000026858357,0.000030981897,0.000002397391,0.000030609965,0.000018465817,0.007628822],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980575,0.00007735992,0.000009507291,0.00003350421,0.00003089972,0.000043009386],"domain_scores_gemma":[0.9999486,0.000016774939,0.000010659954,0.000008975485,0.0000056800673,0.000009314266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036119157,0.00046774876,0.0002164004,0.0009761044,0.005715435,0.0021937806,0.00021229891,0.000528111,0.0026214235],"category_scores_gemma":[0.00034681227,0.00020347507,0.00018155827,0.00089393015,0.0061336835,0.00078747945,0.0016437959,0.0010432975,0.0005024169],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029372488,0.00004990552,0.017224895,0.00028415018,0.000036873833,0.004173136,0.8293529,0.00078574166,0.006103105,0.09615525,0.0066690245,0.038871307],"study_design_scores_gemma":[0.000024881387,0.00028965826,0.14512493,0.00033535977,0.000068455316,0.004335402,0.3234193,0.0004540248,0.0026777848,0.006898416,0.5163078,0.00006410361],"about_ca_topic_score_codex":0.0067109764,"about_ca_topic_score_gemma":0.024893941,"teacher_disagreement_score":0.0067109764,"about_ca_system_score_codex":0.0019942722,"about_ca_system_score_gemma":0.00056694867,"threshold_uncertainty_score":0.014469504},"labels":[],"label_agreement":null},{"id":"W4407010177","doi":"10.17851/1982-0739.10..41-46","title":"Ekphrasis in Shawna Lemay","year":2012,"lang":"en","type":"article","venue":"Em Tese","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Control theory (sociology); Artificial intelligence","score_opus":0.04817833574954633,"score_gpt":0.27173688327270484,"score_spread":0.2235585475231585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407010177","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28987077,0.005505317,0.0025780995,0.01457378,0.00069826335,0.00008228796,0.00020852686,0.00018983759,0.6862932],"genre_scores_gemma":[0.9183673,0.0008363195,0.0008805565,0.00079167215,0.000048659724,0.000022731223,0.00003221885,0.00005230782,0.078968115],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993105,0.00031958384,0.000014550053,0.00007131199,0.00015049097,0.00013363708],"domain_scores_gemma":[0.9994042,0.00019925435,0.00004323321,0.000036080488,0.00020384048,0.000113369635],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007536185,0.0003511628,0.00023546853,0.00092959753,0.010575807,0.003199442,0.0004400954,0.00063128886,0.0067688436],"category_scores_gemma":[0.0023310138,0.00010953615,0.00015291553,0.00079838786,0.008330738,0.0011468645,0.0019505537,0.0012471409,0.0005875556],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001868356,0.00002004743,0.0014073353,0.00022782205,0.000013022316,0.0022213396,0.42366847,0.00025633437,0.0031226657,0.4851445,0.04259746,0.04113408],"study_design_scores_gemma":[0.000006264825,0.000030602878,0.0026171925,0.00018166786,0.0000080414175,0.0009031683,0.1288985,0.00018420361,0.0012877887,0.009647636,0.8561961,0.00003890265],"about_ca_topic_score_codex":0.31405523,"about_ca_topic_score_gemma":0.49613437,"teacher_disagreement_score":0.31405523,"about_ca_system_score_codex":0.009566364,"about_ca_system_score_gemma":0.006830486,"threshold_uncertainty_score":0.6244545},"labels":[],"label_agreement":null},{"id":"W4408019991","doi":"10.21428/e2759450.515b2685","title":"Iconicity","year":2025,"lang":"en","type":"book-chapter","venue":"MIT Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Iconicity; Linguistics; Philosophy","score_opus":0.05841962071146225,"score_gpt":0.24894317845114508,"score_spread":0.19052355773968283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408019991","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033168352,0.0011331104,0.003050883,0.00056499825,0.00053324725,0.000015010142,0.000114559865,0.00024236973,0.9940141],"genre_scores_gemma":[0.019035049,0.0015572798,0.0023480488,0.000684902,0.00062352594,0.00006315184,0.00044522304,0.0005917387,0.97465116],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992723,0.00021888308,0.00003455968,0.00012440151,0.00025405778,0.00009579463],"domain_scores_gemma":[0.99936575,0.00015952448,0.00002337899,0.00019955817,0.00017383463,0.00007803669],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049016793,0.0011511171,0.0004418047,0.0025692645,0.0022309422,0.008857174,0.0009173113,0.0011732214,0.24160136],"category_scores_gemma":[0.0022252875,0.0003455443,0.0004105708,0.0021598407,0.0030272966,0.0058594136,0.0035673417,0.0020796568,0.071328774],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024198054,0.000015133892,0.00008195063,0.00014442932,0.0000043170267,0.0000703497,0.002026535,0.00009950642,0.00046088948,0.6109566,0.23142414,0.15469201],"study_design_scores_gemma":[0.000002975591,0.0000055170317,0.00007739179,0.00008309709,0.0000023448324,0.00009522741,0.00040415933,0.0000732777,0.00018888825,0.038624518,0.960438,0.0000045609654],"about_ca_topic_score_codex":0.0032029855,"about_ca_topic_score_gemma":0.0041935532,"teacher_disagreement_score":0.24160136,"about_ca_system_score_codex":0.001531805,"about_ca_system_score_gemma":0.0011181309,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4408373139","doi":"10.5334/johd.262","title":"Data from ARTiculating Canadian Identities: The Canada Council Art Bank’s Mycelial Presence and Influence in the Realm of Canadian Fine Art","year":2024,"lang":"en","type":"article","venue":"Journal of Open Humanities Data","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Realm; Political science; Art; Public administration; Law","score_opus":0.22854600992274965,"score_gpt":0.30586384381278614,"score_spread":0.07731783389003649,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408373139","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1344921,0.0017762652,0.0010570223,0.0020787914,0.0001431759,0.00034710122,0.7792645,0.00030052647,0.08054053],"genre_scores_gemma":[0.39066228,0.0017151783,0.0056803483,0.00066526537,0.00007714134,0.0007184109,0.56715095,0.0003070752,0.033023436],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969908,0.00014274695,0.00011439037,0.00033081556,0.0016341915,0.00078710774],"domain_scores_gemma":[0.98953027,0.0007758496,0.00075610017,0.0008921472,0.0065092356,0.0015364417],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015263051,0.00071931496,0.0005438298,0.009395101,0.0066206874,0.0054159546,0.0021501766,0.0009617598,0.015188278],"category_scores_gemma":[0.010139673,0.0004388441,0.00048009993,0.022897456,0.0016391753,0.0016105643,0.00427033,0.0014449774,0.004271553],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029572137,0.00013630674,0.13620842,0.00088927173,0.00010152039,0.00046476783,0.024668356,0.0009215358,0.0008385116,0.012931691,0.75348437,0.06905948],"study_design_scores_gemma":[0.000025741752,0.000013287543,0.36707023,0.0006476409,0.000051707513,0.00010015422,0.027441565,0.00080506766,0.00063486287,0.00089074037,0.60218954,0.00012947033],"about_ca_topic_score_codex":0.99484634,"about_ca_topic_score_gemma":0.9983121,"teacher_disagreement_score":0.038953554,"about_ca_system_score_codex":0.038953554,"about_ca_system_score_gemma":0.05502653,"threshold_uncertainty_score":0.2826292},"labels":[],"label_agreement":null},{"id":"W4408562269","doi":"10.5325/jnietstud.56.1.0049","title":"Eternal Recurrence, the Identity of Indiscernibles, and “Recurrence Awareness”","year":2025,"lang":"en","type":"article","venue":"The Journal of Nietzsche Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Identity (music); Philosophy; Epistemology; Medicine; Psychoanalysis; Psychology; Aesthetics","score_opus":0.079854148960586,"score_gpt":0.3540732283130965,"score_spread":0.2742190793525105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408562269","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38063595,0.0019697645,0.24252918,0.008342764,0.00023961619,0.00005056986,0.00010589758,0.0002034861,0.36592284],"genre_scores_gemma":[0.9927787,0.00011459036,0.004554292,0.00011644286,0.000032915177,0.000014726952,0.000016032398,0.000015801674,0.002356415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99815625,0.0008725152,0.00011223009,0.00035413058,0.00034422774,0.00016068922],"domain_scores_gemma":[0.9958127,0.0020733753,0.00059345725,0.0009323135,0.00042634484,0.00016190615],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002528302,0.00020546364,0.0003196732,0.0010128929,0.0016053299,0.00288857,0.00089374534,0.0011741846,0.0032140375],"category_scores_gemma":[0.007894672,0.000234972,0.00038963227,0.0006011288,0.014878144,0.00769938,0.003321888,0.0022725468,0.00021074298],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009745538,0.0000035518487,0.00015419298,0.000008619752,0.0000016879061,0.000020303796,0.0013873228,0.0001532103,0.00015277871,0.99607676,0.00012773614,0.0019039958],"study_design_scores_gemma":[0.0000087015505,0.000014200401,0.00040587463,0.000019680681,0.0000073190035,0.000102802835,0.00089127076,0.0013427623,0.0005198607,0.9895689,0.0071083414,0.000010389384],"about_ca_topic_score_codex":0.0014584528,"about_ca_topic_score_gemma":0.0009389284,"teacher_disagreement_score":0.0032140375,"about_ca_system_score_codex":0.0014610689,"about_ca_system_score_gemma":0.0007377161,"threshold_uncertainty_score":0.01337105},"labels":[],"label_agreement":null},{"id":"W4409484660","doi":"10.25281/2072-3156-2025-22-2-210-223","title":"Museum of Art Industry: Stages of Project Discussion (Late 19th — First Quarter of the 20th Century)","year":2025,"lang":"en","type":"article","venue":"Observatory of Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Late 19th century; Visual arts; Art history; History; Art; Period (music); Archaeology; Aesthetics","score_opus":0.026001753798699855,"score_gpt":0.25582406035854044,"score_spread":0.2298223065598406,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409484660","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07844998,0.09231231,0.006338131,0.12254687,0.01635468,0.0008080916,0.0006944602,0.00020052285,0.68229485],"genre_scores_gemma":[0.59206104,0.024615461,0.004895259,0.022196295,0.007982718,0.0017510821,0.000672664,0.00054848223,0.345277],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9898381,0.0059757326,0.00034381796,0.0007082176,0.0015954088,0.0015385982],"domain_scores_gemma":[0.99546546,0.00193067,0.0003585054,0.00019797435,0.0007067659,0.0013406356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.019797882,0.0006916786,0.0004969709,0.0035147737,0.017480167,0.01578397,0.0025768357,0.009081064,0.015046572],"category_scores_gemma":[0.011161336,0.00063137437,0.00063617394,0.003406272,0.010204964,0.011068965,0.017669136,0.006794674,0.002398471],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102353246,0.00012207769,0.0010890984,0.00041034992,0.000010467975,0.0007730111,0.33493897,0.00012290801,0.0008048042,0.49666822,0.12939431,0.0355634],"study_design_scores_gemma":[0.0000048142774,0.000018265244,0.00095431396,0.00022322315,0.0000011796702,0.00009006465,0.024576863,0.000019407016,0.00014611256,0.002897232,0.97106016,0.000008302443],"about_ca_topic_score_codex":0.008690841,"about_ca_topic_score_gemma":0.0073117022,"teacher_disagreement_score":0.019797882,"about_ca_system_score_codex":0.016299427,"about_ca_system_score_gemma":0.010901258,"threshold_uncertainty_score":0.11826116},"labels":[],"label_agreement":null},{"id":"W4409674846","doi":"10.7202/1117054ar","title":"Le cinéma comme agent de l’exotisme chez Marcel Dugas","year":2012,"lang":"fr","type":"article","venue":"Nouvelles vues Revue sur les pratiques les théories et l histoire du cinéma au Québec","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.028749813131763387,"score_gpt":0.2420542021626735,"score_spread":0.21330438903091012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409674846","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32230452,0.017025545,0.006201596,0.05116721,0.0018743449,0.000105313164,0.00015067673,0.00015738286,0.6010135],"genre_scores_gemma":[0.89191884,0.002344448,0.00077750953,0.0011125033,0.00016556817,0.000026833788,0.000017927567,0.00005270537,0.10358374],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991873,0.00042571183,0.000008632737,0.0001099587,0.00009871451,0.0001697235],"domain_scores_gemma":[0.99946266,0.00022791339,0.000049740876,0.000033036504,0.000115186725,0.00011148109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093973393,0.00044985287,0.00020101643,0.0005488707,0.0065930383,0.0041736,0.0005280069,0.0012895825,0.0052185366],"category_scores_gemma":[0.0017064835,0.0002301312,0.0001482224,0.00041523643,0.0070992145,0.0025326214,0.001926179,0.0027054944,0.00037423277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000721485,0.00001862229,0.0013367428,0.000114067516,0.0000059303516,0.001120644,0.3271935,0.00020184957,0.0032688093,0.63186496,0.0147327725,0.020069856],"study_design_scores_gemma":[0.0000074918607,0.00002991465,0.0029018533,0.00019222335,0.000008244648,0.00046772437,0.061206423,0.0003508145,0.0010128284,0.008995662,0.9247957,0.000031150546],"about_ca_topic_score_codex":0.27528578,"about_ca_topic_score_gemma":0.3897584,"teacher_disagreement_score":0.27528578,"about_ca_system_score_codex":0.010724442,"about_ca_system_score_gemma":0.0036207838,"threshold_uncertainty_score":0.54736686},"labels":[],"label_agreement":null},{"id":"W4411218972","doi":"10.1177/12034754251347575","title":"Representation of Skin of Colour on Canadian Dermatology Patient Education Websites","year":2025,"lang":"en","type":"letter","venue":"Journal of Cutaneous Medicine and Surgery","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Women's College Hospital; University of Toronto","funders":"","keywords":"Medicine; Dermatology","score_opus":0.025876358683984142,"score_gpt":0.26598182440502516,"score_spread":0.24010546572104102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411218972","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13038203,0.0010342385,0.00052824337,0.24999815,0.0015568385,0.00007346984,0.0005602147,0.0001421619,0.6157246],"genre_scores_gemma":[0.8015045,0.0010621762,0.0005103014,0.031563483,0.00042852224,0.000023350613,0.00013374524,0.00007501011,0.16469882],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.9981767,0.00032537052,0.000030974603,0.000051335388,0.0007531395,0.00066262815],"domain_scores_gemma":[0.9953376,0.0013145593,0.00022916668,0.00016332619,0.0017901557,0.0011652515],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001001302,0.00015469432,0.0001275514,0.00094478653,0.0076918104,0.0038282024,0.0005322331,0.002297316,0.03048498],"category_scores_gemma":[0.005829746,0.00013050124,0.00018753635,0.0010682096,0.0018921187,0.00078139995,0.0013928813,0.0025344868,0.001421822],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011916266,0.00007000483,0.013852956,0.000115122835,0.000009738009,0.00446331,0.02805662,0.00026346705,0.0026446872,0.018820409,0.8612016,0.07038297],"study_design_scores_gemma":[0.000010669146,0.0000336883,0.029089246,0.00019959098,0.000015870322,0.0018380652,0.059245296,0.0005625726,0.0007890295,0.0009969109,0.9071752,0.000043764234],"about_ca_topic_score_codex":0.75333834,"about_ca_topic_score_gemma":0.90602624,"teacher_disagreement_score":0.24666166,"about_ca_system_score_codex":0.018738462,"about_ca_system_score_gemma":0.010045145,"threshold_uncertainty_score":0.49622858},"labels":[],"label_agreement":null},{"id":"W4412229984","doi":"","title":"Elefanten i dansk kultur, kunst og arkitektur","year":2022,"lang":"da","type":"article","venue":"Ministry of Culture Research Portal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Golder Associates (Canada)","funders":"","keywords":"Art; Art history","score_opus":0.07946194144684522,"score_gpt":0.36266732230351467,"score_spread":0.28320538085666946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412229984","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019841257,0.013566207,0.0055351155,0.015014212,0.0043367133,0.00008438686,0.017625414,0.008675701,0.91532105],"genre_scores_gemma":[0.076408066,0.008484636,0.007877636,0.0012087326,0.00060857536,0.00017146417,0.012076473,0.006415935,0.8867486],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840397,0.0003252172,0.000110619934,0.00021177367,0.0005937448,0.00035475448],"domain_scores_gemma":[0.99794906,0.00049810985,0.00012334899,0.00030179764,0.0003660109,0.00076158886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027819248,0.00085347414,0.0012750068,0.0025382868,0.0036437565,0.017248556,0.001134792,0.002491123,0.29868978],"category_scores_gemma":[0.004359444,0.0005998422,0.00044497914,0.004422277,0.0015783416,0.009676497,0.009251508,0.004035756,0.13263953],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041956172,0.0002735861,0.002033644,0.0010168506,0.000019770487,0.0005242544,0.0062793973,0.00030090788,0.0015235677,0.055134073,0.54892063,0.38355386],"study_design_scores_gemma":[0.000011490566,0.000011902953,0.0010106425,0.00017693429,0.0000028633613,0.000104481565,0.0013351549,0.000044540888,0.00035753244,0.0025036111,0.9944301,0.000010737446],"about_ca_topic_score_codex":0.005217821,"about_ca_topic_score_gemma":0.008406353,"teacher_disagreement_score":0.29868978,"about_ca_system_score_codex":0.0020133704,"about_ca_system_score_gemma":0.0046321074,"threshold_uncertainty_score":0.99921685},"labels":[],"label_agreement":null},{"id":"W4412355229","doi":"10.55016/ojs/jah.v2019y2019.68707","title":"Hearing the Other: Communication as Shared Life","year":2019,"lang":"en","type":"article","venue":"Journal of Applied Hermeneutics","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology; Communication; Computer science","score_opus":0.05288160625123796,"score_gpt":0.27229905253361764,"score_spread":0.2194174462823797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412355229","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.076960936,0.011206315,0.076063685,0.071584165,0.0018088577,0.00020020729,0.00011838597,0.00021871559,0.76183873],"genre_scores_gemma":[0.9719319,0.001364427,0.00527938,0.002226632,0.00038979732,0.00014374772,0.000044204313,0.00010320103,0.018516835],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.97547865,0.0189757,0.00039406487,0.0017931036,0.0020965103,0.0012619146],"domain_scores_gemma":[0.9931125,0.003783948,0.0006294341,0.0011432337,0.0005442279,0.00078662595],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00970256,0.0009585877,0.00062826736,0.0022826488,0.015295161,0.021651912,0.0024609587,0.007252176,0.008438833],"category_scores_gemma":[0.012059295,0.00048262082,0.00077535113,0.002007991,0.083806284,0.029951759,0.020196361,0.007814092,0.001275639],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001785758,0.000011308711,0.00012106487,0.00007000559,0.000007291209,0.0002603063,0.1633543,0.00012665559,0.00021433459,0.8291392,0.001619657,0.0050581666],"study_design_scores_gemma":[0.000031815143,0.00007328101,0.0003013762,0.00034598028,0.000014637639,0.0006331996,0.09514077,0.00046566856,0.00052860845,0.73516154,0.16725364,0.000049495877],"about_ca_topic_score_codex":0.0038992744,"about_ca_topic_score_gemma":0.0018259899,"teacher_disagreement_score":0.021651912,"about_ca_system_score_codex":0.0066064834,"about_ca_system_score_gemma":0.0046106246,"threshold_uncertainty_score":0.051312685},"labels":[],"label_agreement":null},{"id":"W4412769543","doi":"10.1177/13675494251361107","title":"‘Were they nice people? Were they asking good questions?’: Searching for an ethics of love in the history of communication research","year":2025,"lang":"en","type":"article","venue":"European Journal of Cultural Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Ministerio de Universidades; Fundación Séneca","keywords":"Nice; Sociology; Media studies; Public relations; Social science; Engineering ethics; Psychology; Political science; Computer science; Engineering","score_opus":0.28618912448290285,"score_gpt":0.43154471689876633,"score_spread":0.1453555924158635,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412769543","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29178527,0.0747623,0.01876814,0.3075909,0.00210323,0.00009957336,0.000060369188,0.00006773103,0.30476257],"genre_scores_gemma":[0.9810393,0.006573894,0.0014309124,0.0053426805,0.00042695957,0.00005791808,0.000009365457,0.00003685815,0.005082189],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9470315,0.04709583,0.00068037567,0.0016646069,0.0021268718,0.0014008615],"domain_scores_gemma":[0.9501999,0.04224861,0.001879352,0.002190254,0.001999141,0.0014828271],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.036439717,0.0004532274,0.00076117093,0.003197639,0.018711971,0.016911393,0.0012754167,0.0050687967,0.0024384568],"category_scores_gemma":[0.0371812,0.00060459186,0.00028798552,0.0024429811,0.12202816,0.019408066,0.007944861,0.008119058,0.0004222478],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019401754,0.000011414864,0.00062696595,0.000096111115,0.000003960599,0.00019823658,0.6743291,0.000032612523,0.000085244305,0.31369504,0.0019087001,0.008993252],"study_design_scores_gemma":[0.000016673801,0.00006167039,0.0018366631,0.0015174208,0.000011213803,0.00083245663,0.5648901,0.00028071617,0.0004263816,0.17587763,0.25420693,0.000042116277],"about_ca_topic_score_codex":0.009889917,"about_ca_topic_score_gemma":0.008871946,"teacher_disagreement_score":0.981288,"about_ca_system_score_codex":0.011444932,"about_ca_system_score_gemma":0.008395592,"threshold_uncertainty_score":0.19271392},"labels":[],"label_agreement":null},{"id":"W4413426356","doi":"10.3828/cfc.2025.11","title":"From author films to operational images: French and francophone documentary practices in the new millennium","year":2025,"lang":"en","type":"article","venue":"Contemporary French Civilization","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Documentary film; French; Documentary evidence; History; Art history; Archaeology","score_opus":0.03931468087708351,"score_gpt":0.2965437053300627,"score_spread":0.2572290244529792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413426356","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43444055,0.023031501,0.0012640844,0.02831422,0.0011674925,0.000038840742,0.0005454354,0.00013732533,0.5110606],"genre_scores_gemma":[0.95699894,0.0034361263,0.000544448,0.0008515527,0.00020492185,0.000012984689,0.00008566267,0.00012004026,0.037745357],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982456,0.00093751395,0.000058236576,0.00019226459,0.00024063553,0.00032582402],"domain_scores_gemma":[0.99512535,0.002836761,0.00036537438,0.00027233388,0.00074182154,0.00065841473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034266422,0.00049667916,0.00022595063,0.002520381,0.011271233,0.013304733,0.00060733774,0.0012249863,0.011457208],"category_scores_gemma":[0.006424196,0.00020272256,0.00016138014,0.0030846922,0.008602899,0.0041292575,0.00306168,0.0022803068,0.0006066279],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010587921,0.00002927664,0.002859741,0.0002500888,0.000011891605,0.00096856925,0.7971753,0.00007878472,0.0016730812,0.08697812,0.04464944,0.06521983],"study_design_scores_gemma":[0.000006030235,0.000029318378,0.010233516,0.0004606562,0.000009231897,0.0005724136,0.34441662,0.000040410236,0.0005030368,0.0011748009,0.6425318,0.000022087912],"about_ca_topic_score_codex":0.12020532,"about_ca_topic_score_gemma":0.18942598,"teacher_disagreement_score":0.12020532,"about_ca_system_score_codex":0.013215046,"about_ca_system_score_gemma":0.0041476144,"threshold_uncertainty_score":0.23901129},"labels":[],"label_agreement":null},{"id":"W4413623684","doi":"10.64628/aam.4pqjaewsa","title":"Spirit photography captured love, loss and longing","year":2021,"lang":"en","type":"article","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Photography; Art; Aesthetics; Art history; Visual arts","score_opus":0.019847176492795347,"score_gpt":0.22802315902237022,"score_spread":0.20817598252957487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413623684","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88876694,0.00063135824,0.004022748,0.0008214029,0.00047873112,0.00015720607,0.0017748352,0.00009978112,0.103247136],"genre_scores_gemma":[0.96691716,0.00031792032,0.004013529,0.0002861298,0.000077011595,0.00004116139,0.00037054354,0.00006640664,0.027910003],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998895,0.000022071723,0.0000033884578,0.00002399574,0.000030069887,0.00003100805],"domain_scores_gemma":[0.9997968,0.000055954006,0.00002436155,0.000026859574,0.00005069627,0.000045480392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002096453,0.00013588167,0.00012328709,0.00073232775,0.0007066083,0.0009267459,0.00014557301,0.00050170626,0.010589906],"category_scores_gemma":[0.00068837515,0.00013037748,0.00017447011,0.0004672926,0.0003917502,0.00037322627,0.0006057962,0.0007308331,0.00075261155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.007065985,0.00092454476,0.16052805,0.0021143372,0.0003846917,0.004796544,0.072747014,0.0023447187,0.26658064,0.055321738,0.07991378,0.347278],"study_design_scores_gemma":[0.00018863552,0.0012131858,0.7446262,0.0006085485,0.00023720857,0.0040805875,0.06984151,0.005258601,0.028904475,0.0065071345,0.13839218,0.00014163804],"about_ca_topic_score_codex":0.0033050163,"about_ca_topic_score_gemma":0.015949644,"teacher_disagreement_score":0.010589906,"about_ca_system_score_codex":0.00040473876,"about_ca_system_score_gemma":0.00034846837,"threshold_uncertainty_score":0.035426736},"labels":[],"label_agreement":null},{"id":"W4413889887","doi":"10.3899/jrheum.2025-0230","title":"Sabbatical in a Pediatric Rheumatology Unit in India","year":2025,"lang":"en","type":"article","venue":"The Journal of Rheumatology","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Medicine; Rheumatology; Internal medicine; Unit (ring theory); Family medicine","score_opus":0.018170858759154706,"score_gpt":0.2671168660064106,"score_spread":0.2489460072472559,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413889887","genre_codex":"empirical","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9577454,0.0026805727,0.0005972627,0.018738758,0.001961332,0.00021395889,0.00029427235,0.00011356402,0.017654892],"genre_scores_gemma":[0.9794931,0.001945845,0.00072373485,0.007049884,0.0013003072,0.000054168002,0.00012390573,0.00005927874,0.009249849],"study_design_codex":"case_report","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837327,0.00018995181,0.0001155016,0.00020310385,0.00015459744,0.00096361776],"domain_scores_gemma":[0.9960075,0.00030552293,0.0004301088,0.000039998453,0.00016800709,0.003048964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003043375,0.0008922517,0.0007028767,0.0010753133,0.012337105,0.0022045162,0.0021516883,0.0044450043,0.017818872],"category_scores_gemma":[0.0019172054,0.0010453839,0.0007873834,0.0010296946,0.002494113,0.001132275,0.0032947233,0.0070396657,0.0017820928],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010036867,0.00069730286,0.06842428,0.00029743556,0.000048835984,0.9116859,0.0059701125,0.00045346242,0.0009824084,0.000843003,0.006034012,0.0044628233],"study_design_scores_gemma":[0.00010625997,0.0012184189,0.13285823,0.0006216873,0.00008319841,0.7653299,0.077817194,0.00076382153,0.00087905925,0.0013017363,0.01889459,0.00012586966],"about_ca_topic_score_codex":0.015780687,"about_ca_topic_score_gemma":0.052653827,"teacher_disagreement_score":0.017818872,"about_ca_system_score_codex":0.0061482848,"about_ca_system_score_gemma":0.0058001974,"threshold_uncertainty_score":0.05961007},"labels":[],"label_agreement":null},{"id":"W4414095887","doi":"10.1080/00085006.2025.2545707","title":"Snapshots of the soul: photo-poetic encounters in modern Russian culture","year":2025,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Russian culture; Russian history; Russian literature; Visual culture","score_opus":0.009584799928880781,"score_gpt":0.21482807072221483,"score_spread":0.20524327079333404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414095887","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56723064,0.011673824,0.0020846121,0.009435967,0.0012690588,0.000029355047,0.0006709867,0.00014890643,0.4074566],"genre_scores_gemma":[0.97865283,0.0022701665,0.00043602762,0.00029463202,0.00006942982,0.00000973356,0.00009264866,0.00006966369,0.018104766],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995685,0.00027944884,0.000010285266,0.000036293157,0.000048539954,0.000056986828],"domain_scores_gemma":[0.9995939,0.00018002727,0.000043293985,0.00006945821,0.000036318903,0.000076977216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006479924,0.0003200495,0.00021646541,0.0014000143,0.0079705035,0.003909708,0.0002783564,0.0006761569,0.006449019],"category_scores_gemma":[0.00161067,0.00023999075,0.00015535566,0.0018319138,0.006983694,0.003593029,0.0034262857,0.0018344022,0.0005804075],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066413544,0.000010033154,0.0016305868,0.000090863425,0.0000113989945,0.00059905817,0.90853393,0.00008112618,0.00082465564,0.05442132,0.016175402,0.017555159],"study_design_scores_gemma":[0.0000043176856,0.000018366576,0.009183048,0.00018702561,0.000010359821,0.0007158923,0.6947822,0.000047915393,0.00044115906,0.0056208367,0.2889704,0.000018411894],"about_ca_topic_score_codex":0.01898613,"about_ca_topic_score_gemma":0.0663452,"teacher_disagreement_score":0.01898613,"about_ca_system_score_codex":0.0019484338,"about_ca_system_score_gemma":0.0008396747,"threshold_uncertainty_score":0.037751257},"labels":[],"label_agreement":null},{"id":"W4414106195","doi":"10.1017/9781009604987.011","title":"On Beauty","year":2025,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Beauty; Clothing; Taste; Feature (linguistics); Context (archaeology)","score_opus":0.028871185082207186,"score_gpt":0.20134879942120673,"score_spread":0.17247761433899955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414106195","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005152298,0.028071597,0.0006429229,0.007213271,0.005716944,0.000020578711,0.00024880053,0.00008534463,0.95748526],"genre_scores_gemma":[0.0067614266,0.015130281,0.00032857442,0.0017407805,0.0019034175,0.000015281208,0.0002761395,0.000101173115,0.973743],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99971944,0.00004221805,0.0000079856845,0.000042596348,0.00015866573,0.000029060433],"domain_scores_gemma":[0.9997354,0.000059666974,0.000010709806,0.000029258757,0.00012592133,0.000038946717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029378932,0.0005630455,0.00031881614,0.0012112984,0.0012968212,0.0028439981,0.00053819665,0.00068452617,0.17655711],"category_scores_gemma":[0.0009100101,0.00014188152,0.00027104813,0.001123169,0.0012926132,0.0023130435,0.001099211,0.0016113574,0.051830776],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009018552,0.000007945164,0.000030318923,0.00011389276,0.0000015469485,0.00002852766,0.0002902348,0.000074681164,0.00011404036,0.054329786,0.86227137,0.082728595],"study_design_scores_gemma":[4.9056086e-7,0.0000024412623,0.00005912421,0.00008011239,4.5311913e-7,0.000024731682,0.00007401945,0.000008379784,0.000021049604,0.0026712702,0.99705684,0.0000011213352],"about_ca_topic_score_codex":0.003594026,"about_ca_topic_score_gemma":0.006932277,"teacher_disagreement_score":0.17655711,"about_ca_system_score_codex":0.0015966075,"about_ca_system_score_gemma":0.00092139764,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4414316275","doi":"10.20944/preprints202509.1558.v1","title":"The Semiotics of Western Hospitals: From a Stone Boat in Rome to Reconstructing the Self in Montreal","year":2025,"lang":"en","type":"preprint","venue":"Preprints.org","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Semiotics; Ethos; Narrative; Context (archaeology); Self; Construct (python library)","score_opus":0.0739725620447469,"score_gpt":0.32007393423461,"score_spread":0.2461013721898631,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414316275","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25164035,0.0071686315,0.008532154,0.020048643,0.00036769483,0.00008350756,0.00027468798,0.00016690965,0.7117175],"genre_scores_gemma":[0.96539,0.001265422,0.00107308,0.0003899116,0.000046770274,0.000020947064,0.000052319418,0.00006405725,0.031697568],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866533,0.0006839037,0.00001742438,0.00010176271,0.00017751862,0.0003541011],"domain_scores_gemma":[0.99946684,0.00017677988,0.00007801139,0.00004891055,0.00007560922,0.00015382575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001059418,0.00062620256,0.00017569381,0.0012586483,0.007869369,0.0074919467,0.0010158239,0.0009651484,0.0056065847],"category_scores_gemma":[0.0012358533,0.00025832097,0.00022481299,0.0018352764,0.044082444,0.002595628,0.0033833813,0.0015505139,0.00031668076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046546742,0.000013385968,0.0012335565,0.00007400274,0.000007256492,0.00063844596,0.24808402,0.00080438185,0.00051100133,0.7325054,0.0064859833,0.009596067],"study_design_scores_gemma":[0.000039260205,0.000052454154,0.010127682,0.00031451942,0.00002432791,0.00045166697,0.26170006,0.0011604193,0.00073749805,0.048667077,0.67662406,0.000100925274],"about_ca_topic_score_codex":0.8126285,"about_ca_topic_score_gemma":0.83431804,"teacher_disagreement_score":0.18737149,"about_ca_system_score_codex":0.051397007,"about_ca_system_score_gemma":0.015012443,"threshold_uncertainty_score":0.3769499},"labels":[],"label_agreement":null},{"id":"W4415206873","doi":"10.14232/lh.2025.2","title":"Iconicity, History, and the Cultural Imageries of Body and Soul","year":2025,"lang":"en","type":"book","venue":"Litterae humaniores.","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Soul; Resource (disambiguation); Czech; Interpretation (philosophy); Identity (music)","score_opus":0.021039942311765873,"score_gpt":0.22996840814867062,"score_spread":0.20892846583690475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415206873","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03235631,0.1075899,0.004380029,0.09241887,0.0068412274,0.000054633783,0.00015324527,0.000109320776,0.7560964],"genre_scores_gemma":[0.7229726,0.047875308,0.002539017,0.021652848,0.0055253906,0.00013971774,0.00014397893,0.0001538432,0.19899733],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982059,0.0011159342,0.0000479202,0.00013073876,0.00032825684,0.00017113489],"domain_scores_gemma":[0.9989519,0.00048941403,0.0001597106,0.00011950483,0.0001428305,0.0001366906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013272233,0.0006875972,0.00028488575,0.0017050107,0.0057148254,0.010390956,0.0006175949,0.0012190128,0.005064766],"category_scores_gemma":[0.0024567798,0.0001770528,0.00020018498,0.0018325435,0.037208967,0.0073297108,0.00452002,0.0037065593,0.0009000714],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030490399,0.00000956018,0.0005871529,0.00018480097,0.000005201073,0.00015970359,0.09292603,0.000054099804,0.00021220761,0.77904844,0.09167692,0.035105404],"study_design_scores_gemma":[0.000009903162,0.000022397546,0.0032629988,0.00096809596,0.00000787852,0.00036026543,0.061993074,0.0000961508,0.00039730332,0.070835255,0.86202186,0.000024859817],"about_ca_topic_score_codex":0.009161768,"about_ca_topic_score_gemma":0.016801534,"teacher_disagreement_score":0.010390956,"about_ca_system_score_codex":0.0041880426,"about_ca_system_score_gemma":0.0033681807,"threshold_uncertainty_score":0.030386567},"labels":[],"label_agreement":null},{"id":"W4415764185","doi":"10.18192/rceh.v47i2.7664","title":"MICHAEL IAROCCI. The Art of Witnessing. Francisco de Goya’s Disasters of War. Toronto: U of Toronto P, 2023. ix + 281 pp.","year":2025,"lang":"en","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hurricane katrina; Exposition (narrative)","score_opus":0.011966453060423921,"score_gpt":0.24342477508104798,"score_spread":0.23145832202062405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415764185","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021432481,0.9378817,0.0002180673,0.025501814,0.0074000196,0.000015409782,0.0005925482,0.00010666337,0.028069438],"genre_scores_gemma":[0.009938082,0.7736828,0.0007399219,0.0056958413,0.004716725,0.000056087756,0.0005962331,0.00023595257,0.20433849],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994764,0.0000926577,0.00003780091,0.000072755814,0.00023144562,0.00008896428],"domain_scores_gemma":[0.9984389,0.0003895945,0.00017606918,0.000058432797,0.0005929174,0.00034402683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096055557,0.0023760183,0.00084263954,0.0034632063,0.0032189987,0.003618753,0.0013266905,0.0027780107,0.05788137],"category_scores_gemma":[0.0031825772,0.00093708106,0.00053085806,0.0060736374,0.0018994532,0.0057072868,0.0020127315,0.0032761807,0.02230502],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011924498,0.0000028853956,0.000100187586,0.0002944267,0.0000031313025,0.00003672223,0.0008170303,0.000023807263,0.00002774007,0.0015115935,0.9698355,0.027335012],"study_design_scores_gemma":[0.0000026269777,0.0000030559765,0.0010373623,0.00080468785,0.000004077436,0.000077199285,0.0013999289,0.000011724883,0.000032064057,0.00072695926,0.9958941,0.0000061820324],"about_ca_topic_score_codex":0.27228442,"about_ca_topic_score_gemma":0.45499223,"teacher_disagreement_score":0.27228442,"about_ca_system_score_codex":0.006092111,"about_ca_system_score_gemma":0.0058802906,"threshold_uncertainty_score":0.5413991},"labels":[],"label_agreement":null},{"id":"W4416028092","doi":"10.1353/book.141187","title":"Visual Hunger / Appétits visuels","year":2025,"lang":"fr","type":"book","venue":"University of Ottawa Press eBooks","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cote d ivoire; Social impact; Information scientist","score_opus":0.02526953727562114,"score_gpt":0.23209087136670992,"score_spread":0.20682133409108877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416028092","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013200218,0.013829364,0.0032236918,0.009791965,0.0050015775,0.00005597021,0.0005720594,0.00068389083,0.95364124],"genre_scores_gemma":[0.10257057,0.014993218,0.0022433947,0.003706282,0.0011031424,0.000055502158,0.00047483994,0.0005964871,0.87425655],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995565,0.000098475335,0.000016605816,0.00007007022,0.00018464233,0.00007368389],"domain_scores_gemma":[0.999587,0.00007808785,0.000038702503,0.00008439453,0.0001306343,0.00008120548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047298358,0.0007178392,0.00029696332,0.0008896688,0.0014500535,0.004621312,0.00066457456,0.0008866853,0.12819968],"category_scores_gemma":[0.0015518789,0.00022900442,0.00046599907,0.00069786946,0.003177938,0.0034570077,0.0029836898,0.0021453602,0.025325637],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005111309,0.000093534036,0.001262771,0.0014466685,0.00004305408,0.0006944661,0.009674072,0.00015111321,0.009694028,0.15462579,0.51736003,0.30444336],"study_design_scores_gemma":[0.000009687974,0.000045121094,0.0025167246,0.0003777914,0.000014474285,0.00037180076,0.002525598,0.00003871902,0.001280294,0.0057996837,0.98700094,0.000019179957],"about_ca_topic_score_codex":0.007180729,"about_ca_topic_score_gemma":0.015194234,"teacher_disagreement_score":0.12819968,"about_ca_system_score_codex":0.0018196874,"about_ca_system_score_gemma":0.0010772342,"threshold_uncertainty_score":0.42887068},"labels":[],"label_agreement":null},{"id":"W4416581294","doi":"10.7202/1121677ar","title":"Translating Ekphrastic Precarity","year":2025,"lang":"en","type":"article","venue":"TTR traduction terminologie rédaction","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Moncton","funders":"","keywords":"Precarity; Poetry; Representation (politics); Creatures; Movie theater; Delicacy; Queer","score_opus":0.07748451202766049,"score_gpt":0.30576800462526044,"score_spread":0.22828349259759995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416581294","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06537521,0.0038047486,0.045621183,0.018504847,0.0037570575,0.00005740329,0.00035678752,0.00054560154,0.8619772],"genre_scores_gemma":[0.92779535,0.0022292656,0.012913233,0.0022843194,0.0016893015,0.00007956988,0.00029108315,0.001108439,0.051609367],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99750143,0.0008711578,0.0001476085,0.00050939823,0.0007333488,0.00023706755],"domain_scores_gemma":[0.99566865,0.00173786,0.00036769622,0.0010891908,0.0009996669,0.0001369009],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022025576,0.0008866844,0.00040892453,0.0024240308,0.0029286556,0.009360793,0.00096180016,0.0015510721,0.017181773],"category_scores_gemma":[0.013195853,0.0005209804,0.00033382542,0.0013276739,0.013550984,0.014113043,0.007786175,0.0048995204,0.004931705],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020307047,0.000008457997,0.00018384954,0.000038395614,0.0000028945778,0.0001703401,0.008885403,0.000072980845,0.00031875298,0.9792069,0.0030721691,0.008019599],"study_design_scores_gemma":[0.000024747116,0.000039519164,0.00095036865,0.00040736733,0.000013696457,0.0006946616,0.013548116,0.0008334747,0.002391498,0.5843118,0.3967481,0.000036761936],"about_ca_topic_score_codex":0.0047579585,"about_ca_topic_score_gemma":0.004143262,"teacher_disagreement_score":0.017181773,"about_ca_system_score_codex":0.005065256,"about_ca_system_score_gemma":0.00202869,"threshold_uncertainty_score":0.057478786},"labels":[],"label_agreement":null},{"id":"W4416915010","doi":"10.7202/1121617ar","title":"Cripping Visual Cultures: Introduction","year":2024,"lang":"en","type":"article","venue":"RACAR Revue d art canadienne","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.016209150220923958,"score_gpt":0.24117271101919605,"score_spread":0.2249635607982721,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416915010","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0083513195,0.22796866,0.009568067,0.048756387,0.009666862,0.00008528298,0.00026147126,0.0000851385,0.6952568],"genre_scores_gemma":[0.41845322,0.23871769,0.009868404,0.025279747,0.022933247,0.0006376095,0.00051725586,0.00049648696,0.28309634],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989562,0.0004912548,0.000041028048,0.00016208256,0.00018264893,0.00016672107],"domain_scores_gemma":[0.99853504,0.00080345327,0.00007673766,0.0000892516,0.00030169595,0.0001937803],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001460806,0.0010430729,0.0005741338,0.0039333724,0.0049879486,0.011449934,0.0014340545,0.0036627932,0.021880684],"category_scores_gemma":[0.0025173402,0.0003627745,0.00046303682,0.004160406,0.010393944,0.006794284,0.004390971,0.0057572573,0.002235399],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007876632,0.000025616064,0.00022071997,0.00023538154,0.0000033589654,0.000052767376,0.006141665,0.000081254184,0.000086527136,0.9443549,0.024099907,0.02469001],"study_design_scores_gemma":[0.0000034056866,0.000019154584,0.001057799,0.0010670266,0.0000049983873,0.00018698446,0.011297742,0.00016437066,0.0001203158,0.12739465,0.85866445,0.000019026396],"about_ca_topic_score_codex":0.021115674,"about_ca_topic_score_gemma":0.026273107,"teacher_disagreement_score":0.021880684,"about_ca_system_score_codex":0.006910527,"about_ca_system_score_gemma":0.0037236062,"threshold_uncertainty_score":0.0731982},"labels":[],"label_agreement":null},{"id":"W4416930627","doi":"10.1525/jrpc.14.1.006c","title":"Review: Religion, Art, and Visual Culture: A Cross Cultural Reader, edited by S. Brent Plate","year":2006,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cross-cultural; Focus (optics)","score_opus":0.014106345894177322,"score_gpt":0.2854367533320765,"score_spread":0.2713304074378992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416930627","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000027713022,0.992137,0.000030721956,0.00330098,0.0039152545,0.0000052918176,0.00003555159,0.000005540147,0.0005418963],"genre_scores_gemma":[0.00031193375,0.99332184,0.00006237628,0.0023259318,0.0025364002,0.000014595766,0.000053791,0.0000042092524,0.0013689392],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993771,0.00014632268,0.00009236706,0.00007404659,0.000255618,0.000054612487],"domain_scores_gemma":[0.9964371,0.0016106694,0.00035009647,0.000063620944,0.0012115538,0.00032697342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013798027,0.001881191,0.003595056,0.0056332373,0.00081467204,0.003353538,0.0021703567,0.003206221,0.01257617],"category_scores_gemma":[0.0058661113,0.0008398003,0.00096756837,0.007891596,0.0011392615,0.0038687661,0.0017573829,0.0030762954,0.0065509723],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000072224175,0.00001683668,0.00010472699,0.014212734,0.00011866681,0.000081737366,0.00008743877,0.00007157498,0.00017971668,0.00090528396,0.82987905,0.15426998],"study_design_scores_gemma":[0.00003327485,0.00003734893,0.0012418274,0.013845589,0.00017331347,0.00053174153,0.00020699788,0.000034277917,0.000081533784,0.00092268933,0.9828683,0.00002299187],"about_ca_topic_score_codex":0.0070323995,"about_ca_topic_score_gemma":0.01974662,"teacher_disagreement_score":0.01257617,"about_ca_system_score_codex":0.0019670078,"about_ca_system_score_gemma":0.00448674,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4416955879","doi":"10.5325/style.43.4.0494","title":"Ekphrasis and Lamination in Byatt's <i>Babel Tower</i>","year":2009,"lang":"en","type":"article","venue":"Style","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Representation (politics); Narrative; Postmodernism; Layering; Relation (database); Lamination; Point (geometry)","score_opus":0.015631577242476154,"score_gpt":0.23916706487149503,"score_spread":0.22353548762901887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416955879","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24053186,0.0066349525,0.013387235,0.022717476,0.0014192959,0.000059691363,0.00009095044,0.00022079561,0.71493775],"genre_scores_gemma":[0.9517113,0.00090331316,0.0017026081,0.00085784803,0.00010434444,0.000021111844,0.000016939657,0.00009822345,0.04458435],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895453,0.00065079494,0.00002803442,0.00011850031,0.00014389209,0.00010428654],"domain_scores_gemma":[0.9971597,0.0018477738,0.00023653364,0.0002250782,0.00033184458,0.00019904874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015282787,0.0003529275,0.00025750409,0.0009214898,0.0069071674,0.007557334,0.00051337725,0.0012669566,0.006974289],"category_scores_gemma":[0.0035240164,0.00025097324,0.00014062137,0.0008765382,0.016705142,0.0038199227,0.0025542304,0.003110583,0.0008170448],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007839322,0.000036606318,0.0005768341,0.000125914,0.000004319377,0.00036330178,0.25435093,0.0002454326,0.001390778,0.7037976,0.022857448,0.016172456],"study_design_scores_gemma":[0.000022646549,0.00009805881,0.0027582948,0.0007674051,0.0000155808,0.0009343724,0.10683465,0.0012507166,0.005012619,0.10993743,0.77232105,0.000047194102],"about_ca_topic_score_codex":0.011135347,"about_ca_topic_score_gemma":0.019719133,"teacher_disagreement_score":0.011135347,"about_ca_system_score_codex":0.005014001,"about_ca_system_score_gemma":0.0014625493,"threshold_uncertainty_score":0.036379278},"labels":[],"label_agreement":null},{"id":"W4417159820","doi":"10.18845/rc.v34i2.8369","title":"Poemas de Adriano de San Martín","year":2025,"lang":"","type":"article","venue":"Revista Comunicación","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bridge (graph theory); Sequence (biology); Archipelago","score_opus":0.02107173924588294,"score_gpt":0.2924172495621564,"score_spread":0.27134551031627346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417159820","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018335814,0.021320434,0.0022205142,0.075579196,0.007481243,0.00004714769,0.00016977434,0.00015845217,0.8746874],"genre_scores_gemma":[0.16565269,0.007616474,0.0013859522,0.008572878,0.0011040142,0.0000477508,0.00007894248,0.00012459958,0.8154167],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934846,0.00022081155,0.000015857137,0.00012472962,0.00018343842,0.00010669747],"domain_scores_gemma":[0.9993735,0.00020424109,0.00006382462,0.000066400404,0.00017690974,0.000115155024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088446646,0.0004861217,0.000279026,0.00069168553,0.004379323,0.003806875,0.0004510287,0.001526417,0.027882887],"category_scores_gemma":[0.0026390161,0.00020932592,0.00022879966,0.0004649641,0.0033758918,0.0022972242,0.0021127267,0.0032080791,0.0037034806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009360845,0.00003649978,0.0011500801,0.00018597959,0.000008536735,0.00049175625,0.017733091,0.00009953645,0.00074781023,0.5437913,0.37510163,0.06056016],"study_design_scores_gemma":[0.0000033210447,0.000011907633,0.00074799836,0.0001358359,0.0000022519343,0.0001274258,0.0026930855,0.000053420386,0.00015983051,0.00622251,0.98983663,0.000005788901],"about_ca_topic_score_codex":0.011786037,"about_ca_topic_score_gemma":0.030825058,"teacher_disagreement_score":0.027882887,"about_ca_system_score_codex":0.0022843305,"about_ca_system_score_gemma":0.0018526157,"threshold_uncertainty_score":0.093277514},"labels":[],"label_agreement":null},{"id":"W49412066","doi":"","title":"The Girl No One Knew: Photographs, Narratives, and Secrets in Modern Fiction","year":2004,"lang":"en","type":"article","venue":"University of the Arts London Research Online (University of the Arts London)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Presentation (obstetrics); Photography; Argument (complex analysis); Visual arts; History; Character (mathematics); Literature; Representation (politics); Art; Sociology; Art history; Politics; Law","score_opus":0.04335993247953647,"score_gpt":0.2551176172964069,"score_spread":0.21175768481687046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W49412066","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5978465,0.032011006,0.0047606095,0.045681864,0.0016904817,0.000106022,0.00016788441,0.00007869342,0.31765684],"genre_scores_gemma":[0.9826136,0.0036174455,0.00070559775,0.0007126342,0.0002545006,0.000029222958,0.000020028065,0.000027175507,0.012019672],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99524623,0.0038235602,0.00009218261,0.00021052045,0.0003606872,0.00026679062],"domain_scores_gemma":[0.99378294,0.00480652,0.0005796161,0.00036417024,0.00020021542,0.00026646667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004658025,0.0005352974,0.00035032752,0.0021885482,0.012073158,0.009115355,0.0009926964,0.0023702413,0.0029355045],"category_scores_gemma":[0.0069310395,0.0004616767,0.00022172736,0.001994782,0.035650473,0.010885695,0.005537971,0.0033186057,0.00033647657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032265714,0.000012132642,0.00048360432,0.0000970188,0.000003453212,0.0004996332,0.84584284,0.000045345863,0.00013985651,0.14458077,0.0035937652,0.0046693697],"study_design_scores_gemma":[0.000013957381,0.000058992762,0.0015016329,0.0005093204,0.0000142407025,0.0014088835,0.6284121,0.00012505476,0.00077689457,0.021126658,0.34602112,0.000031152293],"about_ca_topic_score_codex":0.0038765583,"about_ca_topic_score_gemma":0.0079104565,"teacher_disagreement_score":0.012073158,"about_ca_system_score_codex":0.0069350875,"about_ca_system_score_gemma":0.00157146,"threshold_uncertainty_score":0.050317824},"labels":[],"label_agreement":null},{"id":"W570502150","doi":"","title":"Technique and Meaning in the Paintings of Paul Gauguin by Vojtêch Jirat-Wasiutyński, H. Travers Newton, Jr (review)","year":2001,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Painting; Art; Art history; Literature; Philosophy; Epistemology","score_opus":0.011511294704630606,"score_gpt":0.20493327164929015,"score_spread":0.19342197694465954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W570502150","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016184301,0.99461865,0.00005939308,0.0031384528,0.0005594732,0.0000017569566,0.0000070907727,0.0000015323438,0.001451698],"genre_scores_gemma":[0.002805691,0.992535,0.00013656779,0.0011571335,0.00074298977,0.0000079109095,0.000015713395,0.000006343937,0.0025926929],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992618,0.00029633017,0.00005649927,0.000104646446,0.00023854824,0.000042125666],"domain_scores_gemma":[0.9984969,0.0011516523,0.00010038991,0.000039244624,0.00015166332,0.000060285172],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019065657,0.00072595367,0.0012895751,0.002589192,0.001440667,0.0031773262,0.0007376679,0.0019541616,0.0063047586],"category_scores_gemma":[0.004450488,0.0004993177,0.00045013917,0.0046411036,0.0056377877,0.005081305,0.001897768,0.0032047355,0.001715409],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013485606,0.00004053858,0.00045194934,0.014008308,0.00010092858,0.0004122587,0.006676681,0.00029080504,0.00071391603,0.038883895,0.31906056,0.6192253],"study_design_scores_gemma":[0.000013017825,0.000018596542,0.0015941289,0.0030064061,0.000029343706,0.0009949344,0.0014349465,0.000021134532,0.00014174008,0.0048719994,0.9878544,0.000019323483],"about_ca_topic_score_codex":0.013271465,"about_ca_topic_score_gemma":0.026533062,"teacher_disagreement_score":0.013271465,"about_ca_system_score_codex":0.0018050643,"about_ca_system_score_gemma":0.0022709235,"threshold_uncertainty_score":0.026388407},"labels":[],"label_agreement":null},{"id":"W57609444","doi":"10.3138/cjfs.12.1.16","title":"The Genealogical Pedagogy of John Greyson's <i>Zero Patience</i>","year":2003,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Ethnology; Sociology; Art history; Philosophy","score_opus":0.05834577201999727,"score_gpt":0.29609721441597614,"score_spread":0.23775144239597887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W57609444","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06637344,0.009656716,0.005579373,0.08106071,0.0014905097,0.000042634092,0.000032561682,0.000059600996,0.8357045],"genre_scores_gemma":[0.8236195,0.0042170314,0.0017403634,0.006242234,0.00019674604,0.00004636483,0.000012406352,0.00008239163,0.16384295],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991499,0.00042853292,0.000017441116,0.00012589378,0.00014841795,0.00012985826],"domain_scores_gemma":[0.99878687,0.00069707795,0.0000990721,0.00007667536,0.000115920404,0.00022434862],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001340127,0.0002978917,0.00018920544,0.00088520284,0.008568075,0.005592534,0.00073298626,0.0017906254,0.006494832],"category_scores_gemma":[0.0029868549,0.00022565009,0.00011574218,0.0007140818,0.028194845,0.003954874,0.0037422157,0.0043019485,0.00058828236],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001235099,0.000009467312,0.00033018857,0.000043996894,0.0000019815102,0.00021901737,0.13044555,0.00004185604,0.00030086297,0.8457074,0.014713698,0.0081737535],"study_design_scores_gemma":[0.000012377358,0.000026186528,0.001159994,0.0002561941,0.0000060196453,0.00038013433,0.071416415,0.00010513754,0.00065196387,0.10369158,0.8222771,0.000016956801],"about_ca_topic_score_codex":0.04441873,"about_ca_topic_score_gemma":0.10044686,"teacher_disagreement_score":0.95558125,"about_ca_system_score_codex":0.0068178633,"about_ca_system_score_gemma":0.0051468406,"threshold_uncertainty_score":0.088320374},"labels":[],"label_agreement":null},{"id":"W595673154","doi":"","title":"It Pays to Play: British Columbia in Postcards, 1950s-1980s","year":2002,"lang":"en","type":"book","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Ideology; White (mutation); Relation (database); Presentation (obstetrics); Romanticism; Art history; Art; Aesthetics; Visual arts; Sociology; Media studies; History; Politics; Political science; Law","score_opus":0.024975193715136797,"score_gpt":0.22099333231542845,"score_spread":0.19601813860029166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W595673154","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20860422,0.026008587,0.00024471112,0.018803926,0.00084637647,0.000049611415,0.0020560035,0.00007843713,0.7433081],"genre_scores_gemma":[0.50515664,0.008743536,0.00017716883,0.0015067316,0.00006272564,0.000032795666,0.00048550163,0.00007864503,0.48375627],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994153,0.0000480638,0.000013579302,0.00007345578,0.00019489712,0.00025474076],"domain_scores_gemma":[0.99937207,0.00010642946,0.000044306275,0.000025544288,0.00024098612,0.00021060758],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031277144,0.00038711002,0.00029017523,0.001671432,0.011557512,0.005527983,0.0007355595,0.0008893492,0.021922741],"category_scores_gemma":[0.0014011121,0.00033432004,0.0000618139,0.005456368,0.0039189854,0.0014420658,0.0012285964,0.002067304,0.0022797545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002576969,0.000092893046,0.016004298,0.00036109635,0.000012006753,0.0011146959,0.13580374,0.00017660596,0.0006767287,0.1206382,0.4495345,0.27532753],"study_design_scores_gemma":[0.000007776516,0.000012734397,0.047933016,0.0002191901,0.000005603619,0.00011281121,0.039502677,0.00003355515,0.00021705999,0.0010928132,0.91084594,0.000016889444],"about_ca_topic_score_codex":0.96786267,"about_ca_topic_score_gemma":0.9945405,"teacher_disagreement_score":0.053923164,"about_ca_system_score_codex":0.053923164,"about_ca_system_score_gemma":0.026563352,"threshold_uncertainty_score":0.39124173},"labels":[],"label_agreement":null},{"id":"W647113677","doi":"","title":"Phantasms of Interpretation: Raphaëlle de Groot's Portraits de clients","year":2011,"lang":"fr","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Context (archaeology); Performative utterance; Interpretation (philosophy); Relation (database); Object (grammar); Citizen journalism; Subject (documents); Intervention (counseling); Sociology; Ethnography; Art; Visual arts; Aesthetics; Psychology; History; Philosophy; Computer science; Political science; Law; Library science; Artificial intelligence; Linguistics","score_opus":0.03316481078888329,"score_gpt":0.2854645792513291,"score_spread":0.25229976846244584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W647113677","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2220719,0.017814241,0.006616831,0.06368543,0.0012141,0.00012912821,0.00012679536,0.00022879697,0.6881128],"genre_scores_gemma":[0.9458654,0.002839328,0.0009909057,0.0031764475,0.00020063497,0.00007634601,0.000020403202,0.00013359767,0.046696946],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99591833,0.0026224514,0.00004172451,0.00027431862,0.00060695806,0.00053631404],"domain_scores_gemma":[0.998613,0.0007488329,0.00013259455,0.000108130356,0.00013171035,0.0002657513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020919114,0.0010029757,0.00040746632,0.0011155747,0.018756608,0.009969902,0.001699934,0.0040769954,0.004102023],"category_scores_gemma":[0.003263189,0.00044355806,0.0003494476,0.001021025,0.05024362,0.0053419233,0.0048114466,0.008790889,0.00082500157],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025882006,0.00001225735,0.00022131098,0.000043579632,0.0000035293021,0.0008727143,0.8594801,0.00009099577,0.00034603,0.12233895,0.012729151,0.0038355563],"study_design_scores_gemma":[0.000011478554,0.000034340017,0.0006868567,0.00028887644,0.000012548251,0.0021724962,0.5248157,0.00022731083,0.0005256197,0.015010627,0.4561776,0.000036536705],"about_ca_topic_score_codex":0.10113158,"about_ca_topic_score_gemma":0.14156657,"teacher_disagreement_score":0.10113158,"about_ca_system_score_codex":0.017851112,"about_ca_system_score_gemma":0.0055479677,"threshold_uncertainty_score":0.20108587},"labels":[],"label_agreement":null},{"id":"W6907476940","doi":"10.20381/ruor-27865","title":"The Academic Sabbatical: A Voyage of Discovery","year":2022,"lang":"en","type":"book","venue":"Open MIND","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Productivity; Narrative; Work (physics); Discipline; Higher education; Gateway (web page); Graduate students","score_opus":0.07558031732920391,"score_gpt":0.3142769417902538,"score_spread":0.2386966244610499,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6907476940","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028631805,0.03679929,0.005924603,0.058461607,0.01114868,0.000081175654,0.0002828255,0.0006378302,0.85803217],"genre_scores_gemma":[0.38505352,0.016889155,0.003972653,0.008955163,0.0026738762,0.000095069096,0.0001980068,0.0007217772,0.5814408],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9962453,0.0012465451,0.000058170066,0.0002452653,0.001647232,0.0005573863],"domain_scores_gemma":[0.99608,0.0015562011,0.00022692248,0.0005253334,0.00050426926,0.0011072949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002978963,0.0005365484,0.0005800931,0.0016307118,0.017267877,0.020848729,0.0015546186,0.0022414033,0.0066339257],"category_scores_gemma":[0.0069293855,0.0004340093,0.000525787,0.0031486573,0.02078313,0.009160087,0.007428781,0.007233144,0.0018780348],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005946926,0.000022303953,0.0005120408,0.00016349144,0.0000105962,0.00032570653,0.102183014,0.00018751287,0.00066149404,0.5102876,0.319354,0.066232875],"study_design_scores_gemma":[0.0000024424164,0.000009747553,0.00036115135,0.00011721883,0.000002016652,0.00017228244,0.019563545,0.00006159303,0.00016474335,0.017916167,0.96161443,0.000014685305],"about_ca_topic_score_codex":0.043105125,"about_ca_topic_score_gemma":0.09739285,"teacher_disagreement_score":0.043105125,"about_ca_system_score_codex":0.0170106,"about_ca_system_score_gemma":0.01744761,"threshold_uncertainty_score":0.12342113},"labels":[],"label_agreement":null},{"id":"W6924841222","doi":"10.15468/dl.rsg2pk","title":"Occurrence Download","year":2024,"lang":"en","type":"dataset","venue":"Global Biodiversity Information Facility","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"SAINT; Canto; Population; Lagopus; Anatidae","score_opus":0.024359706210376413,"score_gpt":0.22839371771116287,"score_spread":0.20403401150078646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6924841222","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007521865,0.00008669148,0.00011483057,0.00009203457,0.00003152307,0.000012062239,0.9950866,0.0018255147,0.0026755943],"genre_scores_gemma":[0.00028183684,0.00008522036,0.0004102728,0.00012239054,0.00001126235,0.000044364555,0.9970829,0.0004236375,0.001538085],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884486,0.00012150439,0.00016051615,0.00040437473,0.00026022265,0.00020855645],"domain_scores_gemma":[0.99776757,0.00053970795,0.00018236741,0.0004994854,0.00070202036,0.00030886687],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007506026,0.0026229138,0.0020964914,0.007225461,0.0013464394,0.00404285,0.002858515,0.0026516253,0.32480904],"category_scores_gemma":[0.005943694,0.00089210115,0.0016811795,0.010957365,0.00039187813,0.0040945765,0.003765927,0.0020664935,0.44376603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004813018,0.0000126604145,0.00033111722,0.0006278457,0.000012070725,0.000026265006,0.000022892627,0.000087491506,0.00010349091,0.0004090737,0.9948849,0.0034340385],"study_design_scores_gemma":[0.00006058753,0.0000120548375,0.001312576,0.00019663955,0.000012403409,0.000057296416,0.000074209966,0.00025727056,0.0001338484,0.0009764959,0.99688786,0.00001869989],"about_ca_topic_score_codex":0.020632846,"about_ca_topic_score_gemma":0.036499888,"teacher_disagreement_score":0.6751909,"about_ca_system_score_codex":0.0018327432,"about_ca_system_score_gemma":0.002196721,"threshold_uncertainty_score":0.96307796},"labels":[],"label_agreement":null},{"id":"W6977381418","doi":"10.6084/m9.figshare.28559953","title":"Additional file 2 of First trimester circulating miR-208b-3p and miR-26a-1-3p are relevant to the prediction of gestational hypertension","year":2025,"lang":"en","type":"dataset","venue":"Figshare","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre Intégré Universitaire de Santé et de Services Sociaux du Saguenay–Lac-Saint-Jean; Université Laval; Centre Hospitalier Universitaire de Sherbrooke; Université de Sherbrooke","funders":"","keywords":"First trimester; Gestational hypertension; Pregnancy; Table (database); Gestational age; Gestation","score_opus":0.05006023186907849,"score_gpt":0.23596086349663437,"score_spread":0.18590063162755588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977381418","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002101625,0.000046378304,0.0000612949,0.000044859495,0.000015074691,0.0000110756255,0.9992555,0.0001226695,0.00023291216],"genre_scores_gemma":[0.0024049615,0.000077400575,0.0004995458,0.00019324261,0.000024535027,0.00022863872,0.99511695,0.00013280053,0.0013220276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995333,0.000062225816,0.00006257161,0.00018927635,0.00007013037,0.00008245319],"domain_scores_gemma":[0.99684036,0.002026786,0.00024974954,0.00028720975,0.00040286029,0.00019296276],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007131824,0.0016672314,0.0014125771,0.001593526,0.0008007582,0.0018030152,0.0017309949,0.002191056,0.36989757],"category_scores_gemma":[0.009068217,0.0004937128,0.0015331176,0.0021245375,0.00027714676,0.00091647485,0.0012202436,0.0011023806,0.094547436],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036340515,0.000058758556,0.00788648,0.0024564904,0.00011941219,0.00011520626,0.000050131617,0.00056511915,0.00031582612,0.0003780398,0.9822375,0.0054535656],"study_design_scores_gemma":[0.0034317377,0.00024023773,0.064302735,0.0026112713,0.0005913433,0.0009795242,0.00027151976,0.0026747053,0.0016974244,0.0069628716,0.9160758,0.0001609432],"about_ca_topic_score_codex":0.013384232,"about_ca_topic_score_gemma":0.029472383,"teacher_disagreement_score":0.36989757,"about_ca_system_score_codex":0.00094998116,"about_ca_system_score_gemma":0.0016153558,"threshold_uncertainty_score":0.8987646},"labels":[],"label_agreement":null},{"id":"W6984947595","doi":"","title":"Columbus, Ohio","year":2009,"lang":"en","type":"other","venue":"OhioLink ETD Center (Ohio Library and Information Network)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Miami; Welsh; Government (linguistics); George (robot); Quarter (Canadian coin)","score_opus":0.011082485158821409,"score_gpt":0.19876238169340468,"score_spread":0.18767989653458328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6984947595","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003872103,0.0006503445,0.0004430335,0.00096729776,0.0012839616,0.000059745675,0.0050890315,0.0006979863,0.9904213],"genre_scores_gemma":[0.0017066329,0.00076140836,0.00035923702,0.00031922894,0.00014805356,0.0000692291,0.00177807,0.00034996014,0.9945082],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999094,0.00010267809,0.000042498556,0.00033688883,0.00028939085,0.0001345151],"domain_scores_gemma":[0.99891734,0.00013331368,0.000061936815,0.000152204,0.00036962316,0.0003655919],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00070250675,0.0018195187,0.00093175273,0.0014242084,0.004149318,0.006750541,0.0010638898,0.0022168106,0.9281559],"category_scores_gemma":[0.0017953089,0.0006572542,0.00066054886,0.0026615304,0.0007757809,0.0038496796,0.0026733186,0.0027846117,0.7885426],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008005732,0.000111812304,0.0004547293,0.00012505271,0.00000767078,0.00015692979,0.00010422003,0.000060796923,0.00040673933,0.006789868,0.90235376,0.08934835],"study_design_scores_gemma":[0.000016091422,0.000013682466,0.00050211255,0.000062057814,0.000003400071,0.000040277715,0.00011251598,0.000039306953,0.00006690082,0.0006026885,0.99853504,0.0000059288845],"about_ca_topic_score_codex":0.011855897,"about_ca_topic_score_gemma":0.037269283,"teacher_disagreement_score":0.0718441,"about_ca_system_score_codex":0.0016431217,"about_ca_system_score_gemma":0.0030844326,"threshold_uncertainty_score":0.102476835},"labels":[],"label_agreement":null},{"id":"W6986173937","doi":"","title":"Pacific Ethanol Reports First Quarter 2015 Results - Commodities (COMMODIT) News","year":2015,"lang":"en","type":"other","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Consumption (sociology); Ethanol fuel","score_opus":0.04486217085825584,"score_gpt":0.2639992497016863,"score_spread":0.21913707884343048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986173937","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011344679,0.0010110037,0.00033002306,0.004665045,0.0020761315,0.00014069655,0.017455716,0.0006991058,0.9724877],"genre_scores_gemma":[0.0029347616,0.0011324204,0.00025197433,0.0008547072,0.00024269603,0.000043066062,0.006867887,0.000282666,0.9873898],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910647,0.000037076174,0.000026744648,0.00006754916,0.0006471125,0.00011494204],"domain_scores_gemma":[0.9985097,0.00012615652,0.00007870609,0.00016975615,0.00085100246,0.0002647699],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011001308,0.0008293683,0.00045800259,0.0029042484,0.0017590097,0.0069965795,0.00085770164,0.002098925,0.43582898],"category_scores_gemma":[0.0026969984,0.00042163237,0.0007622931,0.0028059965,0.00065323757,0.0030457478,0.00173771,0.0024126745,0.17130958],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051658142,0.00007425277,0.00031868435,0.00007845633,0.0000042127517,0.000030142217,0.000018101817,0.000053241456,0.0000872011,0.0029290468,0.9687844,0.027570644],"study_design_scores_gemma":[0.000012502553,0.00001873749,0.0022985686,0.000089646994,0.0000056824933,0.00001447279,0.00008925442,0.000092734,0.00046827024,0.0012043585,0.9956976,0.000008263155],"about_ca_topic_score_codex":0.06548495,"about_ca_topic_score_gemma":0.10497097,"teacher_disagreement_score":0.43582898,"about_ca_system_score_codex":0.0028308548,"about_ca_system_score_gemma":0.0053824,"threshold_uncertainty_score":0.8047215},"labels":[],"label_agreement":null},{"id":"W6991991621","doi":"","title":"Interactions of Image","year":2011,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Vision; Painting; Embodied cognition; Point (geometry); Image (mathematics); Visualization","score_opus":0.05357644702440363,"score_gpt":0.24909995663947052,"score_spread":0.19552350961506687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6991991621","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012338462,0.0016874049,0.0072139995,0.0072215023,0.00070401933,0.000026091719,0.000052128646,0.000065740554,0.97069067],"genre_scores_gemma":[0.7171816,0.0026610286,0.004595292,0.0028221046,0.0006174507,0.00012042541,0.00013271782,0.00040438783,0.2714649],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99694914,0.0014704871,0.00007926418,0.00043390252,0.00065151363,0.0004156841],"domain_scores_gemma":[0.9983632,0.0006819242,0.00015382333,0.0002529456,0.00028473907,0.00026350413],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013768753,0.00063202815,0.00029283488,0.0014978332,0.005818048,0.010340857,0.001015551,0.0019794586,0.027802307],"category_scores_gemma":[0.0040031,0.00023704149,0.0005910058,0.0012285871,0.016726358,0.010477625,0.007399234,0.0038902154,0.0025437677],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039316663,0.00002222733,0.0005989247,0.00009503855,0.000009175439,0.00034094293,0.09304596,0.00009542553,0.0005608577,0.86273795,0.018282974,0.02417129],"study_design_scores_gemma":[0.000008698417,0.00003732168,0.0012223318,0.00016922309,0.000011979148,0.0005855747,0.03733457,0.00021030448,0.00043665874,0.0750884,0.8848778,0.000017074648],"about_ca_topic_score_codex":0.0050057815,"about_ca_topic_score_gemma":0.0051917047,"teacher_disagreement_score":0.027802307,"about_ca_system_score_codex":0.0044601765,"about_ca_system_score_gemma":0.002334916,"threshold_uncertainty_score":0.09300804},"labels":[],"label_agreement":null},{"id":"W6992983802","doi":"","title":"New Ways of Seeing and Storytelling: Narration and Visualisation in the Work of Bruce Chatwin","year":2010,"lang":"ca","type":"dissertation","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Communitas; Narrative; Quarter (Canadian coin); Ethnography","score_opus":0.03374195560218336,"score_gpt":0.2554230430678852,"score_spread":0.22168108746570186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992983802","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33935958,0.030726343,0.03794773,0.056819286,0.0016331115,0.00017460619,0.00016018366,0.00037985158,0.53279936],"genre_scores_gemma":[0.9214509,0.0047065276,0.006181147,0.0018172045,0.00019048018,0.00014802713,0.000043385673,0.00018189911,0.065280415],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99724185,0.0021462068,0.000033424283,0.00013310353,0.0002705252,0.00017487103],"domain_scores_gemma":[0.9962238,0.0030096304,0.00014267523,0.00012707782,0.00016731072,0.00032951828],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024055853,0.0005595389,0.0003076853,0.0010764992,0.006851191,0.008847852,0.0010569314,0.0019980273,0.006160272],"category_scores_gemma":[0.0070959516,0.00035488806,0.0002284945,0.0008858286,0.013389466,0.00541539,0.004238153,0.0035464345,0.0006610687],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009795411,0.00001991078,0.0009531057,0.0002719518,0.000010847253,0.001920778,0.84589,0.0003201126,0.0019472468,0.11285159,0.015718216,0.019998305],"study_design_scores_gemma":[0.000021966784,0.000072348084,0.0023602122,0.0010207519,0.000022398162,0.0029178187,0.5190604,0.0012000151,0.0021009448,0.04102111,0.43010226,0.000099824836],"about_ca_topic_score_codex":0.017058847,"about_ca_topic_score_gemma":0.035523634,"teacher_disagreement_score":0.017058847,"about_ca_system_score_codex":0.0028920963,"about_ca_system_score_gemma":0.0015626193,"threshold_uncertainty_score":0.033919096},"labels":[],"label_agreement":null},{"id":"W6997518064","doi":"","title":"Žurnālista tēls mūsdienu krievu kino","year":2015,"lang":"lv","type":"dissertation","venue":"E-resource repository of the University of Latvia (University of Latvia)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; Liquation; Diafiltration; TSG101; Dysgeusia; Fusible alloy; Pretext","score_opus":0.017936858006390194,"score_gpt":0.20157629397799692,"score_spread":0.18363943597160673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6997518064","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.050149865,0.0033771223,0.0031439194,0.009305354,0.000902228,0.00012404984,0.0002311281,0.00023413643,0.9325322],"genre_scores_gemma":[0.40629545,0.002437113,0.0037952326,0.0020973983,0.00026347855,0.00014365917,0.00025089597,0.00040384152,0.58431286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981686,0.0005302089,0.00007664514,0.00033380403,0.0004927854,0.00039801846],"domain_scores_gemma":[0.998247,0.00032066597,0.00017329544,0.00022997006,0.0006457665,0.0003832584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010657198,0.00060466817,0.00039376473,0.00095508836,0.0066040405,0.008044553,0.00074009434,0.001433367,0.056365453],"category_scores_gemma":[0.002447309,0.00040011873,0.0003278105,0.00081074296,0.003983049,0.0048816446,0.004779092,0.0029262018,0.014975646],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031044873,0.00015342978,0.010386624,0.0009876001,0.000045284083,0.0016427187,0.2287464,0.00015535566,0.009348036,0.46845958,0.11323316,0.16653146],"study_design_scores_gemma":[0.000006208049,0.00002868009,0.0053082365,0.00022203306,0.000013855459,0.00043629957,0.038496144,0.000056036748,0.0009204748,0.005646998,0.94883764,0.000027339185],"about_ca_topic_score_codex":0.015341264,"about_ca_topic_score_gemma":0.04288848,"teacher_disagreement_score":0.056365453,"about_ca_system_score_codex":0.0051542437,"about_ca_system_score_gemma":0.004346245,"threshold_uncertainty_score":0.18856126},"labels":[],"label_agreement":null},{"id":"W7006642967","doi":"","title":"\"Very Frustrating Mexican Removal\" &#13;\\nAn immersive 360° verbatim documentary","year":2017,"lang":"en","type":"dissertation","venue":"OCAD University Open Research Repository (OCAD University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Immigration; Agency (philosophy); Context (archaeology); Contradiction; Vega; Movie theater; Photojournalism","score_opus":0.07461480450465266,"score_gpt":0.3245201447869343,"score_spread":0.24990534028228165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006642967","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35539556,0.0016050531,0.010006931,0.030155944,0.002167847,0.00008483798,0.00027452086,0.00052747404,0.5997818],"genre_scores_gemma":[0.82270616,0.0011195637,0.0041962746,0.0032863081,0.0001395774,0.000054324155,0.0001418728,0.00023733247,0.16811867],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992298,0.00028663583,0.000008597414,0.00007142234,0.00021116201,0.00019232937],"domain_scores_gemma":[0.99945456,0.00018159676,0.00004459039,0.00007471125,0.000110206616,0.00013439101],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010260761,0.0003735518,0.00014980826,0.00038098963,0.011441534,0.0040993607,0.0007238153,0.0010285436,0.017041674],"category_scores_gemma":[0.002791739,0.00012678381,0.00023677292,0.0003202717,0.007470823,0.0016798682,0.0039129443,0.002568353,0.0013069907],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009826585,0.00006349284,0.0026379002,0.00016102547,0.000015399199,0.0014146221,0.64867693,0.00039136672,0.0063226526,0.11077278,0.15655619,0.07288937],"study_design_scores_gemma":[0.000005331688,0.000027147002,0.0029875634,0.00015436117,0.000007738821,0.00053707947,0.24858676,0.00021518908,0.0011081429,0.0020793735,0.74426264,0.00002875052],"about_ca_topic_score_codex":0.15052956,"about_ca_topic_score_gemma":0.35931116,"teacher_disagreement_score":0.15052956,"about_ca_system_score_codex":0.004958893,"about_ca_system_score_gemma":0.0032694128,"threshold_uncertainty_score":0.29930675},"labels":[],"label_agreement":null},{"id":"W7009880983","doi":"","title":"external_content.pdf","year":2019,"lang":"en","type":"other","venue":"OAPEN (The OAPEN Foundation)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; New media; Democracy; Visual culture; Reading (process); Gray (unit); Happening; Intervention (counseling)","score_opus":0.03466816027374481,"score_gpt":0.25733339171586045,"score_spread":0.22266523144211564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7009880983","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024943627,0.00035819583,0.0009081289,0.0013583445,0.0014071641,0.00017449165,0.047572743,0.010114798,0.93785685],"genre_scores_gemma":[0.0028469963,0.00060050737,0.0009461449,0.0016961512,0.0005293645,0.00018910189,0.026025398,0.009660186,0.9575062],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991937,0.00008876237,0.000049922215,0.00011905446,0.0003720365,0.00017651293],"domain_scores_gemma":[0.9973514,0.00039708,0.00008468422,0.0006361483,0.0011024053,0.0004283269],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00090942375,0.0011016547,0.0009537085,0.0029908563,0.0015248031,0.0105605945,0.002351382,0.0026043442,0.94732976],"category_scores_gemma":[0.0048176767,0.00075371115,0.0010410051,0.0039416254,0.00074225105,0.005839587,0.0059638983,0.00200756,0.93138814],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002740104,0.000042649128,0.000121593876,0.00025317268,0.0000029501405,0.000040403836,0.00006921758,0.000038427082,0.00017592573,0.0023944092,0.9418172,0.05501654],"study_design_scores_gemma":[0.000010259695,0.000007447328,0.00032755386,0.00014506532,0.0000015841689,0.000028690889,0.0000752368,0.00003466427,0.00022073858,0.0009880844,0.9981517,0.000008927908],"about_ca_topic_score_codex":0.0033722138,"about_ca_topic_score_gemma":0.00324016,"teacher_disagreement_score":0.05267024,"about_ca_system_score_codex":0.0016772242,"about_ca_system_score_gemma":0.0014484967,"threshold_uncertainty_score":0.0751276},"labels":[],"label_agreement":null},{"id":"W7014261399","doi":"","title":"Persistence of Vision: Memory, Migration &amp; Citizenship - Free Trade or the Faulure of Cross-Culturality?","year":2004,"lang":"en","type":"article","venue":"Research Online (University of Wollongong)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Metaphor; Persistence (discontinuity); Citizenship; Set (abstract data type); Character (mathematics); Argument (complex analysis); Sequence (biology); Space (punctuation)","score_opus":0.16860100865630995,"score_gpt":0.3684466498392115,"score_spread":0.19984564118290155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7014261399","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2969406,0.016411671,0.0022582768,0.17491356,0.002339764,0.00003567289,0.00012649657,0.00008713322,0.5068869],"genre_scores_gemma":[0.9576884,0.0020010846,0.00025906923,0.0037958361,0.00016879385,0.000015779215,0.00002322287,0.000045310695,0.036002435],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989924,0.00038298243,0.000019608839,0.0001519616,0.00012749953,0.0003254517],"domain_scores_gemma":[0.9988703,0.00025025598,0.00016417871,0.00015581082,0.00019060835,0.0003687824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013776205,0.0003198378,0.0003151862,0.0006179308,0.011408606,0.014831857,0.0011116872,0.0020124747,0.008037049],"category_scores_gemma":[0.003003826,0.00018854003,0.00015448294,0.0008205207,0.026696648,0.012861205,0.004641557,0.0032911224,0.0007834645],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006995887,0.000052607564,0.0019964792,0.00009262371,0.000010539188,0.0006851822,0.5047934,0.00005581907,0.00027275234,0.3976426,0.047005896,0.0473222],"study_design_scores_gemma":[0.000013238985,0.000026809292,0.0031552876,0.0003078381,0.000011267252,0.00066540355,0.5571973,0.0001462226,0.00029702802,0.04310671,0.39504626,0.000026657926],"about_ca_topic_score_codex":0.1316367,"about_ca_topic_score_gemma":0.15505168,"teacher_disagreement_score":0.1316367,"about_ca_system_score_codex":0.008713913,"about_ca_system_score_gemma":0.006026623,"threshold_uncertainty_score":0.26174092},"labels":[],"label_agreement":null},{"id":"W7019855208","doi":"","title":"The iconic image in a digital age: Editorial mediations over the Alan Kurdi photographs","year":2017,"lang":"en","type":"article","venue":"Research at the University of Copenhagen (University of Copenhagen)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Photography; Digital image; Feature (linguistics); Image manipulation","score_opus":0.03730625723419691,"score_gpt":0.28385231406531675,"score_spread":0.24654605683111985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019855208","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8793361,0.0020960567,0.0011353833,0.0059383097,0.00051400135,0.000025583571,0.000047914742,0.00004820436,0.110858515],"genre_scores_gemma":[0.9963496,0.00035147066,0.00021307408,0.00032285106,0.00016185138,0.000006481826,0.000011766108,0.000022695476,0.0025601257],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99264574,0.0048128725,0.0002133636,0.00058589247,0.0013093716,0.00043275513],"domain_scores_gemma":[0.97461027,0.018115466,0.0032801072,0.0014465757,0.0014787634,0.0010688835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006032067,0.00033465197,0.00025184624,0.0018388332,0.007019838,0.00887333,0.0006310822,0.0009924471,0.0028534892],"category_scores_gemma":[0.020534504,0.00026195694,0.00019903884,0.0011839286,0.011926339,0.0037557546,0.0043541966,0.0020553821,0.00038795604],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021974188,0.000043613145,0.010216405,0.00021940454,0.000026106556,0.0018091885,0.9401926,0.00007310559,0.0043134177,0.017496003,0.0034614427,0.021928908],"study_design_scores_gemma":[0.0000159239,0.0000990604,0.01832856,0.00025931894,0.000039631093,0.0010186001,0.8417811,0.00013996466,0.0026381211,0.0030657658,0.13256894,0.000045084795],"about_ca_topic_score_codex":0.0028257228,"about_ca_topic_score_gemma":0.0053319144,"teacher_disagreement_score":0.00887333,"about_ca_system_score_codex":0.0022388636,"about_ca_system_score_gemma":0.0010422535,"threshold_uncertainty_score":0.031901002},"labels":[],"label_agreement":null},{"id":"W7020701980","doi":"","title":"MARTHA LANGFORD (ed.), Image &amp; Imagination","year":2008,"lang":"en","type":"article","venue":"Archivaria","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.032857520288227596,"score_gpt":0.25520866858172325,"score_spread":0.22235114829349567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7020701980","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007886167,0.91442466,0.0016993053,0.010523291,0.003073103,0.000009675057,0.00011234234,0.00011332877,0.06925566],"genre_scores_gemma":[0.0138651095,0.87343186,0.0030651568,0.0016293019,0.0023687424,0.00004528591,0.00013019245,0.00008975876,0.10537462],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997003,0.0000857601,0.000022208174,0.000045504985,0.00011957554,0.000026742788],"domain_scores_gemma":[0.9994362,0.00030772408,0.00006226892,0.00002939567,0.0000898686,0.000074523654],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008788844,0.0011868576,0.0007145781,0.0020744484,0.0014371551,0.005045658,0.00062493165,0.0019240234,0.029110825],"category_scores_gemma":[0.0015363313,0.0006116279,0.00030547997,0.002003956,0.0016684296,0.006688617,0.0013285334,0.0019207636,0.014991134],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052267485,0.000039934894,0.00031286705,0.001003244,0.000011214911,0.00018080395,0.0035747516,0.00019925313,0.00031742657,0.026693687,0.4876659,0.47994873],"study_design_scores_gemma":[0.0000035733547,0.0000071461814,0.0006102752,0.0009919362,0.0000065346057,0.00051054533,0.001601966,0.00006893319,0.00017315676,0.0076249414,0.9883929,0.000008193778],"about_ca_topic_score_codex":0.007688936,"about_ca_topic_score_gemma":0.02177752,"teacher_disagreement_score":0.029110825,"about_ca_system_score_codex":0.0011412856,"about_ca_system_score_gemma":0.0019915663,"threshold_uncertainty_score":0.09738541},"labels":[],"label_agreement":null},{"id":"W7042848870","doi":"","title":"Robert Walker. Mediascapes : New York, Montreal, Warsaw","year":2008,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exposition (narrative); Government (linguistics); Natural (archaeology); Work (physics); Subject (documents)","score_opus":0.013783214607185047,"score_gpt":0.16794111001255896,"score_spread":0.15415789540537392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042848870","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014450556,0.5522365,0.00620125,0.011593977,0.006318266,0.00010765572,0.009814615,0.0025503503,0.40973237],"genre_scores_gemma":[0.004681199,0.110252,0.0030986427,0.0005914377,0.00056422,0.000084016756,0.0021039182,0.0009657371,0.8776588],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945456,0.0000579616,0.00005038702,0.0001580113,0.00021837419,0.00006066942],"domain_scores_gemma":[0.9992461,0.00011880992,0.000067857894,0.0000975568,0.00034736036,0.0001222941],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008499819,0.0026343148,0.0011366295,0.0040592044,0.0014411947,0.004301215,0.0015349998,0.0015593887,0.2981481],"category_scores_gemma":[0.0017099003,0.001403953,0.00051807653,0.009699334,0.0009375508,0.006493186,0.0017695887,0.002032268,0.19916236],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029473242,0.000015332864,0.00023775888,0.0003455507,0.000008294968,0.00006238723,0.00018071983,0.00016583056,0.00028816483,0.006714704,0.7625134,0.22943838],"study_design_scores_gemma":[0.0000038333774,0.000003825146,0.0007603451,0.00016284987,0.000006066484,0.000071732255,0.00016744375,0.000056099732,0.00013900624,0.000711046,0.9979091,0.000008469219],"about_ca_topic_score_codex":0.10574464,"about_ca_topic_score_gemma":0.21988578,"teacher_disagreement_score":0.2981481,"about_ca_system_score_codex":0.002057913,"about_ca_system_score_gemma":0.002564231,"threshold_uncertainty_score":0.99740475},"labels":[],"label_agreement":null},{"id":"W7067637789","doi":"","title":"Mesrine : L’Instinct de mort / L’Ennemi public No 1. L’homme aux mille images. \\n Mesrine : L’Instinct de mort — France / Québec / Italie 2008, 113 minutes \\n Mesrine : L’Ennemi public numéro 1 — France / Italie 2008, 133 minutes","year":2010,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Government (linguistics); Period (music); Public history","score_opus":0.009659166089733754,"score_gpt":0.19563722904239988,"score_spread":0.18597806295266614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7067637789","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002976407,0.022444613,0.0004896966,0.058540102,0.007852404,0.00007603229,0.0028944518,0.0006130795,0.9041132],"genre_scores_gemma":[0.013424729,0.0021737416,0.0002742646,0.0023962737,0.00058316614,0.000026649837,0.00042420393,0.00022310954,0.9804739],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999592,0.00006660818,0.000009433735,0.000058044032,0.00014896772,0.00012503254],"domain_scores_gemma":[0.99952245,0.000059793583,0.000028962502,0.000023464952,0.00013573485,0.00022958152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005522807,0.0006798769,0.00028919452,0.0005402095,0.005004397,0.0036885836,0.00079847383,0.0027590955,0.25937435],"category_scores_gemma":[0.001113472,0.00045530655,0.00026625718,0.0006404558,0.0013706179,0.0022703758,0.0019327805,0.0026516947,0.058735825],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010765901,0.0000045831503,0.00012243145,0.000013242246,5.9084005e-7,0.000027820633,0.00033149592,0.000014195777,0.000060884824,0.0023977307,0.9892976,0.0077185635],"study_design_scores_gemma":[0.0000017074083,0.0000018650179,0.0013244238,0.000033890665,2.9979768e-7,0.000015242044,0.00037440617,0.000006518858,0.00004184396,0.00012276018,0.99807346,0.0000034138252],"about_ca_topic_score_codex":0.426144,"about_ca_topic_score_gemma":0.7784152,"teacher_disagreement_score":0.573856,"about_ca_system_score_codex":0.008060935,"about_ca_system_score_gemma":0.0039354055,"threshold_uncertainty_score":0.86769366},"labels":[],"label_agreement":null},{"id":"W7071234639","doi":"","title":"Sabbatical Experiences &amp; Reflections","year":2020,"lang":"en","type":"article","venue":"Digital Commons - USU (Utah State University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Excellence; Studio; Architecture; Landscape architecture; State (computer science)","score_opus":0.0732152780858954,"score_gpt":0.256775421297148,"score_spread":0.18356014321125258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071234639","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033998042,0.011130138,0.0021457465,0.262107,0.09998961,0.00021898511,0.000791421,0.00075498916,0.58886415],"genre_scores_gemma":[0.19032831,0.0060097086,0.0013605321,0.057460643,0.00780902,0.0003242285,0.00035663522,0.0005629781,0.735788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9929941,0.002900811,0.00010779763,0.00040677856,0.0018206289,0.0017698435],"domain_scores_gemma":[0.98743385,0.0011943214,0.00032868315,0.0005372243,0.002502664,0.008003299],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0070550214,0.0009832127,0.0005850153,0.0010206092,0.019882066,0.013068835,0.003066704,0.005833085,0.06221314],"category_scores_gemma":[0.01566262,0.0004146243,0.0006234611,0.0013931387,0.005219279,0.0046509714,0.014370154,0.014648884,0.032203253],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001505069,0.00041519583,0.00041726092,0.00016105785,0.0000059258377,0.0011454973,0.02774831,0.0001168234,0.00048368875,0.014137521,0.9132895,0.0419285],"study_design_scores_gemma":[0.000005686181,0.000028481518,0.00032608895,0.000056626704,8.2970286e-7,0.00020632298,0.026111562,0.000020332705,0.00010595285,0.0010115401,0.97211504,0.000011455989],"about_ca_topic_score_codex":0.0075320164,"about_ca_topic_score_gemma":0.016964128,"teacher_disagreement_score":0.06221314,"about_ca_system_score_codex":0.0055326032,"about_ca_system_score_gemma":0.0041969595,"threshold_uncertainty_score":0.20812368},"labels":[],"label_agreement":null},{"id":"W7071335388","doi":"","title":"South Jersey Industries : SJI TO HOST FIRST QUARTER 2016 CONFERENCE CALL AND LIVE WEBCAST - Energy (ENERGY01) News","year":2016,"lang":"en","type":"other","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Webcast; Quarter (Canadian coin); Host (biology); Energy (signal processing); Work (physics)","score_opus":0.027182528802970334,"score_gpt":0.22405908984279954,"score_spread":0.1968765610398292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071335388","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008502134,0.00042648838,0.00016175157,0.0046817428,0.0032335294,0.00007171935,0.004050965,0.00093238766,0.9855913],"genre_scores_gemma":[0.00073224097,0.00011912019,0.000049978753,0.0003443877,0.00015929999,0.000013959478,0.00088425283,0.00019597988,0.9975007],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999595,0.000017599665,0.000009295126,0.00003775795,0.00023478217,0.00010562689],"domain_scores_gemma":[0.9987676,0.0000992177,0.000040017214,0.00010198668,0.0003991714,0.0005920011],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00063940836,0.0008590946,0.0005289639,0.0013805631,0.0032997676,0.006877163,0.0009718623,0.0030140595,0.7243972],"category_scores_gemma":[0.0016025236,0.0005932562,0.0006202651,0.0011183156,0.0005999237,0.0027917787,0.0023543807,0.0043731257,0.47520018],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021069238,0.000033679884,0.00008798152,0.000023828648,9.3673606e-7,0.000031771546,0.000021527532,0.000014862011,0.000071555216,0.0006920019,0.990604,0.008396881],"study_design_scores_gemma":[0.000011084239,0.000013036297,0.00075346086,0.00003894797,0.000001980593,0.000016808088,0.00013899906,0.000053222364,0.00012798466,0.0002848371,0.9985536,0.0000059119097],"about_ca_topic_score_codex":0.03123681,"about_ca_topic_score_gemma":0.14412928,"teacher_disagreement_score":0.27560282,"about_ca_system_score_codex":0.0017768111,"about_ca_system_score_gemma":0.0040347097,"threshold_uncertainty_score":0.39311397},"labels":[],"label_agreement":null},{"id":"W7094243491","doi":"","title":"9780776629674.pdf","year":2024,"lang":"en","type":"other","venue":"OAPEN (The OAPEN Foundation)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Synod; Work (physics); General interest","score_opus":0.029626563024139147,"score_gpt":0.26737057304106165,"score_spread":0.2377440100169225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7094243491","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032762185,0.0025609634,0.0014424947,0.0021326824,0.002480738,0.00009378524,0.00288475,0.0015497524,0.98652726],"genre_scores_gemma":[0.0014563894,0.0028110254,0.00066540873,0.000852502,0.00047927044,0.00007876301,0.0020177315,0.00085699145,0.99078184],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986349,0.00020616179,0.00010926263,0.00028729276,0.0005957257,0.00016664581],"domain_scores_gemma":[0.9967314,0.0009082095,0.0002046133,0.000470675,0.00095864804,0.00072647916],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013522485,0.0011615924,0.0010508747,0.002376182,0.00148965,0.014514999,0.0020186142,0.0033433917,0.918396],"category_scores_gemma":[0.0065858588,0.0006158518,0.0009711694,0.003838403,0.0009150817,0.0075719464,0.0052472125,0.002678042,0.92688495],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004544188,0.00003110829,0.00017326488,0.00043849755,0.0000063501566,0.00010329113,0.00012203863,0.000082415216,0.00041195226,0.0053964523,0.7407259,0.2524633],"study_design_scores_gemma":[0.0000043198993,0.000008095911,0.00014097312,0.00015390698,0.0000018968685,0.00007096515,0.000052650234,0.000023210741,0.00006501598,0.0005060915,0.998968,0.000004913824],"about_ca_topic_score_codex":0.001184174,"about_ca_topic_score_gemma":0.0012291108,"teacher_disagreement_score":0.081604004,"about_ca_system_score_codex":0.0009812695,"about_ca_system_score_gemma":0.0017185016,"threshold_uncertainty_score":0.116398156},"labels":[],"label_agreement":null},{"id":"W7096285895","doi":"","title":"Exploring the Sabbatical or Other Leave as a Means of Energizing a Career","year":2012,"lang":"en","type":"article","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Negotiation; Contemplation; Theme (computing); Order (exchange); Perspective (graphical); Work (physics)","score_opus":0.2910365990840503,"score_gpt":0.291488011010703,"score_spread":0.0004514119266527117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096285895","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20334092,0.021429112,0.02659329,0.25085256,0.0084352875,0.00016138141,0.000070953975,0.0006478242,0.4884686],"genre_scores_gemma":[0.8111551,0.0088344095,0.011757298,0.03295903,0.002539912,0.0001729586,0.00009211333,0.00039964844,0.13208957],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99107975,0.0061843814,0.00009905938,0.00024617006,0.001350124,0.0010405218],"domain_scores_gemma":[0.9931565,0.002207936,0.0005200641,0.00046547435,0.0006913557,0.0029587308],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007060355,0.000494365,0.00045253732,0.0012147027,0.016791463,0.016870543,0.0015753028,0.0035052088,0.012516623],"category_scores_gemma":[0.007813508,0.00026004136,0.0006867596,0.0010954353,0.013380625,0.013296603,0.014606313,0.005564281,0.002864661],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017097527,0.00051526935,0.003279319,0.0007244459,0.000027747272,0.0008230091,0.35412532,0.00016886962,0.0017110127,0.27745315,0.124569364,0.23643154],"study_design_scores_gemma":[0.000019249283,0.00013873607,0.0018528088,0.00040493073,0.000008701613,0.00046478343,0.1954592,0.000154772,0.0004304002,0.028414985,0.77260846,0.000042907086],"about_ca_topic_score_codex":0.0014955848,"about_ca_topic_score_gemma":0.008775989,"teacher_disagreement_score":0.016870543,"about_ca_system_score_codex":0.0046772696,"about_ca_system_score_gemma":0.0051717334,"threshold_uncertainty_score":0.041872263},"labels":[],"label_agreement":null},{"id":"W7097786403","doi":"","title":"GET ON THE BUS!","year":2008,"lang":"en","type":"article","venue":"","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Investment (military); Public transport; Dependency (UML); Developed country; Administration (probate law); Comparative research","score_opus":0.0758676804003207,"score_gpt":0.23683837030731406,"score_spread":0.16097068990699337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097786403","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026312076,0.0019919642,0.0032773367,0.070280254,0.012215073,0.00011502663,0.00086573436,0.0013499735,0.8835926],"genre_scores_gemma":[0.04967626,0.0014960663,0.0020671494,0.008900629,0.000595519,0.000056127854,0.00045874945,0.0002963805,0.936453],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996927,0.000074712945,0.000010386065,0.000040684423,0.000086383516,0.000095204654],"domain_scores_gemma":[0.999428,0.00004549745,0.000029031022,0.000040725896,0.00019337346,0.00026334828],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041836055,0.00045855346,0.00023134713,0.000520855,0.0053525902,0.0036714522,0.000429687,0.001296308,0.22635877],"category_scores_gemma":[0.001598442,0.00018878431,0.0003461003,0.00041835816,0.00085571595,0.003944736,0.0022767587,0.0022138888,0.1105483],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033373843,0.00008454795,0.0016842639,0.000062195184,0.000005185219,0.000106596155,0.004963504,0.00004140028,0.00035180373,0.011758354,0.887867,0.093041904],"study_design_scores_gemma":[0.0000034715583,0.000041566058,0.0010054758,0.000033424694,0.0000024650656,0.00008283657,0.007199142,0.000031697757,0.00014383839,0.0011502266,0.99029773,0.000008142031],"about_ca_topic_score_codex":0.0050246003,"about_ca_topic_score_gemma":0.02104104,"teacher_disagreement_score":0.22635877,"about_ca_system_score_codex":0.0005988183,"about_ca_system_score_gemma":0.00068991556,"threshold_uncertainty_score":0.75724554},"labels":[],"label_agreement":null},{"id":"W7124173118","doi":"10.29302/jolie.2022.15.2.3","title":"THE “MULTICULTURAL” PHENOMENON INHERENT IN WILLIAM KURELEK’S CREATIVE METHOD: RESEARCH AND RESULTS","year":2022,"lang":"","type":"article","venue":"Journal of Linguistic and Intercultural Education","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Painting; Style (visual arts); Immigration; Phenomenon; The Renaissance","score_opus":0.08726556493439497,"score_gpt":0.405543320461158,"score_spread":0.318277755526763,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7124173118","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9476063,0.0015718779,0.0048056226,0.00018201386,0.00003504719,0.0008838268,0.00013141574,0.000028491775,0.04475543],"genre_scores_gemma":[0.98257405,0.0008305436,0.0076197307,0.00008780285,0.000018816922,0.0006376655,0.00013423956,0.00005389506,0.008043236],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.986746,0.0060073924,0.0007469504,0.0017362403,0.0036298,0.0011336658],"domain_scores_gemma":[0.96590614,0.024345238,0.0015722289,0.0033396357,0.003925498,0.0009112132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.018460829,0.0007798025,0.000944458,0.0036659825,0.006795028,0.0078086928,0.0016461172,0.00086176605,0.0035647983],"category_scores_gemma":[0.0286092,0.00048203897,0.00051209313,0.0044198865,0.009435001,0.0021175465,0.0050618686,0.0012576993,0.0005633353],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038143946,0.0008066084,0.03950914,0.0011916325,0.000082431994,0.0010118496,0.79867274,0.0003710901,0.0039316765,0.023947129,0.0009586909,0.12913562],"study_design_scores_gemma":[0.000119578006,0.0005502687,0.12544215,0.001288721,0.00019055117,0.0018563317,0.7737904,0.001332356,0.015802616,0.007405882,0.07205104,0.00017008319],"about_ca_topic_score_codex":0.02315456,"about_ca_topic_score_gemma":0.03483569,"teacher_disagreement_score":0.02315456,"about_ca_system_score_codex":0.007559584,"about_ca_system_score_gemma":0.009311772,"threshold_uncertainty_score":0.097631335},"labels":[],"label_agreement":null},{"id":"W7127654857","doi":"10.1525/jrpc.6.1.006c","title":"Review: Religion, Art, and Visual Culture: A Cross Cultural Reader, edited by S. Brent Plate","year":2004,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cross-cultural; Focus (optics)","score_opus":0.016841665713016214,"score_gpt":0.29474007493552923,"score_spread":0.277898409222513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127654857","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000027804817,0.99262965,0.000028715194,0.003119564,0.0036311785,0.000005188215,0.00003497104,0.000005192289,0.00051766576],"genre_scores_gemma":[0.00030715732,0.9937564,0.00005808182,0.0022143333,0.0022979728,0.00001402479,0.00005219426,0.0000038650765,0.0012959548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994073,0.00014095941,0.000087803506,0.00007023303,0.00024014185,0.00005349022],"domain_scores_gemma":[0.9965011,0.0015813858,0.0003445093,0.000060473812,0.0011905967,0.00032184809],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013364918,0.0018900089,0.0036578143,0.005579674,0.00082659663,0.0033794104,0.002118639,0.0032541873,0.012362214],"category_scores_gemma":[0.005749595,0.0008551592,0.00095825293,0.007909861,0.0011421714,0.0037770101,0.0017213853,0.0030876305,0.0063159717],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007676699,0.000017143284,0.00010831551,0.015297496,0.00012739521,0.00008251793,0.00009225402,0.000075917655,0.0001785482,0.0009472396,0.8286272,0.15436912],"study_design_scores_gemma":[0.000033798744,0.000037429214,0.0012323621,0.014310751,0.00018956223,0.00050242234,0.00021335993,0.000032185908,0.00007932724,0.0009569267,0.98238903,0.000022767097],"about_ca_topic_score_codex":0.007409141,"about_ca_topic_score_gemma":0.020649493,"teacher_disagreement_score":0.012362214,"about_ca_system_score_codex":0.0020089985,"about_ca_system_score_gemma":0.0044514933,"threshold_uncertainty_score":0.04135573},"labels":[],"label_agreement":null},{"id":"W7133069003","doi":"","title":"Romantic Ekphrasis and the Intellectual Culture of Sensibility","year":2016,"lang":"","type":"dissertation","venue":"TSpace","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Sensibility; Sympathy; Romance; Poetry; Context (archaeology); Poetics; The arts; Philosophy and literature","score_opus":0.022102854502723264,"score_gpt":0.3086338129314899,"score_spread":0.28653095842876664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133069003","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50807345,0.0051278784,0.0068752063,0.005876392,0.00029703707,0.000025352203,0.0000199745,0.00005606696,0.47364864],"genre_scores_gemma":[0.99647105,0.000421702,0.00021410148,0.00010814557,0.000033431497,0.0000071309123,0.0000032537662,0.000014090111,0.002727154],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99480516,0.003494741,0.00018982138,0.00042823624,0.0007083262,0.00037367767],"domain_scores_gemma":[0.99499726,0.0029507189,0.00063479325,0.00073397486,0.00038111556,0.00030211726],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004946568,0.00033703778,0.0003810074,0.0017749632,0.00616585,0.01139192,0.0008089083,0.0009174839,0.003250056],"category_scores_gemma":[0.010463792,0.00026254077,0.0001726392,0.0014709361,0.046736553,0.008307477,0.006300076,0.003446461,0.00032140498],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002254652,0.00002372465,0.0012417788,0.000054993958,0.0000061869505,0.00021718672,0.25519982,0.000080230675,0.00033046573,0.73221904,0.0005812681,0.010022765],"study_design_scores_gemma":[0.000040417082,0.00015670269,0.005542186,0.0008587855,0.000021458984,0.001834136,0.35064602,0.00058588,0.0023509876,0.3966008,0.24129169,0.00007098954],"about_ca_topic_score_codex":0.00069767266,"about_ca_topic_score_gemma":0.000698077,"teacher_disagreement_score":0.01139192,"about_ca_system_score_codex":0.002587551,"about_ca_system_score_gemma":0.001297505,"threshold_uncertainty_score":0.0261603},"labels":[],"label_agreement":null},{"id":"W7139789877","doi":"","title":"Sabbatical Experiences & Reflections","year":2020,"lang":"","type":"article","venue":"Digital Commons - USU (Utah State University)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Excellence; Studio; Architecture; Landscape architecture; State (computer science)","score_opus":0.057639668533237834,"score_gpt":0.2523320934623144,"score_spread":0.19469242492907657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139789877","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055189434,0.016596545,0.0027678153,0.2278962,0.11404334,0.0002465572,0.0008890737,0.00090996997,0.581461],"genre_scores_gemma":[0.2439178,0.007936993,0.0014311725,0.057815917,0.009116393,0.0003059058,0.0005037797,0.00072089327,0.6782512],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99108183,0.0039928,0.0001437336,0.00056458416,0.0021330758,0.0020838769],"domain_scores_gemma":[0.98410493,0.0013731788,0.00039444305,0.00078670477,0.0031874853,0.01015336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0079064015,0.001220797,0.00081768935,0.0010272171,0.023324218,0.013095431,0.0034901972,0.0055564553,0.06315648],"category_scores_gemma":[0.018809205,0.00048775482,0.0007492897,0.0014471042,0.005847174,0.004518057,0.017652715,0.014849237,0.026734466],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001840052,0.0004263688,0.0007045996,0.00021835972,0.000012246413,0.0015432993,0.05071666,0.00016215623,0.0007025656,0.018613856,0.880709,0.046006847],"study_design_scores_gemma":[0.000005638185,0.00003466191,0.0003735651,0.00006343001,0.0000010276656,0.00026444526,0.030767584,0.000018005167,0.00008437255,0.00096415903,0.96740913,0.0000140449765],"about_ca_topic_score_codex":0.007700077,"about_ca_topic_score_gemma":0.018115062,"teacher_disagreement_score":0.06315648,"about_ca_system_score_codex":0.0056763287,"about_ca_system_score_gemma":0.0045376066,"threshold_uncertainty_score":0.21127951},"labels":[],"label_agreement":null},{"id":"W7154621462","doi":"10.1353/mos.2023.a987218","title":"Beyond the Body: Ekphrastic Embodiment and Material Agency in Ciaran Carson’s Still Life","year":2023,"lang":"en","type":"article","venue":"Mosaic","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Materialism; Agency (philosophy); Still life; Dramaturgy; Performativity","score_opus":0.023461569406888812,"score_gpt":0.24383375345069255,"score_spread":0.22037218404380374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7154621462","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14570042,0.0037825452,0.0073322207,0.015809841,0.0004177772,0.000040014856,0.00003802502,0.000078767065,0.8268003],"genre_scores_gemma":[0.9644269,0.0007696336,0.0012924145,0.00060783734,0.000043105592,0.0000151861905,0.000012653131,0.000042785647,0.032789398],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990681,0.00042360058,0.000015571635,0.00014280202,0.00017458035,0.00017529822],"domain_scores_gemma":[0.9991379,0.00035733983,0.00007534741,0.00012736411,0.00013717367,0.0001648255],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015640499,0.00041076614,0.00023245554,0.0010209336,0.007646938,0.007832725,0.0006729821,0.0013515835,0.0051258323],"category_scores_gemma":[0.0020716153,0.00021805527,0.00014522015,0.00064626767,0.03592777,0.0042850333,0.0043450627,0.00296811,0.0004126864],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021044612,0.000011896071,0.00029017715,0.00003408465,0.0000019807278,0.00023543544,0.16687965,0.00008387098,0.00036201096,0.8185597,0.0046188543,0.008901296],"study_design_scores_gemma":[0.000014973161,0.000050644903,0.0017190546,0.00024322285,0.000010018683,0.00072138605,0.21111508,0.00042325797,0.00095503987,0.15401135,0.6306896,0.000046277873],"about_ca_topic_score_codex":0.028298335,"about_ca_topic_score_gemma":0.041056972,"teacher_disagreement_score":0.028298335,"about_ca_system_score_codex":0.0046808715,"about_ca_system_score_gemma":0.0027941575,"threshold_uncertainty_score":0.05626726},"labels":[],"label_agreement":null},{"id":"W7160017333","doi":"10.1353/esc.2022.a989009","title":"Borderblur Poetics: Intermedia and Avant-Gardism in Canada, 1963–1988 by Eric Schmaltz (review)","year":2022,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Intermedia","score_opus":0.02012129271915751,"score_gpt":0.2384671377404573,"score_spread":0.21834584502129978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7160017333","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018937491,0.9831208,0.00004949663,0.0066322684,0.0006173146,0.000008236082,0.00010068359,0.0000051045154,0.0075723636],"genre_scores_gemma":[0.027860085,0.9620676,0.00019719925,0.0017052639,0.00024880748,0.000014727184,0.0000929982,0.000010934319,0.007802407],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991842,0.00012250457,0.000047967715,0.00008687985,0.0003765293,0.00018187289],"domain_scores_gemma":[0.9981041,0.0004658628,0.00012763604,0.000032986565,0.0009963583,0.00027304905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014915606,0.00085416285,0.0009953566,0.0054877126,0.006122554,0.0066103963,0.0010178244,0.0015656882,0.0043480885],"category_scores_gemma":[0.0031234908,0.0003718249,0.00030928903,0.015805725,0.0075047505,0.0027367573,0.0021239785,0.0025898681,0.00047661125],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017482681,0.00009607982,0.0027027645,0.010484529,0.00009707276,0.0004093721,0.027097825,0.0005109093,0.0004045069,0.09184462,0.27087447,0.59530306],"study_design_scores_gemma":[0.000015402275,0.000011601482,0.008552875,0.007192517,0.00005957457,0.00015808643,0.012094338,0.00004147556,0.00018025236,0.002517179,0.969143,0.000033704604],"about_ca_topic_score_codex":0.9782558,"about_ca_topic_score_gemma":0.98914635,"teacher_disagreement_score":0.052119866,"about_ca_system_score_codex":0.052119866,"about_ca_system_score_gemma":0.14887474,"threshold_uncertainty_score":0.37815785},"labels":[],"label_agreement":null},{"id":"W7164920991","doi":"10.1080/17153379.2016.12557529","title":"The Missing Picture = L’image Manquante.","year":2016,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.020535046469058463,"score_gpt":0.2329850745904557,"score_spread":0.21245002812139724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164920991","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046246974,0.0038670895,0.0066173715,0.026005905,0.008927243,0.00006121503,0.002057128,0.0015287366,0.9463106],"genre_scores_gemma":[0.11915001,0.0035686183,0.0064776354,0.010934409,0.0024769525,0.000121234385,0.0015008561,0.0026470218,0.8531233],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99978226,0.00006877505,0.0000072168727,0.00003745223,0.00006461564,0.000039647897],"domain_scores_gemma":[0.9996321,0.00013408535,0.000021997188,0.00005353017,0.0000960499,0.00006220307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00032380424,0.00061270496,0.0002582599,0.00074291514,0.002096627,0.00411039,0.0006335615,0.0017173061,0.2841641],"category_scores_gemma":[0.0023082988,0.00023245467,0.00032140498,0.00070315076,0.0015747352,0.0054758796,0.0016261169,0.0024508494,0.05941809],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017510379,0.000018869017,0.0003951983,0.00020675326,0.000009818297,0.0002780652,0.0023926445,0.000087620014,0.00055113726,0.09831407,0.8317261,0.06584458],"study_design_scores_gemma":[0.0000064310952,0.0000054871743,0.0002818149,0.00005712262,0.0000021207136,0.00027145303,0.00067554286,0.00006915892,0.00021523544,0.0027965847,0.9956124,0.000006562918],"about_ca_topic_score_codex":0.008973747,"about_ca_topic_score_gemma":0.015121622,"teacher_disagreement_score":0.2841641,"about_ca_system_score_codex":0.0010211061,"about_ca_system_score_gemma":0.00054049795,"threshold_uncertainty_score":0.95062363},"labels":[],"label_agreement":null},{"id":"W8900158","doi":"10.1074/jbc.271.43.26779","title":"Picasso au temps du DVD","year":2009,"lang":"en","type":"article","venue":"Vie des arts","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"National Institute of Arthritis and Musculoskeletal and Skin Diseases","keywords":"PICASSO; Art; Computer science; Visual arts; Humanities; Painting","score_opus":0.043274990437189055,"score_gpt":0.2575377258419808,"score_spread":0.21426273540479177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W8900158","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025663178,0.00589309,0.0044768923,0.0012358879,0.0034869665,0.00016564969,0.008514271,0.0044574803,0.9692035],"genre_scores_gemma":[0.0112614175,0.0024323051,0.0026949598,0.00038423904,0.0006150781,0.00012751941,0.0043236567,0.00094816135,0.9772127],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966073,0.00004335378,0.00001090247,0.00008263044,0.00014809276,0.000054352826],"domain_scores_gemma":[0.99971324,0.000032618027,0.000013975238,0.000056215897,0.00006632334,0.000117584874],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00042189474,0.0007433234,0.00063702546,0.0013027516,0.0006946755,0.002491585,0.00083112344,0.0008217902,0.76038927],"category_scores_gemma":[0.0005785258,0.00027262987,0.0003785612,0.00084093504,0.00035927174,0.00062199304,0.0014372475,0.0009573847,0.44604358],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043005712,0.00006980106,0.000458079,0.0003900787,0.000025057618,0.00032543315,0.0000756303,0.00043642102,0.0073814387,0.015193357,0.7221446,0.25307],"study_design_scores_gemma":[0.000021496375,0.0000204566,0.00046741904,0.00003797295,0.0000021877174,0.00016419239,0.000009969294,0.00019612799,0.00053739554,0.0006065011,0.9979328,0.000003573744],"about_ca_topic_score_codex":0.0019073908,"about_ca_topic_score_gemma":0.0028629887,"teacher_disagreement_score":0.76038927,"about_ca_system_score_codex":0.0011219238,"about_ca_system_score_gemma":0.00055518455,"threshold_uncertainty_score":0.3417756},"labels":[],"label_agreement":null},{"id":"W89487518","doi":"","title":"The Aspiring Men of Punch: Patrolling the boundaries of the Victorian gentleman","year":2014,"lang":"en","type":"book","venue":"University Library - University of Saskatchewan (University of Saskatchewan)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; University of Saskatchewan","keywords":"Patrolling; History; Political science; Psychology; Gender studies; Computer security; Sociology; Law; Computer science","score_opus":0.009435661611580829,"score_gpt":0.15375099046568846,"score_spread":0.14431532885410764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W89487518","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009934979,0.0057860254,0.0011574413,0.02584037,0.002387299,0.000071483926,0.000047229252,0.00006806015,0.95470715],"genre_scores_gemma":[0.05968077,0.001702583,0.00067053013,0.0067076357,0.00016101064,0.000040280964,0.000019558232,0.00015055148,0.9308671],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989384,0.0002595629,0.00001923093,0.00009603617,0.00029369837,0.00039325026],"domain_scores_gemma":[0.99934167,0.00015106321,0.000031669162,0.00004146888,0.00016656604,0.00026757692],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011269662,0.00038135514,0.00035527535,0.000812595,0.028165476,0.008288474,0.00094356074,0.002870461,0.03356829],"category_scores_gemma":[0.0030569576,0.00063015183,0.0002694206,0.0009546002,0.01133807,0.0050041573,0.005566115,0.010065896,0.0059364834],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028006454,0.000022495642,0.00045853204,0.0000749932,0.0000027251067,0.00023387274,0.0888477,0.00004562483,0.0002599606,0.32907295,0.5281144,0.052838888],"study_design_scores_gemma":[0.0000023056093,0.0000063311663,0.00045997227,0.00013833426,0.0000014609797,0.0000906816,0.02910586,0.000022434891,0.00007746665,0.005014485,0.9650716,0.0000091767715],"about_ca_topic_score_codex":0.31050146,"about_ca_topic_score_gemma":0.71708155,"teacher_disagreement_score":0.31050146,"about_ca_system_score_codex":0.011377075,"about_ca_system_score_gemma":0.017751358,"threshold_uncertainty_score":0.61738825},"labels":[],"label_agreement":null},{"id":"W937141534","doi":"","title":"Beauty is in the eye of the photographer","year":2010,"lang":"en","type":"article","venue":"CERN Document Server (European Organization for Nuclear Research)","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Beauty; Art; Aesthetics; Optometry; Visual arts; Medicine","score_opus":0.030979574470922082,"score_gpt":0.2722229981385063,"score_spread":0.24124342366758422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W937141534","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007761712,0.012080758,0.005178785,0.14978935,0.04428696,0.0001425059,0.0010301301,0.0025511275,0.7771787],"genre_scores_gemma":[0.060356557,0.0058304113,0.004621384,0.03314651,0.00901302,0.000082956394,0.0005882778,0.0021468531,0.88421416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99814653,0.00034798947,0.00006255068,0.00036459754,0.00084467756,0.00023366541],"domain_scores_gemma":[0.9976519,0.000292059,0.00014553727,0.00036635305,0.0011436393,0.00040051062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015174261,0.0011984806,0.00081890996,0.0012643599,0.0071933996,0.010209936,0.0007713656,0.0027276457,0.10574921],"category_scores_gemma":[0.006112909,0.0007242116,0.000707872,0.000906529,0.0029499216,0.007562826,0.003880458,0.0061354134,0.06288952],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003607251,0.000008951754,0.00026886223,0.00006660756,0.000005607306,0.00030587538,0.0017747318,0.000023719618,0.0006626062,0.0050441343,0.9733888,0.01841406],"study_design_scores_gemma":[0.0000035716787,0.000009169904,0.0004677755,0.00006709264,0.0000032845626,0.00062257546,0.002008534,0.000019093502,0.00020608718,0.00046780676,0.99611276,0.000012272408],"about_ca_topic_score_codex":0.0063128956,"about_ca_topic_score_gemma":0.012233799,"teacher_disagreement_score":0.10574921,"about_ca_system_score_codex":0.0024822426,"about_ca_system_score_gemma":0.0010604822,"threshold_uncertainty_score":0.35376638},"labels":[],"label_agreement":null},{"id":"W956928407","doi":"10.22329/p.v7i1.3385","title":"Merleau-Ponty’s Artist of Depth: Exploring “Eye and Mind” and the Works of Art Chosen by Merleau-Ponty as Preface","year":2012,"lang":"en","type":"article","venue":"PhaenEx","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Assertion; Art; Phenomenology (philosophy); Reading (process); Section (typography); Key (lock); Visual arts; Art history; Philosophy; Epistemology; Linguistics; Computer science","score_opus":0.051730228406128946,"score_gpt":0.26470516975987934,"score_spread":0.2129749413537504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W956928407","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031723227,0.10655719,0.011309949,0.0787398,0.0044770637,0.000044206736,0.000047053203,0.000115300536,0.7669862],"genre_scores_gemma":[0.83058405,0.028944936,0.003692572,0.0061077042,0.0026533427,0.00009680625,0.00002182044,0.00017518701,0.12772362],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991441,0.00042177038,0.0000135501605,0.000109703935,0.00023412322,0.00007673819],"domain_scores_gemma":[0.9988096,0.0008460935,0.000062866224,0.00007106842,0.000113717215,0.00009669683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010607966,0.0004849921,0.00027219197,0.0011826195,0.00446347,0.006909117,0.00052192673,0.0019662,0.0036460424],"category_scores_gemma":[0.0036824464,0.00022921017,0.0002210226,0.0008447917,0.016847882,0.0055960645,0.0028247356,0.004213979,0.00042335477],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023644703,0.000010955886,0.00019532832,0.00010821882,0.000004289405,0.00016529071,0.032778274,0.000170089,0.00022264985,0.88581324,0.054280683,0.026227273],"study_design_scores_gemma":[0.0000069084304,0.000021690845,0.0008967464,0.00046817094,0.000004223949,0.00039484864,0.011669835,0.00026300005,0.00051064865,0.18822663,0.7975224,0.000014944811],"about_ca_topic_score_codex":0.005049224,"about_ca_topic_score_gemma":0.006772246,"teacher_disagreement_score":0.006909117,"about_ca_system_score_codex":0.003494396,"about_ca_system_score_gemma":0.0014955527,"threshold_uncertainty_score":0.02535373},"labels":[],"label_agreement":null},{"id":"W986235806","doi":"","title":"Painting as Stylized Vision: The Movement of Invisibility in ?Eye and Mind?","year":2013,"lang":"en","type":"article","venue":"American Society for Aesthetics Graduate E-Journal","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Invisibility; Stylized fact; Painting; Eye movement; Art; Computer vision; Psychology; Artificial intelligence; Visual arts; Computer science; Neuroscience; Economics","score_opus":0.03713528661342727,"score_gpt":0.2953513097561261,"score_spread":0.25821602314269887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W986235806","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.289818,0.0068060956,0.033409897,0.020708833,0.00078509626,0.000039139268,0.00027709137,0.00035496743,0.6478009],"genre_scores_gemma":[0.9839056,0.0008236811,0.0039753336,0.00042395107,0.00008187226,0.000014582528,0.000031394946,0.00015140766,0.010592113],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99961025,0.00013543735,0.0000095954365,0.00009244881,0.000096018586,0.00005622898],"domain_scores_gemma":[0.99909246,0.0003755301,0.000087914326,0.00026265503,0.000107019434,0.000074439646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000662838,0.00021586707,0.00022018,0.0006547372,0.0010268736,0.0072094738,0.0005970277,0.0013938221,0.014868922],"category_scores_gemma":[0.0073532537,0.00032561304,0.0003560331,0.00065575726,0.0049340134,0.006836758,0.0025832793,0.0022011024,0.0010810482],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003566163,0.000040203828,0.0024731662,0.00027527756,0.00004133034,0.00034283896,0.049252655,0.001215789,0.027207112,0.77486646,0.010575013,0.13335356],"study_design_scores_gemma":[0.00011671314,0.00016999988,0.033324007,0.00047785987,0.00008622506,0.0011599936,0.026791587,0.0070241285,0.008747478,0.75100493,0.17093283,0.0001642612],"about_ca_topic_score_codex":0.0024926981,"about_ca_topic_score_gemma":0.0014899281,"teacher_disagreement_score":0.014868922,"about_ca_system_score_codex":0.00080468605,"about_ca_system_score_gemma":0.00052168925,"threshold_uncertainty_score":0.049741447},"labels":[],"label_agreement":null}]}