{"meta":{"query_hash":"709fe7c29b48","filters":{"venue":"Art History"},"cohort_total":18,"direct_labels_cover":0,"predictions_cover":18,"exported":18,"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/709fe7c29b48","api":"https://metacan.xera.ac/api/v1/cohort?venue=Art+History"},"results":[{"id":"W1943607274","doi":"10.1111/j.1467-8365.2008.00649.x","title":"FAIRE DE SON HISTOIRE UNE BOUCLE (NOIRE): WAYS OF LOOKING AT TRISTAN TZARA","year":2009,"lang":"en","type":"article","venue":"Art History","topic":"Art, Politics, and Modernism","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 Toronto","funders":"","keywords":"Art; Portrait; Nationalism; Power (physics); Art history; Politics; Cliché; Depiction; Literature; Law","score_opus":0.043055137916609684,"score_gpt":0.21263997630443301,"score_spread":0.16958483838782334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1943607274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28824863,0.019419221,0.005439538,0.009101802,0.0011232815,0.0000819833,0.00017049754,0.00015089884,0.67626405],"genre_scores_gemma":[0.9508396,0.0017646708,0.0012475296,0.0005164541,0.00008644769,0.00004424235,0.0000413661,0.00008089001,0.045378823],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993956,0.00038643004,0.000013136572,0.00006593466,0.000048164173,0.00009076674],"domain_scores_gemma":[0.9997465,0.00011296061,0.00003139993,0.000031203184,0.00003782592,0.00004021628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009507857,0.00047222627,0.00021709314,0.0013831471,0.009673112,0.00742756,0.0006253532,0.000923988,0.0049760067],"category_scores_gemma":[0.0013423637,0.00024520882,0.0002521865,0.00093367486,0.014011812,0.002420002,0.0028668682,0.0025280314,0.00044370274],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000064683096,0.000011687696,0.001256877,0.00009716094,0.000012089563,0.00092713884,0.5983961,0.0001293982,0.00093898055,0.38384575,0.005340174,0.008979845],"study_design_scores_gemma":[0.000007716535,0.000043843324,0.004037885,0.00024841883,0.000028272654,0.0011369382,0.37233117,0.00020249451,0.0010031881,0.019120649,0.6018073,0.000032209835],"about_ca_topic_score_codex":0.015942559,"about_ca_topic_score_gemma":0.047005955,"teacher_disagreement_score":0.015942559,"about_ca_system_score_codex":0.005890806,"about_ca_system_score_gemma":0.0013209374,"threshold_uncertainty_score":0.04274094},"labels":[],"label_agreement":null},{"id":"W1965695136","doi":"10.1111/j.1467-8365.2009.00715.x","title":"MORNING CLEANING: JEFF WALL AND <i>THE LARGE GLASS</i>","year":2009,"lang":"en","type":"article","venue":"Art History","topic":"Art, Politics, and Modernism","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 Ottawa","funders":"","keywords":"Pavilion; Morning; Art; Sculpture; Art history; Visual arts; BLISS; Painting; Performance art; Architecture; History; Archaeology; Computer science","score_opus":0.026802927552663763,"score_gpt":0.20486043372790178,"score_spread":0.17805750617523802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1965695136","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07476575,0.1051355,0.00135044,0.29346108,0.009700932,0.00003327607,0.00009060405,0.000111698864,0.51535064],"genre_scores_gemma":[0.5050067,0.025323551,0.0012763508,0.034629833,0.0029407064,0.000041498417,0.000058029967,0.00016796541,0.43055537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955386,0.00019921995,0.0000062889226,0.000054504184,0.00009520223,0.00009092798],"domain_scores_gemma":[0.9997693,0.00008252379,0.000024681889,0.000012613983,0.000036206682,0.00007473285],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058374816,0.00031102862,0.00014927596,0.00053262716,0.0101606,0.004617203,0.00043406076,0.0017238074,0.006842893],"category_scores_gemma":[0.0008584293,0.0002509254,0.00012143589,0.0004974055,0.0051171705,0.0026001178,0.0017450749,0.0022071556,0.001291986],"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":[0.00005129309,0.000044439817,0.00067029527,0.00013661028,0.000007449309,0.00048727365,0.054306116,0.000044777258,0.00063976645,0.14875968,0.7655715,0.029280787],"study_design_scores_gemma":[0.0000027325027,0.00001237438,0.0014522327,0.000119585806,0.0000028903949,0.00014331259,0.023044975,0.0000198946,0.00027281596,0.003509008,0.97141033,0.000009880537],"about_ca_topic_score_codex":0.018861493,"about_ca_topic_score_gemma":0.07071979,"teacher_disagreement_score":0.018861493,"about_ca_system_score_codex":0.0030864184,"about_ca_system_score_gemma":0.0012573472,"threshold_uncertainty_score":0.03750342},"labels":[],"label_agreement":null},{"id":"W2003255745","doi":"10.1111/j.1467-8365.2009.00698.x","title":"PHENOMENOLOGY AND INTERPRETATION BEYOND THE FLESH","year":2009,"lang":"en","type":"article","venue":"Art History","topic":"Philosophy, Ethics, and Existentialism","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 Alberta","funders":"","keywords":"Phenomenology (philosophy); Intentionality; Perception; Aesthetics; Interpretation (philosophy); Sculpture; Acknowledgement; Epistemology; Art; Psychology; Philosophy; Visual arts; Linguistics; Computer science","score_opus":0.03783672197640337,"score_gpt":0.22845861646625987,"score_spread":0.1906218944898565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2003255745","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045291964,0.044667765,0.11680068,0.09936119,0.0019378382,0.00013656107,0.00019188477,0.00018803687,0.691424],"genre_scores_gemma":[0.950203,0.007954149,0.012136786,0.0057485877,0.00087002595,0.00017153619,0.00007291087,0.00015392926,0.022689097],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9915872,0.0067330473,0.0001736748,0.00051575707,0.0006788615,0.00031145173],"domain_scores_gemma":[0.9917936,0.0057652113,0.00033107452,0.0014124586,0.00043921047,0.0002585123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008328989,0.00063278066,0.00071028783,0.0021037112,0.006011739,0.012639562,0.0012546787,0.0032585443,0.003564651],"category_scores_gemma":[0.010473775,0.00039718565,0.0005037155,0.0014102604,0.08799823,0.01704002,0.00706874,0.0052076876,0.00052802044],"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":[0.000008850217,0.0000047159037,0.00012476908,0.000057859557,0.0000043099735,0.00006706369,0.023258738,0.00010484419,0.000088388675,0.9723795,0.00094682665,0.0029540996],"study_design_scores_gemma":[0.000008308234,0.000010703815,0.00014045372,0.00028239214,0.0000048760376,0.00014624723,0.016536226,0.00018864658,0.00009575755,0.9033659,0.079211675,0.000008804802],"about_ca_topic_score_codex":0.0032675934,"about_ca_topic_score_gemma":0.002373,"teacher_disagreement_score":0.012639562,"about_ca_system_score_codex":0.0049441443,"about_ca_system_score_gemma":0.003750388,"threshold_uncertainty_score":0.04404843},"labels":[],"label_agreement":null},{"id":"W2017979484","doi":"10.1111/1467-8365.00229","title":"Artisans, Artists and Intellectuals","year":2000,"lang":"en","type":"article","venue":"Art History","topic":"Historical Art and Culture Studies","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 Toronto","funders":"","keywords":"The Renaissance; Art; Art history; Visual arts; Performance art","score_opus":0.02074300705579221,"score_gpt":0.16871218217218503,"score_spread":0.14796917511639282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017979484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009981043,0.26730737,0.00012300482,0.017061269,0.012082126,0.000027114356,0.00012201932,0.000054260396,0.70222473],"genre_scores_gemma":[0.011446179,0.11052144,0.00019187333,0.0044982904,0.007121474,0.000042759355,0.00011070559,0.00006418707,0.8660031],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990308,0.00024982617,0.00006386684,0.00012727738,0.00040156482,0.0001266707],"domain_scores_gemma":[0.99905115,0.00032715098,0.000081181686,0.00007790031,0.00029335386,0.0001692538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010727247,0.0006817368,0.000878923,0.0038414726,0.0053192927,0.009374355,0.00091215165,0.0019077094,0.08052969],"category_scores_gemma":[0.0031754936,0.00039773126,0.00024163723,0.0068584555,0.003944483,0.0060817488,0.002385115,0.0028588711,0.02137184],"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":[0.000017503991,0.00003663059,0.0002046663,0.00052333396,0.00000512246,0.00013039303,0.0040241024,0.000060147624,0.0001555087,0.15788434,0.7318135,0.105144784],"study_design_scores_gemma":[0.0000010178038,0.000001797594,0.00015007777,0.00020771181,5.811413e-7,0.000017200275,0.00054132874,0.000003728273,0.0000069187363,0.0017350661,0.99733305,0.0000015062523],"about_ca_topic_score_codex":0.014093584,"about_ca_topic_score_gemma":0.028981704,"teacher_disagreement_score":0.08052969,"about_ca_system_score_codex":0.003623751,"about_ca_system_score_gemma":0.00416682,"threshold_uncertainty_score":0.26939863},"labels":[],"label_agreement":null},{"id":"W2026144694","doi":"10.1111/j.0141-6790.2003.02605004.x","title":"Phallic Victories? Niki de Saint‐Phalle's <i>Tirs</i>","year":2003,"lang":"en","type":"article","venue":"Art History","topic":"Art, Politics, and Modernism","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":"Carleton University","funders":"","keywords":"Phallic stage; SAINT; Fetishism; Art; Masculinity; Painting; Sculpture; Femininity; Androgyny; Aesthetics; Art history; Literature; Sociology; Psychoanalysis; Gender studies; Psychology; Anthropology","score_opus":0.04149184746266964,"score_gpt":0.2146559082281805,"score_spread":0.17316406076551089,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026144694","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":[0.11014206,0.009468933,0.00058579963,0.025756814,0.0013311814,0.000014034482,0.000059046422,0.00010575074,0.8525365],"genre_scores_gemma":[0.6988108,0.002532947,0.000311582,0.0019495451,0.00036817905,0.000010648595,0.000026889573,0.00011064285,0.29587874],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996112,0.00012399686,0.000006842348,0.00005607256,0.00008584466,0.0001161774],"domain_scores_gemma":[0.9998147,0.000060604925,0.000026171216,0.000019471066,0.000028325563,0.000050620314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006202414,0.00026880633,0.0001631262,0.0004609544,0.0069238353,0.0057312273,0.0002915654,0.00097082567,0.011702463],"category_scores_gemma":[0.0007963402,0.00017457362,0.00015895675,0.00036274444,0.0043852106,0.0018553557,0.0020889442,0.0027383715,0.0013686534],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019038323,0.000040707004,0.0025803165,0.0001364217,0.000014981656,0.0013091892,0.13532197,0.00019753742,0.0016170756,0.64827543,0.15570241,0.054613445],"study_design_scores_gemma":[0.000005112106,0.000024686284,0.0019629803,0.00009079572,0.0000032825485,0.0003228186,0.019109739,0.000057092486,0.000702795,0.0044075395,0.97330314,0.000010014288],"about_ca_topic_score_codex":0.016230905,"about_ca_topic_score_gemma":0.05328006,"teacher_disagreement_score":0.016230905,"about_ca_system_score_codex":0.004837883,"about_ca_system_score_gemma":0.0010907878,"threshold_uncertainty_score":0.03914857},"labels":[],"label_agreement":null},{"id":"W2057441390","doi":"10.1111/1467-8365.00311","title":"Foregrounding the Symbiosis of Power. A rhetorical strategy in some Chinese commemorative art","year":2002,"lang":"en","type":"article","venue":"Art History","topic":"Asian Studies and History","field":"Social Sciences","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 Victoria","funders":"","keywords":"Emperor; Foregrounding; Prestige; Rhetorical question; China; Situated; Power (physics); Law; Sociology; History; Political science; Art; Literature; Ancient history; Philosophy; Linguistics; Computer science","score_opus":0.04976873917288828,"score_gpt":0.28648744347528365,"score_spread":0.2367187043023954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2057441390","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46374354,0.0042451117,0.020350544,0.010770823,0.0006782838,0.00013974603,0.00004835568,0.00026885653,0.49975473],"genre_scores_gemma":[0.98517555,0.00021157322,0.0013150988,0.00020825415,0.0000899784,0.000019534704,0.000006772228,0.00003607643,0.012937227],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99807006,0.0010759287,0.00006725885,0.00018710116,0.00037395954,0.00022574454],"domain_scores_gemma":[0.997482,0.0015534592,0.00024054758,0.00031285416,0.00022492539,0.00018620526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036506685,0.00053762755,0.00028329046,0.002753449,0.009791881,0.0056188884,0.00068469637,0.0010517447,0.002552268],"category_scores_gemma":[0.003904206,0.00023993151,0.00024555952,0.0022479135,0.027900122,0.0037538905,0.0036515864,0.0017589226,0.00027237422],"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":[0.000052681662,0.000016811162,0.002058166,0.00019834789,0.000011927107,0.001125767,0.5037627,0.00013935435,0.0037904833,0.45626593,0.0023915665,0.0301862],"study_design_scores_gemma":[0.000042403564,0.00020024994,0.018460667,0.0005772819,0.00011817452,0.0022697146,0.2671294,0.00272606,0.013619726,0.112445295,0.5823296,0.00008148852],"about_ca_topic_score_codex":0.0059725177,"about_ca_topic_score_gemma":0.010904843,"teacher_disagreement_score":0.009791881,"about_ca_system_score_codex":0.0054586874,"about_ca_system_score_gemma":0.0029370205,"threshold_uncertainty_score":0.039605677},"labels":[],"label_agreement":null},{"id":"W2078696143","doi":"10.1111/1467-8365.12145","title":"Imagining Imperial Modernity in British Colonial West Africa: Gerald Spencer Pryse's Work for the Empire Marketing Board","year":2015,"lang":"en","type":"article","venue":"Art History","topic":"African history and culture studies","field":"Social Sciences","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":"Empire; Colonialism; Modernity; Scholarship; Government (linguistics); British Empire; Law; History; Political science; Art; Philosophy","score_opus":0.05314375399520545,"score_gpt":0.27798014556314665,"score_spread":0.22483639156794122,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2078696143","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045566425,0.25882813,0.0013892252,0.24849775,0.005611078,0.000056789355,0.00007743826,0.000075454765,0.4398977],"genre_scores_gemma":[0.64526945,0.08637717,0.0015552458,0.019912839,0.0017888653,0.00006611512,0.00003946977,0.00025488716,0.24473588],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986394,0.0008148165,0.000025321317,0.000104756946,0.0001841732,0.00023145745],"domain_scores_gemma":[0.9988939,0.0006828465,0.000053488246,0.0000406024,0.00011793034,0.00021135228],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020397156,0.0006433915,0.0003332302,0.0011331015,0.01166151,0.008714939,0.000710234,0.0027826144,0.007337799],"category_scores_gemma":[0.0020243938,0.00045451624,0.00016023689,0.0012715032,0.017391263,0.0064128474,0.0019299798,0.005573526,0.0011266464],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005574525,0.000048351274,0.00050694344,0.0003111617,0.000012660413,0.001278446,0.4641878,0.000105467174,0.0006580603,0.18649445,0.31337336,0.03296759],"study_design_scores_gemma":[0.000005612564,0.000008724953,0.00079167174,0.00035236718,0.000004090699,0.0003038854,0.06061651,0.000037802794,0.00011768681,0.005856514,0.9318936,0.000011538308],"about_ca_topic_score_codex":0.15869886,"about_ca_topic_score_gemma":0.31443948,"teacher_disagreement_score":0.15869886,"about_ca_system_score_codex":0.0120469,"about_ca_system_score_gemma":0.0038709333,"threshold_uncertainty_score":0.31555027},"labels":[],"label_agreement":null},{"id":"W2081964008","doi":"10.1111/j.0141-6790.2004.02701005.x","title":"Intimate Archives: Japanese‐Canadian family photography, 1939–1949","year":2004,"lang":"en","type":"article","venue":"Art History","topic":"Memory, Trauma, and Commemoration","field":"Psychology","cited_by":31,"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; Photography; Meaning (existential); History; Citizen journalism; Politics; Oral history; Visual arts; Art history; Media studies; Genealogy; Sociology; Art; Literature; Psychology; Law; Archaeology; Political science","score_opus":0.02638871171058993,"score_gpt":0.2522460251493501,"score_spread":0.22585731343876014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081964008","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":[0.64398247,0.017635856,0.0008748706,0.007992462,0.001043544,0.00021768943,0.0108512705,0.00011507146,0.31728682],"genre_scores_gemma":[0.9219451,0.0071273237,0.00091082556,0.00067547715,0.00015841184,0.000046485493,0.0018957654,0.00007972957,0.06716078],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99945074,0.00006105977,0.000017985896,0.00006992557,0.0001950154,0.00020521185],"domain_scores_gemma":[0.9990024,0.00008872676,0.00008502275,0.000068652625,0.00050915836,0.00024612006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074628746,0.0003455087,0.0001711557,0.004588856,0.016349068,0.0030374902,0.00072816043,0.0005664925,0.010897552],"category_scores_gemma":[0.0016646516,0.00030223312,0.00017028171,0.0077293618,0.003277927,0.00096982496,0.0024046276,0.001251818,0.00067528145],"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":[0.0003139349,0.000058123973,0.03940808,0.00054688624,0.00005547303,0.0045612724,0.7432768,0.00013515132,0.0040279487,0.009664524,0.10158394,0.09636802],"study_design_scores_gemma":[0.000005645773,0.000016409944,0.24215679,0.00023593366,0.000032859112,0.0011634463,0.2588782,0.00003510292,0.0006853429,0.00020316296,0.49654275,0.00004441447],"about_ca_topic_score_codex":0.9623659,"about_ca_topic_score_gemma":0.9928504,"teacher_disagreement_score":0.037634075,"about_ca_system_score_codex":0.029939493,"about_ca_system_score_gemma":0.016725669,"threshold_uncertainty_score":0.21722728},"labels":[],"label_agreement":null},{"id":"W2091520208","doi":"10.1111/j.1467-8365.2006.00491.x","title":"RENAISSANCE GOTHIC: PICTURES OF GEOMETRY AND NARRATIVES OF ORNAMENT","year":2006,"lang":"en","type":"article","venue":"Art History","topic":"Architecture and Art History Studies","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":"University of Toronto","funders":"","keywords":"Inscribed figure; Narrative; Art; The Renaissance; Modernism (music); Ideal (ethics); Mode (computer interface); Visual arts; Reading (process); Italian Renaissance; Geometry; Literature; Art history; Philosophy; Mathematics; Linguistics; Computer science","score_opus":0.01791648259978066,"score_gpt":0.1928772642924133,"score_spread":0.17496078169263266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091520208","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":[0.63467467,0.005160419,0.0022328328,0.0083488645,0.00027921045,0.000028170309,0.00022200601,0.000116125586,0.34893772],"genre_scores_gemma":[0.98747104,0.0004725352,0.0002880208,0.0001478969,0.000023311994,0.000010047114,0.00002987792,0.00004061916,0.011516569],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931324,0.0004564901,0.000012933865,0.000040526345,0.000083715946,0.00009297192],"domain_scores_gemma":[0.9995167,0.00022224573,0.00007433218,0.0000712274,0.000042530482,0.0000729364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086894794,0.0007566906,0.00019643796,0.0015512207,0.0048566936,0.004872305,0.0005872507,0.0011451641,0.0032752159],"category_scores_gemma":[0.0015909289,0.00028121113,0.00021858276,0.0015682427,0.021045795,0.0035082896,0.0033937276,0.0019140417,0.00034522574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044048764,0.0000042708652,0.000411909,0.00004132434,0.0000037438087,0.0003966166,0.8571689,0.00008139973,0.00035560233,0.13628322,0.0023046285,0.0029042826],"study_design_scores_gemma":[0.000018012894,0.00003950507,0.005278401,0.00016779595,0.000016534039,0.0011831217,0.65735173,0.00021553031,0.00058590056,0.024372375,0.3107277,0.000043427703],"about_ca_topic_score_codex":0.012660591,"about_ca_topic_score_gemma":0.027456058,"teacher_disagreement_score":0.012660591,"about_ca_system_score_codex":0.003884087,"about_ca_system_score_gemma":0.00085028406,"threshold_uncertainty_score":0.028181195},"labels":[],"label_agreement":null},{"id":"W2112960981","doi":"10.1111/1467-8365.00293","title":"Beware of Domestic Objects: Vocation and equivocation in 1936","year":2001,"lang":"en","type":"article","venue":"Art History","topic":"Art, Politics, and Modernism","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":"Automatism (medicine); Paranoia; Criticism; Equivocation; Object (grammar); Relation (database); Art; Modernism (music); Painting; Art criticism; Aesthetics; Psychoanalysis; Art history; Performance art; Psychology; Literature; Philosophy; Epistemology; Computer science; Linguistics","score_opus":0.04944085855395731,"score_gpt":0.2449963110130953,"score_spread":0.195555452459138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2112960981","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26425287,0.003978177,0.0017345184,0.008063226,0.0003797933,0.000021749043,0.000027291357,0.000031643493,0.72151065],"genre_scores_gemma":[0.979051,0.0003920482,0.00014481167,0.00038604808,0.000070011454,0.000007929922,0.00000851314,0.000030198087,0.019909386],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9942883,0.0036103197,0.00011779773,0.0005129723,0.0007621963,0.00070843805],"domain_scores_gemma":[0.997569,0.0013503659,0.00021741766,0.00037395794,0.00027975722,0.00020955865],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005705856,0.0004097852,0.00061295874,0.0013618182,0.021516211,0.010562757,0.0010756832,0.0030997351,0.0040547694],"category_scores_gemma":[0.006783394,0.00039214923,0.00025706377,0.001281712,0.058577072,0.006531884,0.009043791,0.005994298,0.0004810035],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012978476,0.000010049823,0.00033899056,0.000015435326,0.0000023655314,0.00022261142,0.43013337,0.00002981051,0.00009222416,0.5647086,0.0012983179,0.0031353105],"study_design_scores_gemma":[0.000014044909,0.000052060936,0.002241228,0.00017880263,0.000010953689,0.00069009967,0.37343192,0.00018425724,0.0008533467,0.08726381,0.53504336,0.000036152258],"about_ca_topic_score_codex":0.013740318,"about_ca_topic_score_gemma":0.016801173,"teacher_disagreement_score":0.021516211,"about_ca_system_score_codex":0.011629865,"about_ca_system_score_gemma":0.0022154239,"threshold_uncertainty_score":0.084380984},"labels":[],"label_agreement":null},{"id":"W2116536269","doi":"10.1111/j.1467-8365.2009.00683.x","title":"‘ALMOST TRUE’: PETER RINDISBACHER'S EARLY IMAGES OF RUPERT'S LAND, 1821–26","year":2009,"lang":"en","type":"article","venue":"Art History","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":13,"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":"Materiality (auditing); Frontier; Mindset; Art history; Settlement (finance); Art; Clothing; Order (exchange); History; Visual arts; Aesthetics; Archaeology; Philosophy; Epistemology; Computer science","score_opus":0.018651876294650344,"score_gpt":0.1889579242143232,"score_spread":0.17030604791967285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2116536269","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3898614,0.037862554,0.0020133324,0.023177432,0.00057974464,0.000022373355,0.00007717324,0.00011035955,0.5462955],"genre_scores_gemma":[0.9452627,0.00493567,0.00050732,0.00075149455,0.00012219662,0.000008951661,0.00001634145,0.000058470992,0.04833692],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942964,0.00031957746,0.000009750396,0.000059875558,0.00009996001,0.0000811235],"domain_scores_gemma":[0.999757,0.00012808517,0.000033960947,0.000020976415,0.00003236968,0.000027533904],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000696939,0.00034523546,0.00014929732,0.0008435589,0.0047264467,0.0032454296,0.00041207904,0.00069154945,0.0026029206],"category_scores_gemma":[0.0014725626,0.00016000938,0.00009836318,0.00060117804,0.010276995,0.0020916269,0.0014774048,0.0013673037,0.00043343432],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051228628,0.000009976574,0.00083070365,0.000065405795,0.00000565704,0.0017060267,0.784717,0.0001403471,0.0008525579,0.1686388,0.01798091,0.025001297],"study_design_scores_gemma":[0.0000032364399,0.000025153273,0.0038410884,0.00021473134,0.000010079811,0.0019458765,0.18915518,0.00012105207,0.00087593304,0.0070055733,0.7967742,0.000027877155],"about_ca_topic_score_codex":0.048320487,"about_ca_topic_score_gemma":0.08755068,"teacher_disagreement_score":0.048320487,"about_ca_system_score_codex":0.0036190504,"about_ca_system_score_gemma":0.0008141576,"threshold_uncertainty_score":0.096078455},"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":"W2146616930","doi":"10.1111/j.0141-6790.2004.02702002.x","title":"Impressions of difference: the painted canvases of Helen McNicoll","year":2004,"lang":"en","type":"article","venue":"Art History","topic":"Historical Studies on Reproduction, Gender, Health, and Societal Changes","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":"Painting; Femininity; Context (archaeology); Nationality; Style (visual arts); Ideology; Art; Visual arts; Relation (database); Representation (politics); Art history; History; Gender studies; Sociology; Politics; Immigration; Law","score_opus":0.08027784319633001,"score_gpt":0.24087176094341312,"score_spread":0.1605939177470831,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2146616930","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19739954,0.017334022,0.0022908326,0.029400775,0.0018500553,0.00006858489,0.00018371188,0.00013016615,0.7513423],"genre_scores_gemma":[0.87089294,0.0050418964,0.0014022033,0.0018992065,0.00018815142,0.000024339257,0.000050387833,0.00012763383,0.12037318],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988207,0.00027602736,0.000011581565,0.00008405451,0.0005376727,0.0002698766],"domain_scores_gemma":[0.9991596,0.00026805323,0.000050618226,0.00007565788,0.0002517114,0.0001944385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011265621,0.0004530468,0.00021328557,0.0017363565,0.01729365,0.0089826435,0.0008821906,0.001079751,0.00931131],"category_scores_gemma":[0.0033087472,0.00025061314,0.00019358474,0.0015930565,0.016510352,0.0030865064,0.0033666703,0.0022563504,0.00051694],"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":[0.000072773815,0.000027300828,0.0010008028,0.00011716085,0.000012335304,0.0010580654,0.7272,0.0001492372,0.0013531296,0.14944638,0.0697688,0.049794026],"study_design_scores_gemma":[0.000006214583,0.000016202352,0.002707078,0.00017755464,0.000009795858,0.0004436888,0.21770257,0.00007982541,0.00063935807,0.004079975,0.77410346,0.00003423061],"about_ca_topic_score_codex":0.6148358,"about_ca_topic_score_gemma":0.8224274,"teacher_disagreement_score":0.6148358,"about_ca_system_score_codex":0.01921224,"about_ca_system_score_gemma":0.007480376,"threshold_uncertainty_score":0.77486503},"labels":[],"label_agreement":null},{"id":"W2160970150","doi":"10.1111/j.1467-8365.2006.00521.x","title":"REBECCA BELMORE AND JAMES LUNA ON LOCATION AT VENICE: THE ALLEGORICAL INDIAN REDUX","year":2006,"lang":"en","type":"article","venue":"Art History","topic":"Photography and Visual Culture","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 British Columbia","funders":"","keywords":"Allegory; Fountain; Art; Power (physics); Art history; Certainty; History; Visual arts; Philosophy","score_opus":0.01864004319317326,"score_gpt":0.20183983116484636,"score_spread":0.1831997879716731,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2160970150","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":[0.06628839,0.019655854,0.0012286374,0.1264891,0.005473413,0.000040888346,0.00014636244,0.00026651114,0.78041077],"genre_scores_gemma":[0.41328552,0.0042911856,0.0006225928,0.013447135,0.0008684994,0.000034881734,0.00006905635,0.00035697708,0.56702405],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989981,0.00043151708,0.000011784701,0.00012680035,0.00017755253,0.00025429076],"domain_scores_gemma":[0.9992461,0.00016124158,0.00004680978,0.000067169094,0.00014429515,0.00033447272],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008955342,0.0003710114,0.0003017618,0.00069734064,0.017872259,0.0068090376,0.0011434163,0.0018125847,0.020842846],"category_scores_gemma":[0.002106879,0.0002856067,0.00018462307,0.0005677414,0.0072475807,0.0031593733,0.003793104,0.0054190117,0.002474076],"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":[0.00006698412,0.000048279577,0.001168207,0.000115340394,0.000006979106,0.0010065553,0.19687694,0.00009691216,0.0007001479,0.14411671,0.61549395,0.04030299],"study_design_scores_gemma":[0.0000022816491,0.00000979762,0.0013710866,0.0002052385,0.0000022101785,0.0002032804,0.055584487,0.0000333852,0.00016275357,0.0015171162,0.94089156,0.000016817305],"about_ca_topic_score_codex":0.16783993,"about_ca_topic_score_gemma":0.4887073,"teacher_disagreement_score":0.16783993,"about_ca_system_score_codex":0.0074804043,"about_ca_system_score_gemma":0.002885576,"threshold_uncertainty_score":0.333726},"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":"W4248408392","doi":"10.1111/1467-8365.00286","title":"Occluded Front","year":2001,"lang":"en","type":"article","venue":"Art History","topic":"Contemporary Literature and Criticism","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":"Subjectivity; Front (military); Art; Art history; Psychoanalysis; Philosophy; Psychology; Geography; Epistemology","score_opus":0.03436122953924667,"score_gpt":0.1918359439122821,"score_spread":0.15747471437303542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248408392","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017868097,0.0059409263,0.00041479414,0.003055717,0.007923253,0.000043578115,0.000601378,0.00028986722,0.98155195],"genre_scores_gemma":[0.0005651736,0.001457554,0.00012480568,0.0008943224,0.000989091,0.000009392268,0.00017635453,0.000060094324,0.99572325],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978024,0.000019917188,0.000008656753,0.000045441833,0.000118885095,0.000026865688],"domain_scores_gemma":[0.99963534,0.000076571254,0.000017625922,0.000038005568,0.00015865176,0.00007385948],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00023581364,0.00064992736,0.0006847744,0.001755597,0.0019886694,0.0048494693,0.0010164415,0.0027003954,0.7404854],"category_scores_gemma":[0.0010068738,0.00034397273,0.0005724955,0.0015570178,0.0007326964,0.0028691466,0.0014692338,0.0020916914,0.6328531],"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":[0.000014446686,0.000019733363,0.000057314795,0.00013010143,0.0000016926257,0.00005188237,0.00005626941,0.000027606464,0.00021103614,0.009024075,0.91887134,0.07153454],"study_design_scores_gemma":[0.000002380934,0.0000035560765,0.00011214017,0.00006768799,8.61018e-7,0.000035885794,0.000045328692,0.000011874827,0.00003337694,0.00086159667,0.99882334,0.0000017860455],"about_ca_topic_score_codex":0.0040154867,"about_ca_topic_score_gemma":0.0115717165,"teacher_disagreement_score":0.7404854,"about_ca_system_score_codex":0.0010419864,"about_ca_system_score_gemma":0.00088182034,"threshold_uncertainty_score":0.370166},"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":"W4401027366","doi":"10.1093/arthis/ulae019","title":"Monumental Ephemera: British Sculpture in the Arctic, Icebergs in London, an Inuit Map","year":2024,"lang":"en","type":"article","venue":"Art History","topic":"Polar Research and Ecology","field":"Environmental Science","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; Arctic; Ephemera; Amateur; Art; The arctic; Archaeology; Craft; Art history; Painting; History; Visual arts; Oceanography; Geology","score_opus":0.00838974552346542,"score_gpt":0.22108321283812155,"score_spread":0.21269346731465613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401027366","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":[0.53705776,0.012951678,0.00036119032,0.0044960813,0.0003862816,0.000059643284,0.0025627953,0.00008276663,0.44204178],"genre_scores_gemma":[0.8361231,0.004098431,0.00026431886,0.00035830104,0.000052477855,0.000020401783,0.00048211115,0.00008342161,0.15851746],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997483,0.000043473174,0.000008981658,0.00003549223,0.00006376774,0.00010001371],"domain_scores_gemma":[0.999706,0.00005785489,0.00003874005,0.000022969409,0.00005672256,0.00011767668],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021672003,0.00021611503,0.00015110821,0.0012561525,0.006649259,0.0029686478,0.00044097603,0.00042209626,0.017256439],"category_scores_gemma":[0.00035470526,0.00022197633,0.00008746229,0.0032547181,0.0024012362,0.00077607477,0.0014854451,0.00045878778,0.0010824786],"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":[0.0005415012,0.000059918144,0.059679713,0.00160787,0.00005664643,0.010078027,0.5828996,0.000661985,0.0061317626,0.030420175,0.18231505,0.1255478],"study_design_scores_gemma":[0.0000033857425,0.000016081493,0.08891722,0.00034194757,0.000009638498,0.0007225842,0.1430129,0.000060988456,0.00029455507,0.0002510574,0.7663512,0.00001835034],"about_ca_topic_score_codex":0.8008869,"about_ca_topic_score_gemma":0.9570015,"teacher_disagreement_score":0.8008869,"about_ca_system_score_codex":0.007591375,"about_ca_system_score_gemma":0.003913,"threshold_uncertainty_score":0.40057135},"labels":[],"label_agreement":null}]}