{"meta":{"query_hash":"ba878438b88f","filters":{"venue":"IASPM Journal"},"cohort_total":33,"direct_labels_cover":0,"predictions_cover":33,"exported":33,"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/ba878438b88f","api":"https://metacan.xera.ac/api/v1/cohort?venue=IASPM+Journal"},"results":[{"id":"W1576075057","doi":"10.5429/2079-3871(2015)v5i1.7en","title":"Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach","year":2015,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Diverse Music Education Insights","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":"University of Toronto","funders":"","keywords":"Ethos; Music education; Context (archaeology); Sociology; Pedagogy; Autonomy; Popular music; Space (punctuation); Psychology; Visual arts; Art; Computer science; Political science","score_opus":0.11364041069060574,"score_gpt":0.33674872945224876,"score_spread":0.22310831876164303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1576075057","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5843536,0.004913522,0.000027420336,0.04867946,0.015621168,0.0002560501,0.0000014716975,0.000060641516,0.34608665],"genre_scores_gemma":[0.9462378,0.00006453689,0.0014201135,0.0019305657,0.004384081,0.000014366918,0.000016180737,0.000023613866,0.045908753],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986873,0.00045567917,0.0002855397,0.00016241777,0.00025762196,0.00015143031],"domain_scores_gemma":[0.9991029,0.00007807991,0.0002503024,0.00010310912,0.00035965673,0.000105958956],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00082303514,0.00011868341,0.00012691582,0.0001451151,0.00070598174,0.001653288,0.0001041168,0.00004228605,0.00096287334],"category_scores_gemma":[0.00017320724,0.000105730825,0.00002402135,0.00006044157,0.000076726894,0.0059388597,0.000087042376,0.00077887543,0.000051082436],"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":[0.000042086158,0.00026289502,0.00020342086,0.000013036391,0.000026487238,0.0000178519,0.8309372,0.000051488667,0.0000071173413,0.10912424,0.04727587,0.012038312],"study_design_scores_gemma":[0.00024204394,0.00006438025,0.00012238347,0.00010764467,0.000020246935,0.000080688544,0.43420503,0.000012403747,7.957983e-7,0.005389956,0.5596665,0.00008792042],"about_ca_topic_score_codex":0.0002107051,"about_ca_topic_score_gemma":0.00019596925,"teacher_disagreement_score":0.5123906,"about_ca_system_score_codex":0.00019451613,"about_ca_system_score_gemma":0.00030580472,"threshold_uncertainty_score":0.9999504},"labels":[],"label_agreement":null},{"id":"W1859203985","doi":"10.5429/2079-3871(2015)v5i1.1en","title":"Editorial Introduction: Popular Music in Education, Special Issue","year":2015,"lang":"en","type":"editorial","venue":"IASPM Journal","topic":"Diverse Music Education Insights","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":"Popular music; Music education; Jazz; Politics; Music history; Space (punctuation); Sociology; Guitar; Musicology; Visual arts; Music industry; Best practice; Media studies; Pedagogy; Aesthetics; Political science; Art; Management; Computer science; Law","score_opus":0.026072421623771467,"score_gpt":0.2598528576484807,"score_spread":0.23378043602470924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1859203985","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047039888,0.00042290764,3.9416426e-7,0.0015181659,0.9322948,0.00019105013,0.00006659657,0.000037727303,0.065421306],"genre_scores_gemma":[0.000004203914,0.000105322266,0.000059410424,0.00010144038,0.9164259,0.00002197865,0.00037753957,0.000066848734,0.08283735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960804,0.00021673058,0.0008934676,0.00047046572,0.0019071093,0.0004318566],"domain_scores_gemma":[0.99555457,0.00009035221,0.00067734666,0.0004235943,0.0029529645,0.00030115555],"candidate_categories":["metaepi_narrow","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009852799,0.00042537702,0.0005491674,0.0007521772,0.00047651428,0.0013962417,0.0006404472,0.00056224474,0.04736197],"category_scores_gemma":[0.0012317806,0.0004049309,0.00017803912,0.00012832628,0.00023683628,0.0008330766,0.00008048704,0.0024208708,0.002033329],"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":[0.000056389836,0.00029351303,0.0000015956923,0.00002573175,0.000048289294,0.000010157715,0.03473603,0.000003429796,2.2684345e-7,0.0037224742,0.9591588,0.0019434005],"study_design_scores_gemma":[0.00069193455,0.000090407,9.052189e-7,0.00011027165,0.00007788678,0.000015496353,0.010419115,1.6825032e-7,4.1608567e-7,0.0054225167,0.9827382,0.00043268388],"about_ca_topic_score_codex":0.00041913395,"about_ca_topic_score_gemma":0.0016256316,"teacher_disagreement_score":0.04532864,"about_ca_system_score_codex":0.0010721799,"about_ca_system_score_gemma":0.005580612,"threshold_uncertainty_score":0.9998806},"labels":[],"label_agreement":null},{"id":"W1982882476","doi":"10.5429/2079-3871(2014)v4i1.17en","title":"Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"Mixing (physics); Contemporary classical music; Art; Visual arts; Geography; Physics; Musical","score_opus":0.03956438413776471,"score_gpt":0.20857420714704195,"score_spread":0.16900982300927725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1982882476","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65745735,0.0030921309,0.00007005439,0.0005897982,0.0012738858,0.00010865353,0.000007709121,0.00009497414,0.33730543],"genre_scores_gemma":[0.9975629,0.000007377333,0.00008446263,0.0001828129,0.00035023212,0.000002149098,0.0000012396933,0.000008016455,0.0018008162],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992998,0.000053276144,0.00027767234,0.00009345501,0.00013211889,0.0001436503],"domain_scores_gemma":[0.9996024,0.000023750423,0.00015528436,0.0001208656,0.00006772572,0.000029985724],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029278168,0.000092904775,0.00019664736,0.0001350226,0.00023221293,0.00005198252,0.00018393465,0.00006060776,0.0010256792],"category_scores_gemma":[0.00006117759,0.00007118532,0.000073124815,0.000038800004,0.00021991896,0.00018729868,0.000024367866,0.00034613002,0.00001524146],"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":[0.000133592,0.00034946285,0.0043056686,0.00019726166,0.00011029205,0.00019864601,0.28667572,0.0000386275,0.005014617,0.10955647,0.49893355,0.094486095],"study_design_scores_gemma":[0.00067794387,0.00012352582,0.0005042825,0.00023194705,0.000010052911,0.000052347707,0.022577569,0.000045210574,0.00043292268,0.0042157485,0.97096103,0.00016744048],"about_ca_topic_score_codex":0.00008128696,"about_ca_topic_score_gemma":0.0014418097,"teacher_disagreement_score":0.47202745,"about_ca_system_score_codex":0.000029584235,"about_ca_system_score_gemma":0.00005022604,"threshold_uncertainty_score":0.9998875},"labels":[],"label_agreement":null},{"id":"W1987120664","doi":"10.5429/2079-3871(2014)v4i1.1en","title":"Introduction: Popular Music Perfomance","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"Performing arts; Prosumer; Aesthetics; Meaning (existential); Perspective (graphical); Popular music; Sociology; Psychology; Visual arts; Art; Engineering","score_opus":0.021152877597703734,"score_gpt":0.18240304746054392,"score_spread":0.1612501698628402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987120664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46261713,0.001912587,0.00075679796,0.008949623,0.026219476,0.0001374553,0.0000059680074,0.00018687706,0.49921408],"genre_scores_gemma":[0.81419325,0.00001016849,0.00020199512,0.0018341456,0.06861725,0.0000030400297,0.0000044415574,0.000017634242,0.115118094],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993784,0.000055979,0.00015199925,0.00011002115,0.00015632743,0.00014726867],"domain_scores_gemma":[0.99962,0.0000045707766,0.00008145316,0.00013009986,0.00008983545,0.00007402328],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022645645,0.00008540515,0.000103768056,0.000036038728,0.00084682653,0.00015290063,0.00012154823,0.000027028329,0.05345025],"category_scores_gemma":[0.000026222062,0.000064876825,0.000074684314,0.000016485421,0.00009649714,0.00022957797,0.000009415786,0.00029050856,0.00052621606],"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":[0.0000084291705,0.000023787326,0.000012989733,0.0000068532054,0.000012872583,0.0000068021686,0.023398979,0.000012620772,0.000121642624,0.12367884,0.845373,0.0073432163],"study_design_scores_gemma":[0.00015500597,0.00005364841,0.000060529324,0.0000098810915,0.000014171988,0.00017119596,0.0011969318,0.000017852317,0.000018342038,0.0018291211,0.9963758,0.00009750914],"about_ca_topic_score_codex":0.0000040944833,"about_ca_topic_score_gemma":0.00014021758,"teacher_disagreement_score":0.384096,"about_ca_system_score_codex":0.00002793958,"about_ca_system_score_gemma":0.00001344853,"threshold_uncertainty_score":0.94741505},"labels":[],"label_agreement":null},{"id":"W2037591901","doi":"10.5429/2079-3871(2012)v3i1.1en","title":"Introduction: Digital Nation: Copyright, Technology, Politics","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Copyright and Intellectual Property","field":"Business, Management and Accounting","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":"Politics; Intellectual property; Conversation; Copyright law; Revenue; Political science; Law and economics; Law; Public administration; Business; Sociology; Accounting","score_opus":0.01439303802777445,"score_gpt":0.19316008078239344,"score_spread":0.178767042754619,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2037591901","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18458438,0.0006939449,0.0027019903,0.13403276,0.005756975,0.00042386877,0.0000021994833,0.0005634366,0.67124045],"genre_scores_gemma":[0.9671354,0.000013772625,0.00016587778,0.0011976676,0.019913515,0.0000070871124,0.000007834981,0.000022555636,0.011536276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896556,0.0000035227733,0.00029991334,0.00017362903,0.00024511068,0.00031228465],"domain_scores_gemma":[0.9989571,0.00001429318,0.00014697961,0.00017097945,0.000686316,0.000024351477],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011452879,0.00014772732,0.00014146157,0.00043359518,0.00044026983,0.0016732726,0.0002936044,0.000088121094,0.037066042],"category_scores_gemma":[0.00027598924,0.00010341932,0.000077784694,0.00051299535,0.00012338164,0.0036756154,0.00011188837,0.00038332635,0.008633799],"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":[0.000004990794,0.00004661427,0.00047730372,0.000009335742,0.000021737025,0.000006649641,0.000019730322,0.0000017782809,0.00015894232,0.008214409,0.9718405,0.019198006],"study_design_scores_gemma":[0.00024451019,0.000020936563,0.00027464778,0.000013795321,0.000014251357,0.00020556651,0.00020862429,0.0028407217,0.00021855635,0.05225166,0.94353217,0.00017454768],"about_ca_topic_score_codex":0.000031817726,"about_ca_topic_score_gemma":0.0000025769089,"teacher_disagreement_score":0.78255105,"about_ca_system_score_codex":0.000056162047,"about_ca_system_score_gemma":0.000031733365,"threshold_uncertainty_score":0.99936306},"labels":[],"label_agreement":null},{"id":"W2046524172","doi":"10.5429/2079-3871(2012)v3i1.3en","title":"Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"University of Toronto; York University","keywords":"Appropriation; Intellectual property; Commons; Craft; Law and economics; Property (philosophy); Sociology; Copyright law; Humanity; Political science; Business; Epistemology; Law","score_opus":0.04858945188314635,"score_gpt":0.2014882541858378,"score_spread":0.15289880230269143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2046524172","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22198625,0.0004882936,0.000075260046,0.0008118955,0.00025541696,0.00018658384,0.00003143852,0.000048939386,0.77611595],"genre_scores_gemma":[0.95368266,0.0000053440385,0.000028735554,0.00039900068,0.0016919455,0.000007064373,0.000014404547,0.00001363505,0.0441572],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993597,0.000038793394,0.00019928631,0.00012189859,0.00008230025,0.00019800803],"domain_scores_gemma":[0.9995609,0.000031924734,0.00009214586,0.0000720356,0.000079735444,0.00016328736],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000062898565,0.00015070973,0.00019286052,0.000045555356,0.00087503943,0.0010022843,0.00012664754,0.00005049201,0.011337676],"category_scores_gemma":[0.000034934343,0.00008494907,0.00007026135,0.000016881133,0.00028114504,0.0009977738,0.000039410956,0.00047304554,0.00018073042],"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":[0.000011273256,0.000039955663,0.0013640637,0.000012274835,0.00013352981,0.000012159267,0.31247067,0.0000010957394,0.00001107399,0.009810103,0.64690226,0.02923153],"study_design_scores_gemma":[0.00025936816,0.00014171412,0.0003380756,0.00004391334,0.000025857496,0.00008989566,0.024716988,0.00001836388,0.000008348884,0.002891905,0.9712877,0.00017782598],"about_ca_topic_score_codex":0.00003247197,"about_ca_topic_score_gemma":0.000065244254,"teacher_disagreement_score":0.73195875,"about_ca_system_score_codex":0.00003508976,"about_ca_system_score_gemma":0.000030949323,"threshold_uncertainty_score":0.9895661},"labels":[],"label_agreement":null},{"id":"W2329580551","doi":"10.5429/2079-3871(2011)v2i1-2.3en","title":"How did popular music come to mean música popular?","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Translation Studies and Practices","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":"Concordia University; Université Laval","funders":"","keywords":"Popular music; Popular culture; Confusion; Legitimacy; Sociology; Field (mathematics); Set (abstract data type); Linguistics; Aesthetics; Media studies; Political science; Art; Visual arts; Psychology; Computer science; Law; Philosophy; Mathematics","score_opus":0.11490470172104725,"score_gpt":0.2841207890177127,"score_spread":0.16921608729666546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329580551","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7184348,0.02562303,0.0020382984,0.0813575,0.016951896,0.00061723887,0.0001226634,0.0002755545,0.15457901],"genre_scores_gemma":[0.9886519,0.00012025929,0.00039828778,0.001485055,0.0049613426,0.00000417381,0.0000036487309,0.000022269565,0.004353065],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988806,0.00008422051,0.00022293546,0.00010394926,0.00031903805,0.00038922127],"domain_scores_gemma":[0.99933296,0.0000368014,0.00014817796,0.00013734143,0.00009422729,0.00025047676],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00037940106,0.00014644003,0.00019980117,0.000102014,0.00086210656,0.0006813354,0.00015588627,0.000029812285,0.0017179251],"category_scores_gemma":[0.000020001418,0.00011090282,0.00012905127,0.000042562984,0.000050578736,0.001029648,0.00003305978,0.00028955916,0.00021798063],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021704297,0.0005175064,0.021146158,0.00006334291,0.00071480783,0.00007515996,0.33729827,0.000023354267,0.0003753099,0.24177292,0.23339663,0.16439946],"study_design_scores_gemma":[0.00024652627,0.000070253875,0.0016042936,0.000016945914,0.000058107154,0.000064756816,0.0071889153,0.0000022561508,0.000010741505,0.0005251845,0.9900416,0.00017042387],"about_ca_topic_score_codex":0.00005301933,"about_ca_topic_score_gemma":0.00059587666,"teacher_disagreement_score":0.75664496,"about_ca_system_score_codex":0.000024093211,"about_ca_system_score_gemma":0.000009920784,"threshold_uncertainty_score":0.9991946},"labels":[],"label_agreement":null},{"id":"W2561312372","doi":"10.5429/2079-3871(2016)v6i2.6en","title":"The Concept Album as Visual—Sonic—Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto","year":2016,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Radio, Podcasts, and Digital Media","field":"Social Sciences","cited_by":14,"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 Ottawa","funders":"Social Sciences and Humanities Research Council of Canada; Université Laval","keywords":"Spectacle; Storytelling; Context (archaeology); Variety (cybernetics); Art; Meaning (existential); Perspective (graphical); Visual arts; Aesthetics; Literature; Computer science; Narrative; History; Epistemology; Philosophy; Political science","score_opus":0.01297884068051133,"score_gpt":0.30415857214577563,"score_spread":0.2911797314652643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2561312372","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8218054,0.004972581,0.0003721004,0.024555206,0.0074444427,0.00077137334,0.000061827384,0.00008672268,0.13993032],"genre_scores_gemma":[0.9891425,0.0006898568,0.00001329912,0.00031987985,0.0036499023,0.0000085586735,4.512659e-7,0.000019431482,0.006156157],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99715865,0.00044458892,0.00047178703,0.00018109482,0.0011091067,0.00063476135],"domain_scores_gemma":[0.9972335,0.001642369,0.00030177456,0.0002047704,0.00024550944,0.0003720773],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015009799,0.00017019795,0.0002456604,0.000056225897,0.0012067596,0.0002589942,0.00084087,0.000108114866,0.0011375116],"category_scores_gemma":[0.001086589,0.000079110316,0.00019699102,0.00029347398,0.0020637664,0.0004196442,0.00003142308,0.00035791512,0.00011692607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006561895,0.000296214,0.003130015,0.0000072021676,0.00031731772,0.0001524469,0.11467156,0.000008714671,0.0032466135,0.11052718,0.23449755,0.532489],"study_design_scores_gemma":[0.0019760614,0.000573196,0.0043938356,0.00012441579,0.00006368759,0.00015017089,0.036505662,0.000009102317,0.0022348482,0.0049433457,0.9486837,0.00034197464],"about_ca_topic_score_codex":0.0002277793,"about_ca_topic_score_gemma":0.0029088613,"teacher_disagreement_score":0.71418613,"about_ca_system_score_codex":0.00016782289,"about_ca_system_score_gemma":0.0010839108,"threshold_uncertainty_score":0.9997756},"labels":[],"label_agreement":null},{"id":"W2561553033","doi":"10.5429/2079-3871(2016)v6i2.14en","title":"REVIEW | Making Aboriginal Men and Music in Central Australia","year":2016,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Australian Indigenous Culture and History","field":"Social Sciences","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; Geography","score_opus":0.05846218665979214,"score_gpt":0.36968984846229824,"score_spread":0.3112276618025061,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2561553033","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5424815,0.12057017,0.0004552607,0.032467555,0.005408816,0.0016609869,0.000040675477,0.00018824996,0.29672682],"genre_scores_gemma":[0.95844036,0.025552623,0.00030130192,0.000711783,0.001274743,0.000003558868,3.3988448e-7,0.000010090984,0.013705201],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99885654,0.00014204365,0.00021677108,0.00011569388,0.00022142289,0.00044753958],"domain_scores_gemma":[0.9995908,0.00002100769,0.00011890475,0.000059872367,0.00004197891,0.0001674],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000657736,0.00008195626,0.00014913535,0.000057802812,0.00040355357,0.000051514948,0.00015548068,0.000065211076,0.0018605955],"category_scores_gemma":[0.000035015746,0.000055727793,0.000048175396,0.000117040145,0.00017725206,0.0002866073,0.0000065860963,0.00019790257,0.0000541893],"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":[0.00004461102,0.00011207349,0.08498585,0.00023754363,0.000060985923,0.0006655631,0.12626539,7.292352e-7,0.00074643764,0.01987522,0.697383,0.069622606],"study_design_scores_gemma":[0.00023990357,0.000023062423,0.023522941,0.0014950506,0.000020211472,0.00008088031,0.0012918693,3.697678e-8,0.0000061025007,0.0006858235,0.9725081,0.0001260236],"about_ca_topic_score_codex":0.00058455835,"about_ca_topic_score_gemma":0.0034418488,"teacher_disagreement_score":0.4159589,"about_ca_system_score_codex":0.00030186423,"about_ca_system_score_gemma":0.00024366248,"threshold_uncertainty_score":0.9990518},"labels":[],"label_agreement":null},{"id":"W3111698101","doi":"10.5429/2079-3871(2020)v10i2.1en","title":"Editorial Introduction: \"Once the Waters Start to Rise...\"","year":2020,"lang":"en","type":"editorial","venue":"IASPM Journal","topic":"American Environmental and Regional History","field":"Environmental Science","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":"Political science","score_opus":0.004456848108226538,"score_gpt":0.19552266741170748,"score_spread":0.19106581930348093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3111698101","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001500387,0.00013066675,0.00016963364,0.010423653,0.9875803,0.00017340989,0.00003543089,0.000028115108,0.0013087756],"genre_scores_gemma":[0.0001239824,0.00021678851,0.00031888208,0.00052897644,0.99204767,0.0000151697795,0.000024284926,0.000053050164,0.0066711996],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.996185,0.00017423047,0.00040671858,0.0005443507,0.0022401651,0.00044950386],"domain_scores_gemma":[0.99873894,0.00012404565,0.0003100795,0.0003353496,0.000018608534,0.00047294787],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004446513,0.00036031802,0.00033583824,0.000036677982,0.00065964274,0.00006756346,0.000971349,0.00029756338,0.0026828432],"category_scores_gemma":[0.00017191275,0.00023096948,0.00023198653,0.0001903309,0.0014272032,0.00020159049,0.00047596416,0.0020973184,0.0041409847],"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":[0.00012978018,0.000032070082,0.000016934238,0.0000032585676,0.00003392216,0.00002652758,0.0010887185,0.0010346822,0.00023490352,5.526705e-7,0.9960876,0.0013110175],"study_design_scores_gemma":[0.00022538137,0.0002554246,0.000045030592,0.000013993762,0.000050719384,0.000038009548,0.0004896245,0.0000028430086,0.000018159932,0.000050917308,0.9984899,0.00031998492],"about_ca_topic_score_codex":0.00009117969,"about_ca_topic_score_gemma":0.000008110951,"teacher_disagreement_score":0.0098946765,"about_ca_system_score_codex":0.0013014139,"about_ca_system_score_gemma":0.00009960216,"threshold_uncertainty_score":0.99822885},"labels":[],"label_agreement":null},{"id":"W4200584937","doi":"10.5429/2079-3871(2021)v11i2.2en","title":"Indigenizing the Mainstream: Music Festivals and Indigenous Popular Music","year":2021,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Sport and Mega-Event Impacts","field":"Social Sciences","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":"Indigenous; Mainstream; Performative utterance; Popular music; Dance; Music industry; Politics; Singing; Sovereignty; Media studies; Call and response; Visual arts; Sociology; Music education; Political science; History; Aesthetics; Art; Law; Management","score_opus":0.05997320619974686,"score_gpt":0.3069852642694255,"score_spread":0.24701205806967866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200584937","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9890144,0.0029321278,0.000034043434,0.0012741615,0.0009360773,0.00012124189,0.0000024011695,0.000026247162,0.0056593134],"genre_scores_gemma":[0.99513644,0.0006965349,0.00020614291,0.00081934704,0.0012218822,0.0000019195077,0.0000025223424,0.000014024488,0.0019011674],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99836457,0.00021169145,0.00022868179,0.00014777407,0.00050878833,0.00053850334],"domain_scores_gemma":[0.99918336,0.00006982114,0.00016793836,0.0001415444,0.000118821736,0.00031849727],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012694255,0.000117382144,0.00016692525,0.00007425768,0.0019863474,0.0003706584,0.00022266916,0.00009342335,0.0004971867],"category_scores_gemma":[0.00033741654,0.00008505737,0.00009441966,0.00035786803,0.00015159679,0.0002812756,0.000054777378,0.00039549588,0.000022105083],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003770993,0.0002627984,0.12424897,0.000021512753,0.0002705439,0.003518607,0.5401632,0.000026695161,0.0026589038,0.01022958,0.01143591,0.30712554],"study_design_scores_gemma":[0.0010800818,0.000104153805,0.1320873,0.00018582282,0.0001733559,0.002492405,0.06857961,0.0000031790298,0.0008724846,0.009161999,0.78473955,0.00052002206],"about_ca_topic_score_codex":0.0005896489,"about_ca_topic_score_gemma":0.0029677188,"teacher_disagreement_score":0.7733037,"about_ca_system_score_codex":0.0001083694,"about_ca_system_score_gemma":0.0008641833,"threshold_uncertainty_score":0.99931294},"labels":[],"label_agreement":null},{"id":"W4200609059","doi":"10.5429/2079-3871(2021)v11i2.5en","title":"Tanya Tagaq Covers Nirvana: “Rape Me” and a History of Settler Colonial Violence","year":2021,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Indigenous Studies and Ecology","field":"Health Professions","cited_by":2,"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":"Colonialism; Indigenous; Admiration; State (computer science); Retributive justice; Singing; History; Sociology; Art; Law; Literature; Political science; Economic Justice; Archaeology","score_opus":0.03078636860119479,"score_gpt":0.33621678417859957,"score_spread":0.3054304155774048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200609059","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96935713,0.009051409,0.00015843128,0.004204917,0.0054571573,0.00023011945,0.00002816142,0.000016092232,0.011496566],"genre_scores_gemma":[0.9807299,0.0069705723,0.0006675525,0.0043660896,0.0008341417,0.000017753819,0.000003556046,0.000024673285,0.0063857953],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983439,0.00028658725,0.00046704293,0.00014579992,0.00016392747,0.00059273106],"domain_scores_gemma":[0.99876165,0.0002429091,0.0003387883,0.00012073556,0.000409077,0.00012682386],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00065831194,0.00010244055,0.00031562586,0.00005681847,0.0011709072,0.000003449694,0.00009259715,0.00015474447,0.0019558338],"category_scores_gemma":[0.00022545924,0.00009137643,0.000066784276,0.0000687877,0.00011776194,0.0000629309,0.00014450142,0.0006795932,0.000058462992],"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":[0.00052853796,0.00030992206,0.22539836,0.00036710757,0.0005225701,0.0010456168,0.17560765,0.000042449432,0.0044549913,0.0027501702,0.5843763,0.0045963605],"study_design_scores_gemma":[0.0037867553,0.000609627,0.11352661,0.0004844692,0.00016177232,0.00057328894,0.050821934,0.00008484808,0.00008134927,0.002023124,0.82747734,0.00036888596],"about_ca_topic_score_codex":0.00038037164,"about_ca_topic_score_gemma":0.0033753205,"teacher_disagreement_score":0.24310108,"about_ca_system_score_codex":0.0007981841,"about_ca_system_score_gemma":0.0018834209,"threshold_uncertainty_score":0.9989565},"labels":[],"label_agreement":null},{"id":"W4214599843","doi":"10.5429/2079-3871(2019)v9i1.1en","title":"Editorial Introduction","year":2019,"lang":"es","type":"article","venue":"IASPM Journal","topic":"Posthumanist Ethics and Activism","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":"York University","funders":"","keywords":"Political science","score_opus":0.014006895350983354,"score_gpt":0.3100862696727117,"score_spread":0.2960793743217283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214599843","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21046086,0.00020978034,0.000035957073,0.023592945,0.7252746,0.00013811835,0.000004880173,0.000028049899,0.040254794],"genre_scores_gemma":[0.48983636,0.0006136131,0.000022582999,0.00007998587,0.50626945,4.0688468e-7,7.200784e-7,0.0000103933435,0.0031664914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99794555,0.00027393314,0.00024941197,0.0001975192,0.0009593614,0.00037422264],"domain_scores_gemma":[0.9990326,0.00009280051,0.00027458215,0.00015521326,0.0002718369,0.00017292149],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0020132943,0.00012595618,0.00018252726,0.000080832884,0.00073566264,0.00080158934,0.0003121005,0.00026764112,0.0021484909],"category_scores_gemma":[0.00019538455,0.00011327484,0.0001441127,0.000158341,0.00015612344,0.00053237437,0.000043630134,0.0012377696,0.0015101081],"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":[0.000094480434,0.00016613676,0.0010290091,0.000019136849,0.00008460962,0.000007319902,0.008944259,0.000018605268,0.0034939214,0.085197695,0.8898503,0.01109448],"study_design_scores_gemma":[0.00044216955,0.00016789656,0.0007471277,0.00003656886,0.000022461832,0.000021969197,0.0012996543,0.000009858834,0.00009910187,0.01111812,0.9858815,0.00015358027],"about_ca_topic_score_codex":0.00011601768,"about_ca_topic_score_gemma":0.000012475714,"teacher_disagreement_score":0.2793755,"about_ca_system_score_codex":0.00016909042,"about_ca_system_score_gemma":0.00040114153,"threshold_uncertainty_score":0.99926734},"labels":[],"label_agreement":null},{"id":"W4242441556","doi":"10.5429/2079-3871(2012)v3i1.11en","title":"Cultural Globalization and Music: African Artists in Transnational Networks","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Cultural Industries and Urban Development","field":"Social Sciences","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":"Globalization; Sociology; Aesthetics; Visual arts; Political science; Art","score_opus":0.03317685610569797,"score_gpt":0.2761459288814238,"score_spread":0.24296907277572583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242441556","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94243246,0.0005579149,0.00073181634,0.040634193,0.0005703952,0.00025235204,0.0000016137539,0.000025192718,0.014794067],"genre_scores_gemma":[0.99737984,0.00015821622,0.00021114509,0.0001635746,0.00028128814,0.0000045438137,0.0000029873756,0.0000024051837,0.0017960083],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.9992593,0.00006679781,0.00017118057,0.00007622934,0.00022446178,0.00020203757],"domain_scores_gemma":[0.9996555,0.00002011461,0.000056940138,0.00001984618,0.00012307461,0.00012451551],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022077901,0.00005735508,0.000068856934,0.000030166388,0.00030749314,0.00020265079,0.00007423516,0.00006419107,0.0010959357],"category_scores_gemma":[0.00003524651,0.00004393911,0.00002079676,0.00021474824,0.00008769364,0.00032900262,0.000009614349,0.0001501491,0.00000362563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032239554,0.00012883617,0.1176521,0.0000060145358,0.000060522463,0.00004578406,0.07454346,0.0020394335,0.0001365421,0.067310065,0.41976854,0.31827646],"study_design_scores_gemma":[0.00072476955,0.000034447552,0.6004996,0.000033441414,0.0000089482355,0.0000756302,0.029035639,0.0014876934,0.000008780907,0.0057722856,0.3620319,0.00028689555],"about_ca_topic_score_codex":0.00063156546,"about_ca_topic_score_gemma":0.0030548067,"teacher_disagreement_score":0.48284745,"about_ca_system_score_codex":0.00013412506,"about_ca_system_score_gemma":0.00006495338,"threshold_uncertainty_score":0.9998172},"labels":[],"label_agreement":null},{"id":"W4243146906","doi":"10.5429/2079-3871(2014)v4i1.14en","title":"Playing it Queer: Popular Music, Identity and Queer World-making","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Asian Culture and Media Studies","field":"Social Sciences","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":"Lakehead University","funders":"","keywords":"Queer; Identity (music); Queer theory; Gender studies; Sociology; Popular music; Art; Aesthetics; Visual arts","score_opus":0.04359756962549152,"score_gpt":0.3412715879707009,"score_spread":0.29767401834520935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243146906","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43023568,0.009386119,0.0126943085,0.03974429,0.007091962,0.00042705305,0.000004150936,0.0001874634,0.500229],"genre_scores_gemma":[0.9925832,0.0003266738,0.0009988114,0.0011780194,0.0023846275,0.0000022090614,2.3518292e-7,0.000008469199,0.0025177689],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998736,0.00017086706,0.00019459211,0.00013210539,0.00043687172,0.00032953633],"domain_scores_gemma":[0.99948156,0.00006239069,0.00013112358,0.00006869906,0.000095062045,0.00016114209],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012362173,0.00009678779,0.00017146707,0.00008466169,0.0015785865,0.0002632112,0.00016718222,0.000055094108,0.00018761613],"category_scores_gemma":[0.000512737,0.00007953582,0.00006855392,0.00017315875,0.0001538204,0.0005511743,0.000057483536,0.00030516332,0.000030328463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003478293,0.00006402292,0.25206828,0.00004456736,0.00029448344,0.00018171781,0.37247622,0.000010110892,0.00040197338,0.09939794,0.17983642,0.0951895],"study_design_scores_gemma":[0.00039951975,0.00002930456,0.032345146,0.000181947,0.00008691092,0.000046162146,0.026916198,0.0000132582445,0.000014044854,0.010167736,0.9295379,0.0002619046],"about_ca_topic_score_codex":0.00020853108,"about_ca_topic_score_gemma":0.015039137,"teacher_disagreement_score":0.74970144,"about_ca_system_score_codex":0.00006297485,"about_ca_system_score_gemma":0.000052972497,"threshold_uncertainty_score":0.9997212},"labels":[],"label_agreement":null},{"id":"W4246400807","doi":"10.5429/2079-3871(2019)v9i2.1en","title":"Editorial Introduction","year":2019,"lang":"es","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"York University","funders":"","keywords":"Philosophy","score_opus":0.008206371524755202,"score_gpt":0.1958144426108499,"score_spread":0.1876080710860947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246400807","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.077413104,0.0010580543,0.0000058964497,0.0012200692,0.83416927,0.00010737247,0.000016547008,0.00002891187,0.085980766],"genre_scores_gemma":[0.09736817,0.00005799836,0.000010482141,0.00017667246,0.8318133,9.3749713e-7,0.000006305199,0.000017330485,0.07054883],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880993,0.00009147791,0.00028089114,0.00017437438,0.00040029892,0.00024303484],"domain_scores_gemma":[0.9992546,0.000014974545,0.00020990352,0.0001703605,0.00023790145,0.000112304224],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032163307,0.00016277589,0.00020034602,0.00007038896,0.0007100831,0.0008852718,0.00016844455,0.0001401931,0.09748751],"category_scores_gemma":[0.000025360525,0.00012928389,0.0001706171,0.000020889009,0.00009491232,0.00045426868,0.000021012565,0.0008390462,0.003906066],"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":[0.00007545026,0.000058358026,0.00004725183,0.000031203683,0.000057869605,0.0000050329795,0.0139261475,0.000011959268,0.00042313433,0.068799004,0.91514564,0.001418971],"study_design_scores_gemma":[0.00051456946,0.00019259242,0.000040653886,0.000052130792,0.000052104297,0.00008239754,0.0024127236,0.0000043765135,0.000017349694,0.0005597695,0.99588996,0.00018138018],"about_ca_topic_score_codex":0.000009322745,"about_ca_topic_score_gemma":0.000013149636,"teacher_disagreement_score":0.09358144,"about_ca_system_score_codex":0.00009600734,"about_ca_system_score_gemma":0.00009619441,"threshold_uncertainty_score":0.9968695},"labels":[],"label_agreement":null},{"id":"W4389965558","doi":"10.5429/592","title":"Fresh at Twenty: the Oral History of Mint Records","year":2012,"lang":"fr","type":"article","venue":"IASPM Journal","topic":"Cultural Industries and Urban Development","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":true,"ca_institutions":"Concordia University","funders":"","keywords":"Oral history; History; Historical record; Art; Art history; Archaeology; Biography","score_opus":0.10551887860915218,"score_gpt":0.2946045604913943,"score_spread":0.1890856818822421,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389965558","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6671764,0.15525481,0.000020320489,0.06200018,0.044842213,0.00018588571,0.00001295631,0.00001337932,0.07049385],"genre_scores_gemma":[0.23995122,0.0029166564,0.0002798381,0.0005833369,0.0036582141,0.000002465854,0.0000013159666,0.000011579014,0.75259537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980122,0.00032638662,0.000445363,0.000093074144,0.0005456887,0.00057728495],"domain_scores_gemma":[0.998889,0.000101442754,0.00040896115,0.00011956854,0.00015720725,0.00032377773],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015593884,0.0001404592,0.00020692078,0.000029898974,0.00045240283,0.000035429344,0.0003395433,0.00016564419,0.023746947],"category_scores_gemma":[0.00011966896,0.000090953836,0.00018847799,0.00016588945,0.0007019108,0.00035412688,0.0001147394,0.0005090081,0.00018112166],"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":[0.000015743884,0.00006777502,0.02292726,0.000005118723,0.00006267057,0.0000059864083,0.022565667,0.0000019803035,0.00004590861,0.0010174845,0.8953697,0.057914715],"study_design_scores_gemma":[0.00017057123,0.00004589661,0.015130229,0.00006624377,0.000057191457,0.0001141607,0.008590785,0.0000035846958,0.00007789892,0.00016809738,0.9754411,0.00013426969],"about_ca_topic_score_codex":0.003361198,"about_ca_topic_score_gemma":0.0029677174,"teacher_disagreement_score":0.68210155,"about_ca_system_score_codex":0.0030529308,"about_ca_system_score_gemma":0.000542749,"threshold_uncertainty_score":0.9771455},"labels":[],"label_agreement":null},{"id":"W4389968045","doi":"10.5429/683","title":"Playing it Queer: Popular Music, Identity and Queer World-making","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Gender, Feminism, and Media","field":"Social Sciences","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":"Lakehead University","funders":"","keywords":"Queer; Identity (music); Sexual identity; Gender studies; Sociology; Art; Human sexuality; Aesthetics","score_opus":0.06189747842666266,"score_gpt":0.33980130682559795,"score_spread":0.2779038283989353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389968045","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94765884,0.0017273666,0.0010296177,0.00414525,0.0024620001,0.0002032368,0.0000014476453,0.00005024441,0.04272198],"genre_scores_gemma":[0.9929801,0.00033159103,0.000890584,0.0011287661,0.0014780657,0.00000501443,4.0908935e-7,0.000012625209,0.003172823],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99834687,0.00016748824,0.00027140326,0.00016396331,0.00058254175,0.0004677316],"domain_scores_gemma":[0.99922323,0.00006717236,0.00015864114,0.00010336013,0.00012936903,0.0003182237],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011873585,0.00011333348,0.00016762776,0.00014677904,0.0010893529,0.0005683876,0.0002526413,0.00008319823,0.0017168662],"category_scores_gemma":[0.00028270815,0.00010358657,0.00008077471,0.00020193587,0.00013125667,0.0010020145,0.000060446207,0.00039327837,0.00013736654],"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":[0.000018989513,0.000104181454,0.31101424,0.000048382706,0.00018824862,0.00027072977,0.4551889,0.000016379721,0.001987161,0.017791742,0.15100707,0.062363975],"study_design_scores_gemma":[0.0015943843,0.00008580165,0.32836282,0.000433479,0.00019306707,0.00031669004,0.21821406,0.00010200627,0.00011760297,0.047885645,0.40163904,0.0010554066],"about_ca_topic_score_codex":0.0013224852,"about_ca_topic_score_gemma":0.007196905,"teacher_disagreement_score":0.25063196,"about_ca_system_score_codex":0.00009120378,"about_ca_system_score_gemma":0.00015508501,"threshold_uncertainty_score":0.9991957},"labels":[],"label_agreement":null},{"id":"W4389968057","doi":"10.5429/ij.v5i1.706","title":"Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach","year":2015,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Diverse Music Education Insights","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":"Music education; Ethos; Context (archaeology); Popular music; Sociology; Pedagogy; Autonomy; Ethnomusicology; Space (punctuation); Psychology; Musical; Visual arts; Art; Computer science; Political science","score_opus":0.11364041069060574,"score_gpt":0.33674872945224876,"score_spread":0.22310831876164303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389968057","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5843536,0.004913522,0.000027420336,0.04867946,0.015621168,0.0002560501,0.0000014716975,0.000060641516,0.34608665],"genre_scores_gemma":[0.9462378,0.00006453689,0.0014201135,0.0019305657,0.004384081,0.000014366918,0.000016180737,0.000023613866,0.045908753],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986873,0.00045567917,0.0002855397,0.00016241777,0.00025762196,0.00015143031],"domain_scores_gemma":[0.9991029,0.00007807991,0.0002503024,0.00010310912,0.00035965673,0.000105958956],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00082303514,0.00011868341,0.00012691582,0.0001451151,0.00070598174,0.001653288,0.0001041168,0.00004228605,0.00096287334],"category_scores_gemma":[0.00017320724,0.000105730825,0.00002402135,0.00006044157,0.000076726894,0.0059388597,0.000087042376,0.00077887543,0.000051082436],"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":[0.000042086158,0.00026289502,0.00020342086,0.000013036391,0.000026487238,0.0000178519,0.8309372,0.000051488667,0.0000071173413,0.10912424,0.04727587,0.012038312],"study_design_scores_gemma":[0.00024204394,0.00006438025,0.00012238347,0.00010764467,0.000020246935,0.000080688544,0.43420503,0.000012403747,7.957983e-7,0.005389956,0.5596665,0.00008792042],"about_ca_topic_score_codex":0.0002107051,"about_ca_topic_score_gemma":0.00019596925,"teacher_disagreement_score":0.5123906,"about_ca_system_score_codex":0.00019451613,"about_ca_system_score_gemma":0.00030580472,"threshold_uncertainty_score":0.9999504},"labels":[],"label_agreement":null},{"id":"W4389968058","doi":"10.5429/694","title":"Introduction: Popular Music Performance","year":2014,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"Performing arts; Prosumer; Aesthetics; Meaning (existential); Popular music; Perspective (graphical); Sociology; Psychology; Visual arts; Art; Engineering","score_opus":0.021108266160028977,"score_gpt":0.17557804141729244,"score_spread":0.15446977525726346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389968058","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64551514,0.00052577636,0.00015897266,0.0027556869,0.012930351,0.00006919161,0.000002355706,0.00009282338,0.33794972],"genre_scores_gemma":[0.879731,0.000011731421,0.00010798396,0.0011168629,0.04215222,0.000002051978,0.0000037204086,0.000011921776,0.07686249],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943554,0.000039753682,0.00014651057,0.0000898476,0.00014703294,0.00014133094],"domain_scores_gemma":[0.99965864,0.0000033423678,0.00007524755,0.00011407898,0.000081688384,0.000067020075],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022858402,0.00007848877,0.00009217099,0.000038575115,0.0008339381,0.00012964907,0.00011062088,0.000024822273,0.043052588],"category_scores_gemma":[0.000016113672,0.00005819249,0.000059642683,0.000016489734,0.00008316878,0.00027937058,0.000008934512,0.00027284012,0.0005475518],"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":[0.000011095808,0.000024391054,0.000026905396,0.000011561871,0.00001402885,0.0000037259376,0.022769544,0.00001764064,0.00008355729,0.06937665,0.882132,0.025528895],"study_design_scores_gemma":[0.00014502747,0.0000683183,0.000108812645,0.000010475392,0.000012491752,0.00015659485,0.0008386243,0.000028739903,0.000025646954,0.00052438723,0.9979906,0.00009028823],"about_ca_topic_score_codex":0.0000025168272,"about_ca_topic_score_gemma":0.00006343507,"teacher_disagreement_score":0.26108724,"about_ca_system_score_codex":0.000025661095,"about_ca_system_score_gemma":0.000012918334,"threshold_uncertainty_score":0.9578222},"labels":[],"label_agreement":null},{"id":"W4389968080","doi":"10.5429/628","title":"Cultural Globalization and Music: African Artists in Transnational Networks","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Cultural Industries and Urban Development","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":"York University","funders":"","keywords":"Globalization; Visual arts; Aesthetics; Sociology; Political science; Art","score_opus":0.03317685610569797,"score_gpt":0.2761459288814238,"score_spread":0.24296907277572583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389968080","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94243246,0.0005579149,0.00073181634,0.040634193,0.0005703952,0.00025235204,0.0000016137539,0.000025192718,0.014794067],"genre_scores_gemma":[0.99737984,0.00015821622,0.00021114509,0.0001635746,0.00028128814,0.0000045438137,0.0000029873756,0.0000024051837,0.0017960083],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.9992593,0.00006679781,0.00017118057,0.00007622934,0.00022446178,0.00020203757],"domain_scores_gemma":[0.9996555,0.00002011461,0.000056940138,0.00001984618,0.00012307461,0.00012451551],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00022077901,0.00005735508,0.000068856934,0.000030166388,0.00030749314,0.00020265079,0.00007423516,0.00006419107,0.0010959357],"category_scores_gemma":[0.00003524651,0.00004393911,0.00002079676,0.00021474824,0.00008769364,0.00032900262,0.000009614349,0.0001501491,0.00000362563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032239554,0.00012883617,0.1176521,0.0000060145358,0.000060522463,0.00004578406,0.07454346,0.0020394335,0.0001365421,0.067310065,0.41976854,0.31827646],"study_design_scores_gemma":[0.00072476955,0.000034447552,0.6004996,0.000033441414,0.0000089482355,0.0000756302,0.029035639,0.0014876934,0.000008780907,0.0057722856,0.3620319,0.00028689555],"about_ca_topic_score_codex":0.00063156546,"about_ca_topic_score_gemma":0.0030548067,"teacher_disagreement_score":0.48284745,"about_ca_system_score_codex":0.00013412506,"about_ca_system_score_gemma":0.00006495338,"threshold_uncertainty_score":0.9998172},"labels":[],"label_agreement":null},{"id":"W4389975069","doi":"10.5429/630","title":"Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"York University","funders":"","keywords":"Mixing (physics); Contemporary classical music; Art; Media studies; Visual arts; Art history; History; Sociology; Musical; Physics","score_opus":0.04237322073055323,"score_gpt":0.20466305344579971,"score_spread":0.1622898327152465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975069","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8154336,0.003780827,0.000010125876,0.0006430889,0.0007840402,0.00015375395,0.0000057671514,0.00006767097,0.17912108],"genre_scores_gemma":[0.9964162,0.00001116192,0.00008509,0.00017564617,0.00023803933,0.0000066153657,0.0000012115619,0.000008064349,0.0030579788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992977,0.00003422083,0.00029242266,0.00009036408,0.00012954582,0.00015573966],"domain_scores_gemma":[0.9995878,0.000016509897,0.0001489656,0.000113435824,0.00009973422,0.000033587974],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001412508,0.00009572029,0.00018531263,0.00013794085,0.0002178724,0.00008142146,0.00018500349,0.000061883504,0.0046020336],"category_scores_gemma":[0.000032841635,0.00007145217,0.00007210094,0.000042017196,0.0002253951,0.00035133166,0.000026684866,0.0003568445,0.00005270635],"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":[0.00003313465,0.00021882646,0.00271071,0.00009493968,0.000075734926,0.00015572953,0.18532135,0.000010158994,0.004981806,0.01717211,0.7473278,0.041897733],"study_design_scores_gemma":[0.001137826,0.00018170434,0.002281054,0.00042760797,0.000016128883,0.00011827562,0.10871088,0.000047624555,0.00084349595,0.008565944,0.8773216,0.00034784942],"about_ca_topic_score_codex":0.00032050716,"about_ca_topic_score_gemma":0.0011511209,"teacher_disagreement_score":0.18098255,"about_ca_system_score_codex":0.000035192064,"about_ca_system_score_gemma":0.000063124506,"threshold_uncertainty_score":0.9963079},"labels":[],"label_agreement":null},{"id":"W4389975085","doi":"10.5429/ij.v5i1.745","title":"Editorial Introduction: Popular Music in Education, Special Issue","year":2015,"lang":"en","type":"editorial","venue":"IASPM Journal","topic":"Diverse Music Education Insights","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":"Popular music; Music education; Jazz; Politics; Music history; Sociology; Space (punctuation); Musicology; Visual arts; Best practice; Media studies; Pedagogy; Aesthetics; Political science; Art; Computer science; Law","score_opus":0.026072421623771467,"score_gpt":0.2598528576484807,"score_spread":0.23378043602470924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975085","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047039888,0.00042290764,3.9416426e-7,0.0015181659,0.9322948,0.00019105013,0.00006659657,0.000037727303,0.065421306],"genre_scores_gemma":[0.000004203914,0.000105322266,0.000059410424,0.00010144038,0.9164259,0.00002197865,0.00037753957,0.000066848734,0.08283735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960804,0.00021673058,0.0008934676,0.00047046572,0.0019071093,0.0004318566],"domain_scores_gemma":[0.99555457,0.00009035221,0.00067734666,0.0004235943,0.0029529645,0.00030115555],"candidate_categories":["metaepi_narrow","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009852799,0.00042537702,0.0005491674,0.0007521772,0.00047651428,0.0013962417,0.0006404472,0.00056224474,0.04736197],"category_scores_gemma":[0.0012317806,0.0004049309,0.00017803912,0.00012832628,0.00023683628,0.0008330766,0.00008048704,0.0024208708,0.002033329],"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":[0.000056389836,0.00029351303,0.0000015956923,0.00002573175,0.000048289294,0.000010157715,0.03473603,0.000003429796,2.2684345e-7,0.0037224742,0.9591588,0.0019434005],"study_design_scores_gemma":[0.00069193455,0.000090407,9.052189e-7,0.00011027165,0.00007788678,0.000015496353,0.010419115,1.6825032e-7,4.1608567e-7,0.0054225167,0.9827382,0.00043268388],"about_ca_topic_score_codex":0.00041913395,"about_ca_topic_score_gemma":0.0016256316,"teacher_disagreement_score":0.04532864,"about_ca_system_score_codex":0.0010721799,"about_ca_system_score_gemma":0.005580612,"threshold_uncertainty_score":0.9998806},"labels":[],"label_agreement":null},{"id":"W4389975160","doi":"10.5429/599","title":"Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Copyright and Intellectual Property","field":"Business, Management and Accounting","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":"York University","funders":"","keywords":"Appropriation; Intellectual property; Commons; Craft; Law and economics; Sociology; Property (philosophy); Political science; Business; Epistemology; Law","score_opus":0.036036910638243325,"score_gpt":0.21043942295120988,"score_spread":0.17440251231296655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975160","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34911284,0.0003402567,0.0009896092,0.0030566417,0.00022212342,0.00037647292,0.0000032700148,0.00011276667,0.645786],"genre_scores_gemma":[0.9923696,0.000015117376,0.00006585975,0.0009797335,0.002157098,0.000008342598,0.000015175721,0.00002948131,0.0043596276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893975,0.000014389687,0.0003306004,0.00021931971,0.00014302984,0.00035288627],"domain_scores_gemma":[0.9994011,0.000064043124,0.00016264804,0.000117835276,0.00019545018,0.00005892831],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00014714674,0.00024229217,0.00028465188,0.00018805258,0.0005281078,0.0028809875,0.00026576902,0.00008121734,0.0056661894],"category_scores_gemma":[0.00030735476,0.00013314879,0.00009777303,0.00019879389,0.00014778765,0.00432865,0.00024028345,0.0005563845,0.00091019826],"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":[0.000049408744,0.0000723414,0.027640577,0.000040747767,0.00017989647,0.00001437452,0.0022451463,0.0000022427514,0.0000861011,0.0004269174,0.8143512,0.15489106],"study_design_scores_gemma":[0.0011331644,0.00017746093,0.010885068,0.00018368475,0.00010707094,0.0001551254,0.0036094887,0.011674307,0.00013253035,0.01605356,0.95512855,0.00075998827],"about_ca_topic_score_codex":0.0001684038,"about_ca_topic_score_gemma":0.000010457964,"teacher_disagreement_score":0.6432567,"about_ca_system_score_codex":0.00003731843,"about_ca_system_score_gemma":0.000027844899,"threshold_uncertainty_score":0.99986774},"labels":[],"label_agreement":null},{"id":"W4389975216","doi":"10.5429/662","title":"Introduction: Digital Nation: Copyright, Technology, Politics","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Copyright and Intellectual Property","field":"Business, Management and Accounting","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; Intellectual property; Conversation; Copyright law; Revenue; Political science; Law and economics; Law; Public administration; Business; Sociology; Accounting","score_opus":0.01439303802777445,"score_gpt":0.19316008078239344,"score_spread":0.178767042754619,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975216","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18458438,0.0006939449,0.0027019903,0.13403276,0.005756975,0.00042386877,0.0000021994833,0.0005634366,0.67124045],"genre_scores_gemma":[0.9671354,0.000013772625,0.00016587778,0.0011976676,0.019913515,0.0000070871124,0.000007834981,0.000022555636,0.011536276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896556,0.0000035227733,0.00029991334,0.00017362903,0.00024511068,0.00031228465],"domain_scores_gemma":[0.9989571,0.00001429318,0.00014697961,0.00017097945,0.000686316,0.000024351477],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00011452879,0.00014772732,0.00014146157,0.00043359518,0.00044026983,0.0016732726,0.0002936044,0.000088121094,0.037066042],"category_scores_gemma":[0.00027598924,0.00010341932,0.000077784694,0.00051299535,0.00012338164,0.0036756154,0.00011188837,0.00038332635,0.008633799],"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":[0.000004990794,0.00004661427,0.00047730372,0.000009335742,0.000021737025,0.000006649641,0.000019730322,0.0000017782809,0.00015894232,0.008214409,0.9718405,0.019198006],"study_design_scores_gemma":[0.00024451019,0.000020936563,0.00027464778,0.000013795321,0.000014251357,0.00020556651,0.00020862429,0.0028407217,0.00021855635,0.05225166,0.94353217,0.00017454768],"about_ca_topic_score_codex":0.000031817726,"about_ca_topic_score_gemma":0.0000025769089,"teacher_disagreement_score":0.78255105,"about_ca_system_score_codex":0.000056162047,"about_ca_system_score_gemma":0.000031733365,"threshold_uncertainty_score":0.99936306},"labels":[],"label_agreement":null},{"id":"W4389975230","doi":"10.5429/561","title":"How did popular music come to mean música popular? <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.3en","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"Concordia University; Université Laval","funders":"","keywords":"Popular music; Legitimacy; Confusion; Popular culture; Sociology; Field (mathematics); Latin Americans; Aesthetics; Media studies; Art; Visual arts; Political science; Psychology; Law","score_opus":0.05558152120581485,"score_gpt":0.22589473647166708,"score_spread":0.17031321526585222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389975230","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84048873,0.006368902,0.0001476401,0.0053508366,0.012453934,0.0006928348,0.00010997076,0.0003281091,0.13405903],"genre_scores_gemma":[0.78904784,0.000027408389,0.00020717895,0.0027686872,0.011106939,0.000023037677,0.000044503082,0.000090243906,0.19668415],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99655694,0.000265281,0.0006467947,0.0004289122,0.0009154668,0.0011865989],"domain_scores_gemma":[0.99760664,0.00002662405,0.0004066751,0.0006200194,0.00031900936,0.0010210567],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007917994,0.0005775431,0.00067081064,0.0002692231,0.00200305,0.00074224646,0.00075415673,0.00022164627,0.051649336],"category_scores_gemma":[0.0000811664,0.0004511811,0.00050874444,0.00009850785,0.00024357578,0.0013003178,0.00015268724,0.0011521578,0.004647411],"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":[0.00011639799,0.00041180456,0.0007122476,0.000055969533,0.00023277364,0.00015221565,0.10973761,0.000008184644,0.0020258075,0.069658704,0.81386817,0.0030201506],"study_design_scores_gemma":[0.0006631957,0.00022402708,0.0010222683,0.00009579415,0.0001658991,0.00017613076,0.005616748,0.00000886615,0.00006499559,0.00057288463,0.9907214,0.0006677836],"about_ca_topic_score_codex":0.000056796118,"about_ca_topic_score_gemma":0.0008126435,"teacher_disagreement_score":0.17685327,"about_ca_system_score_codex":0.0002628148,"about_ca_system_score_gemma":0.00007763637,"threshold_uncertainty_score":0.999794},"labels":[],"label_agreement":null},{"id":"W4389977253","doi":"10.5429/635","title":"The Cultural Capital Project: Radical Monetization of the Music Industry","year":2013,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Music History and Culture","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":"McGill University","funders":"","keywords":"Monetization; Music industry; Consumption (sociology); Commodification; Cultural capital; Commodity; Sociology; Business; Public relations; Economics; Political science; Music education; Economy; Social science; Finance","score_opus":0.03154182948276875,"score_gpt":0.2101468627327238,"score_spread":0.17860503324995503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389977253","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95820326,0.00048875704,0.000002877694,0.00097288424,0.0015236646,0.00017128985,0.000004162772,0.000010908099,0.038622215],"genre_scores_gemma":[0.9771644,0.000010264421,0.000007198133,0.00029606948,0.0015971725,0.000007795065,0.0000012062744,0.000006162079,0.020909756],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992979,0.00008299864,0.00019814003,0.00005814254,0.00022645631,0.00013634498],"domain_scores_gemma":[0.99952507,0.000018645907,0.00015473556,0.00010592078,0.0001571153,0.000038541297],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00011794653,0.0000761122,0.000073491465,0.000014390899,0.0011414905,0.00021742584,0.0002364304,0.000074467236,0.0054320497],"category_scores_gemma":[0.00003802305,0.00003143201,0.000090042864,0.000031067066,0.0004034155,0.0002331101,0.000024094277,0.0006118645,0.000035548903],"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":[0.000007286203,0.00004041047,0.00016542836,0.0000065084596,0.000035694862,0.0000018335598,0.14525677,0.000010957207,0.00044751703,0.030902458,0.81933254,0.00379259],"study_design_scores_gemma":[0.00026448604,0.00004441661,0.0018673928,0.00004107287,0.000025300113,0.00010020645,0.041621942,0.000037499358,0.000099565026,0.0018444557,0.953951,0.00010264558],"about_ca_topic_score_codex":0.00009682736,"about_ca_topic_score_gemma":0.000313039,"teacher_disagreement_score":0.13461848,"about_ca_system_score_codex":0.000026115842,"about_ca_system_score_gemma":0.0000626784,"threshold_uncertainty_score":0.99547714},"labels":[],"label_agreement":null},{"id":"W4389977319","doi":"10.5429/594","title":"Everyday Tonality: Towards a Tonal Theory of What Most People Hear. By Philip Tagg","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Diverse Musicological Studies","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":"Tonality; Psychology; Sociology; Art; Aesthetics; Visual arts; Musical","score_opus":0.09543041855419196,"score_gpt":0.2504095896361966,"score_spread":0.15497917108200462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389977319","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8590043,0.011935491,0.000059530226,0.0037712671,0.003908164,0.00018919633,0.0001484526,0.000051273008,0.12093233],"genre_scores_gemma":[0.9868137,0.00047324717,0.000038949984,0.0018877166,0.00172221,0.00000664555,0.0000063690572,0.000014373636,0.009036739],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984651,0.00017728719,0.0003310459,0.0001236932,0.00047101654,0.00043183102],"domain_scores_gemma":[0.999119,0.0001918936,0.00018965812,0.00011726966,0.00020351172,0.00017865363],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010113949,0.00017000175,0.00032987577,0.0000524881,0.00044991274,0.00043400083,0.00022917015,0.000051390743,0.03290862],"category_scores_gemma":[0.0001379367,0.000118076656,0.00018164203,0.000048146176,0.00033991333,0.0009933517,0.00015287424,0.00028507068,0.00019326921],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031827475,0.0013723681,0.0077015464,0.000059837585,0.0008590796,0.000020314246,0.104974575,0.0000054255197,0.00039284703,0.43214145,0.3845633,0.067590974],"study_design_scores_gemma":[0.0005202869,0.00016744486,0.0068124714,0.000060042017,0.00009640952,0.0000529831,0.026713312,0.000001912622,0.00013923284,0.008782103,0.9564218,0.00023198465],"about_ca_topic_score_codex":0.0000769671,"about_ca_topic_score_gemma":0.000049212777,"teacher_disagreement_score":0.5718585,"about_ca_system_score_codex":0.00007026507,"about_ca_system_score_gemma":0.000048283273,"threshold_uncertainty_score":0.96797544},"labels":[],"label_agreement":null},{"id":"W4389977643","doi":"10.5429/591","title":"Beyond and Before: Progressive Rock since the 1960s","year":2012,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Archaeology and Rock Art Studies","field":"Social Sciences","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":"York University","funders":"","keywords":"History; Geology","score_opus":0.015075483543874071,"score_gpt":0.3108184680563993,"score_spread":0.29574298451252523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389977643","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9230551,0.019316716,0.00024870652,0.045116443,0.0012066104,0.00015809883,0.0000014731992,0.000026243655,0.010870603],"genre_scores_gemma":[0.99622846,0.0005008331,0.00018261619,0.0004909101,0.0015747774,0.000004065418,1.2182232e-7,0.0000035179105,0.001014704],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914116,0.00016870208,0.000098111865,0.000056886387,0.00018722916,0.00034788524],"domain_scores_gemma":[0.99957186,0.00011086309,0.00008494118,0.000049390106,0.00005677753,0.00012618538],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00069008867,0.00006008525,0.00008017754,0.000020505042,0.012768287,0.000011582335,0.00013989647,0.00004930424,0.000096588235],"category_scores_gemma":[0.00015726962,0.000033280205,0.00003325957,0.00006824201,0.00049061974,0.00023821785,0.00034081232,0.0002579407,0.000020620168],"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":[0.000015338137,0.00003526167,0.2857772,0.0000023794491,0.000065460816,0.00001368831,0.66226065,0.0000018636628,0.0000053303656,0.039969396,0.0042454125,0.007608027],"study_design_scores_gemma":[0.00039506878,0.00013245242,0.24247296,0.000032364016,0.00006974322,0.0004569308,0.040709574,0.000010739126,0.000041913318,0.059982494,0.65549594,0.00019978704],"about_ca_topic_score_codex":0.00002092332,"about_ca_topic_score_gemma":0.00026694612,"teacher_disagreement_score":0.65125054,"about_ca_system_score_codex":0.000020296735,"about_ca_system_score_gemma":0.000054339256,"threshold_uncertainty_score":0.9885169},"labels":[],"label_agreement":null},{"id":"W4392914340","doi":"10.5429/2079-3871(2024)v14i1.2en","title":"Jacques Greene’s Aging Temporalities","year":2024,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Evelyn Waugh and Hans Urs von Balthasar Studies","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":"Temporalities; Sociology; History; Philosophy; Theology","score_opus":0.05913398211671585,"score_gpt":0.276934481753711,"score_spread":0.21780049963699516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392914340","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08290865,0.10368906,0.00044325192,0.021970265,0.013048316,0.00017943533,0.000101851336,0.000820265,0.7768389],"genre_scores_gemma":[0.9250244,0.0010770272,0.00014313743,0.0006090373,0.006099691,0.0000048329853,0.000003424214,0.000032636202,0.06700584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989525,0.000044273114,0.0002894274,0.00014718456,0.0002494783,0.0003171071],"domain_scores_gemma":[0.9995841,0.00006847664,0.000052484887,0.000092028735,0.00010756202,0.00009535537],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032610653,0.0001590325,0.00018277428,0.00019394091,0.00070466165,0.0012007686,0.00015500732,0.000026690768,0.0045702136],"category_scores_gemma":[0.000016833239,0.000116464136,0.00015259942,0.000034254514,0.00019670652,0.00050359266,0.00004151118,0.00033600416,0.000427227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010973785,0.000031518182,0.00071750314,0.00014370214,0.00028337844,0.00038315015,0.10353117,0.0000019838565,0.000032809676,0.5094837,0.362117,0.023263097],"study_design_scores_gemma":[0.00010681997,0.00006491239,0.00015951507,0.00024490315,0.00003453574,0.00016773664,0.011402325,0.00003435163,0.000048752787,0.020703753,0.96684813,0.0001842516],"about_ca_topic_score_codex":0.00016033452,"about_ca_topic_score_gemma":0.0005254055,"teacher_disagreement_score":0.8421157,"about_ca_system_score_codex":0.000046482506,"about_ca_system_score_gemma":0.0000800137,"threshold_uncertainty_score":0.9998361},"labels":[],"label_agreement":null},{"id":"W4410588661","doi":"10.5429/2079-3871(2025)v15i1.14en","title":"Rude Citizenship: Jamaican Popular Music, Copyright and the Reverberations of Colonial Power","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Caribbean history, culture, and politics","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 Ottawa","funders":"","keywords":"Colonialism; Citizenship; Power (physics); Popular music; History; Literature; Art; Sociology; Gender studies; Political science; Law; Archaeology; Politics","score_opus":0.012161875274597393,"score_gpt":0.2822173271871493,"score_spread":0.2700554519125519,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410588661","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6104726,0.005127272,0.00043497738,0.026385326,0.0042799255,0.00047877227,0.00007174733,0.00003932349,0.35271004],"genre_scores_gemma":[0.9902601,0.00020078776,0.00016736759,0.0013037085,0.00047111502,0.000002452004,0.0000011659054,0.000004236438,0.007589014],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989102,0.00032531173,0.0002359069,0.0000802352,0.0002544986,0.00019385944],"domain_scores_gemma":[0.99934256,0.00015109421,0.000119142096,0.00010505526,0.0001827159,0.00009945076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081485405,0.00007013306,0.00017204988,0.000057682108,0.0011342587,0.00010652688,0.00017948284,0.00008133572,0.00032734827],"category_scores_gemma":[0.00034044456,0.00004894862,0.00010321502,0.00015622306,0.0007853156,0.000058575526,0.000020575184,0.0002733834,0.0000034335453],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053187847,0.000018149722,0.0011178285,0.0000049890045,0.00005932529,0.000008453359,0.03627118,0.0000022018044,0.00007391929,0.7103266,0.25192663,0.0001374941],"study_design_scores_gemma":[0.0016998638,0.00004146787,0.005957619,0.000063322754,0.00014755444,0.00003631874,0.007657403,0.000006936215,0.0000907348,0.06911655,0.91504246,0.00013975882],"about_ca_topic_score_codex":0.00061440625,"about_ca_topic_score_gemma":0.0022772274,"teacher_disagreement_score":0.66311586,"about_ca_system_score_codex":0.00010892074,"about_ca_system_score_gemma":0.00033181242,"threshold_uncertainty_score":0.8723915},"labels":[],"label_agreement":null},{"id":"W4410588673","doi":"10.5429/2079-3871(2025)v15i1.18en","title":"Obituary: Remembering Jonathan Sterne (1970-2025)","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Theatre and Performance Studies","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":"Obituary; Psychoanalysis; Psychology; History; Philosophy; Theology","score_opus":0.03091809320426334,"score_gpt":0.25802878140106533,"score_spread":0.227110688196802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410588673","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3390853,0.0034975125,0.00005154859,0.0015037972,0.0037361912,0.0000670645,0.0000067011324,0.00006656312,0.6519853],"genre_scores_gemma":[0.9288957,0.0004576537,0.000046490222,0.00063423824,0.0018904541,0.0000034579634,0.0000013056688,0.000009980365,0.0680607],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923563,0.000022980697,0.00023895774,0.00010370054,0.00014351237,0.00025524688],"domain_scores_gemma":[0.9996505,0.000032386382,0.00006662403,0.00011567486,0.000088227585,0.000046591635],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00019688324,0.00012412472,0.00017120384,0.00014200438,0.00072659017,0.0002551732,0.00016629267,0.000025064475,0.0022457633],"category_scores_gemma":[0.000010202694,0.0000951888,0.00010473093,0.000039186016,0.0000968679,0.00026865298,0.00006811302,0.00029040067,0.0001527062],"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":[0.00024024567,0.00021491345,0.01728169,0.00021858324,0.0010198553,0.00018070356,0.13464418,0.00007772974,0.00045601136,0.18193991,0.474101,0.18962516],"study_design_scores_gemma":[0.00038868183,0.00006100989,0.001823638,0.00017053942,0.000042647698,0.000028434648,0.005869909,0.000026651003,0.00018603724,0.003679554,0.987585,0.00013790255],"about_ca_topic_score_codex":0.000058513073,"about_ca_topic_score_gemma":0.00066982105,"teacher_disagreement_score":0.5898104,"about_ca_system_score_codex":0.000038849474,"about_ca_system_score_gemma":0.000049301907,"threshold_uncertainty_score":0.99866635},"labels":[],"label_agreement":null},{"id":"W4410588696","doi":"10.5429/2079.387(2025)v15i1.11en","title":"At the Threshold of the Underworld: Deep Time, Music, and Ecstatic Truth","year":2025,"lang":"en","type":"article","venue":"IASPM Journal","topic":"Philosophy, Ethics, and Existentialism","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":"Art; Literature; Art history","score_opus":0.04199273850931941,"score_gpt":0.25550058051260816,"score_spread":0.21350784200328876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410588696","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2781137,0.0044078385,0.00004601089,0.023654731,0.004068447,0.0002135454,0.00003545996,0.000024410769,0.68943584],"genre_scores_gemma":[0.9776803,0.00008167011,0.000009056539,0.0020198806,0.00061691966,0.0000016393304,9.487874e-7,0.000008774892,0.01958077],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992336,0.00007950422,0.00024478234,0.000089255496,0.00020331805,0.00014952778],"domain_scores_gemma":[0.99937165,0.00018103753,0.00013151002,0.00019289333,0.00008725318,0.00003564064],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003410035,0.00009580618,0.00014119978,0.000055271612,0.0009166303,0.00017692921,0.00024509054,0.000032111177,0.0011769691],"category_scores_gemma":[0.000043381497,0.00004871075,0.00011673553,0.000036882288,0.00061467505,0.000089356356,0.00011399366,0.0003402664,0.000022370072],"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":[0.000051653256,0.000054292606,0.00013556471,0.000060903818,0.00021734236,0.0000072412445,0.044186853,0.000053413427,0.00012737473,0.92168117,0.031804517,0.0016196638],"study_design_scores_gemma":[0.0007736114,0.00005215028,0.00069983484,0.00018688009,0.0002078063,0.000063529966,0.0044165603,0.00046719998,0.00024265585,0.8755052,0.11723036,0.0001542057],"about_ca_topic_score_codex":0.000026346073,"about_ca_topic_score_gemma":0.00049661245,"teacher_disagreement_score":0.6995666,"about_ca_system_score_codex":0.000026578253,"about_ca_system_score_gemma":0.000054096894,"threshold_uncertainty_score":0.9997361},"labels":[],"label_agreement":null}]}