{"meta":{"query_hash":"349bbf57b38f","filters":{"venue":"Image & narrative"},"cohort_total":8,"direct_labels_cover":0,"predictions_cover":8,"exported":8,"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/349bbf57b38f","api":"https://metacan.xera.ac/api/v1/cohort?venue=Image+%26+narrative"},"results":[{"id":"W1505480894","doi":"","title":"Empty Photographic Frames. Punctuating the Narrative","year":2014,"lang":"en","type":"article","venue":"Image & narrative","topic":"Comics and Graphic Narratives","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Narrative; Reading (process); Punctuation; Storytelling; Subconscious; Humanities; Art; Passer; Frame (networking); Visual arts; Literature; Psychology; Art history; Linguistics; Philosophy; Computer science","score_opus":0.014171848308871249,"score_gpt":0.2344338990870443,"score_spread":0.22026205077817304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1505480894","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":[0.7513688,0.0004791965,0.0013967502,0.010267111,0.0015891073,0.0011298595,0.000059521077,0.00030029353,0.23340936],"genre_scores_gemma":[0.99210835,0.000018208211,0.00023698159,0.001448349,0.0008813665,0.00013335104,0.00001942593,0.000039829683,0.0051141502],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978991,0.0003930905,0.0004264662,0.00047040742,0.00036172962,0.00044917502],"domain_scores_gemma":[0.9981074,0.0005751518,0.00028896783,0.00048790858,0.00043515099,0.00010544861],"candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007014312,0.00039114294,0.00039766286,0.00017421396,0.0022492828,0.0006218116,0.0004501563,0.000070010785,0.0030566035],"category_scores_gemma":[0.0003517117,0.00024059023,0.00028103555,0.00021907077,0.0015675119,0.0004905686,0.00010414928,0.0005730841,0.00008004372],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037813836,0.0000702955,0.000104071114,0.00001006955,0.00012474826,0.0000033582296,0.80732495,0.0000031235563,0.00087940076,0.17441215,0.013936491,0.0030935681],"study_design_scores_gemma":[0.001036391,0.00047764933,0.00066636124,0.00008912597,0.000059603943,0.0000074856616,0.5907913,0.0015583487,0.00097437797,0.08363622,0.3199406,0.00076254504],"about_ca_topic_score_codex":0.00030879525,"about_ca_topic_score_gemma":0.0024039508,"teacher_disagreement_score":0.3060041,"about_ca_system_score_codex":0.000026881378,"about_ca_system_score_gemma":0.000059548478,"threshold_uncertainty_score":0.99904966},"labels":[],"label_agreement":null},{"id":"W1559158576","doi":"","title":"Švankmajer, Sade et les possibilités infinies de la viande. Une lecture de Lunacy","year":2013,"lang":"fr","type":"article","venue":"Image & narrative","topic":"French Literature and Critical Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec","funders":"","keywords":"Reprise; Art; Humanities; Art history; Biography; Movie theater; Film director","score_opus":0.008404830673921112,"score_gpt":0.2741716539094308,"score_spread":0.2657668232355097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1559158576","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":[0.13337617,0.08509873,0.0026790486,0.043527577,0.0011090692,0.0007946796,0.0003856198,0.00023178247,0.7327973],"genre_scores_gemma":[0.84745497,0.0004904152,0.0018275186,0.0046641272,0.0014464852,0.00010876126,0.000046905614,0.000065122855,0.1438957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99695116,0.0012654363,0.00039831537,0.00041812562,0.0002113722,0.0007555908],"domain_scores_gemma":[0.997797,0.0011837365,0.000095947405,0.00033019084,0.00033519443,0.00025794614],"candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005819156,0.00045445378,0.00042593665,0.00009999742,0.00073303335,0.0014944844,0.00026660066,0.00039661248,0.013141227],"category_scores_gemma":[0.00055078656,0.00037893094,0.00024609145,0.00012510747,0.0028455537,0.0010844115,0.00007745933,0.00122468,0.00027315482],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040593975,0.00026773033,0.000070423106,0.00015930229,0.00012268723,0.0000832573,0.29777864,0.000006086307,0.0021363513,0.62318784,0.067456976,0.0086900825],"study_design_scores_gemma":[0.00052301533,0.00028412073,0.00062267523,0.0003242059,0.00007382588,0.000054233707,0.03684441,0.00007570744,0.001537005,0.38698983,0.5722258,0.0004451609],"about_ca_topic_score_codex":0.0027371934,"about_ca_topic_score_gemma":0.0004663879,"teacher_disagreement_score":0.7140788,"about_ca_system_score_codex":0.00012724662,"about_ca_system_score_gemma":0.00023986997,"threshold_uncertainty_score":0.99986815},"labels":[],"label_agreement":null},{"id":"W1574452192","doi":"","title":"Thinking about Photography in Comics","year":2015,"lang":"en","type":"article","venue":"Image & narrative","topic":"Comics and Graphic Narratives","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Comics; Art; Narrative; Photography; Humanities; Visual arts; Literature","score_opus":0.03496508988369924,"score_gpt":0.25964854023643047,"score_spread":0.22468345035273124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1574452192","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":[0.39487153,0.000779801,0.0001363692,0.0014098404,0.0007749952,0.0004575399,0.000050993178,0.000215418,0.6013035],"genre_scores_gemma":[0.99496996,0.00001876319,0.00046095366,0.00045201927,0.0002259603,0.000030254563,0.000013967474,0.000035360394,0.0037927537],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990655,0.000078369376,0.00021741416,0.0002145617,0.0001980254,0.00022611997],"domain_scores_gemma":[0.9994624,0.000047877555,0.00009866399,0.00017107953,0.00013300212,0.00008695745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003018968,0.00016555225,0.00022164143,0.00029474357,0.00018074519,0.0002564083,0.00020836212,0.000036447735,0.00033409917],"category_scores_gemma":[0.00004126778,0.00014467892,0.000081687554,0.00013550649,0.00040918693,0.00030599974,0.00005527389,0.00020241889,0.00002256245],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000497786,0.00010060184,0.0011289264,0.000006447078,0.00003464217,0.000025937014,0.73188525,0.0000022742577,0.00017660562,0.22732888,0.03887703,0.00038364888],"study_design_scores_gemma":[0.002654615,0.0002775144,0.0006825976,0.00013683499,0.000013285457,0.0000049922032,0.43388596,0.00036656437,0.000611201,0.17084491,0.38982773,0.0006938076],"about_ca_topic_score_codex":0.00087047706,"about_ca_topic_score_gemma":0.008104499,"teacher_disagreement_score":0.60009843,"about_ca_system_score_codex":0.000026264011,"about_ca_system_score_gemma":0.00004912991,"threshold_uncertainty_score":0.5899836},"labels":[],"label_agreement":null},{"id":"W1578953719","doi":"","title":"The Slow Demise of Modernism, Aleatory Keepsakes, ’70s Trauma and Looking through the Glass Darkly in Colum McCann’s Let the Great World Spin","year":2013,"lang":"en","type":"article","venue":"Image & narrative","topic":"Comics and Graphic Narratives","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Art; Humanities; Art history; Dictatorship; Cartography; Ethnology; History; Geography; Politics; Political science; Law","score_opus":0.019110089236577588,"score_gpt":0.24340850076451861,"score_spread":0.22429841152794103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1578953719","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":[0.80573815,0.019911127,0.00014945761,0.04985393,0.00068109744,0.0030657502,0.00013467488,0.00006950863,0.12039628],"genre_scores_gemma":[0.9866237,0.0004408563,0.00004068314,0.0012179385,0.00018266129,0.00021221308,0.0000049974933,0.000025673411,0.011251259],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998378,0.0003115509,0.00042229067,0.0002857827,0.0002668311,0.00033559432],"domain_scores_gemma":[0.9984947,0.0005783494,0.00024258089,0.00041237968,0.00022954674,0.000042485855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000468361,0.00025507645,0.00031300334,0.000058582806,0.0012128247,0.00042118257,0.00043783296,0.00003741539,0.00041942988],"category_scores_gemma":[0.000077426565,0.0001284086,0.000117705065,0.0001211119,0.0020442167,0.0005170756,0.000108998276,0.00043705586,0.0000069325893],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000105259496,0.00011223211,0.0007137834,0.00007948421,0.00023616602,0.000010368608,0.79210424,0.000012620683,0.000661858,0.10131624,0.0948758,0.009771911],"study_design_scores_gemma":[0.0024637596,0.00037230263,0.010488482,0.00089059025,0.00013443545,0.000016611317,0.46216896,0.0032987285,0.001069056,0.108913556,0.40926582,0.00091770635],"about_ca_topic_score_codex":0.0022361905,"about_ca_topic_score_gemma":0.036219675,"teacher_disagreement_score":0.3299353,"about_ca_system_score_codex":0.00003881647,"about_ca_system_score_gemma":0.00006539303,"threshold_uncertainty_score":0.9813668},"labels":[],"label_agreement":null},{"id":"W1892067417","doi":"","title":"Once Upon A Time In America de Sergio Leone, un hommage à l'œuvre culte A Clockwork Orangede Stanley Kubrick","year":2009,"lang":"fr","type":"article","venue":"Image & narrative","topic":"Literature, Film, and Journalism Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec","funders":"","keywords":"Humanities; Art; Cult; Clockwork; Art history; Cartography; Philosophy; History; Geography; Theology; Archaeology","score_opus":0.007157129393682464,"score_gpt":0.23784915699658166,"score_spread":0.2306920276028992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1892067417","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":[0.55784494,0.10372595,0.002815458,0.08103722,0.0019510497,0.0019033402,0.0028881521,0.00043184534,0.24740207],"genre_scores_gemma":[0.76602256,0.0046144077,0.0084308665,0.007012938,0.004249584,0.00005371921,0.00039487518,0.00014056904,0.20908046],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9959589,0.0008916661,0.00084866135,0.0007047983,0.00049878145,0.0010971912],"domain_scores_gemma":[0.99803936,0.00016672126,0.0004996063,0.0005165724,0.00043727373,0.00034047881],"candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005428901,0.0006725385,0.00097365596,0.00039794197,0.0009935023,0.0012379889,0.00047504992,0.00023669231,0.005335198],"category_scores_gemma":[0.00012166661,0.00062335056,0.000478709,0.00077751337,0.00050077634,0.0015481852,0.00006238524,0.0009738285,0.0005847833],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00061964797,0.0012053502,0.00020368438,0.00009849535,0.0005415616,0.001985735,0.84852076,0.00018645923,0.0031157816,0.010493562,0.11189442,0.021134572],"study_design_scores_gemma":[0.0037944876,0.0014398721,0.002605077,0.0019249555,0.00078399666,0.00017208786,0.11427446,0.0057321913,0.0010015358,0.011226983,0.85476196,0.0022823974],"about_ca_topic_score_codex":0.0016362814,"about_ca_topic_score_gemma":0.0016796722,"teacher_disagreement_score":0.7428675,"about_ca_system_score_codex":0.0004561863,"about_ca_system_score_gemma":0.0002716222,"threshold_uncertainty_score":0.99979883},"labels":[],"label_agreement":null},{"id":"W1942043528","doi":"","title":"Dessiner la modernite. L’epilogue ‘photographique’ de Magasin General","year":2015,"lang":"fr","type":"article","venue":"Image & narrative","topic":"Canadian Identity 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":"Humanities; Art; Modernity; Art history; Cartography; Geography; Philosophy","score_opus":0.02946008293079101,"score_gpt":0.2940405830079288,"score_spread":0.2645805000771378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1942043528","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"codex-gemma-dda1882f352a","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28919625,0.028318457,0.005631079,0.0239616,0.00440174,0.0007009739,0.00038528783,0.00020497381,0.64719963],"genre_scores_gemma":[0.3081735,0.0018554379,0.008625339,0.003114943,0.0027885386,0.00009130055,0.000049978487,0.00009231011,0.6752087],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973248,0.0010628793,0.00024525975,0.00035227594,0.00038745868,0.0006273314],"domain_scores_gemma":[0.9985101,0.0000846008,0.00013932203,0.0002089613,0.0003470084,0.00070996216],"candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00089532236,0.0002085956,0.0002723743,0.0004106161,0.0008353973,0.0006854918,0.00030709614,0.00029345273,0.0014636121],"category_scores_gemma":[0.0002549424,0.0002800502,0.00017679398,0.0007259617,0.0038867814,0.0008746094,0.00004784978,0.00043911475,0.00046004396],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055179466,0.00021396232,0.0003927751,0.000027922066,0.000080214886,0.00052635797,0.32739434,0.0000678794,0.000845912,0.031512033,0.6239903,0.01489311],"study_design_scores_gemma":[0.00051201996,0.00007591111,0.0006446513,0.00006010571,0.000055757406,0.000029328823,0.017475909,0.00038722038,0.00006145216,0.011461245,0.9688704,0.0003660216],"about_ca_topic_score_codex":0.511608,"about_ca_topic_score_gemma":0.68680215,"teacher_disagreement_score":0.34488007,"about_ca_system_score_codex":0.0018501515,"about_ca_system_score_gemma":0.0029161947,"threshold_uncertainty_score":0.9999652},"labels":[],"label_agreement":null},{"id":"W2140629595","doi":"","title":"'Comics versus Art.' Bart Beaty","year":2013,"lang":"en","type":"article","venue":"Image & narrative","topic":"Comics and Graphic Narratives","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Comics; Art; Art history; Visual arts; Literature","score_opus":0.021011247711998603,"score_gpt":0.2347213359222031,"score_spread":0.21371008821020449,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2140629595","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":[0.13859527,0.00017609581,0.00012413687,0.0040918817,0.0013526215,0.0005827222,0.000060231923,0.00027180582,0.8547452],"genre_scores_gemma":[0.89388114,0.000024823497,0.00051483203,0.00040531866,0.00065016985,0.00010474365,0.000038330723,0.00005858751,0.10432203],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907404,0.000053386408,0.00020298768,0.00025252346,0.00014526096,0.00027178257],"domain_scores_gemma":[0.9992777,0.00010054679,0.00009323964,0.0002470705,0.00018150762,0.00009990474],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00007591238,0.00020443,0.00021711265,0.00011558498,0.00038137668,0.00034765247,0.00017518374,0.000039757673,0.012757118],"category_scores_gemma":[0.000043077664,0.000171416,0.00011304239,0.000058239264,0.00050089014,0.00050141796,0.00005570088,0.00017353767,0.0011062558],"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":[0.00006490149,0.00009226128,0.000043405962,0.000007419581,0.000113451395,0.0000067060964,0.14267622,5.509219e-7,0.0009184194,0.19728427,0.6575331,0.0012593063],"study_design_scores_gemma":[0.0019477145,0.0003788837,0.00026513703,0.000028058581,0.000027486058,0.0000022457937,0.09749074,0.00025529723,0.00066841976,0.01872289,0.879647,0.0005660799],"about_ca_topic_score_codex":0.00030725097,"about_ca_topic_score_gemma":0.0012735366,"teacher_disagreement_score":0.75528586,"about_ca_system_score_codex":0.00002375064,"about_ca_system_score_gemma":0.000030248128,"threshold_uncertainty_score":0.9996715},"labels":[],"label_agreement":null},{"id":"W2273309718","doi":"","title":"Visualising the Cid and his Enemies in Print: The Matamoros Effect","year":2016,"lang":"en","type":"article","venue":"Image & narrative","topic":"Medieval Iberian Studies","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":"Mount Allison University","funders":"","keywords":"EPIC; HERO; Battle; Adventure; Narrative; Literature; Politics; Art; Narrative structure; Imitation; Aesthetics; History; Visual arts; Art history; Ancient history; Psychology; Law; Political science","score_opus":0.017916068477070512,"score_gpt":0.26671014807859916,"score_spread":0.24879407960152866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2273309718","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":[0.95011514,0.0013438241,0.000028049228,0.013441749,0.00037353134,0.00058885524,0.00002326054,0.000047483292,0.034038085],"genre_scores_gemma":[0.9925793,0.000074665266,0.000015302821,0.00028974478,0.00032813873,0.00007796558,6.2624525e-7,0.000013022769,0.0066212644],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999103,0.00025072964,0.00015444453,0.00016687314,0.00013565819,0.00018926094],"domain_scores_gemma":[0.99884295,0.00083119626,0.00006930935,0.00017417881,0.000061723,0.000020645963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046192028,0.00014222412,0.00018005581,0.000025600455,0.00048914214,0.00015792792,0.00012832817,0.00001657557,0.0005269247],"category_scores_gemma":[0.00029454695,0.000051649342,0.000034972763,0.000027565005,0.00092757255,0.00023798423,0.000116807096,0.000097413664,0.00005309844],"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":[0.00007753016,0.000021774573,0.0006991265,0.000039362898,0.00008399805,0.00001832335,0.9401047,5.979583e-8,0.008394351,0.019284878,0.012245109,0.019030772],"study_design_scores_gemma":[0.0035587237,0.00079162297,0.020621033,0.0010356845,0.00014130863,0.000033837252,0.3964019,0.000036095273,0.052521944,0.010987616,0.51289016,0.0009801049],"about_ca_topic_score_codex":0.00013179512,"about_ca_topic_score_gemma":0.0012891898,"teacher_disagreement_score":0.54370284,"about_ca_system_score_codex":0.000042174455,"about_ca_system_score_gemma":0.000011553306,"threshold_uncertainty_score":0.57694554},"labels":[],"label_agreement":null}]}