{"meta":{"query_hash":"848cc209b954","filters":{"venue":"Nineteenth Century Theatre and Film"},"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/848cc209b954","api":"https://metacan.xera.ac/api/v1/cohort?venue=Nineteenth+Century+Theatre+and+Film"},"results":[{"id":"W2083505103","doi":"10.7227/nctf.37.1.8","title":"Class, Consensus and Repertoire at the Nottingham and Midland Counties Working Classes Industrial Exhibition","year":2010,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Historical Art and Culture 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":"Exhibition; Repertoire; Quarter (Canadian coin); Government (linguistics); Musical; Government Office; Class (philosophy); Identity (music); Event (particle physics); Visual arts; Space (punctuation); Sociology; Local government; History; Political science; Public administration; Art; Aesthetics; Archaeology","score_opus":0.02071007888866808,"score_gpt":0.19575553709844928,"score_spread":0.1750454582097812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083505103","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9248808,0.00037497946,0.00021343792,0.0012718134,0.00011000767,0.000015984368,0.000036683894,0.000018521476,0.0730777],"genre_scores_gemma":[0.96981895,0.00016903764,0.000122031306,0.00008132806,0.000029137353,0.000011353775,0.00001788999,0.000017906614,0.029732324],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991371,0.0002537905,0.000012486215,0.00011293816,0.0001921953,0.00029151078],"domain_scores_gemma":[0.9992913,0.00016918588,0.0000775881,0.0000568101,0.00009300499,0.00031204763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001169581,0.00022002951,0.00020188655,0.00072691205,0.009752098,0.0033874952,0.0006268914,0.00049167196,0.008307061],"category_scores_gemma":[0.001497269,0.00016433018,0.00009440022,0.00051866396,0.005484492,0.0009720793,0.004339408,0.0011589206,0.00037467753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009551065,0.00004942893,0.012669806,0.000059167483,0.000010087921,0.0012991307,0.91806966,0.000103639555,0.0017133233,0.018026197,0.014130424,0.033773635],"study_design_scores_gemma":[0.0000061050628,0.00008931671,0.10761855,0.00009407615,0.000009671221,0.00046391305,0.6774244,0.000087279055,0.0011164828,0.000837345,0.2122209,0.000031896274],"about_ca_topic_score_codex":0.058216233,"about_ca_topic_score_gemma":0.22975966,"teacher_disagreement_score":0.058216233,"about_ca_system_score_codex":0.0034886538,"about_ca_system_score_gemma":0.001515608,"threshold_uncertainty_score":0.11575478},"labels":[],"label_agreement":null},{"id":"W2755319019","doi":"10.1177/1748372717727672","title":"‘Too Much Tragedy in Real Life’: Theatre in Post-Emancipation Jamaica","year":2017,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Caribbean history, culture, and politics","field":"Social Sciences","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Emancipation; Tragedy (event); Population; Sociology; Media studies; Gender studies; Art; History; Politics; Political science; Social science; Law","score_opus":0.01941980141210072,"score_gpt":0.29151664282981715,"score_spread":0.27209684141771645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2755319019","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.73262537,0.003316216,0.0005779448,0.0106133185,0.0005708505,0.00003910376,0.00007197793,0.000038981445,0.25214624],"genre_scores_gemma":[0.97805583,0.00081932725,0.00012404691,0.00046629374,0.00006389945,0.0000137228035,0.000025020403,0.000019614932,0.02041226],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986659,0.00059157674,0.000020733003,0.00008825145,0.00018317282,0.00045029516],"domain_scores_gemma":[0.9988576,0.00047980467,0.00009679725,0.00010344511,0.00012979217,0.00033248856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001195055,0.00031420513,0.0002732716,0.0006304492,0.023086576,0.007286786,0.0010012878,0.0015624274,0.0059637767],"category_scores_gemma":[0.0027009952,0.00021310424,0.00017452386,0.0009690186,0.015966102,0.0018435841,0.004766119,0.0038704958,0.00049707794],"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":[0.00008853899,0.00006059853,0.0029837133,0.00012770547,0.000009309727,0.0016182179,0.93616754,0.00010745727,0.0013308686,0.03195126,0.009539855,0.016015021],"study_design_scores_gemma":[0.000010594556,0.000042501957,0.011503053,0.0002117148,0.0000073708784,0.0005140955,0.72338,0.00010400936,0.0005162735,0.0013818289,0.26230198,0.000026578053],"about_ca_topic_score_codex":0.1487607,"about_ca_topic_score_gemma":0.31050834,"teacher_disagreement_score":0.1487607,"about_ca_system_score_codex":0.009598349,"about_ca_system_score_gemma":0.0036089283,"threshold_uncertainty_score":0.29578966},"labels":[],"label_agreement":null},{"id":"W3039800563","doi":"10.1177/1748372720934205","title":"David Francis Taylor and Julia Swindells (eds), <i>The Oxford Handbook of the Georgian Theatre, 1737–1832</i>","year":2020,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Georgian; Art history; Art; Performance art; Media studies; Sociology; Philosophy","score_opus":0.01054416672993788,"score_gpt":0.16948966490639306,"score_spread":0.15894549817645517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3039800563","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00036882135,0.9160676,0.0006992364,0.017773436,0.010207797,0.000013863167,0.00025883075,0.000055311117,0.054555144],"genre_scores_gemma":[0.007581802,0.78530395,0.0010128113,0.0055214413,0.0038969084,0.000045781206,0.00025759853,0.00012622526,0.19625352],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918264,0.00020101937,0.00006430408,0.00013817822,0.00031672142,0.00009711636],"domain_scores_gemma":[0.9993419,0.00031705934,0.000051085404,0.00002386114,0.00019213039,0.00007393701],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001049901,0.0016012059,0.00079706486,0.0021409427,0.0020510303,0.0061751106,0.0014960648,0.0032906078,0.028251277],"category_scores_gemma":[0.0018186452,0.0008542902,0.00031290564,0.0038320592,0.0028832888,0.0064147525,0.0017342947,0.0024745609,0.016679525],"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":[0.000029114539,0.00001658909,0.00017700379,0.0005836462,0.0000054074535,0.000046053963,0.002621712,0.00007194368,0.00010235444,0.020102276,0.8820477,0.09419622],"study_design_scores_gemma":[0.0000023223545,0.000002350413,0.00038980308,0.00047016848,0.0000025919967,0.000036413996,0.00095007947,0.000010182415,0.000030286279,0.0013753854,0.9967257,0.0000047491785],"about_ca_topic_score_codex":0.08522275,"about_ca_topic_score_gemma":0.22243053,"teacher_disagreement_score":0.08522275,"about_ca_system_score_codex":0.0040591275,"about_ca_system_score_gemma":0.0049625677,"threshold_uncertainty_score":0.16945338},"labels":[],"label_agreement":null},{"id":"W3122988191","doi":"10.1177/1748372720986103","title":"Doron Galili, <i>Seeing By Electricity: The Emergence of Television, 1878–1939</i>","year":2021,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"History of Science and Medicine","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Electricity; Visual arts; Art; Advertising; Business; Engineering; Electrical engineering","score_opus":0.010699840317093314,"score_gpt":0.20600276158707737,"score_spread":0.19530292126998405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3122988191","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01327318,0.29357085,0.0010351334,0.310905,0.017738659,0.000051357933,0.000948028,0.00012937935,0.36234835],"genre_scores_gemma":[0.2777782,0.19358537,0.0009394045,0.08737181,0.013852438,0.00015167655,0.000602213,0.00040554066,0.42531323],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937373,0.00023565386,0.000020671678,0.000099345445,0.00013967436,0.00013090271],"domain_scores_gemma":[0.99906164,0.0006089533,0.00009037653,0.000030022537,0.00010912601,0.00009994922],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00086744723,0.0006598567,0.0002593189,0.0016811377,0.0044527194,0.0051494436,0.0010169578,0.0028736836,0.013037665],"category_scores_gemma":[0.002273519,0.00024905818,0.00015793124,0.0019891548,0.003916403,0.004756753,0.0023979088,0.0035358928,0.0027052667],"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":[0.00005966575,0.000021080916,0.0010377662,0.00033490162,0.0000076219644,0.00024081925,0.031288985,0.00007504953,0.00019184317,0.15565364,0.77111685,0.03997174],"study_design_scores_gemma":[0.000005515395,0.0000066297753,0.0017765067,0.00031330856,0.000002719521,0.00007822777,0.008817672,0.000017931936,0.00019271883,0.0031856857,0.9855929,0.0000103112025],"about_ca_topic_score_codex":0.040360175,"about_ca_topic_score_gemma":0.099569656,"teacher_disagreement_score":0.9955473,"about_ca_system_score_codex":0.00409989,"about_ca_system_score_gemma":0.0017448149,"threshold_uncertainty_score":0.0802505},"labels":[],"label_agreement":null},{"id":"W3124525991","doi":"10.1177/1748372720986132","title":"Stephen Barber, <i>The Projectionists: Eadweard Muybridge and the Future Projections of the Moving Image.</i>","year":2021,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Historical Studies and Socio-cultural Analysis","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":"Toronto Metropolitan University","funders":"","keywords":"Art; Art history; Humanities; Visual arts","score_opus":0.0062281385735977555,"score_gpt":0.18377851265381018,"score_spread":0.17755037408021243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3124525991","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051025557,0.22638468,0.0017650095,0.5120214,0.017551605,0.000053391792,0.00023462734,0.00014631772,0.23674037],"genre_scores_gemma":[0.12582664,0.16208808,0.002026199,0.10434736,0.0062061017,0.00012976708,0.00015872944,0.00049499696,0.59872204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991248,0.00033721616,0.000029801837,0.00010938893,0.00027395014,0.00012491357],"domain_scores_gemma":[0.9983612,0.00083335995,0.000106431464,0.000048648617,0.0004315067,0.00021886169],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001326585,0.0007650105,0.00034908034,0.0010925719,0.012469238,0.006639197,0.0012509527,0.0050035045,0.022362672],"category_scores_gemma":[0.004252864,0.000474476,0.00020806177,0.0016776603,0.0054242676,0.011160694,0.0024124414,0.006702095,0.0048378236],"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":[0.000022007038,0.000009295856,0.00014131682,0.000107105065,0.0000020428313,0.000115586954,0.012882059,0.000020324745,0.000089511996,0.06065248,0.912485,0.013473246],"study_design_scores_gemma":[0.0000058447263,0.000007816663,0.00061697006,0.0004182756,0.000003286878,0.00018422565,0.026115078,0.00002885002,0.00017039728,0.007153304,0.96528137,0.000014578152],"about_ca_topic_score_codex":0.084741734,"about_ca_topic_score_gemma":0.19289063,"teacher_disagreement_score":0.084741734,"about_ca_system_score_codex":0.0029403528,"about_ca_system_score_gemma":0.0028680777,"threshold_uncertainty_score":0.16849697},"labels":[],"label_agreement":null},{"id":"W4205936768","doi":"10.1177/17483727211062086","title":"Book Review: <i>The Origins of the Star System: Persona, Publicity, and Economics in Early Cinema</i> by Andrew Shail","year":2021,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Publicity; Persona; Star (game theory); Art; Art history; Media studies; Sociology; Political science; Humanities; Law; Physics; Astrophysics","score_opus":0.008435531874221922,"score_gpt":0.18426708486562177,"score_spread":0.17583155299139985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205936768","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001959847,0.76449007,0.00029321952,0.10776467,0.050491333,0.000028312224,0.0005940644,0.0000598052,0.076082535],"genre_scores_gemma":[0.0044752923,0.6485267,0.00029343428,0.033834204,0.05528199,0.000083165,0.0006141623,0.00013370684,0.25675735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993369,0.000113125694,0.000035266523,0.00008708517,0.00036758019,0.000059956852],"domain_scores_gemma":[0.99564385,0.0020105478,0.00026356467,0.00009695153,0.0016699347,0.00031503887],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080269144,0.000881211,0.0013068906,0.0031521344,0.0011899519,0.0050335,0.0012651067,0.0030576102,0.056098025],"category_scores_gemma":[0.004779525,0.000453667,0.00038522374,0.0071026604,0.0017988415,0.0035897084,0.0011573711,0.003790413,0.023455076],"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":[0.0000027332494,0.0000025630654,0.000015797523,0.000137935,0.0000016085039,0.0000033055921,0.000016098935,0.000017802946,0.000008475029,0.0017794272,0.98597646,0.012037791],"study_design_scores_gemma":[0.0000040105483,0.0000041928142,0.00019466013,0.0005955274,0.0000036215083,0.00002230433,0.00004364207,0.000015133329,0.000013666595,0.0009967925,0.998102,0.000004389462],"about_ca_topic_score_codex":0.019864896,"about_ca_topic_score_gemma":0.048714057,"teacher_disagreement_score":0.056098025,"about_ca_system_score_codex":0.004110261,"about_ca_system_score_gemma":0.004635406,"threshold_uncertainty_score":0.1876666},"labels":[],"label_agreement":null},{"id":"W4407818248","doi":"10.1177/17483727241286468","title":"Book Review: <i>Transoceanic Blackface: Empire, Race, Performance</i> by Kellen Hoxworth HoxworthKellen, Transoceanic Blackface: Empire, Race, Performance (Evanston, IL: Northwestern University Press, 2024), 280 pp.,$36","year":2025,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Australian History and Society","field":"Social Sciences","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":"York University","funders":"","keywords":"Blackface; Race (biology); Empire; Art; Visual arts; Art history; History; Gender studies; Ancient history; Sociology","score_opus":0.006988366473549283,"score_gpt":0.22791406837581835,"score_spread":0.22092570190226907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407818248","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015176449,0.8459697,0.000210681,0.039317075,0.0508941,0.000037472637,0.00059877225,0.00010104691,0.06271941],"genre_scores_gemma":[0.0018427705,0.60303885,0.00024068652,0.022632783,0.03268556,0.00010888155,0.000859806,0.00011654411,0.33847412],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954754,0.0000575521,0.00002940657,0.000057020312,0.00026240153,0.000045998277],"domain_scores_gemma":[0.99790347,0.000790575,0.00013416505,0.000042876574,0.00090343563,0.00022556851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006316202,0.0012211994,0.0014228894,0.0026206519,0.0010353852,0.0033957616,0.0016659319,0.002130871,0.119682096],"category_scores_gemma":[0.0039706496,0.0005238573,0.00044059535,0.0047609243,0.000936013,0.0033073432,0.0014095992,0.0029170422,0.061759353],"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":[0.000003659186,0.0000022333859,0.000011634536,0.00019100301,0.0000013734999,0.0000060467614,0.000010031282,0.000010687097,0.000010955381,0.00021967023,0.9820712,0.017461414],"study_design_scores_gemma":[0.0000038311273,0.0000050694875,0.00018616978,0.0007155219,0.0000031100656,0.00006118519,0.000037178852,0.000010725506,0.0000135330165,0.00021727728,0.99874157,0.000004886385],"about_ca_topic_score_codex":0.018657697,"about_ca_topic_score_gemma":0.041583735,"teacher_disagreement_score":0.119682096,"about_ca_system_score_codex":0.0025465193,"about_ca_system_score_gemma":0.003920441,"threshold_uncertainty_score":0.4003765},"labels":[],"label_agreement":null},{"id":"W4409901499","doi":"10.1177/17483727251329236","title":"Interruptive Activism: Nineteenth-Century Theatre and Political Campaigning","year":2025,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"American Constitutional Law and Politics","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University; Edge Hill University","keywords":"Political activism; Politics; Art; Visual arts; Media studies; Political theatre; Political science; Sociology; Law","score_opus":0.010061061979212369,"score_gpt":0.28453865878220336,"score_spread":0.274477596802991,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409901499","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11979153,0.012829016,0.0042175585,0.033775516,0.0068508745,0.000062326864,0.0000834659,0.00013687043,0.82225287],"genre_scores_gemma":[0.9135729,0.0047004367,0.00079751614,0.0032711276,0.002533178,0.00005834939,0.000059095895,0.00015533905,0.07485198],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984578,0.0008456608,0.000032016447,0.000114928334,0.00023781613,0.00031178913],"domain_scores_gemma":[0.99883586,0.00071940996,0.000073635194,0.00006224131,0.000064219086,0.00024474732],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014229288,0.00035865436,0.00016692314,0.00072154216,0.0066246246,0.0074956426,0.0008914567,0.0017751753,0.010292871],"category_scores_gemma":[0.0023003127,0.0001377317,0.00024137912,0.000623736,0.010918804,0.0028654332,0.0035738493,0.004490068,0.00079074147],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012903326,0.00017071077,0.001467234,0.00033716386,0.000013500953,0.00057420874,0.2928353,0.00019134059,0.0009598137,0.5750525,0.07821416,0.050055068],"study_design_scores_gemma":[0.000012054141,0.000053363743,0.0022639418,0.00028908395,0.000005584086,0.00027375296,0.058099054,0.0001326027,0.0005618051,0.013349476,0.92494315,0.000016254873],"about_ca_topic_score_codex":0.0035504506,"about_ca_topic_score_gemma":0.010227617,"teacher_disagreement_score":0.010292871,"about_ca_system_score_codex":0.0036324314,"about_ca_system_score_gemma":0.00079678843,"threshold_uncertainty_score":0.034433067},"labels":[],"label_agreement":null}]}