{"meta":{"query_hash":"cfce61f209ec","filters":{"venue":"The Soundtrack"},"cohort_total":13,"direct_labels_cover":0,"predictions_cover":13,"exported":13,"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/cfce61f209ec","api":"https://metacan.xera.ac/api/v1/cohort?venue=The+Soundtrack"},"results":[{"id":"W2318065670","doi":"10.1386/st.5.1.29_1","title":"The audio affect image: Five hermeneutic modalities of sound design","year":2012,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Multisensory perception and integration","field":"Psychology","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":"Simon Fraser University","funders":"","keywords":"Modalities; Affect (linguistics); Sound (geography); Sound design; Psychology; Multimedia; Computer science; Communication; Acoustics; Sociology","score_opus":0.09311129535476155,"score_gpt":0.37543479647899625,"score_spread":0.2823235011242347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2318065670","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":[0.66256595,0.000489231,0.14276327,0.002249111,0.00023739866,0.0001535305,0.000054687673,0.00018057787,0.19130623],"genre_scores_gemma":[0.9906309,0.000062682586,0.007345949,0.00007649579,0.00002055527,0.00004636201,0.0000061571486,0.000021687389,0.00178925],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99736387,0.0015056662,0.00008021192,0.00020386053,0.00068461534,0.00016174628],"domain_scores_gemma":[0.99652064,0.0018886763,0.00048083707,0.00039922676,0.0004910175,0.00021961085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002735308,0.00025905747,0.00015682347,0.00072331226,0.00087428855,0.0041985502,0.00031889914,0.0005872418,0.0032254187],"category_scores_gemma":[0.008964829,0.00022748216,0.0002573274,0.00026373396,0.0066459277,0.0021605971,0.002376657,0.0011473366,0.00019727886],"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":[0.00070043246,0.00022194028,0.019536953,0.00045243575,0.000055747667,0.00047196954,0.1765949,0.0018810877,0.08792638,0.5906272,0.00125884,0.1202721],"study_design_scores_gemma":[0.00022740045,0.002142631,0.16191901,0.0009119465,0.00030275361,0.002068904,0.16259149,0.022274293,0.06443798,0.47430438,0.10839522,0.0004239825],"about_ca_topic_score_codex":0.00029362214,"about_ca_topic_score_gemma":0.00043758607,"teacher_disagreement_score":0.0041985502,"about_ca_system_score_codex":0.0006774595,"about_ca_system_score_gemma":0.0005814939,"threshold_uncertainty_score":0.014465809},"labels":[],"label_agreement":null},{"id":"W2330390945","doi":"10.1386/st.4.1.33_1","title":"Sound matters: Towards an enactive approach to hearing media","year":2011,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Embodied and Extended Cognition","field":"Neuroscience","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Bishop's University","funders":"","keywords":"Embodied cognition; Consciousness; Perception; Psychology; Metaphor; Cognitive science; Synesthesia; Sketch; Perspective (graphical); Epistemology; Sociology; Aesthetics; Philosophy; Art; Computer science; Linguistics","score_opus":0.1863589199405788,"score_gpt":0.29820100911656394,"score_spread":0.11184208917598515,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2330390945","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018458271,0.00622443,0.45887953,0.044163536,0.0015131569,0.00016496613,0.00008140887,0.00040777444,0.4701069],"genre_scores_gemma":[0.7426768,0.0053343885,0.1751765,0.0065793213,0.001565386,0.0004486613,0.00008946677,0.00034822532,0.067781374],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9973361,0.0014205809,0.00008325888,0.00031712322,0.00064191583,0.00020100814],"domain_scores_gemma":[0.9971123,0.0017878276,0.00017543811,0.00036455144,0.00035035005,0.00020964495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003835778,0.0010395319,0.0006731049,0.0019112908,0.0033377507,0.014551824,0.004484762,0.005799257,0.007456026],"category_scores_gemma":[0.004963978,0.0007273067,0.0012159077,0.0007029411,0.023511456,0.025008004,0.0089160595,0.005299406,0.0016150437],"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":[0.000013477623,0.000020151967,0.00008800029,0.000048530434,0.000004104042,0.000120065866,0.006833958,0.0005684566,0.00038941504,0.9864152,0.00060035114,0.004898295],"study_design_scores_gemma":[0.000016732887,0.000028099517,0.00009757829,0.00010754576,0.000010649163,0.00018829203,0.005966156,0.006993213,0.0006609792,0.93066907,0.055232543,0.000029162697],"about_ca_topic_score_codex":0.0022677612,"about_ca_topic_score_gemma":0.0018346214,"teacher_disagreement_score":0.014551824,"about_ca_system_score_codex":0.002619751,"about_ca_system_score_gemma":0.0019056166,"threshold_uncertainty_score":0.024942935},"labels":[],"label_agreement":null},{"id":"W2332821287","doi":"10.1386/st.5.1.5_1","title":"Abbas Kiarostami: A cinema of silence","year":2012,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Critical Theory and Philosophy","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":"University of British Columbia","funders":"","keywords":"Silence; Movie theater; Performative utterance; Aesthetics; Ideology; Variety (cybernetics); Interpretation (philosophy); Space (punctuation); Literature; Epistemology; Sociology; Art; Philosophy; Linguistics; Computer science; Law","score_opus":0.052486730268045595,"score_gpt":0.37271420225750496,"score_spread":0.32022747198945933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2332821287","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32594886,0.014424659,0.008602849,0.040892925,0.0052404455,0.000079716505,0.00020335666,0.0003093247,0.6042978],"genre_scores_gemma":[0.96892256,0.0015232898,0.00089621055,0.0011456937,0.0006714144,0.000018616387,0.000032545027,0.000043896227,0.026745725],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999451,0.0003118404,0.000010503837,0.000045822908,0.00011353659,0.0000673654],"domain_scores_gemma":[0.9993759,0.00027827575,0.000050337814,0.00003257557,0.00014098188,0.000121919846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096180046,0.00031376927,0.00015332171,0.0004883287,0.0037880982,0.0023630091,0.0004217745,0.0009321674,0.005678978],"category_scores_gemma":[0.0019465393,0.0000989157,0.00012688637,0.00026899014,0.0035143162,0.0017743906,0.0017118842,0.0015832417,0.0007633759],"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":[0.000342791,0.000081492944,0.0021608034,0.0003958905,0.00001675903,0.0026372357,0.5355362,0.0002491288,0.015149352,0.31225896,0.06851628,0.062655106],"study_design_scores_gemma":[0.000024820894,0.000117596166,0.004356693,0.00038728726,0.000021050138,0.0015595827,0.100484096,0.0005522531,0.0018638899,0.010930218,0.87966603,0.000036424557],"about_ca_topic_score_codex":0.0037211976,"about_ca_topic_score_gemma":0.0062445933,"teacher_disagreement_score":0.005678978,"about_ca_system_score_codex":0.0015817139,"about_ca_system_score_gemma":0.00059853354,"threshold_uncertainty_score":0.018998086},"labels":[],"label_agreement":null},{"id":"W2335695061","doi":"10.1386/st.5.1.37_1","title":"Debasing the voice: Subversive vocality in Harmony Korine’s Trash Humpers","year":2012,"lang":"en","type":"article","venue":"The Soundtrack","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":"University of British Columbia","funders":"","keywords":"Narrative; Movie theater; Aesthetics; Art; Artificiality; Visual arts; Literature; Framing (construction); Philosophy; History","score_opus":0.0524996237446628,"score_gpt":0.23232045557512032,"score_spread":0.17982083183045752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2335695061","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":[0.71152186,0.0021863638,0.003465214,0.0072509525,0.0006558281,0.00003807793,0.000074199525,0.0001153672,0.2746921],"genre_scores_gemma":[0.97674257,0.00033267358,0.00042102675,0.0006317977,0.000086968095,0.000009974037,0.00001304002,0.000043959022,0.021717977],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999498,0.00025456073,0.000009398259,0.00006290278,0.000097391916,0.00007771701],"domain_scores_gemma":[0.999522,0.00022097713,0.00006623418,0.00004221084,0.0000500752,0.00009855357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056209747,0.00028687186,0.00014971245,0.00032508015,0.0037585637,0.0033028978,0.0004254652,0.001186562,0.004166822],"category_scores_gemma":[0.0012001593,0.00016038286,0.0000893179,0.00014161444,0.006527272,0.0018625009,0.0023731636,0.0017506118,0.0004937784],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018669249,0.00007973276,0.0025688307,0.00028842516,0.000014214761,0.0063108164,0.7470184,0.0001745689,0.015811361,0.18585528,0.017336857,0.024354815],"study_design_scores_gemma":[0.000022932634,0.000220455,0.011956507,0.0004508995,0.000022556245,0.006793851,0.4170688,0.00059768616,0.008112635,0.015878132,0.5388017,0.00007386596],"about_ca_topic_score_codex":0.0031833656,"about_ca_topic_score_gemma":0.008676498,"teacher_disagreement_score":0.004166822,"about_ca_system_score_codex":0.0011055656,"about_ca_system_score_gemma":0.00050859357,"threshold_uncertainty_score":0.013939381},"labels":[],"label_agreement":null},{"id":"W2912816937","doi":"10.1386/ts.10.1.59_1","title":"Calls of the wild? ‘Fake’ sound effects and cinematic realism in BBC David Attenborough nature documentaries","year":2017,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Context (archaeology); Realism; Media studies; Sound (geography); Art history; History; Art; Visual arts; Literature; Sociology; Archaeology","score_opus":0.017499973409856318,"score_gpt":0.24968436919108727,"score_spread":0.23218439578123096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912816937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18840422,0.023594912,0.0068359356,0.14554131,0.002947036,0.000043021086,0.00021207752,0.00016453917,0.632257],"genre_scores_gemma":[0.95819277,0.0030263897,0.0009850964,0.0043406547,0.0010696483,0.00002466234,0.000038845992,0.00013654919,0.03218541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99631137,0.0027410516,0.000061674866,0.00024601322,0.00038937546,0.00025059874],"domain_scores_gemma":[0.9816436,0.015110381,0.0009798873,0.00095592707,0.0008015731,0.0005085805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040254956,0.0003311438,0.00024197478,0.0013795247,0.0057531367,0.012628154,0.00053473463,0.002842388,0.012527589],"category_scores_gemma":[0.01918814,0.0003199702,0.0001499453,0.00089428714,0.01574528,0.0068079443,0.0030489971,0.0040016365,0.0010262746],"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":[0.00018431347,0.000039291022,0.0018849955,0.0002786843,0.000015400428,0.0005311461,0.19291899,0.0002520354,0.0009452057,0.6923427,0.080060445,0.030546758],"study_design_scores_gemma":[0.000029640212,0.000060003833,0.0045510656,0.0011692317,0.000018316672,0.00054664264,0.076239236,0.0006023676,0.001029415,0.057777237,0.8579062,0.00007066559],"about_ca_topic_score_codex":0.006853199,"about_ca_topic_score_gemma":0.009055717,"teacher_disagreement_score":0.012628154,"about_ca_system_score_codex":0.004652201,"about_ca_system_score_gemma":0.0007923458,"threshold_uncertainty_score":0.04190892},"labels":[],"label_agreement":null},{"id":"W2914838709","doi":"10.1386/ts.10.1.19_1","title":"Experimental phenomenology in the development of a colocative audio-visual display","year":2017,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Tactile and Sensory Interactions","field":"Neuroscience","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":"Simon Fraser University","funders":"","keywords":"Phenomenology (philosophy); Perception; Computer science; Audio visual; Complement (music); Software; Multimedia; Computer graphics (images); Cognitive science; Psychology; Epistemology","score_opus":0.09074310696681488,"score_gpt":0.37856040866524426,"score_spread":0.2878173016984294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914838709","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":[0.5116322,0.0038977654,0.3530648,0.0047641536,0.0005358191,0.0034375214,0.00028005932,0.00016688263,0.12222073],"genre_scores_gemma":[0.89867824,0.0010889869,0.093046814,0.0008276875,0.00004222468,0.0025517629,0.000057274767,0.000081588834,0.0036254236],"study_design_codex":"qualitative","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.98769706,0.010121952,0.00024854386,0.000933175,0.0007694308,0.00022978571],"domain_scores_gemma":[0.97843176,0.019264285,0.0004783001,0.0011725653,0.00043538798,0.00021763876],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014578447,0.00061899243,0.0004214875,0.0010350345,0.0035509432,0.0039661713,0.0019749845,0.0015162476,0.0037712064],"category_scores_gemma":[0.026496945,0.00059748,0.00053997553,0.0007981182,0.029389346,0.0051898113,0.005593865,0.0026469247,0.0004121576],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027852165,0.00064495293,0.0025941844,0.0015015182,0.000030698902,0.0012224715,0.5837297,0.0008984702,0.02074324,0.36368528,0.0007980334,0.023872834],"study_design_scores_gemma":[0.00051100523,0.0022436883,0.012465731,0.002841448,0.00012546529,0.004816229,0.46102834,0.004480744,0.03449401,0.29995072,0.17678373,0.00025891312],"about_ca_topic_score_codex":0.00081718375,"about_ca_topic_score_gemma":0.0010847868,"teacher_disagreement_score":0.014578447,"about_ca_system_score_codex":0.0022676447,"about_ca_system_score_gemma":0.0014504333,"threshold_uncertainty_score":0.077099144},"labels":[],"label_agreement":null},{"id":"W3082219717","doi":"10.1386/ts_00005_1","title":"Music as temporal disruption in Assassin’s Creed","year":2019,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Digital Games and Media","field":"Social Sciences","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":"Queen's University","funders":"","keywords":"Narrative; Creed; Musical; Plot (graphics); Video game; Literature; Computer science; Aesthetics; Art; Visual arts; Multimedia; Philosophy; Mathematics","score_opus":0.027841919123158608,"score_gpt":0.3066658067801987,"score_spread":0.27882388765704014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3082219717","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":[0.5791744,0.002724458,0.0055053416,0.0038802724,0.0013102372,0.00006928398,0.00018019207,0.00020081089,0.406955],"genre_scores_gemma":[0.9632428,0.00062748865,0.0013179515,0.0002802414,0.00010506928,0.000017912022,0.00004540876,0.00006612729,0.034297068],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995171,0.00019382758,0.00001605454,0.0000566793,0.00014614013,0.000070088245],"domain_scores_gemma":[0.99970466,0.000119131015,0.000036855894,0.000026410176,0.000038068534,0.000074961],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057314907,0.0003760391,0.00019334882,0.0009372704,0.0041510523,0.004430119,0.0004728103,0.00079380773,0.0056282664],"category_scores_gemma":[0.0019150823,0.00016437436,0.000123314,0.0006357054,0.0061920183,0.001344231,0.0024044309,0.001122498,0.0005036276],"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":[0.00031032815,0.000077995835,0.0048876023,0.0002745676,0.000018272442,0.004094316,0.6174236,0.00055870204,0.007878623,0.2958853,0.015880136,0.0527107],"study_design_scores_gemma":[0.000027137961,0.00019341182,0.011080021,0.00034129043,0.000022809474,0.0050011273,0.17751102,0.0008366734,0.0038533325,0.015991768,0.78507894,0.00006235094],"about_ca_topic_score_codex":0.0060270424,"about_ca_topic_score_gemma":0.0148495715,"teacher_disagreement_score":0.0060270424,"about_ca_system_score_codex":0.0016166822,"about_ca_system_score_gemma":0.00067637797,"threshold_uncertainty_score":0.018828392},"labels":[],"label_agreement":null},{"id":"W4205297475","doi":"10.1386/st.5.1.67_5","title":"Review","year":2012,"lang":"en","type":"article","venue":"The Soundtrack","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":"University of Ottawa","funders":"","keywords":"Art","score_opus":0.06890399815933053,"score_gpt":0.2432019388012242,"score_spread":0.1742979406418937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205297475","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":[0.00020029642,0.91119885,0.00045451178,0.016803551,0.011568086,0.00010421718,0.0019983689,0.00013871811,0.057533357],"genre_scores_gemma":[0.002724098,0.9412962,0.00054993114,0.0118963625,0.0059870034,0.00011730617,0.001932441,0.000066074135,0.035430584],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989525,0.00020843714,0.00012276886,0.00018996328,0.00042156447,0.00010470748],"domain_scores_gemma":[0.9972524,0.0009299806,0.00028477344,0.00017153879,0.0011216478,0.00023973858],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001180142,0.0008282572,0.0014832491,0.0038760465,0.0006050308,0.003389508,0.0020491388,0.0020133061,0.12683056],"category_scores_gemma":[0.008147666,0.00031654767,0.0008100206,0.0044139964,0.00060848,0.0027380344,0.001705013,0.0021200972,0.06465145],"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":[0.000046302484,0.000017456729,0.0001090668,0.0100058885,0.000068584435,0.000093721545,0.00006165031,0.00006894065,0.00014302543,0.003801057,0.72579163,0.25979266],"study_design_scores_gemma":[0.000006684153,0.000006961909,0.00017773155,0.004546379,0.000037136328,0.00012084401,0.00003181116,0.00000578952,0.000025834212,0.00073030073,0.99430615,0.0000044655503],"about_ca_topic_score_codex":0.003980167,"about_ca_topic_score_gemma":0.0047610705,"teacher_disagreement_score":0.8731694,"about_ca_system_score_codex":0.002298489,"about_ca_system_score_gemma":0.006391654,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4254569572","doi":"10.1386/ts.10.1.3_2","title":"Editorial","year":2017,"lang":"es","type":"editorial","venue":"The Soundtrack","topic":"Literacy, Media, and Education","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Philosophy","score_opus":0.022329833334465206,"score_gpt":0.2821461059831943,"score_spread":0.2598162726487291,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254569572","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000045553366,0.003102535,0.00013136977,0.01897653,0.9568347,0.00003720447,0.00025954103,0.00022245284,0.02039015],"genre_scores_gemma":[0.00089874485,0.004421647,0.00016128889,0.010801052,0.8809369,0.000035911584,0.00029549914,0.00014563208,0.10230328],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972625,0.0002856971,0.00028265317,0.00041390874,0.0015152344,0.00023990613],"domain_scores_gemma":[0.9850336,0.0023093096,0.00087513943,0.000770659,0.008820024,0.002191274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025093919,0.002058876,0.001502415,0.003573277,0.002164634,0.0049960488,0.0020822673,0.005280049,0.17495754],"category_scores_gemma":[0.020314718,0.0006340723,0.0011922511,0.0011168545,0.0010808057,0.00287932,0.0011531804,0.006478889,0.13454975],"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":[0.000008939964,0.000003391655,0.000008067999,0.000053804135,0.0000019451038,0.00004239025,0.0000033727822,0.0000054293523,0.00002004936,0.00014800295,0.9955382,0.004166374],"study_design_scores_gemma":[0.00001566498,0.0000069759244,0.000057452347,0.00015957067,0.0000056488934,0.00013003525,0.000014999809,0.000021058919,0.00006413931,0.00036974277,0.99915004,0.0000047032786],"about_ca_topic_score_codex":0.0010626247,"about_ca_topic_score_gemma":0.0024764203,"teacher_disagreement_score":0.17495754,"about_ca_system_score_codex":0.0017352486,"about_ca_system_score_gemma":0.0028034092,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4307925864","doi":"10.1386/ts_00017_1","title":"Spatial audio production for immersive media experiences: Perspectives on practice-led approaches to designing immersive audio content","year":2021,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Hearing Loss and Rehabilitation","field":"Neuroscience","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"BC Research (Canada)","funders":"Engineering and Physical Sciences Research Council","keywords":"IMes; Multimedia; Computer science; Interactive media; Set (abstract data type); Production (economics)","score_opus":0.23175690455827297,"score_gpt":0.3142965571088338,"score_spread":0.08253965255056084,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4307925864","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3072941,0.011369651,0.33576384,0.05391002,0.0007969588,0.00084971404,0.00006616245,0.0004039122,0.2895457],"genre_scores_gemma":[0.94360757,0.003651067,0.039785292,0.0014888456,0.000117716845,0.00038241583,0.000015950656,0.00011039886,0.010840806],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9745942,0.020760726,0.00044237013,0.0008602653,0.0021865936,0.001155714],"domain_scores_gemma":[0.975288,0.020408664,0.0008024492,0.00090740557,0.001415588,0.0011778389],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.021928165,0.00076675555,0.00039411228,0.0019556808,0.004791034,0.0117411865,0.0024189374,0.0037244002,0.0038987023],"category_scores_gemma":[0.021189554,0.0005974154,0.0005381474,0.0010681556,0.026656145,0.0065941685,0.009734059,0.0046287645,0.00071514555],"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":[0.000021786433,0.00010283349,0.0007581928,0.00050834013,0.000010313771,0.0007987129,0.8742028,0.00028958987,0.0020073869,0.088137805,0.0012463804,0.03191593],"study_design_scores_gemma":[0.000026901025,0.0001795273,0.00076597655,0.001120649,0.000016302174,0.0016736237,0.82043636,0.001091564,0.0015333972,0.03802794,0.13508996,0.000037861784],"about_ca_topic_score_codex":0.0021164878,"about_ca_topic_score_gemma":0.0033362173,"teacher_disagreement_score":0.021928165,"about_ca_system_score_codex":0.0034689512,"about_ca_system_score_gemma":0.004068611,"threshold_uncertainty_score":0.115968585},"labels":[],"label_agreement":null},{"id":"W4394003089","doi":"10.1386/ts_00028_1","title":"Writing on screens: (Re-)mediating music and sound through captions","year":2023,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Subtitles and Audiovisual Media","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":"Sound (geography); Computer science; Communication; Psychology; Cognitive science; Acoustics; Physics","score_opus":0.18265491652157073,"score_gpt":0.30342673307565415,"score_spread":0.12077181655408342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394003089","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36593547,0.00079680525,0.030262413,0.0031407,0.00065425126,0.00017534598,0.00018473128,0.00063091755,0.59821934],"genre_scores_gemma":[0.9685046,0.00026642293,0.0053890613,0.00031063988,0.00015838494,0.0000788979,0.000077159806,0.00031516392,0.024899654],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99768853,0.001562765,0.000056929846,0.00017509007,0.00033351308,0.00018314665],"domain_scores_gemma":[0.99493706,0.0033933527,0.00039915953,0.000627278,0.00033621563,0.00030694794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014906191,0.00071349135,0.00021608328,0.001002598,0.004210815,0.007855346,0.0008766347,0.0009795164,0.011921198],"category_scores_gemma":[0.009963221,0.00022607195,0.00025724006,0.0006965662,0.008384991,0.004930304,0.0044397363,0.0016545942,0.0016715411],"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":[0.00022751436,0.000090213915,0.0026334466,0.0004128492,0.000019710722,0.0022013176,0.7325211,0.0004602842,0.013461332,0.15947288,0.0098048225,0.07869447],"study_design_scores_gemma":[0.00006905986,0.00029050963,0.007894561,0.0008059291,0.00007229961,0.002070201,0.3487498,0.0023513248,0.017618211,0.04754051,0.5724424,0.000095169366],"about_ca_topic_score_codex":0.0015261372,"about_ca_topic_score_gemma":0.002226392,"teacher_disagreement_score":0.011921198,"about_ca_system_score_codex":0.001048361,"about_ca_system_score_gemma":0.0007377642,"threshold_uncertainty_score":0.039880395},"labels":[],"label_agreement":null},{"id":"W4402568076","doi":"10.1386/ts_00032_1","title":"[Bones cracking]: Reading and listening to Foley and captions","year":2024,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Foley; Active listening; Reading (process); Cracking; Art; Psychology; Linguistics; Communication; Materials science; Medicine; Philosophy; Composite material; Surgery","score_opus":0.03470130385870128,"score_gpt":0.250664683136537,"score_spread":0.2159633792778357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402568076","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4940761,0.005273721,0.019182134,0.013114967,0.0024458235,0.00015870163,0.00016838321,0.0007867592,0.46479344],"genre_scores_gemma":[0.95610845,0.0012186288,0.0034960283,0.0024066574,0.0005549042,0.00004462693,0.00007026703,0.0003355006,0.035764858],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987777,0.0007021044,0.000020801375,0.00012596408,0.00019755475,0.00017581895],"domain_scores_gemma":[0.99865997,0.00087507674,0.000095936535,0.00008843822,0.0001315709,0.00014902794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011577879,0.0005738854,0.00028864,0.00058341696,0.0046420046,0.006728663,0.0006912651,0.0020528398,0.0073942943],"category_scores_gemma":[0.005730415,0.0002306382,0.00031457108,0.0003643755,0.009349687,0.0049927053,0.0035489474,0.002755465,0.0012871572],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014654284,0.00005171718,0.0013972224,0.0003354186,0.000016682261,0.0018381728,0.8816363,0.00013789932,0.0065185977,0.048261788,0.019318335,0.04034135],"study_design_scores_gemma":[0.000023189468,0.0002529941,0.00584943,0.0005294141,0.000047547543,0.0024951792,0.4761833,0.00061284285,0.0047726445,0.01594264,0.49316415,0.0001267452],"about_ca_topic_score_codex":0.0029847878,"about_ca_topic_score_gemma":0.005031543,"teacher_disagreement_score":0.0073942943,"about_ca_system_score_codex":0.001171544,"about_ca_system_score_gemma":0.0005447325,"threshold_uncertainty_score":0.024736345},"labels":[],"label_agreement":null},{"id":"W4402568303","doi":"10.1386/ts_00034_1","title":"A surreal science: Guy Maddin’s Foley of the unconscious in Brand Upon the Brain! and Footsteps","year":2024,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Contemporary Literature and Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Unconscious mind; Foley; Art; Psychoanalysis; Psychology; Art history; Medicine; Surgery","score_opus":0.016347905991435735,"score_gpt":0.24118363909780727,"score_spread":0.22483573310637153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402568303","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3470202,0.03416588,0.002493862,0.16045654,0.0038149373,0.00005556829,0.00020287053,0.0004089446,0.45138124],"genre_scores_gemma":[0.93331313,0.0030827702,0.0007099326,0.011527482,0.00037332607,0.000013386154,0.0000372038,0.00013461539,0.050808214],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983923,0.00075649435,0.000020574751,0.00013780846,0.00029736097,0.0003955294],"domain_scores_gemma":[0.9993437,0.00024636008,0.0000721457,0.0000577431,0.00009489336,0.00018508373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00087407656,0.00050498365,0.00026330183,0.0007975188,0.013651866,0.010294717,0.0007511718,0.0028000362,0.0052323495],"category_scores_gemma":[0.0022595827,0.00023412151,0.00020058411,0.00067226664,0.017831167,0.00366315,0.0038692148,0.0053431145,0.0008442123],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000132014,0.000038685368,0.0010895923,0.0001406377,0.000011658791,0.0018912063,0.7295626,0.000069630274,0.0013802734,0.16079244,0.07907382,0.025817413],"study_design_scores_gemma":[0.000016283077,0.000058172194,0.0026127435,0.00023881916,0.000011561395,0.0014703753,0.31889036,0.00009345758,0.00072260614,0.009681946,0.66615176,0.00005193939],"about_ca_topic_score_codex":0.10732647,"about_ca_topic_score_gemma":0.23546188,"teacher_disagreement_score":0.10732647,"about_ca_system_score_codex":0.010740602,"about_ca_system_score_gemma":0.0027028222,"threshold_uncertainty_score":0.21340352},"labels":[],"label_agreement":null}]}