{"meta":{"query_hash":"06cc6572761d","filters":{"venue":"Video Journal of Education and Pedagogy"},"cohort_total":5,"direct_labels_cover":0,"predictions_cover":5,"exported":5,"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/06cc6572761d","api":"https://metacan.xera.ac/api/v1/cohort?venue=Video+Journal+of+Education+and+Pedagogy"},"results":[{"id":"W4200027655","doi":"10.1163/23644583-bja10020","title":"Towards a Noncompliant Pedagogy of the Image: Reading Negentropic Bifurcatory Potentials in Video Images","year":2021,"lang":"en","type":"article","venue":"Video Journal of Education and Pedagogy","topic":"Digital Media and Philosophy","field":"Computer Science","cited_by":4,"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":"Mnemonic; Reading (process); Sociology; Focus (optics); Computer science; Perception; Visual arts; Epistemology; Psychology; Aesthetics; Multimedia; Cognitive science; Philosophy; Linguistics; Art; Cognitive psychology","score_opus":0.020320416560668332,"score_gpt":0.3285063430215164,"score_spread":0.308185926460848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200027655","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":[0.8957781,0.010042827,0.018123833,0.056738578,0.0073409467,0.00023530127,0.00001056445,0.000016929245,0.011712885],"genre_scores_gemma":[0.9936659,0.0003203864,0.0046823015,0.0007140218,0.00032843146,0.0000028156553,9.146399e-7,0.0000075006933,0.00027777097],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9986087,0.00018825893,0.00056799804,0.00018234046,0.00028234645,0.00017036789],"domain_scores_gemma":[0.99857724,0.00013934972,0.0004233293,0.00031769465,0.00041168893,0.00013070276],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033750915,0.00011657857,0.00028142956,0.00023534158,0.000054105833,0.00012890423,0.0004859315,0.000048105303,0.00004772322],"category_scores_gemma":[0.00034289798,0.000087149674,0.000123758,0.0003953377,0.000086888394,0.0005958919,0.00015234639,0.00019915469,0.00000462717],"study_design_candidate":"observational","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":[0.00009532086,0.0021829726,0.05810124,0.0005363475,0.0001848347,0.00019577442,0.021835266,0.000062871,0.14557132,0.12045659,0.011858843,0.63891864],"study_design_scores_gemma":[0.0028241496,0.0006435318,0.6562276,0.0014661071,0.0001520232,0.0042069834,0.0065177158,0.00034006944,0.09714827,0.16495289,0.06472163,0.000799015],"about_ca_topic_score_codex":0.00005369609,"about_ca_topic_score_gemma":0.000014075741,"teacher_disagreement_score":0.6381196,"about_ca_system_score_codex":0.000041492327,"about_ca_system_score_gemma":0.0020121527,"threshold_uncertainty_score":0.35694727},"labels":[],"label_agreement":null},{"id":"W4281866326","doi":"10.1163/23644583-bja10025","title":"Shimmering Practices in a Kaleidoscope World: Affective, Embodied and Sensorial Modes of Filmmaking","year":2021,"lang":"en","type":"article","venue":"Video Journal of Education and Pedagogy","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 Victoria","funders":"","keywords":"Filmmaking; Kaleidoscope; Embodied cognition; Aesthetics; Visual arts; The arts; Art; Sociology; Epistemology; Movie theater; Philosophy","score_opus":0.07325637687336604,"score_gpt":0.3614272281021856,"score_spread":0.2881708512288195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281866326","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":[0.9672254,0.020154322,0.000056834742,0.0017748777,0.00087097735,0.00004425462,0.000003862429,0.0000012087286,0.009868303],"genre_scores_gemma":[0.99462396,0.0034211208,0.0010320442,0.00008160164,0.00031469433,0.0000023062396,7.3207923e-7,0.0000051990637,0.00051835686],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9993422,0.000028695827,0.00040496516,0.000113830785,0.000025362153,0.00008496179],"domain_scores_gemma":[0.998807,0.000251777,0.00075693865,0.0000572096,0.00008286104,0.000044210192],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036072338,0.000062838786,0.00030051605,0.00032744673,0.00003295551,0.000027071448,0.000031807638,0.000026899585,0.0000701784],"category_scores_gemma":[0.000905316,0.00006598826,0.0000325434,0.00016198642,0.000031158314,0.0002005367,0.000023838465,0.000113331196,0.0000011220473],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021839888,0.00050105236,0.8897204,0.0003503752,0.00017362663,0.0000170909,0.017455244,0.00006328266,0.004067208,0.054535557,0.0014258863,0.031471904],"study_design_scores_gemma":[0.0040729763,0.00039326688,0.7931688,0.0008119161,0.00009811194,0.00037289452,0.040963095,0.00041105287,0.004338029,0.022755064,0.13210776,0.0005070581],"about_ca_topic_score_codex":0.00014556508,"about_ca_topic_score_gemma":0.0006083565,"teacher_disagreement_score":0.13068187,"about_ca_system_score_codex":0.000021387703,"about_ca_system_score_gemma":0.00013250716,"threshold_uncertainty_score":0.26909232},"labels":[],"label_agreement":null},{"id":"W4362638246","doi":"10.1163/23644583-bja10038","title":"Telling, Gathering and (Re)Experiencing Stories: Video Interview as Methodology and Innovation in Practitioner-Based Research","year":2023,"lang":"en","type":"article","venue":"Video Journal of Education and Pedagogy","topic":"Participatory Visual Research Methods","field":"Social Sciences","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":"University of Canterbury; Auckland University of Technology, New Zealand","keywords":"Cognitive reframing; Narrative; Indigenous; Focus group; Virtual reality; Data collection; Sociology; Psychology; Computer science; Social science; Art; Social psychology","score_opus":0.8911197958010644,"score_gpt":0.740307225257679,"score_spread":0.15081257054338537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362638246","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":[0.9880944,0.0018059354,0.001983115,0.0065087266,0.00038543265,0.00014745384,4.4762095e-7,0.0000103696575,0.0010641218],"genre_scores_gemma":[0.99129105,0.002562862,0.005014558,0.0002839388,0.00029697723,0.000028020899,9.4533084e-7,0.000010095867,0.000511573],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9945516,0.0041106883,0.00046108928,0.00017130419,0.00041419207,0.00029114398],"domain_scores_gemma":[0.99519867,0.0036567298,0.00023150964,0.000081216895,0.000662359,0.00016950727],"candidate_categories":["metaresearch"],"consensus_categories":["metaresearch"],"category_scores_codex":[0.029466053,0.00007151129,0.00019841753,0.0013466674,0.0003333584,0.000117231495,0.00010529033,0.000089729794,0.0001581835],"category_scores_gemma":[0.021055687,0.00006868545,0.000016919941,0.001692788,0.0003712657,0.00043710312,0.00004654906,0.0004074551,0.0000035491423],"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":[0.00017797247,0.0002107566,0.028094636,0.00019720662,0.000029669616,0.000019966057,0.43593672,0.00003772962,0.019706037,0.035501126,0.0012920061,0.47879618],"study_design_scores_gemma":[0.00076249434,0.00068535004,0.0323006,0.0006059946,0.00001880221,0.0000385424,0.5533237,0.0004673326,0.0035414041,0.029759672,0.37824854,0.0002475506],"about_ca_topic_score_codex":0.001060673,"about_ca_topic_score_gemma":0.0007997882,"teacher_disagreement_score":0.47854862,"about_ca_system_score_codex":0.00013697975,"about_ca_system_score_gemma":0.0018588494,"threshold_uncertainty_score":0.9993689},"labels":[],"label_agreement":null},{"id":"W4401970360","doi":"10.1163/23644583-bja10056","title":"Pushing the Limits of Participatory Video: Exploring Transgressive Voices through Researcher-Participant Minor Video-Making as a Non-Representational Practice","year":2024,"lang":"en","type":"article","venue":"Video Journal of Education and Pedagogy","topic":"Participatory Visual Research Methods","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":"Electronic Arts (Canada)","funders":"","keywords":"Participant observation; Transgressive; Minor (academic); Citizen journalism; Psychology; Sociology; Communication; Computer science; Art; Social science; World Wide Web; Humanities","score_opus":0.8029715187804626,"score_gpt":0.7023270014289907,"score_spread":0.10064451735147184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401970360","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":[0.9521139,0.011559058,0.0013827007,0.027618647,0.0015226067,0.00036777652,0.0000053088124,0.000019350944,0.005410608],"genre_scores_gemma":[0.9942625,0.0017587466,0.0019274837,0.0004380085,0.0011009831,0.00011458639,7.6847533e-7,0.000022427437,0.00037446598],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9936769,0.0032162713,0.0008426916,0.00028512967,0.0014219765,0.0005570214],"domain_scores_gemma":[0.98853743,0.009363171,0.00049543584,0.00021673224,0.0010483263,0.00033887455],"candidate_categories":["metaresearch"],"consensus_categories":[],"category_scores_codex":[0.010762555,0.00015782264,0.00032044286,0.0002951152,0.00058506796,0.0004117471,0.0004460714,0.00009237892,0.00034681533],"category_scores_gemma":[0.018874861,0.00011962509,0.00015386633,0.0006836159,0.0007035872,0.002647789,0.000059603753,0.0006643968,0.000020844589],"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":[0.00069704646,0.0007293654,0.005966167,0.00038995317,0.0005788157,0.000097270015,0.8287833,0.00024060803,0.017450284,0.050648138,0.004495733,0.08992332],"study_design_scores_gemma":[0.00063597446,0.0007042853,0.020967213,0.0019871604,0.0005770633,0.00012924218,0.506931,0.0005758102,0.012691773,0.014541469,0.43986675,0.00039227025],"about_ca_topic_score_codex":0.001937841,"about_ca_topic_score_gemma":0.0006297344,"teacher_disagreement_score":0.435371,"about_ca_system_score_codex":0.00014666696,"about_ca_system_score_gemma":0.005213465,"threshold_uncertainty_score":0.9893896},"labels":[],"label_agreement":null},{"id":"W7117241621","doi":"10.1163/23644583-12340001","title":"The Life of Droids: A Droidean Corporeal Horror","year":2025,"lang":"en","type":"article","venue":"Video Journal of Education and Pedagogy","topic":"Digital Media and Philosophy","field":"Computer 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":"University of Saskatchewan","funders":"","keywords":"Uncanny; Exhibition; Weaving; Uncanny valley; Work (physics)","score_opus":0.014665180478780725,"score_gpt":0.31584362971825747,"score_spread":0.30117844923947673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7117241621","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":[0.6744958,0.018482348,0.026353743,0.13450505,0.0142041305,0.00035002775,0.0000069717016,0.000032658747,0.13156924],"genre_scores_gemma":[0.9970328,0.000290367,0.0009293096,0.0008733638,0.00018024919,0.0000016979242,4.480186e-7,0.0000022116583,0.00068950886],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993212,0.000048149697,0.00033251548,0.000075083946,0.0001390601,0.00008398153],"domain_scores_gemma":[0.99889225,0.00030617518,0.00027936528,0.00017135731,0.000244105,0.00010677321],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003057899,0.000058571193,0.00012772555,0.00014373059,0.000068465364,0.00009293474,0.00038285705,0.000026081789,0.000003991169],"category_scores_gemma":[0.00029841997,0.00003923209,0.000053224165,0.00021667211,0.00007161338,0.00024313515,0.00004755599,0.00009737773,0.0000014989083],"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":[0.00003787993,0.00016365974,0.0039060435,0.000031480133,0.000050854782,0.0000016476379,0.0018448585,0.000002577434,0.00026443703,0.65181774,0.017109001,0.32476982],"study_design_scores_gemma":[0.0007517267,0.00060665427,0.027935062,0.00023202074,0.000055179866,0.00017153655,0.0012966826,0.0003126158,0.001046289,0.6105751,0.35683444,0.00018267361],"about_ca_topic_score_codex":0.000012448658,"about_ca_topic_score_gemma":0.0000063573425,"teacher_disagreement_score":0.33972546,"about_ca_system_score_codex":0.000009580654,"about_ca_system_score_gemma":0.0011524566,"threshold_uncertainty_score":0.20444085},"labels":[],"label_agreement":null}]}