{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":1320,"total_is_capped":false,"direct_labels_cover":5,"predictions_cover":1320,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"f204647f07d5","filters":{"topic":"Literature, Musicology, and Cultural Analysis"}},"results":[{"id":"W630492749","doi":"10.1522/030181275","title":"Origine des instruments de musique","year":2011,"lang":"fr","type":"book","venue":"","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":28,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"University of Oxford","keywords":"Art","authors":[{"name":"André Schaeffner","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0460677799132764,"gpt":0.2809225378386931,"spread":0.2348547579254167,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003721464,0.0004126346,0.0005281603,0.00009214632,0.000817634,0.00014609,0.0006013212,0.0009500157,0.02084111],"category_scores_gemma":[0.00005218611,0.0003049608,0.0004152234,0.0004403754,0.001869833,0.0004116448,0.0001043057,0.0004918491,0.001070367],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005738508,"about_ca_system_score_gemma":0.0006722168,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.007315262,"about_ca_topic_score_gemma":0.01844669,"domain_scores_codex":[0.9977557,0.0003257893,0.000382733,0.0004931738,0.0003104448,0.0007321532],"domain_scores_gemma":[0.9988769,0.00005674235,0.0002148751,0.0002304636,0.0002562359,0.0003647936],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001243545,0.0001357488,0.002818377,0.00007933491,0.0004741043,0.00002508501,0.01053259,6.010476e-7,0.00005017289,0.8944827,0.02888377,0.06250508],"study_design_scores_gemma":[0.0001145603,0.00007818677,0.0005679507,0.00009633629,0.0003495633,0.000007117444,0.0006281806,0.000008398704,0.0000620598,0.09728888,0.9003941,0.0004047101],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02839427,0.001216664,0.00004545895,0.0005174446,0.001120456,0.0002157931,0.00002354363,0.00008560879,0.9683807],"genre_scores_gemma":[0.03458374,0.001052678,0.002150597,0.009294345,0.001789234,0.00002449723,0.00008662014,0.00002164734,0.9509966],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.8715103,"threshold_uncertainty_score":0.9999403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2802635645","doi":"10.7202/1044377ar","title":"L’interculturalisme à travers le filtre cognitif : comment Gilles Tremblay recompose le gamelan dans Oralléluiants","year":2018,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":15,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Jonathan Goldman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05437255217517108,"gpt":0.2852664761718279,"spread":0.2308939239966568,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0007764989,0.0007639708,0.00108036,0.0001758157,0.001710987,0.0004705684,0.0009766059,0.0006655239,0.001346021],"category_scores_gemma":[0.0002052156,0.0006581238,0.0007316282,0.001023875,0.003321775,0.001267086,0.0001431465,0.0004856243,0.000263224],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002586516,"about_ca_system_score_gemma":0.0004355178,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.0236598,"about_ca_topic_score_gemma":0.03110768,"domain_scores_codex":[0.9948856,0.001399772,0.001009947,0.001074453,0.0005373142,0.00109293],"domain_scores_gemma":[0.9970127,0.0002350013,0.0005739795,0.0004967759,0.001133706,0.0005478431],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001545367,0.001392444,0.002771845,0.000258992,0.001605324,0.0002877239,0.3813801,0.000001497171,0.01126032,0.2514542,0.3188563,0.0305767],"study_design_scores_gemma":[0.00162092,0.0004764333,0.001877589,0.00061375,0.0003364279,0.00004686759,0.08226795,0.00009434728,0.00184007,0.02284036,0.886732,0.00125331],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2912119,0.007289342,0.0001536214,0.0904589,0.004674236,0.001090274,0.000480765,0.000396263,0.6042447],"genre_scores_gemma":[0.8949292,0.0005004988,0.00007946492,0.01815326,0.002896843,0.00006124438,0.0004137084,0.00005531033,0.08291053],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6037173,"threshold_uncertainty_score":0.9995887,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1604297623","doi":"10.7202/019932ar","title":"Micheline Coulombe Saint-Marcoux et Marcelle Deschênes : pionnières dans le sentier de la création électroacoustique","year":2009,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":14,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Marie-Thérèse Lefebvre","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02109222534122067,"gpt":0.2927066037429426,"spread":0.2716143784017219,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.002408828,0.0005321662,0.0006881502,0.0001869461,0.0009184422,0.0005777155,0.0005250791,0.0007775342,0.0003010358],"category_scores_gemma":[0.0006017299,0.0005017107,0.0004730171,0.0009755226,0.001267874,0.0009481034,0.00005506907,0.0006359087,0.00002716012],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004449071,"about_ca_system_score_gemma":0.0007373669,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00854394,"about_ca_topic_score_gemma":0.003094333,"domain_scores_codex":[0.9945666,0.00266639,0.0007386363,0.0007373177,0.000459697,0.0008313924],"domain_scores_gemma":[0.9976758,0.0005104095,0.0004149833,0.000373412,0.0006983642,0.0003270339],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00007613662,0.0009266451,0.004231281,0.0001555064,0.0003427852,0.000146824,0.08529688,0.0001026748,0.04686449,0.7974462,0.04266228,0.02174832],"study_design_scores_gemma":[0.001218199,0.0003540206,0.01637134,0.0004537881,0.0004712747,0.00007414833,0.01911143,0.00173244,0.002162899,0.506839,0.4498266,0.001384869],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4678449,0.03686838,0.01930142,0.07133386,0.001650843,0.001203077,0.000152516,0.0006106956,0.4010343],"genre_scores_gemma":[0.9176691,0.001333747,0.0004995327,0.01709635,0.001557159,0.00004193291,0.0001825982,0.00003814197,0.06158141],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4498242,"threshold_uncertainty_score":0.9997435,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1539457794","doi":"10.7202/1027609ar","title":"La saturation, métaphore pour la composition ?","year":2014,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":12,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Pierre Rigaudière","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03065776522170016,"gpt":0.280167104707082,"spread":0.2495093394853818,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001425541,0.0003704663,0.000535933,0.0001183379,0.000623468,0.0005360614,0.0003776683,0.0006877182,0.0004014466],"category_scores_gemma":[0.0002978511,0.0003309827,0.0003608488,0.0006670445,0.001119366,0.0007417122,0.00004801375,0.0004302972,0.0001614365],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001140568,"about_ca_system_score_gemma":0.0001702753,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008974821,"about_ca_topic_score_gemma":0.0009389384,"domain_scores_codex":[0.9953559,0.002754781,0.0005272821,0.0005458449,0.0003700595,0.0004461053],"domain_scores_gemma":[0.9977866,0.0006781922,0.0003474083,0.0002886925,0.0006614118,0.0002376254],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001406383,0.0001756125,0.001334809,0.0001004946,0.0001606068,0.00002202138,0.03696395,0.000002812449,0.002282979,0.8965696,0.03024349,0.03212961],"study_design_scores_gemma":[0.0004677895,0.00005675957,0.00208106,0.000230267,0.0001762227,0.00003286704,0.002918721,0.0001923297,0.0001569082,0.133571,0.8596443,0.0004717877],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.099768,0.009934511,0.001250737,0.02741714,0.001764239,0.0004078275,0.00005022815,0.0002653525,0.8591419],"genre_scores_gemma":[0.9388928,0.0002399966,0.0001424187,0.006981972,0.002751556,0.00003589635,0.0001773379,0.00002773395,0.05075023],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8391249,"threshold_uncertainty_score":0.9999142,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2134001407","doi":"10.7202/1014605ar","title":"La représentation des avant-gardes à la Semaine internationale demusique actuelle (Montréal, 1961)","year":2013,"lang":"fr","type":"article","venue":"Canadian University Music Review","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Bibliothèque et Archives nationales du Québec","funders":"","keywords":"Art; Humanities","authors":[{"name":"Johanne Rivest","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02585159096108723,"gpt":0.242959422088636,"spread":0.2171078311275488,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005097569,0.0002157119,0.0003800724,0.0001502787,0.0007443995,0.0001512533,0.0004057499,0.0002607907,0.01423156],"category_scores_gemma":[0.0002045258,0.0002131375,0.0002881731,0.0006118563,0.000824313,0.0007711871,0.00005223099,0.0002861376,0.001087965],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007935821,"about_ca_system_score_gemma":0.0006529224,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.5249625,"about_ca_topic_score_gemma":0.8591734,"domain_scores_codex":[0.997634,0.001121065,0.0002372388,0.0003758422,0.0002117906,0.0004200823],"domain_scores_gemma":[0.9983729,0.0002007766,0.0001772082,0.0002184171,0.0004168206,0.0006139078],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000003111228,0.00005664123,0.0009389832,0.0009140837,0.0002995708,0.0002812066,0.01437066,0.000005536285,0.00002526053,0.04027854,0.7675284,0.175298],"study_design_scores_gemma":[0.000148967,0.00001516992,0.003769023,0.001332501,0.0003449937,0.00002494327,0.004730633,0.00002435479,0.000001249744,0.001047655,0.9883163,0.0002441902],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04647453,0.2897519,0.0000652281,0.04926534,0.001190742,0.00116527,0.0001432893,0.00005709766,0.6118866],"genre_scores_gemma":[0.1129106,0.3048869,0.0006284916,0.0279263,0.000638469,0.00001108406,0.0002293925,0.00002379647,0.552745],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3342108,"threshold_uncertainty_score":0.9996898,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2155048510","doi":"10.1017/s0040298207000010","title":"ON CLAUDE VIVIER'S ‘LONELY CHILD’","year":2007,"lang":"en","type":"article","venue":"Tempo","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Uncanny; Identity (music); Psychoanalysis; Key (lock); Reputation; Sociology; History; Art; Literature; Art history; Psychology; Aesthetics; Social science","authors":[{"name":"Bob Gilmore","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01845017968067886,"gpt":0.2948779513245747,"spread":0.2764277716438959,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005438451,0.00008299363,0.0001239877,0.00005191581,0.0005512534,0.0000713682,0.0001872318,0.0001229846,0.0007979694],"category_scores_gemma":[0.0000865588,0.00006071985,0.0001021635,0.0003472721,0.0001244922,0.0001103482,0.00001558133,0.0001534834,0.0003816054],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004391134,"about_ca_system_score_gemma":0.00002186662,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005630503,"about_ca_topic_score_gemma":0.005390709,"domain_scores_codex":[0.9990819,0.00006707034,0.0001328698,0.0001782567,0.0002442055,0.000295736],"domain_scores_gemma":[0.9995854,0.00007493385,0.00005100619,0.0001189198,0.00005054475,0.000119222],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00009571025,0.0003650167,0.007918797,0.00001359609,0.000176016,0.00007545453,0.03195719,0.000008424757,0.0007035983,0.7450498,0.1829311,0.03070535],"study_design_scores_gemma":[0.0001869203,0.00006003458,0.01769653,0.00001669714,0.00002963131,0.000001261206,0.001932378,0.000002233729,0.0001944551,0.008846968,0.9708456,0.0001872492],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3257479,0.0004624485,0.00001912476,0.003458029,0.0004623976,0.0001081236,0.000003776853,0.0001067582,0.6696314],"genre_scores_gemma":[0.9782363,0.00001781301,0.00005300116,0.00896417,0.000783187,0.000002772549,0.000008689686,0.000004723574,0.01192937],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7879146,"threshold_uncertainty_score":0.8737205,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1983257156","doi":"10.7202/1014694ar","title":"Olivier Messiaen et le Québec : une présence et une influence déterminante sur la création musicale de l’après-guerre","year":2013,"lang":"fr","type":"article","venue":"Canadian University Music Review","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Jean Boivin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02245926967740885,"gpt":0.2527988093854531,"spread":0.2303395397080442,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006827311,0.0002968763,0.000561633,0.0001289414,0.0007510523,0.0001799966,0.0006720694,0.0003107041,0.001938205],"category_scores_gemma":[0.0002815614,0.0002930967,0.0003029465,0.002106887,0.000869389,0.001713919,0.00007961736,0.0004696162,0.0004504102],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007068631,"about_ca_system_score_gemma":0.005152897,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9645264,"about_ca_topic_score_gemma":0.9809473,"domain_scores_codex":[0.9969404,0.001292962,0.0003006173,0.0005033874,0.0002632632,0.0006993071],"domain_scores_gemma":[0.9978495,0.0001948686,0.0002596882,0.0003650745,0.0004585402,0.0008723283],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000005063931,0.0001534997,0.002373844,0.00175802,0.0002335134,0.000526554,0.02593273,0.00005240301,0.00008833176,0.1367761,0.669123,0.162977],"study_design_scores_gemma":[0.0001695211,0.00002120565,0.02124532,0.002095615,0.0003295798,0.00001780526,0.001959102,0.00006097357,9.872168e-7,0.0004340142,0.9733044,0.0003614734],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.124132,0.1319038,0.00004497413,0.4628313,0.001005355,0.001598225,0.0001565422,0.00007644004,0.2782514],"genre_scores_gemma":[0.6111245,0.06336189,0.0001922403,0.09137627,0.0003310913,0.00001496172,0.00009495339,0.00002832889,0.2334757],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4869925,"threshold_uncertainty_score":0.9999521,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4320803638","doi":"10.1017/9781580468411","title":"Claude Vivier","year":2014,"lang":"en","type":"book","venue":"","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art history; Art; History","authors":[{"name":"Bob Gilmore","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01983482418717766,"gpt":0.2773723807448149,"spread":0.2575375565576373,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002844535,0.0001692488,0.0003261764,0.00005512197,0.0003824802,0.0001581698,0.0003484332,0.0006298151,0.01071908],"category_scores_gemma":[0.00004281294,0.0001150126,0.000280438,0.00009845693,0.0002632837,0.00008709566,0.00003835867,0.0002850785,0.00158957],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009836601,"about_ca_system_score_gemma":0.0002421035,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002303051,"about_ca_topic_score_gemma":0.01140167,"domain_scores_codex":[0.9988172,0.0001147063,0.0001724851,0.0002833836,0.0003403267,0.0002718763],"domain_scores_gemma":[0.9993681,0.0000684627,0.0001045557,0.0001850572,0.0001420264,0.0001317996],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[7.646562e-7,0.000004477874,0.000005770046,0.000005229683,0.00004496205,0.000001611629,0.0007570215,7.253664e-8,0.000001228568,0.2965829,0.6997415,0.002854396],"study_design_scores_gemma":[0.00003831651,0.00001047817,0.0000111636,0.00001548322,0.00009823025,2.436886e-7,0.0001197802,9.611249e-7,7.340319e-7,0.03472754,0.9647887,0.0001883797],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.000006660025,0.0009761265,0.00001375109,0.001398923,0.0005959977,0.0001086559,0.000005813174,0.00009112353,0.9968029],"genre_scores_gemma":[0.0001838584,0.00008270643,0.00007219015,0.01318871,0.003317057,0.000007245202,0.00007827574,0.00001076878,0.9830592],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2650471,"threshold_uncertainty_score":0.9991878,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4253231838","doi":"10.7202/circuit","title":"Circuit: Musiques contemporaines","year":2012,"lang":"fr","type":"paratext","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":8,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.0800034667629966,"gpt":0.3058145243902577,"spread":0.2258110576272611,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"category_scores_codex":[0.0030892,0.003069162,0.004677806,0.0009203385,0.002617466,0.001639964,0.003052758,0.004186787,0.01714716],"category_scores_gemma":[0.001071807,0.002752608,0.002794594,0.003012944,0.004966069,0.003040132,0.00050938,0.002487239,0.007953946],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009563924,"about_ca_system_score_gemma":0.001651177,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008512627,"about_ca_topic_score_gemma":0.00359796,"domain_scores_codex":[0.9843335,0.003770627,0.003459674,0.00301339,0.00197967,0.003443193],"domain_scores_gemma":[0.9884752,0.001247959,0.00315501,0.001935604,0.003352996,0.001833219],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00009619933,0.001084884,0.003026992,0.00141181,0.002750168,0.0002621141,0.1508056,0.000002543576,0.001149286,0.4980776,0.3267142,0.01461848],"study_design_scores_gemma":[0.001090982,0.0002820748,0.0005961472,0.001161894,0.001083457,0.00006502379,0.009037604,0.00001610596,0.0001453156,0.06565914,0.9175985,0.003263761],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.009393212,0.09988005,0.0002085677,0.005293526,0.01582909,0.00262136,0.001018829,0.0007134788,0.8650419],"genre_scores_gemma":[0.48484,0.002332248,0.00004826533,0.01319607,0.01693326,0.0004764675,0.002092241,0.000242244,0.4798392],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5908843,"threshold_uncertainty_score":0.9998141,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W270894956","doi":"10.3138/cjfs.14.2.2","title":"Maddin and Melodrama","year":2005,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"William Beard","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03835346700791169,"gpt":0.2913514815203646,"spread":0.2529980145124529,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004438257,0.0001514402,0.0004085225,0.0001453964,0.000774542,0.0001439866,0.0001860633,0.000137107,0.000734271],"category_scores_gemma":[0.0003198762,0.000117343,0.0001611611,0.000392409,0.001158243,0.0004430161,0.00001572898,0.0002838469,0.00003522301],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002532037,"about_ca_system_score_gemma":0.0005321507,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006454905,"about_ca_topic_score_gemma":0.499007,"domain_scores_codex":[0.9987575,0.0001601164,0.0003559278,0.0001278676,0.0001684257,0.0004302087],"domain_scores_gemma":[0.9984179,0.00009994711,0.000225171,0.00006204353,0.0005191583,0.0006757527],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000007696145,0.00002165953,0.004875795,0.00004258697,0.001359697,0.0002190555,0.1021422,0.00003933288,0.00001479382,0.03418421,0.7205139,0.136579],"study_design_scores_gemma":[0.0001822356,0.00008324924,0.002560819,0.0001146111,0.0002589355,0.00005388333,0.02852906,0.000007732052,0.0000096591,0.002003588,0.9660509,0.0001453278],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2003582,0.6454665,0.000001290974,0.1374458,0.002595747,0.00006026757,0.00004369192,0.000003383049,0.01402502],"genre_scores_gemma":[0.9085944,0.01389752,0.0005073352,0.009363082,0.003784548,0.000001551072,0.000001176874,0.00000919576,0.06384117],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7082362,"threshold_uncertainty_score":0.9757929,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2152095673","doi":"10.7202/902002ar","title":"Le postmodernisme en musique : aventure néo-baroque ou Nouvelle aventure de la modernité?","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Francis Dhomont","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01803677412357949,"gpt":0.2715670345914165,"spread":0.253530260467837,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["research_integrity"],"category_scores_codex":[0.00188751,0.0008430123,0.001028267,0.0002153637,0.001271537,0.0007082165,0.001246254,0.002526134,0.001113972],"category_scores_gemma":[0.0006595677,0.000792899,0.0009041677,0.0007612915,0.001981774,0.001038571,0.0002048297,0.002437283,0.0001180786],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001823235,"about_ca_system_score_gemma":0.001643754,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00713611,"about_ca_topic_score_gemma":0.01502978,"domain_scores_codex":[0.9939712,0.002145413,0.0008580526,0.001140096,0.0006411631,0.001244063],"domain_scores_gemma":[0.9966112,0.0006540336,0.0005455827,0.000752381,0.0007421424,0.0006946126],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003830167,0.0005974236,0.001668848,0.0001915047,0.0004157777,0.0002616776,0.1264639,0.00002189101,0.01361369,0.8355259,0.01201669,0.009184299],"study_design_scores_gemma":[0.00082036,0.0001096219,0.001242009,0.0001792107,0.0002625498,0.0001195449,0.008095969,0.0004378633,0.0005724755,0.2848602,0.7022392,0.001061016],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2688124,0.01201101,0.001069967,0.04560292,0.004966436,0.001199773,0.0002943936,0.0005203369,0.6655228],"genre_scores_gemma":[0.8848403,0.0005441033,0.0002834693,0.01365018,0.004664555,0.0001156776,0.0001791417,0.00009369147,0.09562895],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6902224,"threshold_uncertainty_score":0.9998642,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1550855800","doi":"10.7202/902006ar","title":"Compositeurs québécois : chronique d’une décennie (1980-1990)","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Conservatoire de Musique et d’art Dramatique du Québec","funders":"","keywords":"Humanities; Political science; Art","authors":[{"name":"Sophie Galaise","is_ca":true},{"name":"Johanne Rivest","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0323725589385861,"gpt":0.2781652964750452,"spread":0.2457927375364591,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001004722,0.0007509288,0.001068435,0.0002178524,0.001193799,0.0005976895,0.001083806,0.001134217,0.001321693],"category_scores_gemma":[0.0002889294,0.0006858531,0.0007633033,0.001693648,0.002758689,0.001173891,0.0001360378,0.001313802,0.0003082269],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001924481,"about_ca_system_score_gemma":0.0007876107,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.0939572,"about_ca_topic_score_gemma":0.1948401,"domain_scores_codex":[0.9954689,0.0007225832,0.0009662794,0.001072286,0.00061839,0.001151605],"domain_scores_gemma":[0.9967413,0.0003501567,0.0005855321,0.0007571329,0.0009069213,0.0006589885],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000291125,0.0005168341,0.005714487,0.0002040705,0.0004775511,0.00021167,0.1056688,0.000001369239,0.01796013,0.8046654,0.0458441,0.01870638],"study_design_scores_gemma":[0.0005641978,0.0001593976,0.003295617,0.0001695722,0.0002505932,0.0000450326,0.004805147,0.00005823219,0.0004941831,0.04923307,0.9399619,0.0009630655],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4524994,0.02358913,0.0001148527,0.05242144,0.01016531,0.001076931,0.0001614326,0.0005439899,0.4594276],"genre_scores_gemma":[0.8852471,0.0005440815,0.0001577064,0.01439932,0.005760306,0.00009192546,0.0001684938,0.0000666435,0.09356448],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8941178,"threshold_uncertainty_score":0.9999552,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2119021233","doi":"10.7202/902179ar","title":"Pour débusquer l’inconnu : chronologie de Serge Garant","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Marie-Thérèse Lefebvre","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0447469519785433,"gpt":0.2935270163062715,"spread":0.2487800643277282,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001338146,0.0005543814,0.0007816865,0.0001206152,0.0007834284,0.0003876518,0.0008941643,0.001144456,0.004775298],"category_scores_gemma":[0.0008255468,0.0004824252,0.0005817932,0.0007793045,0.001910132,0.0008215104,0.000118402,0.001064523,0.000456722],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002602858,"about_ca_system_score_gemma":0.001054811,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004264125,"about_ca_topic_score_gemma":0.01175868,"domain_scores_codex":[0.9962532,0.0006810926,0.0006967923,0.0008227666,0.0003720046,0.001174162],"domain_scores_gemma":[0.9975079,0.0003549859,0.0003987707,0.0005710106,0.0006951824,0.0004721757],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002967158,0.0004929412,0.01206747,0.0001865208,0.0005269493,0.0003191817,0.04740548,0.00000191495,0.02531446,0.8094144,0.06355114,0.04068988],"study_design_scores_gemma":[0.0005785114,0.00009328967,0.004013081,0.0001146659,0.0002193569,0.00004289207,0.003822617,0.0001279533,0.0007313331,0.1949256,0.7945796,0.0007510816],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4306935,0.01500596,0.0002780786,0.04194815,0.006809487,0.0006083247,0.00009517025,0.0004264452,0.5041349],"genre_scores_gemma":[0.8753093,0.0004933576,0.0003319905,0.01170028,0.005272576,0.00006719174,0.00005011698,0.00004353825,0.1067317],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7310284,"threshold_uncertainty_score":0.9997627,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2022974862","doi":"10.7202/1005613ar","title":"De la polyphonie hétéromorphe à une esthétique de la divergence","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Trois-Rivières","funders":"","keywords":"Humanities; Philosophy; Art","authors":[{"name":"Hervé Guay","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.025204675234302,"gpt":0.2738569090959859,"spread":0.2486522338616839,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002167909,0.0009895645,0.001113165,0.0002112689,0.001231563,0.0005153726,0.001786753,0.001664641,0.001789548],"category_scores_gemma":[0.0005080811,0.0009340236,0.001093319,0.001804425,0.00463766,0.001153745,0.0002299438,0.001550992,0.0002318944],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006588991,"about_ca_system_score_gemma":0.001384474,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.02745555,"about_ca_topic_score_gemma":0.08070286,"domain_scores_codex":[0.9919853,0.003202263,0.0009618779,0.001180094,0.0006128224,0.002057682],"domain_scores_gemma":[0.9963287,0.0009671835,0.0005531471,0.0007587137,0.0003062522,0.001086021],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002116523,0.00132623,0.008827812,0.0003826474,0.0007404984,0.001482508,0.08869778,0.0001349116,0.001733939,0.8458948,0.04220544,0.008361809],"study_design_scores_gemma":[0.0002816406,0.0003184716,0.02086432,0.0006166618,0.001024909,0.0004296151,0.004040943,0.0001418627,0.0006921488,0.01646226,0.9538442,0.001282947],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4064047,0.008008767,0.00009902645,0.01979482,0.001543276,0.0006737084,0.000240557,0.0004947638,0.5627404],"genre_scores_gemma":[0.8871034,0.006248329,0.0025156,0.003558085,0.001327336,0.000120837,0.00004526173,0.0001049938,0.09897617],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9116388,"threshold_uncertainty_score":0.9996314,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4365393720","doi":"10.7202/1097854ar","title":"Chronologie de plus de cent ans de présence féminine dans la création d’oeuvres musicales au Québec : un premier survol","year":2023,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities","authors":[{"name":"Marie-Thérèse Lefebvre","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06104311458521838,"gpt":0.3596886437549475,"spread":0.2986455291697291,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["research_integrity"],"category_scores_codex":[0.009026557,0.0006107194,0.0007345428,0.0001810113,0.001113578,0.0002714643,0.001041767,0.005039867,0.0003097453],"category_scores_gemma":[0.007138321,0.0005897291,0.0006174229,0.001809357,0.003361136,0.0003862565,0.000154872,0.003675417,0.00005167798],"about_ca_system_candidate":true,"about_ca_system_consensus":true,"about_ca_system_score_codex":0.02953318,"about_ca_system_score_gemma":0.01407612,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.3687897,"about_ca_topic_score_gemma":0.5432658,"domain_scores_codex":[0.9794849,0.01675111,0.0006164729,0.0008363327,0.0004271967,0.001884027],"domain_scores_gemma":[0.9898077,0.008480922,0.0003476061,0.0004683501,0.0002234187,0.0006719895],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001528545,0.0004089543,0.01821118,0.0003599068,0.0007471721,0.0004398007,0.7756426,0.001712433,0.0150915,0.0927527,0.005456332,0.08902462],"study_design_scores_gemma":[0.00225285,0.000318337,0.105583,0.0007461575,0.002025624,0.0002649917,0.3389039,0.01353256,0.006802208,0.1244884,0.4023984,0.002683549],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9128388,0.002540548,0.005824366,0.01941955,0.0005602483,0.0005393483,0.00007244143,0.0004925697,0.05771213],"genre_scores_gemma":[0.9365423,0.007479069,0.01007043,0.01233666,0.002560213,0.000379217,0.0001108401,0.000113157,0.03040811],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4367386,"threshold_uncertainty_score":0.9996554,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W426549630","doi":"","title":"Dictionnaire de la censure au Québec : littérature et cinéma","year":2006,"lang":"fr","type":"book","venue":"","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Pierre Hébert","is_ca":false},{"name":"Yves Lever","is_ca":false},{"name":"Kenneth Landry","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0112116920358132,"gpt":0.2589413078605618,"spread":0.2477296158247486,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008474391,0.0006118997,0.000711882,0.0001112722,0.001579362,0.0004059912,0.0005527553,0.002562103,0.001684465],"category_scores_gemma":[0.0001340566,0.0004544699,0.000830566,0.0008613824,0.001791801,0.0003468719,0.00008977005,0.001559371,0.000240857],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00167615,"about_ca_system_score_gemma":0.004579218,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2284341,"about_ca_topic_score_gemma":0.7800406,"domain_scores_codex":[0.9959543,0.001433541,0.0004940576,0.0007249052,0.0005822253,0.0008109123],"domain_scores_gemma":[0.998271,0.0003956952,0.0003166011,0.0003346382,0.0003395894,0.0003425023],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001156867,0.0001635602,0.00684523,0.00008022533,0.0003186484,0.00004977365,0.01038441,0.00003602524,0.00001979514,0.4464172,0.5297466,0.005926934],"study_design_scores_gemma":[0.0002067313,0.00006934309,0.0199625,0.0001675122,0.0005746252,0.00002007166,0.001308206,0.00001970717,0.000002723555,0.005557306,0.9715427,0.0005686363],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002418789,0.008284086,0.00004206975,0.02903973,0.001195677,0.0002386915,0.000108618,0.0001968367,0.9584755],"genre_scores_gemma":[0.05891006,0.0003645666,0.0001975288,0.01169614,0.005286887,0.00002559512,0.0003551745,0.00003692158,0.9231271],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5516064,"threshold_uncertainty_score":0.9997907,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2767421592","doi":"10.4000/books.pum.4022","title":"De l'acteur vedette au théâtre de festival","year":2011,"lang":"fr","type":"book","venue":"Presses de l’Université de Montréal eBooks","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Sylvain Schryburt","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01504390785878918,"gpt":0.1998475451522971,"spread":0.1848036372935079,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005467126,0.0007431178,0.0008299011,0.0001725215,0.002039651,0.0002339826,0.001418369,0.001519194,0.004286125],"category_scores_gemma":[0.0001284164,0.0007317475,0.0008063937,0.0001701303,0.001148922,0.0002876149,0.0006051789,0.001166343,0.0002276778],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00438812,"about_ca_system_score_gemma":0.001496483,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.04305175,"about_ca_topic_score_gemma":0.06057949,"domain_scores_codex":[0.995522,0.001002838,0.0003980524,0.0008165065,0.0004946705,0.001765945],"domain_scores_gemma":[0.9974118,0.0003837509,0.0004952588,0.0004926429,0.0002655335,0.0009510139],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001216855,0.0004276313,0.02702589,0.0006636489,0.003817092,0.005686962,0.2453717,0.0003297867,0.004997073,0.25611,0.3981536,0.05619972],"study_design_scores_gemma":[0.0006013084,0.0001508723,0.01358399,0.0002559231,0.002307759,0.0001497257,0.002825636,0.0002009131,0.0005343545,0.01744799,0.9610178,0.0009237067],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.06870785,0.006528778,0.0001728936,0.001626479,0.0004945201,0.0004068812,0.0001490126,0.0002063271,0.9217073],"genre_scores_gemma":[0.0497081,0.0008324976,0.0008099147,0.003076226,0.001528615,0.00002129384,0.00008449916,0.00006975522,0.9438691],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5628642,"threshold_uncertainty_score":0.999777,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2156218312","doi":"10.7202/1006361ar","title":"La construction du champ identitaire de la musique actuelle en Amérique du Nord : enquête sur la filiation avec la Semaine internationale de musique actuelle","year":2011,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Sophie Stévance","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02175431182640936,"gpt":0.2543760981772161,"spread":0.2326217863508067,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.004158969,0.0006619548,0.0007865763,0.0003289902,0.0006568579,0.000558193,0.0007581222,0.001495429,0.001136825],"category_scores_gemma":[0.001909637,0.0006554984,0.0005911937,0.0007705155,0.002004946,0.001708185,0.0001871263,0.0009353013,0.00004447734],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006166915,"about_ca_system_score_gemma":0.001062302,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.009477611,"about_ca_topic_score_gemma":0.01912066,"domain_scores_codex":[0.991312,0.00571618,0.0009038596,0.0008463748,0.0004941327,0.0007275005],"domain_scores_gemma":[0.9953112,0.002163308,0.0007814612,0.000397725,0.0009626831,0.0003836306],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00009432573,0.0006679842,0.03381383,0.0003094819,0.0006878863,0.0005898296,0.4313201,0.00001038753,0.002391554,0.5000873,0.006604078,0.02342325],"study_design_scores_gemma":[0.002019517,0.0002094781,0.04238449,0.000833738,0.0003729524,0.001038308,0.03543249,0.0007625826,0.001733354,0.172388,0.7411917,0.001633345],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5415517,0.00153816,0.003178555,0.003633114,0.001041472,0.0006638954,0.000101047,0.0002880456,0.448004],"genre_scores_gemma":[0.9721442,0.002587683,0.0004606358,0.002666139,0.002001412,0.0002150868,0.0001751324,0.00007611187,0.01967354],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7345876,"threshold_uncertainty_score":0.9998009,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1860650828","doi":"10.7202/016657ar","title":"Les voix de la marge : Tennessee Williams et Michel Tremblay","year":2007,"lang":"fr","type":"article","venue":"TTR traduction terminologie rédaction","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"University of Alberta","funders":"","keywords":"Humanities; Art","authors":[{"name":"Louise Ladouceur","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05595985669478325,"gpt":0.3489101234692902,"spread":0.292950266774507,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001735275,0.00036609,0.0003765083,0.0002254307,0.0008432405,0.0002271991,0.0002893317,0.001106635,0.000692218],"category_scores_gemma":[0.0002073816,0.0003291897,0.0003635323,0.000908029,0.001057604,0.001059308,0.00003179491,0.0008397505,0.0001457424],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000920354,"about_ca_system_score_gemma":0.0001273494,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004612859,"about_ca_topic_score_gemma":0.002801003,"domain_scores_codex":[0.9967413,0.0009564044,0.0005117067,0.0006037784,0.0003428042,0.0008439918],"domain_scores_gemma":[0.9986814,0.0003429042,0.0003455753,0.0002563242,0.0001695384,0.0002043008],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002038976,0.001062156,0.00967334,0.0001382698,0.0003876639,0.0001258064,0.01659292,0.00008090826,0.04634036,0.04095003,0.02775555,0.8566891],"study_design_scores_gemma":[0.0005438865,0.0001978692,0.1044142,0.00006925658,0.0004485472,0.0002430879,0.01085319,0.000088233,0.008244149,0.006026166,0.8682724,0.0005989923],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9301124,0.006922454,0.002535027,0.02455644,0.006642809,0.0003344493,0.00003138436,0.000520587,0.02834442],"genre_scores_gemma":[0.9185128,0.003200086,0.0006575079,0.001493769,0.002415641,0.00002331227,0.00005901026,0.00002904248,0.07360879],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8560901,"threshold_uncertainty_score":0.999916,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4391962496","doi":"10.51644/9781554583980","title":"Unheard Of","year":2012,"lang":"gl","type":"book","venue":"","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[{"name":"John Beckwith","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03582078569744501,"gpt":0.2897589779769775,"spread":0.2539381922795325,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004870335,0.0003029888,0.0007652675,0.00009752843,0.0003235783,0.00007433911,0.0004996397,0.0009168774,0.02129241],"category_scores_gemma":[0.00005191458,0.0002062146,0.0006465969,0.00039549,0.0008124173,0.0002399803,0.00009717983,0.0003815184,0.001023776],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008855783,"about_ca_system_score_gemma":0.0003071377,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009465017,"about_ca_topic_score_gemma":0.001269966,"domain_scores_codex":[0.9978275,0.000234414,0.0004980519,0.000341996,0.0005791332,0.0005189233],"domain_scores_gemma":[0.9986064,0.0001266513,0.0003803273,0.0002786899,0.0003583887,0.0002494714],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001537121,0.0001542078,0.0005602126,0.00012725,0.000626898,0.000003205227,0.01228256,4.774631e-7,0.0001175502,0.5869226,0.3927836,0.00640604],"study_design_scores_gemma":[0.00009734368,0.00004892378,0.0003366683,0.00005349826,0.0005537254,7.563565e-7,0.001892462,0.000001287765,0.00003016116,0.004781541,0.9919092,0.0002944426],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0005532119,0.006021243,0.000003923934,0.0009120752,0.001306271,0.0001987309,0.00004250747,0.00003352325,0.9909285],"genre_scores_gemma":[0.03590456,0.0005124444,0.0001133252,0.00239681,0.002620458,0.000005751748,0.00008709768,0.00001265544,0.9583469],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5991256,"threshold_uncertainty_score":0.9997541,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2068666668","doi":"10.7202/029902ar","title":"“Pictures in the Fire”: the Dickensian Hearth and the Concept of History","year":2009,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Hearth; Narrative; Representation (politics); Materiality (auditing); Literature; History; The Symbolic; MAGIC (telescope); Aesthetics; Art history; Visual arts; Art; Politics; Archaeology; Law; Psychology","authors":[{"name":"Adelene Buckland","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01538158596278989,"gpt":0.2463369046428897,"spread":0.2309553186800998,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009700775,0.0001146786,0.0001972075,0.0000158665,0.0006452535,0.00008956403,0.0003447794,0.00008721256,0.00006139221],"category_scores_gemma":[0.0001086797,0.00003852928,0.00007355553,0.0001541896,0.001041282,0.00006338867,0.00002208064,0.0002475745,0.000001802413],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001380061,"about_ca_system_score_gemma":0.00002768972,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007291209,"about_ca_topic_score_gemma":0.0007990559,"domain_scores_codex":[0.9984657,0.000753698,0.0001699767,0.0001505343,0.000266468,0.0001936016],"domain_scores_gemma":[0.9989654,0.0006538077,0.00009180223,0.000227669,0.00002955161,0.00003178037],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004354156,0.00003138858,0.00009454229,0.00000181763,0.00002602717,0.000003427175,0.1508642,0.000001972883,0.00006899473,0.8305393,0.01716992,0.001154897],"study_design_scores_gemma":[0.001099942,0.0002448017,0.05557408,0.00004217653,0.0001904238,0.000007425814,0.02418931,0.0001140541,0.00005214716,0.07453648,0.8437355,0.0002136303],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8331477,0.01419702,0.000003652438,0.1191275,0.001093573,0.0007770169,0.00000991677,0.00002805396,0.03161557],"genre_scores_gemma":[0.9792637,0.0002827405,0.000003639274,0.01921099,0.0005120886,0.000005856137,0.000001944078,0.000002665648,0.0007163875],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8265656,"threshold_uncertainty_score":0.4962833,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4391968299","doi":"10.51644/9781554583218","title":"Weinzweig","year":2011,"lang":"de","type":"book","venue":"","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.0336134016448922,"gpt":0.2646399264773502,"spread":0.2310265248324581,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004123772,0.0005096372,0.0007837773,0.0001300983,0.0009125302,0.0002973245,0.0009298203,0.001376993,0.06854536],"category_scores_gemma":[0.00005656548,0.0003530596,0.0008096675,0.0004283427,0.0008998794,0.0002626372,0.0001507821,0.0006882332,0.0184349],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001483463,"about_ca_system_score_gemma":0.0004882012,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001468743,"about_ca_topic_score_gemma":0.003969101,"domain_scores_codex":[0.9971383,0.000281827,0.0005169874,0.0007645034,0.000585279,0.0007130791],"domain_scores_gemma":[0.9984373,0.0000952285,0.000326998,0.0004204114,0.0003566183,0.0003634313],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001030118,0.00006965124,0.00006450061,0.00002735145,0.0005245635,0.00002573076,0.007667254,6.506131e-8,0.000007725148,0.4504033,0.5372831,0.003916495],"study_design_scores_gemma":[0.0001176706,0.00006801437,0.00006441449,0.00004600194,0.0007291131,0.000001083319,0.001217362,0.00000236781,0.000008203728,0.03072324,0.9664706,0.0005519204],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00007025203,0.006085413,0.000008213143,0.0009897337,0.003008109,0.0002778627,0.00003443645,0.0001274197,0.9893985],"genre_scores_gemma":[0.001847253,0.001324717,0.0001568537,0.0114855,0.005644253,0.00001764552,0.0002278505,0.00002505703,0.9792709],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4291875,"threshold_uncertainty_score":0.9999194,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1596854875","doi":"10.7202/004705ar","title":"L’écriture à haute voix : « Lonely Child » de Claude Vivier","year":2002,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Jacques Tremblay","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04537451163569458,"gpt":0.2675216730287679,"spread":0.2221471613930733,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007902395,0.0006518104,0.0009234162,0.0001774293,0.001220739,0.0005784933,0.0008351559,0.001028228,0.005238948],"category_scores_gemma":[0.00036575,0.0005867462,0.000752741,0.001321509,0.001433198,0.001103405,0.0001002822,0.0009013704,0.0005384769],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002443052,"about_ca_system_score_gemma":0.0001204966,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002232927,"about_ca_topic_score_gemma":0.002432444,"domain_scores_codex":[0.9955736,0.0009266826,0.0007657679,0.0009144963,0.0005714638,0.001248021],"domain_scores_gemma":[0.9977369,0.0001846323,0.0004086533,0.0005491442,0.0005390774,0.0005815579],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000158778,0.000817436,0.005764305,0.0003188232,0.0009008987,0.0004712679,0.1914799,0.00000983942,0.0006363042,0.5021491,0.2549948,0.04244153],"study_design_scores_gemma":[0.0004972294,0.00009600543,0.002041891,0.0003481076,0.0003256655,0.0000648522,0.003170361,0.0001878575,0.00007561694,0.03160809,0.9607695,0.0008148719],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.03409448,0.1284378,0.000104545,0.09705269,0.003212489,0.0006391327,0.0001789047,0.0003396127,0.7359403],"genre_scores_gemma":[0.73475,0.002159538,0.00006236101,0.0297315,0.004607104,0.00005116727,0.00005811205,0.00004850098,0.2285317],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7057747,"threshold_uncertainty_score":0.9996584,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W122743962","doi":"10.21992/t9c62h","title":"The Unbearable Torment of Translation: Milan Kundera, Impersonation, and The Joke","year":2011,"lang":"en","type":"article","venue":"TranscUlturAl A Journal of Translation and Cultural Studies","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Joke; Literature; Czech; Reflexive pronoun; History; Philosophy; Art; Linguistics","authors":[{"name":"Miriam Margala","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1025805602292231,"gpt":0.3168549749734589,"spread":0.2142744147442359,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.000829854,0.0001567526,0.0003525694,0.00002704992,0.00143951,0.000109207,0.0001652184,0.00007348241,0.00003503975],"category_scores_gemma":[0.00003895797,0.00006104125,0.0002577185,0.0002425526,0.001213913,0.0005542173,0.000004807903,0.0001792236,4.580189e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001936255,"about_ca_system_score_gemma":0.00002335786,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002280209,"about_ca_topic_score_gemma":0.003121531,"domain_scores_codex":[0.9984614,0.0003117344,0.0005284105,0.0001197368,0.0003880173,0.0001907023],"domain_scores_gemma":[0.9987841,0.0002019671,0.0002620026,0.00005049819,0.0006262098,0.00007526776],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0008964589,0.00005978083,0.0009120022,0.00006111426,0.001464824,0.000002219996,0.8991967,0.000009407383,0.001104338,0.02958876,0.000782315,0.06592206],"study_design_scores_gemma":[0.01168355,0.0007202069,0.03993212,0.0002956856,0.002763178,0.0001254396,0.7724396,0.0001466226,0.0008406474,0.02037308,0.1498966,0.0007832414],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5831743,0.3502806,0.0001024283,0.05518245,0.0007008045,0.0008110995,0.00001385059,0.00003073973,0.009703775],"genre_scores_gemma":[0.9728587,0.02588275,0.0002720162,0.0002730712,0.0001591825,0.000007508552,0.000001874125,0.000003327522,0.0005415788],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3896844,"threshold_uncertainty_score":0.9998605,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1595997452","doi":"10.7202/1006357ar","title":"La musique de Pierre Mercure à l’affiche de spectacles de danse","year":2011,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","authors":[{"name":"Claudine Caron","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0687616613639351,"gpt":0.2876417921550958,"spread":0.2188801307911607,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002314855,0.0005991759,0.0007690729,0.0001718158,0.0006827718,0.0003156079,0.0009180481,0.001215471,0.001547198],"category_scores_gemma":[0.0006088036,0.000556862,0.0006274929,0.000975606,0.001848468,0.0007517522,0.0000971025,0.0008680098,0.00007365098],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005182142,"about_ca_system_score_gemma":0.001086737,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01042946,"about_ca_topic_score_gemma":0.01110812,"domain_scores_codex":[0.9944823,0.002408339,0.0006550365,0.0007654338,0.0003530556,0.00133577],"domain_scores_gemma":[0.9976338,0.0003719539,0.0003906721,0.0004812103,0.0004432326,0.0006791008],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004596958,0.000464113,0.01525618,0.000200897,0.000471694,0.0006770046,0.4644257,0.00000214833,0.002487545,0.4869142,0.01455861,0.01449598],"study_design_scores_gemma":[0.0007369833,0.0002208517,0.01463257,0.0005197994,0.0007280266,0.000265693,0.04298047,0.0001359105,0.001211366,0.2714016,0.6658024,0.001364306],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3485996,0.02691131,0.0007172169,0.004851417,0.0009497053,0.0004789711,0.00007508404,0.0003586929,0.617058],"genre_scores_gemma":[0.9515128,0.001354854,0.0007144273,0.0104019,0.002301465,0.00008529353,0.00003921044,0.00006585837,0.03352422],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6512437,"threshold_uncertainty_score":0.9996883,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3097250073","doi":"10.7202/1069874ar","title":"Serge Garant à Paris : parcours d’un crucial apprentissage","year":2020,"lang":"fr","type":"article","venue":"Les Cahiers de la Société québécoise de recherche en musique","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université de Sherbrooke","funders":"","keywords":"Humanities; Art","authors":[{"name":"Jean Boivin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05727543844522198,"gpt":0.3423619348842932,"spread":0.2850864964390712,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["research_integrity"],"category_scores_codex":[0.005476622,0.000661498,0.0009467031,0.00007973352,0.001015519,0.0003760796,0.001030966,0.005852532,0.002427752],"category_scores_gemma":[0.00230159,0.0006563733,0.001038261,0.001551326,0.002178828,0.0004396863,0.0001285527,0.005895079,0.0001117967],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002255226,"about_ca_system_score_gemma":0.001486082,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009676567,"about_ca_topic_score_gemma":0.004501995,"domain_scores_codex":[0.9780903,0.01838033,0.0006821583,0.0009224347,0.0005403562,0.001384346],"domain_scores_gemma":[0.9947791,0.003236324,0.000370512,0.0003593066,0.0002016489,0.001053125],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002083724,0.000468736,0.001113049,0.0003971637,0.001385012,0.0005471819,0.4209553,0.0001698807,0.004828746,0.2693245,0.04082111,0.259781],"study_design_scores_gemma":[0.0009586444,0.0001345729,0.0006707511,0.000137852,0.001181053,0.00004110368,0.04748934,0.0008481405,0.001001925,0.06554646,0.8808824,0.001107789],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3826495,0.02915758,0.007932846,0.103447,0.001850691,0.001125956,0.0002001987,0.0006006318,0.4730356],"genre_scores_gemma":[0.7726902,0.02338202,0.01725288,0.1433804,0.008447573,0.0002525797,0.0001243476,0.0001951292,0.03427495],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8400612,"threshold_uncertainty_score":0.9995887,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1723404166","doi":"10.7202/1029295ar","title":"L’Underground musical des années 1970 au Québec","year":2015,"lang":"fr","type":"article","venue":"Les Cahiers des dix","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Marie-Thérèse Lefebvre","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05276035730731182,"gpt":0.2831728164640818,"spread":0.23041245915677,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.0005363157,0.0003414628,0.0004474,0.00008060628,0.002415875,0.000404045,0.000482872,0.0006515157,0.0004814763],"category_scores_gemma":[0.0004392718,0.0002802928,0.0003656045,0.001031273,0.01114685,0.0008442187,0.00008070244,0.0005251375,0.0003819633],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001947624,"about_ca_system_score_gemma":0.0008900765,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2965931,"about_ca_topic_score_gemma":0.7442899,"domain_scores_codex":[0.9971821,0.0005618313,0.0003489045,0.0005035585,0.0004898205,0.000913774],"domain_scores_gemma":[0.998336,0.0002152208,0.0001408218,0.000256662,0.0003322311,0.0007190346],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007387219,0.0004247482,0.02909056,0.0001318739,0.0005386369,0.0001230618,0.4292655,0.00005348294,0.0001230574,0.4119144,0.03088065,0.09738023],"study_design_scores_gemma":[0.0004235591,0.0002217242,0.007862342,0.00007704392,0.0004219429,0.00002272863,0.06629874,0.0000664997,0.00002569685,0.05865416,0.8654093,0.000516265],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9226298,0.0226046,0.0001529462,0.007824604,0.001673678,0.0001368599,0.00002341816,0.00009550857,0.04485853],"genre_scores_gemma":[0.8491848,0.0002748449,0.000722835,0.003260379,0.002097635,0.00001555535,0.00002510891,0.00002087731,0.144398],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8345286,"threshold_uncertainty_score":0.999965,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1487278637","doi":"10.7202/016777ar","title":"De-Composing Tristan Murail: The Collected Writings, 1980-2000. Review of Models &amp; Artifice: The Collected Writings of Tristan Murail, Contemporary Music Review, Vol. 24, Nos. 2/3, April/June 2005, Joshua Fineberg and Pierre Michel (eds.)","year":2007,"lang":"en","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Musical; Art history; Art; Performance art; Humanities; Cartography; History; Literature; Geography","authors":[{"name":"Sean Ferguson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05249538073515333,"gpt":0.2952847190506385,"spread":0.2427893383154852,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.007530544,0.0006774263,0.001936218,0.0002757485,0.00145063,0.0002937781,0.00108641,0.0004271562,0.0002456903],"category_scores_gemma":[0.003819286,0.0004591034,0.0006872583,0.003488917,0.001972551,0.0006060553,0.0001377873,0.0007488361,0.000003920301],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002262081,"about_ca_system_score_gemma":0.0011805,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00348888,"about_ca_topic_score_gemma":0.008020098,"domain_scores_codex":[0.9926946,0.001805656,0.002666202,0.0008610299,0.001003896,0.0009686347],"domain_scores_gemma":[0.9916751,0.001800806,0.002189742,0.0008515997,0.003133142,0.0003495905],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0004117907,0.0005840581,0.0009952605,0.01112108,0.001024242,0.00007941073,0.05892754,0.000002075926,0.01448256,0.02803711,0.8778316,0.00650331],"study_design_scores_gemma":[0.001682861,0.000151058,0.0006221786,0.01777073,0.0009164909,0.00005347397,0.008864808,0.0001138879,0.0006797562,0.00629937,0.9617431,0.001102302],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.03868499,0.8104459,0.0003135305,0.01684281,0.0006437575,0.004852528,0.0003000408,0.0002714224,0.127645],"genre_scores_gemma":[0.8312863,0.07568466,0.0003801904,0.0372989,0.001365924,0.000308973,0.0005351186,0.0001299834,0.05300997],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.7926013,"threshold_uncertainty_score":0.9998493,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2054675248","doi":"10.5539/res.v1n2p64","title":"Milan Kundera’s Slowness – Making It Slow","year":2009,"lang":"en","type":"article","venue":"Review of European Studies","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Slowness; Novella; Rhetoric; Deconstruction (building); Literature; Ideal (ethics); Phenomenon; Aesthetics; History; Philosophy; Art; Epistemology; Theology; Physics","authors":[{"name":"Tim Jones","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09612075573912132,"gpt":0.3819653602140806,"spread":0.2858446044749593,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001078814,0.0001314367,0.0004843485,0.00003131642,0.0003979905,0.00003418142,0.0002701836,0.00002047313,0.00007466197],"category_scores_gemma":[0.0004626993,0.00008505079,0.0002193278,0.0004009154,0.0001933426,0.0001316496,0.0000539036,0.00008844419,0.00006558929],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002570275,"about_ca_system_score_gemma":0.00001841811,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000006688377,"about_ca_topic_score_gemma":0.00005773813,"domain_scores_codex":[0.9983281,0.0006395559,0.000356851,0.0002049918,0.0002512966,0.0002192163],"domain_scores_gemma":[0.9992427,0.0000637468,0.000195195,0.000167008,0.0002890014,0.000042374],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001189685,0.000182069,0.0004928443,0.004239612,0.000744543,0.00009077598,0.02949996,0.000001412116,0.0001684165,0.06430198,0.6692462,0.2310203],"study_design_scores_gemma":[0.0000698545,0.00004157675,0.00213959,0.004483255,0.0002157733,0.000001352727,0.003526904,2.520597e-7,0.000003289765,0.0004556259,0.9889107,0.0001518501],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.0009341509,0.5523106,0.000003922047,0.01481506,0.0002070038,0.0001779449,0.000002946009,0.00004411169,0.4315043],"genre_scores_gemma":[0.3604052,0.571749,0.0003393036,0.05456776,0.000985047,0.000004614136,0.000007389888,0.00001160149,0.01193014],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.4195741,"threshold_uncertainty_score":0.346827,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1511047852","doi":"10.7202/1006360ar","title":"Pierre Mercure, Gilles Tremblay, et quelques autres compositeurs canadiens aux Ferienkurse à Darmstadt dans les années 1950 et 1960","year":2011,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","authors":[{"name":"Jean Boivin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09957763603089272,"gpt":0.3093825653490549,"spread":0.2098049293181622,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.001102377,0.0009332773,0.00114708,0.0003168366,0.0016003,0.0004422482,0.001128942,0.0008045958,0.001138738],"category_scores_gemma":[0.0003050563,0.0008383311,0.0007557311,0.001156156,0.003181139,0.001613825,0.0001799014,0.0007597301,0.00004649622],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002153005,"about_ca_system_score_gemma":0.0009432296,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2118392,"about_ca_topic_score_gemma":0.5604341,"domain_scores_codex":[0.9939069,0.001916286,0.00104923,0.001215211,0.0006494612,0.001262938],"domain_scores_gemma":[0.9966636,0.0003053817,0.0006699875,0.0006864531,0.0009274419,0.0007471599],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004634407,0.0003599816,0.01050326,0.0001282869,0.0004967122,0.0002828304,0.4158143,0.000004056249,0.0005374863,0.5563753,0.01169442,0.003756971],"study_design_scores_gemma":[0.0007935479,0.0005664556,0.0147246,0.0007047614,0.0008311648,0.0000765845,0.09198945,0.00009560277,0.0006258907,0.045693,0.8419684,0.001930508],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2822246,0.02427582,0.0001272346,0.01508601,0.002192286,0.0006423067,0.0006166786,0.0004342321,0.6744008],"genre_scores_gemma":[0.9442854,0.002009138,0.0002480386,0.01335165,0.0009136521,0.0001058196,0.0003819079,0.00009257951,0.03861182],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.830274,"threshold_uncertainty_score":0.9997743,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390899792","doi":"10.4000/131so","title":"Musique et enregistrement","year":2014,"lang":"fr","type":"book","venue":"Presses universitaires de Rennes eBooks","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Pierre-Henry Frangne","is_ca":false},{"name":"Hervé Lacombe","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0225238922334453,"gpt":0.2465129064552168,"spread":0.2239890142217714,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000475705,0.0006548992,0.0007747969,0.0002133202,0.001001347,0.0002661759,0.001134428,0.0009719279,0.0009890236],"category_scores_gemma":[0.00008383111,0.0006230448,0.0006975235,0.0001568103,0.001567983,0.0003063836,0.0004055914,0.0007368459,0.0001389958],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007296712,"about_ca_system_score_gemma":0.0008014241,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001520619,"about_ca_topic_score_gemma":0.01497003,"domain_scores_codex":[0.9962412,0.001084543,0.0004109042,0.0008284692,0.0005541336,0.000880759],"domain_scores_gemma":[0.997647,0.0004707283,0.000528535,0.0005323102,0.0003876257,0.0004337945],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005851967,0.00008546862,0.0002117955,0.0003523615,0.000946379,0.0001916634,0.00814426,0.00007971478,0.0002214431,0.7886894,0.1688689,0.03215006],"study_design_scores_gemma":[0.000357379,0.0001378793,0.0001039108,0.0004505629,0.001139137,0.00001372011,0.00168899,0.00006127894,0.00007541877,0.04382787,0.9514083,0.0007355056],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002378867,0.003100333,0.0002755079,0.005550154,0.0008265746,0.0004433315,0.0000913148,0.0001814707,0.9871525],"genre_scores_gemma":[0.3325385,0.0008724247,0.0003992108,0.004291089,0.001499464,0.00001798334,0.0002834096,0.0000529471,0.660045],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.7825394,"threshold_uncertainty_score":0.9999242,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W289099655","doi":"10.3138/cjfs.12.2.99","title":"Locating the Artist <i>in Thirty Two Short Films about Glenn Gould</i>","year":2003,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","authors":[{"name":"Darrell Varga","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04096887769497663,"gpt":0.3049229271760953,"spread":0.2639540494811187,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001594929,0.0002498958,0.0005644325,0.0001338795,0.001470696,0.0002149789,0.0004475048,0.0001494001,0.0004733236],"category_scores_gemma":[0.001060472,0.000161888,0.0003079259,0.001115475,0.001573347,0.0003643355,0.00001818472,0.0007223734,0.00002841472],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003796408,"about_ca_system_score_gemma":0.001207389,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.02203172,"about_ca_topic_score_gemma":0.7335011,"domain_scores_codex":[0.9973165,0.0006643467,0.0007012388,0.0002160491,0.0003160935,0.0007857829],"domain_scores_gemma":[0.9981248,0.0002798111,0.0003068956,0.0001646024,0.0006214416,0.0005024138],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001538961,0.0001152894,0.1145165,0.0001266449,0.001885041,0.001310272,0.2011528,0.001696196,0.0000661332,0.1113967,0.542957,0.024762],"study_design_scores_gemma":[0.0003587767,0.0001171255,0.009330993,0.0004537988,0.0004575471,0.0001304728,0.1255861,0.00004505795,0.00004444222,0.004822024,0.8582701,0.0003835446],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.2573007,0.6314317,0.000006429349,0.03970218,0.008375244,0.0002625672,0.00006531598,0.000007385642,0.06284844],"genre_scores_gemma":[0.9745651,0.002981944,0.0001538143,0.007190429,0.0008127526,0.000006417696,0.00000143194,0.00001160498,0.01427646],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7172644,"threshold_uncertainty_score":0.9998292,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1754207514","doi":"10.7202/902028ar","title":"Claude Vivier : les oeuvres d’une discographique imposante","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Johanne Rivest","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03738041970630748,"gpt":0.2899450004518145,"spread":0.2525645807455071,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.001042214,0.000703369,0.0009519742,0.0002735098,0.001301752,0.0006259038,0.000966706,0.00113446,0.002981403],"category_scores_gemma":[0.0003807388,0.0005838835,0.0009277727,0.001805712,0.003590547,0.001204528,0.0001290939,0.001308827,0.0001233302],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005947739,"about_ca_system_score_gemma":0.0002591413,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01506563,"about_ca_topic_score_gemma":0.06668406,"domain_scores_codex":[0.9957457,0.000748542,0.0009103637,0.0009958377,0.0005605245,0.001039074],"domain_scores_gemma":[0.9972257,0.0003491192,0.0005406378,0.0006612972,0.0007070304,0.0005162169],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000280925,0.0004100714,0.01524869,0.0001699956,0.0005582417,0.0001392166,0.05868116,3.922173e-7,0.0140926,0.8296483,0.02400242,0.05702081],"study_design_scores_gemma":[0.0004112058,0.0001151142,0.006454012,0.0001889543,0.0002730594,0.00002649083,0.006137249,0.00001936329,0.0003248485,0.1487523,0.8364331,0.0008643091],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.441471,0.04441499,0.0001064034,0.04164963,0.008807448,0.0008968226,0.000203193,0.0003926268,0.4620579],"genre_scores_gemma":[0.9147634,0.001032929,0.0001129868,0.008836458,0.005831611,0.0001008004,0.0001125954,0.00005861402,0.06915062],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8124307,"threshold_uncertainty_score":0.9999984,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W153166300","doi":"10.7202/902026ar","title":"Prologue pour les écrits d’un compositeur","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Véronique Robert","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04027986913667737,"gpt":0.2781457676024702,"spread":0.2378658984657928,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009400258,0.0005525052,0.0007804359,0.0001534373,0.001190945,0.0004400954,0.0008528585,0.0009953539,0.002200412],"category_scores_gemma":[0.00041515,0.0004823264,0.0005165057,0.0008378109,0.001822603,0.0007766935,0.0001206238,0.001080962,0.0002944074],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005677625,"about_ca_system_score_gemma":0.0002702134,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002772054,"about_ca_topic_score_gemma":0.006700558,"domain_scores_codex":[0.9963691,0.0007850039,0.0007115193,0.000828771,0.0004470752,0.0008585249],"domain_scores_gemma":[0.997445,0.0003175924,0.0004138238,0.000484139,0.0009283604,0.000411096],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003320322,0.0006452949,0.01782703,0.0002049455,0.0004968278,0.0002113738,0.05553969,8.022947e-7,0.03251163,0.7921547,0.02964664,0.07072791],"study_design_scores_gemma":[0.0006293679,0.000134057,0.004082851,0.0001332852,0.0002843365,0.00007358356,0.004125377,0.000064924,0.0008502361,0.1012948,0.8874971,0.0008300599],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5541446,0.01620387,0.0000963265,0.0468377,0.005438427,0.0007882255,0.0001276096,0.0003600899,0.3760031],"genre_scores_gemma":[0.89799,0.0002169451,0.0002885117,0.008959275,0.005158082,0.00006930198,0.0001289138,0.00004253345,0.08714638],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8578504,"threshold_uncertainty_score":0.9997628,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1567891865","doi":"10.7202/019935ar","title":"De la musique de geste à la musique du son, de SuperMémé à I8U","year":2009,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Hélène Prévost","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02284661049429795,"gpt":0.2808719778842454,"spread":0.2580253673899475,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.004031523,0.0007853526,0.001038441,0.0002453402,0.0009418469,0.001050556,0.001039428,0.001736715,0.000610441],"category_scores_gemma":[0.001319653,0.0007529286,0.0007954046,0.001185716,0.001962884,0.001072864,0.00009417402,0.001117273,0.00005328749],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000761758,"about_ca_system_score_gemma":0.001438457,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005397986,"about_ca_topic_score_gemma":0.002578684,"domain_scores_codex":[0.9916492,0.004381499,0.0008974411,0.0009628281,0.0004802816,0.00162878],"domain_scores_gemma":[0.9965025,0.001098041,0.0004301753,0.0005628166,0.0005837568,0.0008226779],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004879653,0.0006477037,0.01463081,0.0001639342,0.0003305571,0.001117574,0.2105715,0.00002284939,0.007185054,0.7129022,0.02679564,0.02558341],"study_design_scores_gemma":[0.0008354863,0.000225463,0.0205313,0.000417386,0.000362657,0.000384588,0.005761899,0.0002240864,0.0004530807,0.2579313,0.7117498,0.001122966],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4283399,0.01332093,0.0009848009,0.03260996,0.0008237882,0.0006506729,0.00006956509,0.0004870879,0.5227133],"genre_scores_gemma":[0.9142998,0.001833417,0.0004672701,0.04887842,0.004104045,0.00008564034,0.00006102307,0.00006460782,0.03020573],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6849541,"threshold_uncertainty_score":0.9999865,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W434509045","doi":"10.7202/902190ar","title":"Transmigration, du son vers la forme","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","authors":[{"name":"Serge B. Provost","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02456475840893111,"gpt":0.2634234858392795,"spread":0.2388587274303484,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008068492,0.0003752322,0.0005016091,0.0001159606,0.0007512624,0.0004520604,0.0004855802,0.0007333513,0.001444948],"category_scores_gemma":[0.0003123774,0.0003280403,0.0004690771,0.0007555143,0.00144007,0.001202002,0.00002527524,0.0006048433,0.0001212597],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006623875,"about_ca_system_score_gemma":0.0003178216,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003517231,"about_ca_topic_score_gemma":0.0218272,"domain_scores_codex":[0.9975174,0.0004789835,0.0005309643,0.0005346423,0.0003798108,0.000558215],"domain_scores_gemma":[0.9982997,0.0002496432,0.0002592768,0.0003010826,0.0005895389,0.0003007782],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000160141,0.0001898157,0.003549093,0.00008155166,0.0001923732,0.00004750777,0.09568635,5.63315e-7,0.004557299,0.8386052,0.03059017,0.02648402],"study_design_scores_gemma":[0.000426828,0.00006820769,0.002058082,0.0000592102,0.0001655968,0.00001800168,0.003729094,0.00004921718,0.0001565406,0.06808158,0.9247506,0.0004370435],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2674678,0.005652131,0.0002632786,0.03784237,0.006535435,0.0005637351,0.00007969623,0.0002649846,0.6813306],"genre_scores_gemma":[0.9306166,0.0003680771,0.00007512962,0.005867246,0.003408671,0.00004967029,0.00009385413,0.00002763639,0.05949312],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8941604,"threshold_uncertainty_score":0.9999171,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4238632378","doi":"10.4000/books.pum.204","title":"Profession musicologue","year":2007,"lang":"fr","type":"book","venue":"Presses de l’Université de Montréal eBooks","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Art history; Humanities; Visual arts","authors":[{"name":"Jean-Jacques Nattiez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01562202704796864,"gpt":0.2254023816363005,"spread":0.2097803545883319,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000650922,0.0006774422,0.0008189283,0.0002395379,0.002341929,0.0001509281,0.001105259,0.002025681,0.006872829],"category_scores_gemma":[0.00008009213,0.0006330567,0.0006819812,0.0002384214,0.001284127,0.0002388961,0.0007353892,0.001209277,0.0003576341],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002863084,"about_ca_system_score_gemma":0.0005314047,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.007702442,"about_ca_topic_score_gemma":0.04723422,"domain_scores_codex":[0.9958774,0.0007615588,0.0004740146,0.0008328127,0.0006624138,0.001391771],"domain_scores_gemma":[0.9974956,0.0004399917,0.0005609229,0.0004590785,0.0003664731,0.0006779656],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0007513468,0.0003095212,0.002579093,0.000487866,0.00140133,0.002615134,0.08571386,0.0001218769,0.00269121,0.1743204,0.6548226,0.07418574],"study_design_scores_gemma":[0.0006681301,0.0001510875,0.002932028,0.0003011898,0.001321751,0.00004759371,0.004738128,0.0001175681,0.0003437876,0.01018525,0.9784198,0.0007736327],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02121965,0.01262052,0.0001119929,0.001976359,0.001077884,0.0006724235,0.0001032799,0.0002021562,0.9620157],"genre_scores_gemma":[0.02909011,0.0009353919,0.0005216213,0.005399863,0.001500398,0.00002045522,0.000194011,0.00005575658,0.9622824],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3235972,"threshold_uncertainty_score":0.9996121,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W376711184","doi":"10.7202/902192ar","title":"Postmodernité « que me veux-tu »","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","authors":[{"name":"John Rea","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03802163952760309,"gpt":0.2830985841831697,"spread":0.2450769446555666,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001038503,0.0005756657,0.0008151465,0.0001606492,0.0009101808,0.0005598009,0.0009073835,0.001044215,0.003220238],"category_scores_gemma":[0.0005713216,0.000512325,0.000615921,0.0009368737,0.00184229,0.001112339,0.0001161103,0.001098736,0.0006913021],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009185101,"about_ca_system_score_gemma":0.0004369594,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005298932,"about_ca_topic_score_gemma":0.01401014,"domain_scores_codex":[0.9962431,0.0006238522,0.0007519086,0.0008766618,0.0005673823,0.0009371246],"domain_scores_gemma":[0.9971922,0.0002884878,0.0004323209,0.0006340453,0.0009293471,0.0005235662],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002091602,0.0003163166,0.004429203,0.0001138846,0.0003435928,0.0001214074,0.05206206,7.27782e-7,0.01343356,0.8826357,0.03004071,0.01648195],"study_design_scores_gemma":[0.0004073197,0.00009719169,0.001488878,0.0000982528,0.0002148129,0.00003092124,0.003267521,0.0000593109,0.0003025884,0.1799135,0.8133793,0.0007403856],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2765951,0.0146455,0.00007606923,0.02929531,0.009202446,0.0006315572,0.0001196083,0.0003344482,0.6691],"genre_scores_gemma":[0.7923,0.0002452795,0.0000980182,0.0127725,0.005347235,0.00005502199,0.00009381952,0.00004424482,0.1890439],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7833387,"threshold_uncertainty_score":0.9997329,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1905229084","doi":"10.21083/csieci.v1i1.2","title":"Welcome to Critical Studies in Improvisation/Études critiques en improvisation","year":2004,"lang":"fr","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Guelph","funders":"","keywords":"Improvisation; Cognitive science; Humanities; Epistemology; Psychology; Philosophy; Art; Visual arts","authors":[{"name":"Ajay Heble","is_ca":true},{"name":"Ellen Waterman","is_ca":true},{"name":"Frédérique Arroyas","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.103610774446085,"gpt":0.4412355395268551,"spread":0.3376247650807702,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaresearch","metaepi_narrow","sts","scholarly_communication","research_integrity"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.007567227,0.001907529,0.002721759,0.001572133,0.001858528,0.001120365,0.001294989,0.00190173,0.0002161063],"category_scores_gemma":[0.04259728,0.001935421,0.0007678927,0.003512511,0.005934366,0.006262769,0.0009210833,0.00227163,0.0001661305],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01123248,"about_ca_system_score_gemma":0.001531738,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.00772631,"about_ca_topic_score_gemma":0.02964079,"domain_scores_codex":[0.982815,0.003744393,0.004113214,0.003103908,0.002281064,0.003942379],"domain_scores_gemma":[0.9865916,0.006551879,0.0005360236,0.001014045,0.004137644,0.001168801],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.0003258857,0.001999248,0.001300639,0.003866347,0.0005364788,0.0001886796,0.1495214,0.0003363565,0.00551665,0.8010513,0.001813835,0.0335432],"study_design_scores_gemma":[0.007025769,0.006349526,0.0161239,0.00650906,0.002221955,0.0001320979,0.4790645,0.002021381,0.00737587,0.4190964,0.04693713,0.00714235],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5077615,0.04461028,0.004701504,0.4023914,0.02396909,0.008721659,0.0006443728,0.001629127,0.00557106],"genre_scores_gemma":[0.9582584,0.007005946,0.008732026,0.01671547,0.005881316,0.00216319,0.0002187719,0.0001874662,0.000837406],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4504969,"threshold_uncertainty_score":0.9999166,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2786476107","doi":"10.4000/books.pum.9086","title":"La « beauté libre » de la musique actuelle au Québec","year":2011,"lang":"fr","type":"book-chapter","venue":"Presses de l’Université de Montréal eBooks","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Physics; Philosophy","authors":[{"name":"Sophie Stévance","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01221949654595801,"gpt":0.1972542814283768,"spread":0.1850347848824188,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004772039,0.0006401612,0.0006843844,0.0001434737,0.001592715,0.0001803846,0.001041501,0.001803844,0.007010121],"category_scores_gemma":[0.00006806073,0.0006156091,0.0007192235,0.00007158786,0.001754732,0.0002497386,0.0005981105,0.001082561,0.0001694886],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002124832,"about_ca_system_score_gemma":0.001080976,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.358382,"about_ca_topic_score_gemma":0.5125828,"domain_scores_codex":[0.9969144,0.0008149119,0.0003338249,0.0006630866,0.0003521625,0.0009215423],"domain_scores_gemma":[0.9977299,0.0006514182,0.0003906705,0.000421113,0.0001748991,0.0006320085],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0004776264,0.000161641,0.004322183,0.0002451818,0.001806969,0.002314117,0.2584168,0.0000584482,0.001164061,0.6159695,0.02536524,0.08969815],"study_design_scores_gemma":[0.0005039191,0.00009327822,0.005146161,0.0001858239,0.001380711,0.0001264895,0.002840354,0.00004021169,0.000285745,0.02594424,0.9627259,0.0007271277],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02750682,0.008502889,0.00009296409,0.001054642,0.0001868413,0.0002836232,0.00008327876,0.0001603294,0.9621286],"genre_scores_gemma":[0.3712017,0.001610943,0.0003175016,0.001769469,0.0005608714,0.00001364487,0.00003103716,0.00006616396,0.6244286],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9373607,"threshold_uncertainty_score":0.9997071,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2119237709","doi":"10.7202/902249ar","title":"Orphée ressuscité? Un panorama de l’opéra contemporain en Europe","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Éric Denut","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02767349389617412,"gpt":0.2760284497012324,"spread":0.2483549558050582,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00311752,0.0008139691,0.001132219,0.0002450167,0.001147313,0.0009106513,0.001461233,0.001292072,0.002570145],"category_scores_gemma":[0.001948104,0.000739412,0.0006363093,0.00196727,0.002463687,0.001229773,0.0002205168,0.001620784,0.0004225181],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001289077,"about_ca_system_score_gemma":0.0008168412,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005328375,"about_ca_topic_score_gemma":0.006007195,"domain_scores_codex":[0.9932355,0.0023169,0.001122738,0.001204323,0.0007128857,0.001407655],"domain_scores_gemma":[0.9954733,0.000743539,0.0007140195,0.0008748677,0.001372081,0.0008222082],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004868248,0.0004337039,0.009908165,0.0001607438,0.0005228941,0.0005468307,0.06501033,0.000001064366,0.01543912,0.8563517,0.02947736,0.02209938],"study_design_scores_gemma":[0.0007841277,0.0001530738,0.002653237,0.0001659454,0.0002799158,0.00005331971,0.003499873,0.00005567017,0.0005093776,0.06417606,0.9266936,0.0009758621],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3237064,0.01522653,0.0001683467,0.03756693,0.007183909,0.001020198,0.0001925562,0.0005313861,0.6144038],"genre_scores_gemma":[0.8070309,0.000458749,0.0002854854,0.01373393,0.005700156,0.00007816044,0.00012785,0.00008541694,0.1724994],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8972162,"threshold_uncertainty_score":0.9995057,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1931228967","doi":"","title":"L'imaginaire de l'espace urbain montréalais dans Bienvenue à et Ascension, deux déambulatoires audioguidés d'Olivier Choinière","year":2009,"lang":"fr","type":"article","venue":"Archipelago (Université du Québec à Montréal)","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Francis Ducharme","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006504046634370661,"gpt":0.2068009107916463,"spread":0.2002968641572756,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.000690472,0.0007039024,0.0008355047,0.0003019868,0.002286895,0.0002444488,0.001082306,0.0005262816,0.0004995088],"category_scores_gemma":[0.0002595094,0.0006994753,0.0008157275,0.0016983,0.001229345,0.001198696,0.0002577353,0.0009069509,0.0003282935],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001066739,"about_ca_system_score_gemma":0.001164729,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.425272,"about_ca_topic_score_gemma":0.8612632,"domain_scores_codex":[0.9952033,0.001174363,0.0004768481,0.0009995995,0.0007253707,0.001420565],"domain_scores_gemma":[0.9973449,0.0003173531,0.0003976213,0.000731414,0.0003467552,0.0008619667],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002300389,0.0006769376,0.01490374,0.0000520296,0.0005071402,0.001291419,0.6528212,0.0008105114,0.001198601,0.08119077,0.1483503,0.09796733],"study_design_scores_gemma":[0.001485818,0.000425583,0.1829145,0.0003074105,0.001069073,0.0001777861,0.07205978,0.002348383,0.00006203481,0.01182423,0.726054,0.001271342],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7299289,0.07123984,0.0003635048,0.1896802,0.0005838095,0.0003649637,0.00009090205,0.0001998492,0.007547977],"genre_scores_gemma":[0.9609368,0.005223416,0.001195933,0.01126743,0.000789085,0.00000657865,0.00004002036,0.00004957136,0.0204911],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5807614,"threshold_uncertainty_score":0.9995456,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W155922290","doi":"","title":"Werner Jaegerhuber's Messe Sur Les Airs Vodouesques: The Inculturation of Vodou in a Catholic Mass","year":2009,"lang":"fr","type":"article","venue":"Black Music Research Journal","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Liturgy; Independence (probability theory); Melody; Art; Order (exchange); Humanities; Sociology; Classics; Law; Literature; Musical; Political science; Theology; Philosophy","authors":[{"name":"Robert Grenier","is_ca":false},{"name":"Claude Dauphin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.113161497610906,"gpt":0.3749074286449311,"spread":0.2617459310340251,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.008002754,0.000283338,0.0005195504,0.0004012001,0.001287663,0.0008048153,0.001058511,0.000439385,0.001323425],"category_scores_gemma":[0.001264118,0.000171058,0.0003966597,0.003040009,0.002243239,0.001215515,0.00008989936,0.002360361,0.00009560878],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004714671,"about_ca_system_score_gemma":0.0006457188,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004375279,"about_ca_topic_score_gemma":0.0119802,"domain_scores_codex":[0.9911153,0.004489251,0.0009036732,0.0004067905,0.00196473,0.001120254],"domain_scores_gemma":[0.9963756,0.0005072718,0.0003901879,0.0003276525,0.002058663,0.0003406559],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0004188466,0.001602215,0.004078996,0.0001988404,0.0004869977,0.0006013723,0.387445,0.0009192016,0.0138958,0.1646496,0.2889831,0.13672],"study_design_scores_gemma":[0.001649875,0.0008515753,0.0374846,0.001010057,0.0002190157,0.0001344427,0.07264962,0.001148017,0.0005447129,0.05735913,0.8262647,0.0006842815],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8690002,0.02123524,0.00002214645,0.08830349,0.0007098112,0.0004878715,0.00001471909,0.00001568992,0.02021081],"genre_scores_gemma":[0.9744596,0.004044129,0.0001025378,0.001121183,0.002608598,0.00001103478,0.000008187976,0.0000135307,0.0176312],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5372815,"threshold_uncertainty_score":0.9999412,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2130210935","doi":"10.7202/013744ar","title":"Jacques Labrecque et la diffusion de la chanson traditionnelle : Quand le répertoire folklorique prend des airs d’opéra","year":2006,"lang":"fr","type":"article","venue":"Ethnologies","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Mathieu Perron","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02471141285887915,"gpt":0.2854369872515137,"spread":0.2607255743926346,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0008252139,0.0003178723,0.0003918845,0.0001070174,0.001151111,0.0003647685,0.0003958774,0.001011665,0.0003307938],"category_scores_gemma":[0.0002860246,0.0002587302,0.0002624101,0.0006679635,0.002984349,0.0006886106,0.00009438032,0.0005750583,0.00002553532],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001516742,"about_ca_system_score_gemma":0.000172048,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03310804,"about_ca_topic_score_gemma":0.02963137,"domain_scores_codex":[0.996528,0.001879886,0.0003063756,0.0004552399,0.0002257681,0.0006046867],"domain_scores_gemma":[0.9986486,0.0007829362,0.000156341,0.0002066293,0.0001166281,0.0000889063],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005573894,0.001001015,0.005360148,0.0001791285,0.0002074935,0.0001228748,0.1009787,0.0003103939,0.005309287,0.7569457,0.07445742,0.05507206],"study_design_scores_gemma":[0.0007072531,0.0002215731,0.02157884,0.000292021,0.0001683884,0.00003195483,0.06946563,0.0002027097,0.003152102,0.3271121,0.5764191,0.0006483319],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8102944,0.04453396,0.0003249359,0.02896227,0.0006288848,0.0002148574,0.00006539074,0.0004153028,0.1145599],"genre_scores_gemma":[0.9550171,0.006249014,0.001153494,0.0008844761,0.0006380748,0.00006933456,0.00005654358,0.00002092641,0.03591098],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5019616,"threshold_uncertainty_score":0.9999865,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W583439329","doi":"10.7202/902146ar","title":"Lettre (inédite) à Lise Bissonnette, directrice du Devoir","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Lorraine Vaillancourt","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02804278768590501,"gpt":0.2643167295855022,"spread":0.2362739418995972,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001208651,0.0006734979,0.0009102684,0.0002517541,0.001224241,0.0006753304,0.0009955398,0.001020947,0.002574139],"category_scores_gemma":[0.001159428,0.0005948349,0.000669879,0.00201523,0.001667898,0.001331399,0.0001232194,0.001093856,0.0003605181],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009357817,"about_ca_system_score_gemma":0.0003539843,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007760367,"about_ca_topic_score_gemma":0.01213193,"domain_scores_codex":[0.9957284,0.000744663,0.0008245155,0.001021084,0.000614517,0.001066839],"domain_scores_gemma":[0.9966766,0.0005155583,0.0005395778,0.0006416769,0.001030476,0.0005961506],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003468012,0.0006637641,0.0117901,0.0002466608,0.0007578839,0.0003222169,0.072926,0.000001951021,0.01007167,0.5629314,0.2841306,0.05612307],"study_design_scores_gemma":[0.0004416362,0.00007794815,0.001947222,0.0001058368,0.0003563306,0.00003523255,0.001751123,0.00009041654,0.0002209767,0.02597085,0.9681881,0.00081434],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2614642,0.03433923,0.00006151258,0.07141974,0.01205062,0.0008271383,0.000175481,0.0005545639,0.6191075],"genre_scores_gemma":[0.7861735,0.0005001486,0.0001049153,0.01578761,0.01031773,0.00007318107,0.0001056372,0.00005350929,0.1868838],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6840575,"threshold_uncertainty_score":0.9996503,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1992816717","doi":"10.7202/1014652ar","title":"The Music of Wagner in Toronto before 1914","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Repertoire; Popularity; Art; Visual arts; Art history; Musical; Sociology; Aesthetics; Literature; Psychology; Social psychology","authors":[{"name":"Carl Morey","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01835888692243216,"gpt":0.2305305503645066,"spread":0.2121716634420744,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003001716,0.00008069928,0.0002165307,0.0000386086,0.0004558728,0.00003373764,0.0004237265,0.00007794529,0.006168459],"category_scores_gemma":[0.00007605711,0.00005707317,0.0001283904,0.0005115894,0.0002452616,0.0003072966,0.00002422438,0.00008939123,0.00007361414],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006271439,"about_ca_system_score_gemma":0.0004079479,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.8242019,"about_ca_topic_score_gemma":0.9971348,"domain_scores_codex":[0.9990657,0.0002169729,0.0001380946,0.0001470076,0.0001307091,0.0003015338],"domain_scores_gemma":[0.9992747,0.00003738205,0.00007483907,0.0001950869,0.0001602068,0.0002578027],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000002706915,0.00002645242,0.00386096,0.0003257319,0.00009864105,0.00004381473,0.0156885,5.182658e-7,0.00001164622,0.1849158,0.6092153,0.18581],"study_design_scores_gemma":[0.00005675715,0.00000932336,0.008222485,0.0001840789,0.00004685855,3.313192e-7,0.005914989,0.000001777748,1.250495e-7,0.0002370733,0.9852516,0.00007457277],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08086701,0.1057312,6.790669e-7,0.02021505,0.0005841802,0.001386837,0.00003036279,0.00002399605,0.7911607],"genre_scores_gemma":[0.8940569,0.03030832,0.00004097938,0.02200386,0.0002918028,0.000007682508,0.00003076283,0.000009240133,0.05325045],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8131899,"threshold_uncertainty_score":0.99474,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1605060617","doi":"10.7202/902061ar","title":"Aperçu du genre électroacoustique au Québec","year":2010,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"François Guérin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02678345527170919,"gpt":0.2666194421388265,"spread":0.2398359868671174,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001096748,0.0005825233,0.0007883738,0.0001461879,0.001373994,0.0004103054,0.0008351668,0.0009918365,0.002006242],"category_scores_gemma":[0.0007664356,0.0005084218,0.0006273753,0.0009530497,0.001992081,0.0008990098,0.0001007691,0.001071213,0.0002462697],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004053583,"about_ca_system_score_gemma":0.00226978,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2338243,"about_ca_topic_score_gemma":0.6083621,"domain_scores_codex":[0.9963244,0.000617685,0.0007101626,0.0008596865,0.0004682819,0.001019844],"domain_scores_gemma":[0.9972932,0.0003403522,0.0004082883,0.0005552609,0.0008697585,0.0005331577],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003236054,0.0005193596,0.0287957,0.0001970055,0.0005916836,0.0001987971,0.1629892,0.000002394233,0.01927056,0.7169352,0.03478271,0.03568507],"study_design_scores_gemma":[0.0004518674,0.0001326042,0.00562123,0.00008081864,0.0003002954,0.00005959418,0.005505254,0.00009997637,0.0002831724,0.031603,0.9549549,0.000907359],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4516107,0.01023406,0.0001476739,0.04583767,0.006429073,0.0006086722,0.00007385189,0.000344363,0.4847139],"genre_scores_gemma":[0.8642607,0.0002239576,0.00006709618,0.01191367,0.008215403,0.00007796371,0.00006518864,0.00004733792,0.1151286],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9201722,"threshold_uncertainty_score":0.9999261,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2253606861","doi":"10.25071/1708-6701.2973","title":"Opera Viva: The Canadian Opera Company: The First Fifty Years","year":2001,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Opera; Documentation; Visual arts; History; Art; Computer science","authors":[{"name":"Paul F. Rice","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03339282593754663,"gpt":0.293960621094154,"spread":0.2605677951566074,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001093958,0.0001491552,0.0003294186,0.00002635107,0.00169566,0.0003256033,0.0009838701,0.000120703,0.001198671],"category_scores_gemma":[0.0003514795,0.00007924731,0.0002415993,0.0008295104,0.0003142763,0.0001480605,0.00005156975,0.0003560143,0.0003326176],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002281432,"about_ca_system_score_gemma":0.0002634945,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.09429408,"about_ca_topic_score_gemma":0.7598349,"domain_scores_codex":[0.9984265,0.0003687958,0.0002542528,0.0002465539,0.0002058227,0.0004980848],"domain_scores_gemma":[0.9989762,0.000106879,0.00008521132,0.0004291478,0.0001594636,0.0002430395],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.000006259102,0.00005916402,0.01155199,0.0003754802,0.0002232426,0.0002149247,0.02774294,0.00002647246,0.00001540656,0.07790004,0.8408007,0.0410834],"study_design_scores_gemma":[0.00004950094,0.000007894387,0.0090421,0.0003022926,0.000124243,0.00002327957,0.0004453292,0.00001445624,5.352318e-7,0.0001768101,0.9896809,0.0001326966],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.04308129,0.2847441,0.000004083558,0.4797805,0.001094312,0.00179979,0.00004542204,0.0000922696,0.1893582],"genre_scores_gemma":[0.6473046,0.09466197,0.0000683078,0.2315224,0.002452587,0.0002003299,0.00005012785,0.0000258156,0.02371391],"genre_candidate":"commentary","genre_consensus":null,"teacher_disagreement_score":0.6655409,"threshold_uncertainty_score":0.9997144,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4395460149","doi":"10.1515/9782760642539","title":"Le théâtre contemporain au Québec, 1945-2015","year":2020,"lang":"fr","type":"book","venue":"Les Presses de l'Université de Montréal eBooks","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Gilbert David","is_ca":false},{"name":"Hervé Guay","is_ca":false},{"name":"Hélène Jacques","is_ca":false},{"name":"Yves Jubinville","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01377698280111892,"gpt":0.2043792008783019,"spread":0.190602218077183,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0002795425,0.0007254967,0.001019058,0.0001237223,0.0026715,0.0002162306,0.001332128,0.00127213,0.00088384],"category_scores_gemma":[0.0001046046,0.000725726,0.000874559,0.0001837328,0.00145285,0.000255015,0.0006596917,0.001028,0.0002460379],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003319125,"about_ca_system_score_gemma":0.004355935,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.6821408,"about_ca_topic_score_gemma":0.9244351,"domain_scores_codex":[0.9961647,0.0008586469,0.0004792464,0.0008979418,0.0005694127,0.001030012],"domain_scores_gemma":[0.9975587,0.0003653447,0.0005664076,0.0004430678,0.0002671783,0.0007992878],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0005575098,0.0001544993,0.002713861,0.0003999709,0.00211842,0.00228117,0.09244482,0.0001568311,0.000871108,0.1484933,0.7176849,0.03212358],"study_design_scores_gemma":[0.0007854261,0.0001423518,0.0004884328,0.0001748424,0.001007743,0.00003295779,0.008686362,0.0001331193,0.00009903035,0.002695265,0.9849739,0.0007805722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.006931471,0.01879273,0.0001105446,0.02592099,0.0003826299,0.0005676611,0.0004396812,0.0002419356,0.9466124],"genre_scores_gemma":[0.2191181,0.0005257321,0.0002318524,0.005049396,0.001412092,0.00002010359,0.0003850826,0.00007127676,0.7731863],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.267289,"threshold_uncertainty_score":0.9995194,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2615474096","doi":"10.7202/1039670ar","title":"Les compositeurs face au passé musical : l’attrait pour l’écriture orchestrale dans la trajectoire de quelques compositeurs québécois","year":2017,"lang":"fr","type":"article","venue":"Circuit Musiques contemporaines","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Danick Trottier","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0636479383179775,"gpt":0.3166985652321986,"spread":0.2530506269142211,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity"],"consensus_categories":["sts"],"category_scores_codex":[0.001191917,0.0009930562,0.001379022,0.0001680444,0.003999706,0.001810677,0.00214286,0.001402816,0.0002284083],"category_scores_gemma":[0.0005074841,0.0009111689,0.001043578,0.0004168264,0.00520558,0.001471672,0.0002151496,0.001248347,0.00004631198],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007144652,"about_ca_system_score_gemma":0.001176887,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.1281522,"about_ca_topic_score_gemma":0.1810457,"domain_scores_codex":[0.9935711,0.002027422,0.0009381143,0.001267143,0.0006968908,0.001499341],"domain_scores_gemma":[0.9959759,0.0006261441,0.0008894969,0.001055726,0.0006256966,0.0008270743],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00008152756,0.0009942575,0.1012049,0.0004386121,0.0008885361,0.0008831158,0.3083561,0.00001575131,0.01577171,0.541497,0.0116203,0.01824823],"study_design_scores_gemma":[0.002355243,0.0005334845,0.2506294,0.001756747,0.001605499,0.0003686475,0.09028626,0.0003859261,0.001496145,0.07411563,0.5731265,0.003340504],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6417697,0.007239342,0.0003537911,0.045248,0.001387305,0.0006663197,0.0002874721,0.000329969,0.3027181],"genre_scores_gemma":[0.9582278,0.0004735974,0.0002291875,0.00439428,0.003143104,0.0000798702,0.0001555651,0.00008967596,0.03320699],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5615062,"threshold_uncertainty_score":0.9998935,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}