{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":401,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":401,"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"},"query_hash":"524993e753e3","filters":{"topic":"Theater, Performance, and Music History"}},"results":[{"id":"W2085239832","doi":"10.1093/jahist/jas017","title":"Changed for Good: A Feminist History of the Broadway Musical","year":2012,"lang":"en","type":"article","venue":"Journal of American History","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":102,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Musical; Singing; Period (music); Representation (politics); Human sexuality; Ideology; Politics; Art; Gender studies; History; Sociology; Aesthetics; Literature; Visual arts; Law; Political science","retraction":null,"screen_n_in":null,"score":{"opus":0.03909627066592348,"gpt":0.2160978672060635,"spread":0.17700159654014,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004986335,0.0001549871,0.0004351938,0.0001679608,0.0001202811,0.00000462869,0.0003353374,0.00003318244,0.0008585891],"category_scores_gemma":[0.00004239325,0.0001080723,0.0003924828,0.00002506514,0.001632045,0.0001988719,0.00002913713,0.0002481716,0.00001056542],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00207343,"about_ca_system_score_gemma":0.0004433689,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000162273,"about_ca_topic_score_gemma":0.0001144364,"domain_scores_codex":[0.9987534,0.00007145591,0.0005323842,0.00009343566,0.000260891,0.000288466],"domain_scores_gemma":[0.9982326,0.000080515,0.001128218,0.0002547759,0.0001615966,0.0001422648],"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":[0.0001893317,0.000293234,0.0002837783,0.00007088821,0.00007318446,0.000001304139,0.1602585,5.950537e-7,0.001288514,0.008472101,0.8221224,0.006946133],"study_design_scores_gemma":[0.0004075171,0.0003707215,0.0005654128,0.00004262565,0.0001035056,0.00002360955,0.002913736,0.000003854188,0.00003023993,0.00000959987,0.9953926,0.0001366067],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4326153,0.02527465,0.00009258014,0.0006770798,0.05109128,0.0006872669,0.00008102085,0.00006530076,0.4894155],"genre_scores_gemma":[0.9423767,0.00004117629,0.0001692791,0.001670646,0.004087691,0.00001720767,0.000001262073,0.0000365929,0.05159949],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5097613,"threshold_uncertainty_score":0.9400949,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1996959680","doi":"10.3138/md.2012-s83","title":"Mega-Melodrama! Vertical and Horizontal Suspensions of the “Classical”","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":68,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Mistake; Action (physics); Norm (philosophy); Aesthetics; Literature; Art; History; Epistemology; Philosophy; Law; Political science; Physics","retraction":null,"screen_n_in":null,"score":{"opus":0.02180379498952884,"gpt":0.2045720995639966,"spread":0.1827683045744677,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001028378,0.000100606,0.0001467422,0.00002835967,0.0002937458,0.00003038931,0.0001113264,0.00004235302,0.0004448822],"category_scores_gemma":[0.00001751575,0.00006335315,0.0000676309,0.00001412388,0.0004949585,0.0001811656,0.00007901084,0.0001261775,0.00002259638],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002865974,"about_ca_system_score_gemma":0.00002294877,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005643738,"about_ca_topic_score_gemma":0.0003035423,"domain_scores_codex":[0.9992961,0.00003084609,0.0001729336,0.0001035993,0.0001546749,0.0002418144],"domain_scores_gemma":[0.9995909,0.0000397948,0.00002917344,0.0002200765,0.00003076542,0.00008926058],"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":[0.0001210102,0.0005355694,0.006101146,0.00007100236,0.00008677182,0.000002776238,0.1781952,0.000002050313,0.009608779,0.7483836,0.02979193,0.02710014],"study_design_scores_gemma":[0.0005386702,0.00008430662,0.006097711,0.00003801498,0.00007051039,0.00001079422,0.001013577,0.0007878539,0.001298116,0.001503097,0.9883547,0.0002026327],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9440215,0.0003676749,0.00002673909,0.0004169669,0.0009449333,0.0001049158,0.000007481419,0.00003080632,0.05407904],"genre_scores_gemma":[0.9926676,0.000006619702,0.00001609075,0.0002272141,0.0005313053,0.000008300625,0.000001857173,0.00001393301,0.006527124],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9585628,"threshold_uncertainty_score":0.4871148,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4249113576","doi":"10.1017/cbo9780511761379","title":"Actors and Acting in Shakespeare's Time","year":2010,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":57,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Apprenticeship; Period (music); Style (visual arts); Choir; Context (archaeology); Visual arts; Art; Sociology; Literature; Pedagogy; History; Aesthetics","retraction":null,"screen_n_in":null,"score":{"opus":0.01602845273731935,"gpt":0.1632887580054204,"spread":0.1472603052681011,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0001049128,0.0002758353,0.0003420351,0.0002582689,0.0003077532,0.00008264963,0.0002686587,0.0002601176,0.00007349566],"category_scores_gemma":[0.000004701287,0.0003064506,0.00008789521,0.000003249496,0.0004921089,0.0001734848,0.0001653603,0.0007478981,0.00003894872],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002087513,"about_ca_system_score_gemma":0.0001547558,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003758963,"about_ca_topic_score_gemma":0.0002029673,"domain_scores_codex":[0.9990789,0.00003063076,0.000158714,0.0003383169,0.0001350838,0.0002583604],"domain_scores_gemma":[0.9993711,0.00004568653,0.0001457607,0.0002763813,0.00005341091,0.0001076558],"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":[0.0001692186,0.00003559746,0.000007441596,0.0003878823,0.0001137679,0.0003034096,0.02104469,3.403104e-7,0.0002684589,0.6356499,0.3348722,0.007147127],"study_design_scores_gemma":[0.0004087443,0.00002940292,0.00001199312,0.0001542832,0.0000593415,0.000003985476,0.00031442,0.00001254518,0.00002690047,0.00000216006,0.9986379,0.000338332],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.009538842,0.00007478011,6.625164e-7,0.000004695964,0.0006316912,0.0002395307,0.0001513928,0.00009927926,0.9892591],"genre_scores_gemma":[0.004014144,0.00002268742,0.000006269086,0.00005261653,0.0006060112,9.303677e-7,0.00005205494,0.00003858527,0.9952067],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6637657,"threshold_uncertainty_score":0.9999388,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4231114276","doi":"10.5325/pennhistory.83.2.0280","title":"Fortune's Fool: The Life of John Wilkes Booth","year":2016,"lang":"en","type":"article","venue":"Pennsylvania History A Journal of Mid-Atlantic Studies","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"","keywords":"Brother; Genius; Politics; Praise; Law; Biography; Art history; Art; History; Sociology; Literature","retraction":null,"screen_n_in":null,"score":{"opus":0.07244608440983098,"gpt":0.236163528874224,"spread":0.1637174444643931,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007989513,0.0002666156,0.0007222337,0.0002499231,0.0003861934,0.00001640977,0.0004829959,0.00004447523,0.001386364],"category_scores_gemma":[0.0002770252,0.0001311486,0.0003304138,0.00003428864,0.001493737,0.0003517918,0.00007794485,0.0001911035,0.00005374784],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00027714,"about_ca_system_score_gemma":0.0002658734,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007713899,"about_ca_topic_score_gemma":0.0007308221,"domain_scores_codex":[0.997975,0.0001094809,0.0009601791,0.00017207,0.0004578785,0.0003254115],"domain_scores_gemma":[0.9976268,0.0004092912,0.001012329,0.0003118558,0.0005248975,0.0001148412],"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":[0.0005681067,0.0002484431,0.001445295,0.0003454101,0.001435901,0.00005987639,0.1890645,0.000002395909,0.002776083,0.01885358,0.7775725,0.007627876],"study_design_scores_gemma":[0.001006657,0.0003959332,0.0004995872,0.0003967847,0.0003215935,0.00005099025,0.009277092,9.830114e-7,0.00009489225,0.0004471007,0.987303,0.0002053544],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7552171,0.183328,0.0001057591,0.003091448,0.01511375,0.0004615985,0.00003058503,0.00007644514,0.04257524],"genre_scores_gemma":[0.9788386,0.006002958,0.00005117367,0.0004916193,0.00180117,0.00001247587,4.686097e-7,0.00003493202,0.01276661],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2236214,"threshold_uncertainty_score":0.9995265,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2272173613","doi":"10.1525/jams.2013.66.3.771","title":"Queer Encounters in the Music of Billy Strayhorn","year":2013,"lang":"en","type":"article","venue":"Journal of the American Musicological Society","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Queer; Jazz; Liminality; Art; Aesthetics; Musical; Identity (music); Human sexuality; Literature; Visual arts; Sociology; Gender studies","retraction":null,"screen_n_in":null,"score":{"opus":0.02663927088767067,"gpt":0.20748483171212,"spread":0.1808455608244494,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005885739,0.0001212756,0.0003275311,0.00003012807,0.0001853549,0.00005644563,0.0006348079,0.00003321396,0.001438637],"category_scores_gemma":[0.00003034509,0.00005062731,0.0004626584,0.0001102505,0.001490677,0.0001680636,0.00005376069,0.0004219887,0.00001203941],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000901317,"about_ca_system_score_gemma":0.00006339241,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005586567,"about_ca_topic_score_gemma":0.0002352646,"domain_scores_codex":[0.9987406,0.0001504889,0.0004702794,0.00008966648,0.0003318825,0.0002171067],"domain_scores_gemma":[0.998802,0.0001433135,0.0006896907,0.0001921946,0.0001311455,0.0000416602],"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":[0.00009271017,0.0007198564,0.005215948,0.00004053463,0.000196099,0.000007598057,0.2080242,0.0001594016,0.004854674,0.00467307,0.758214,0.01780188],"study_design_scores_gemma":[0.000820461,0.001419574,0.1490533,0.00007834421,0.0001002179,0.00004077899,0.09067974,0.0001238513,0.00005575877,0.001726194,0.7556284,0.0002733673],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.989733,0.0000759394,0.00000969142,0.001847683,0.0007167625,0.0001677509,0.00000379298,0.000006085092,0.00743934],"genre_scores_gemma":[0.9885034,0.0000470029,0.0000793955,0.01038303,0.0005886325,0.00001049849,1.928382e-7,0.000006857917,0.0003809722],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1438374,"threshold_uncertainty_score":0.9994742,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4388355193","doi":"10.1093/oso/9780195161311.001.0001","title":"Pioneers Of Jazz","year":2005,"lang":"en","type":"book","venue":"","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":22,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Jazz; Courage; Creole language; Phenomenon; Musical; Pride; History; Art; Art history; Visual arts; Political science; Law; Philosophy","retraction":null,"screen_n_in":null,"score":{"opus":0.01628446831628196,"gpt":0.166042655138956,"spread":0.149758186822674,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00005430659,0.0001507503,0.0002486709,0.0001237801,0.00008296591,0.00001425377,0.0001301778,0.00008848953,0.02695897],"category_scores_gemma":[9.389769e-7,0.0001207245,0.0001211753,0.000003051839,0.0002695003,0.00007145894,0.00001828929,0.0001311549,0.000775707],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008466472,"about_ca_system_score_gemma":0.0001369788,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005258778,"about_ca_topic_score_gemma":0.0004967111,"domain_scores_codex":[0.9993696,0.000004132033,0.0002458672,0.0001206628,0.0001379837,0.000121744],"domain_scores_gemma":[0.9995929,0.00001105455,0.0001071224,0.0002027226,0.00005208309,0.00003413733],"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":[0.000004309692,0.00001184849,1.301095e-7,0.00006108639,0.00002300924,6.534132e-7,0.007416165,4.506008e-7,0.00000178681,0.3469777,0.6403499,0.005153069],"study_design_scores_gemma":[0.0001155589,0.00003990043,6.622167e-7,0.00006395873,0.00003248935,7.221167e-7,0.000216035,0.000002405821,0.000007089127,0.0003825462,0.998987,0.0001516618],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00008229718,0.0004980247,0.00000197541,0.00002051041,0.001038408,0.00009499303,0.00004108578,0.00006079179,0.9981619],"genre_scores_gemma":[0.001409811,0.0001022605,0.00002154928,0.0003055924,0.002364701,0.000006565831,0.00005410308,0.00002746071,0.9957079],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3586371,"threshold_uncertainty_score":0.9970402,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3199010635","doi":"10.5040/9781350119666","title":"An Inconvenient Black History of British Musical Theatre","year":2021,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":20,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Musical; Champion; Art; Performance art; Art history; Dance; Performing arts; Ballet; Visual arts; Newspaper; Racism; History; The arts; Media studies; Sociology; Gender studies","retraction":null,"screen_n_in":null,"score":{"opus":0.02419792773858132,"gpt":0.188349277383086,"spread":0.1641513496445047,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006724255,0.0005799277,0.001079399,0.0004082716,0.0002175372,0.0009945564,0.001123851,0.0004520064,0.004381668],"category_scores_gemma":[0.00002862217,0.0006942584,0.0005239577,0.00001619664,0.00184646,0.001296456,0.0002493083,0.001376262,0.00006297458],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001288833,"about_ca_system_score_gemma":0.002803342,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001736155,"about_ca_topic_score_gemma":0.007015964,"domain_scores_codex":[0.9963437,0.0001559973,0.001074479,0.0009327006,0.0008640548,0.0006290249],"domain_scores_gemma":[0.9972239,0.00008902991,0.0006376435,0.001213533,0.0004910621,0.0003448877],"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":[0.00002908007,0.0001954342,0.000002396189,0.0005633612,0.0001642251,0.0002434604,0.03576051,0.000001824944,0.000047399,0.03179212,0.9096298,0.02157042],"study_design_scores_gemma":[0.0006471092,0.0001807441,0.000006516416,0.000911299,0.0002262021,0.00005514997,0.001167088,0.00002040423,0.000006924735,0.001059349,0.9949737,0.000745527],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.004444959,0.0034886,0.000003007174,0.00003308356,0.007516487,0.0004002232,0.000534397,0.0002973544,0.9832819],"genre_scores_gemma":[0.008588023,0.00006252708,0.00004675495,0.001383426,0.005921713,0.00005580513,0.0008621908,0.0002012896,0.9828783],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.08534392,"threshold_uncertainty_score":0.9995509,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1993319846","doi":"10.1525/ae.2001.28.1.237","title":"Che Bella Figura! The Power of Performance in an Italian Ladies' Club in Chicago","year":2001,"lang":"en","type":"article","venue":"American Ethnologist","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":19,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"BELLA; Club; Index (typography); Power (physics); State (computer science); Humanities; Art; Art history; Mathematics; Computer science","retraction":null,"screen_n_in":null,"score":{"opus":0.02830399284664463,"gpt":0.2453805651508513,"spread":0.2170765723042066,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0002739551,0.0001559525,0.0002764031,0.0001693095,0.0001615658,0.00002262844,0.0003814705,0.00004691648,0.0005621444],"category_scores_gemma":[0.00001970825,0.0001082738,0.00004762282,0.0001652117,0.002917107,0.0001880668,0.00004535865,0.00032201,0.00005548745],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006720619,"about_ca_system_score_gemma":0.00003505213,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003293264,"about_ca_topic_score_gemma":0.03360927,"domain_scores_codex":[0.9989014,0.00006656815,0.0003297685,0.0002155796,0.0001270369,0.000359624],"domain_scores_gemma":[0.9993172,0.00004053324,0.0001538105,0.0004156137,0.00003558714,0.00003720223],"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":[0.0004389701,0.0009560997,0.24997,0.00008537673,0.00005980498,0.00007029848,0.5152484,0.0002089866,0.0005876414,0.0319595,0.003804147,0.1966108],"study_design_scores_gemma":[0.000409782,0.0005931723,0.09283064,0.00004842427,0.000007037409,0.000005504882,0.04295927,0.0001077745,0.0001129913,0.00005934136,0.8626137,0.0002523245],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8921734,0.0002180674,6.854496e-7,0.0006467802,0.0002274959,0.0001318327,0.000009530441,0.00004351513,0.1065487],"genre_scores_gemma":[0.9957166,0.0003026828,0.00001624837,0.0006080206,0.0001023801,0.00003655941,0.000007767245,0.000015923,0.003193848],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8588096,"threshold_uncertainty_score":0.9997964,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1987186934","doi":"10.1111/j.1533-1598.2009.01186.x","title":"“What Do We Mean by Opera, Anyway?”: Lloyd Webber's<i>Phantom of the Opera</i>and “High-Pop” Theatre","year":2009,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Opera; Art; Superstar; Legend; Musical; Entertainment; Art history; Criticism; Exaggeration; Performance art; Burlesque; History; Visual arts; Literature; Psychology; Psychoanalysis","retraction":null,"screen_n_in":null,"score":{"opus":0.0263197485920902,"gpt":0.2377146725926166,"spread":0.2113949240005263,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004714098,0.0002735877,0.0006588877,0.0001360234,0.0006164903,0.0001299296,0.0003570722,0.00005408647,0.0002003824],"category_scores_gemma":[0.00001996105,0.000153995,0.0002320715,0.00006246065,0.0005997024,0.0006352323,0.0000855363,0.0002863495,0.000006314779],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007372784,"about_ca_system_score_gemma":0.00004383146,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000697402,"about_ca_topic_score_gemma":0.0005048634,"domain_scores_codex":[0.9982758,0.0001012667,0.0007171232,0.0001821677,0.0004412258,0.0002824765],"domain_scores_gemma":[0.9988896,0.00003129775,0.0004459928,0.0002844163,0.0002667241,0.00008200938],"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":[0.0002087614,0.000447897,0.0005676806,0.000202631,0.001021864,0.00004519605,0.5568959,0.00001958131,0.004587526,0.0166897,0.3178721,0.1014412],"study_design_scores_gemma":[0.001164622,0.0005105179,0.0003891467,0.0008825448,0.0002666398,0.00005829688,0.05770645,0.000003167511,0.0005244664,0.001402817,0.9368333,0.0002580379],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8436247,0.1455807,0.000001616635,0.003226348,0.004788006,0.0001974176,0.00002306633,0.00001565943,0.002542482],"genre_scores_gemma":[0.9651585,0.02683605,0.00003456591,0.001106714,0.001372418,0.000003674693,0.000001048184,0.00002183956,0.00546523],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6189612,"threshold_uncertainty_score":0.6279732,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2966275676","doi":"10.1017/9781108528757.015","title":"Broadway’s “New” Gershwin Musicals: Romance, Jazz, and the Ghost of Fred Astaire","year":2019,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":15,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Romance; Jazz; Art; Musical; Narrative; Art history; Quarter (Canadian coin); Literature; History; Archaeology","retraction":null,"screen_n_in":null,"score":{"opus":0.01865467210745904,"gpt":0.1614443599493698,"spread":0.1427896878419108,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0001341743,0.0003677023,0.0006259161,0.0001661244,0.0003633513,0.0000577851,0.0004607104,0.0002031938,0.0001061449],"category_scores_gemma":[0.000004593946,0.0003070349,0.0002540646,0.000003252509,0.001777767,0.0001368779,0.0002557687,0.0003994998,0.00003201987],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008403171,"about_ca_system_score_gemma":0.0001598601,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001314688,"about_ca_topic_score_gemma":0.0001482699,"domain_scores_codex":[0.9987916,0.0000396424,0.0002730742,0.0003904448,0.0002487501,0.0002565217],"domain_scores_gemma":[0.9987372,0.00008748299,0.0003368734,0.0005903442,0.0001275267,0.0001205727],"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":[0.000319685,0.000007693853,5.308067e-7,0.0001520097,0.0001548259,0.00001933923,0.006669198,5.699538e-7,0.00001168494,0.8497548,0.1403549,0.002554708],"study_design_scores_gemma":[0.001945644,0.00007214288,0.000007512411,0.0002453131,0.0002871183,0.000005050308,0.0005519374,0.00002381528,0.00002618161,0.00002488984,0.9964612,0.0003492451],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001843046,0.0008100726,0.000008210869,0.00003626094,0.0007533263,0.0005804758,0.0003478838,0.00006950512,0.9955512],"genre_scores_gemma":[0.0138225,0.0002332318,0.000008429583,0.0001315841,0.0005683193,9.097301e-7,0.00003278207,0.0000460834,0.9851562],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.8561062,"threshold_uncertainty_score":0.9999382,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4391793641","doi":"10.30535/mto.29.2.4","title":"Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”","year":2023,"lang":"en","type":"article","venue":"Music Theory Online","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Art; Psychology; Aesthetics","retraction":null,"screen_n_in":null,"score":{"opus":0.02760372843715663,"gpt":0.2385826945891252,"spread":0.2109789661519686,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001133993,0.0001463887,0.0001909453,0.00003903508,0.000519338,0.0000699896,0.000231087,0.00003561426,0.0008459067],"category_scores_gemma":[0.00005551862,0.00007566263,0.00006153238,0.00009571219,0.002028693,0.0002039685,0.00009148772,0.0002194953,0.00009069502],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004467521,"about_ca_system_score_gemma":0.00002327141,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002859108,"about_ca_topic_score_gemma":0.003408113,"domain_scores_codex":[0.9988419,0.0002904687,0.0003101107,0.0001874418,0.0001398064,0.0002302049],"domain_scores_gemma":[0.9991789,0.0003098613,0.00007112183,0.0003907147,0.00002463006,0.00002474868],"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":[0.0002361956,0.0001037995,0.0001034845,0.00004135348,0.00001960592,0.000001747022,0.2278284,0.00001519239,0.00001879252,0.7427419,0.01357786,0.01531171],"study_design_scores_gemma":[0.0009098681,0.00003223436,0.002099173,0.000029327,0.00002259187,0.000002331146,0.01796508,0.0002950059,0.000008887861,0.06612602,0.9123678,0.0001416344],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9781908,0.0002716501,0.000008847474,0.006433616,0.001213792,0.0004427547,0.0001062421,0.0001499271,0.01318235],"genre_scores_gemma":[0.9893866,0.00007730506,0.000007636644,0.002178596,0.0009735218,0.00007329598,0.00004869224,0.0000181189,0.007236266],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.89879,"threshold_uncertainty_score":0.9262086,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2900070435","doi":"10.1093/oxfordhb/9780190466961.013.12","title":"The Well-Mannered Auditor","year":2018,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University","funders":"","keywords":"Etiquette; Active listening; Entertainment; Aesthetics; Popularity; Bourgeoisie; Musical; Habit; Rumble; Advertising; Sociology; Visual arts; Media studies; History; Psychology; Art; Political science; Business; Social psychology; Law; Communication; Engineering; Politics","retraction":null,"screen_n_in":null,"score":{"opus":0.01756144767566224,"gpt":0.1668622473474974,"spread":0.1493007996718351,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.0001296447,0.0003109016,0.0002728839,0.00009757307,0.00181632,0.000146577,0.0007675739,0.0001985338,0.0005206623],"category_scores_gemma":[0.000002778862,0.0002500749,0.0002108587,0.000002675417,0.001289238,0.0001141982,0.0002194669,0.0003619659,0.00005406133],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000287257,"about_ca_system_score_gemma":0.0002195234,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007783074,"about_ca_topic_score_gemma":0.0007746613,"domain_scores_codex":[0.998853,0.00004800197,0.0001832024,0.000316151,0.0002427259,0.0003569783],"domain_scores_gemma":[0.9988676,0.00006746519,0.000230866,0.000583284,0.0001487842,0.000102047],"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":[0.00007530604,0.000006120847,7.528674e-8,0.00003640112,0.0000825036,0.00001360426,0.004613101,2.32019e-7,5.299493e-7,0.3540694,0.6396382,0.001464557],"study_design_scores_gemma":[0.0003345525,0.00008748687,4.297338e-7,0.00008477876,0.0001382863,0.000001564886,0.0004562419,0.00001162609,0.00000697154,0.0002833974,0.9982659,0.0003287262],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00007055199,0.0001236044,0.000004224046,0.00001533223,0.004899594,0.0003087592,0.0001393828,0.0001618978,0.9942766],"genre_scores_gemma":[0.000138561,0.0002145698,0.000006499058,0.00008687709,0.005127585,0.000002738741,0.00004737682,0.00004490986,0.9943309],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3586278,"threshold_uncertainty_score":0.9999952,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2099155403","doi":"10.3138/md.43.4.611","title":"August Wilson, Doubling, Madness, and Modern African-American Drama","year":2000,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":10,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Dramaturgy; Drama; Art; Literature; Renunciation; History; Art history; Psychoanalysis; Psychology; Philosophy; Theology","retraction":null,"screen_n_in":null,"score":{"opus":0.01673466024454839,"gpt":0.2075438891654547,"spread":0.1908092289209063,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001441979,0.0002944775,0.0003622853,0.0001251133,0.0005984796,0.0003247678,0.0002503221,0.00006171605,0.004084782],"category_scores_gemma":[0.000004580624,0.0002637573,0.00008882658,0.00004876965,0.0008264618,0.0004268478,0.00004463267,0.0002229029,0.0002717951],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007650449,"about_ca_system_score_gemma":0.00005918016,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001498863,"about_ca_topic_score_gemma":0.001145227,"domain_scores_codex":[0.9984174,0.00003751384,0.0003381076,0.0004393994,0.0002660882,0.0005014905],"domain_scores_gemma":[0.9992177,0.00002401341,0.0001060429,0.0004122526,0.00006281051,0.0001771537],"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":[0.0002723273,0.0002928808,0.0003758645,0.00009331207,0.00009567596,0.00003496208,0.2287732,0.0001516705,0.0002084177,0.01651909,0.03390148,0.7192811],"study_design_scores_gemma":[0.0006491301,0.0001255169,0.0002542313,0.00003333086,0.00004014438,0.00001211146,0.001397056,0.007281035,0.00002334282,0.002763047,0.9869992,0.0004218614],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7234876,0.0007088823,0.0001360618,0.0003612611,0.0003518373,0.0001902015,0.00003864697,0.0002553011,0.2744702],"genre_scores_gemma":[0.9008433,0.0001283828,0.00008046579,0.0008924978,0.0008095133,0.00004790927,0.00001993393,0.00005729117,0.09712066],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9530977,"threshold_uncertainty_score":0.9999815,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2586155034","doi":"10.5406/illinois/9780252040566.001.0001","title":"Chinatown Opera Theater in North America","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Chinatown; Context (archaeology); Chinese americans; Media studies; Musical; Immigration; Opera; History; Music history; Visual arts; Sociology; Art","retraction":null,"screen_n_in":null,"score":{"opus":0.02313207144244322,"gpt":0.1755363647972168,"spread":0.1524042933547736,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00005868638,0.0002696275,0.000499592,0.0002041848,0.0004262774,0.00004349647,0.0007297182,0.0001449594,0.0007203195],"category_scores_gemma":[0.000001758128,0.0002693927,0.00017923,0.000001992816,0.00109387,0.0001363716,0.0001721286,0.0003723828,0.0000597073],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001341803,"about_ca_system_score_gemma":0.0001767578,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00430531,"about_ca_topic_score_gemma":0.01181684,"domain_scores_codex":[0.9990379,0.00002961503,0.0001998405,0.0003036502,0.000187122,0.0002419204],"domain_scores_gemma":[0.9989575,0.00001597655,0.0002896435,0.0005756872,0.00009169601,0.00006945529],"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":[0.0004821334,0.0001933957,0.00009717268,0.0007962203,0.0004424767,0.0003719534,0.5498192,0.00004502849,0.0000113155,0.06001071,0.3130666,0.07466383],"study_design_scores_gemma":[0.0005002418,0.00006715591,0.00004993902,0.0001738602,0.00006550059,8.282968e-7,0.0003123095,0.00001349058,0.00000726595,0.00007497529,0.9984273,0.0003070733],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.005128062,0.0002290946,0.0000024776,0.00000865996,0.0004878911,0.0002748694,0.0002947801,0.00004406662,0.9935301],"genre_scores_gemma":[0.01516943,0.0001705273,0.00001690248,0.00005964615,0.0002961809,8.629596e-7,0.0000898053,0.00002857599,0.9841681],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6853608,"threshold_uncertainty_score":0.9999758,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W341930195","doi":"","title":"An Oneiric Fugue: The Various Logics of Mulholland Drive","year":2004,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Narrative; Witness; Nothing; Ideal (ethics); Aesthetics; Dream; Temptation; Literature; Philosophy; Art; Psychology; Theology; Linguistics; Epistemology","retraction":null,"screen_n_in":null,"score":{"opus":0.01708346519646206,"gpt":0.2176478493325218,"spread":0.2005643841360598,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002396134,0.00007674544,0.0001709341,0.00007162735,0.000199565,0.00004270242,0.0001238145,0.00002968125,0.0001756932],"category_scores_gemma":[0.000008932593,0.0000423417,0.00006349073,0.00001856063,0.000217292,0.0001938713,0.00001059336,0.0001405641,0.000004779766],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001889262,"about_ca_system_score_gemma":0.00005969047,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001263826,"about_ca_topic_score_gemma":0.0003069037,"domain_scores_codex":[0.9994157,0.00002190842,0.000274534,0.00005529088,0.0001299331,0.0001026436],"domain_scores_gemma":[0.9994825,0.00002550808,0.0002253669,0.0001031216,0.000105851,0.00005765501],"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":[0.0008327019,0.00133288,0.005222305,0.0003092049,0.0004906566,0.0002190542,0.7282302,0.001688017,0.004323071,0.1348509,0.07220276,0.05029826],"study_design_scores_gemma":[0.001967598,0.001618029,0.007684977,0.0001260049,0.0001232489,0.000197492,0.006690903,0.00004754325,0.0003347954,0.004654127,0.9763719,0.0001833765],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9846247,0.001260222,0.00007058491,0.0002487749,0.0007645168,0.00005714588,0.00001062559,0.000006325182,0.01295709],"genre_scores_gemma":[0.9976988,0.0002879255,0.00005933219,0.0003492935,0.0006804486,7.145274e-7,7.952302e-7,0.000006158902,0.000916497],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9041691,"threshold_uncertainty_score":0.1923717,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1992343915","doi":"10.1017/s1479409800000859","title":"A Bicentennial Reflection: Twenty-five Years with Fanny Hensel","year":2007,"lang":"en","type":"article","venue":"Nineteenth-Century Music Review","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":6,"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; Musical; Opera; Quarter (Canadian coin); Art; Sophistication; Chose; Performance art; History; Media studies; Visual arts; Sociology; Law; Aesthetics; Political science","retraction":null,"screen_n_in":null,"score":{"opus":0.0260870388419851,"gpt":0.239460975716533,"spread":0.2133739368745479,"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":[0.0005832601,0.0003509579,0.0005394318,0.0001746391,0.0003587175,0.0000770054,0.000269375,0.00006781411,0.006447844],"category_scores_gemma":[0.00001516091,0.000270747,0.0002087747,0.0001709161,0.0003279208,0.0003029482,0.00004967048,0.0003301678,0.0008549481],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001617211,"about_ca_system_score_gemma":0.0000745287,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001437837,"about_ca_topic_score_gemma":0.0005246006,"domain_scores_codex":[0.9977676,0.00006686506,0.0006336418,0.0004638881,0.0004693254,0.0005986343],"domain_scores_gemma":[0.9987939,0.00003355159,0.0002874528,0.0005022521,0.0001805263,0.0002023434],"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":[0.0005595652,0.0006511186,0.0003523177,0.003734435,0.000360579,0.000284678,0.04100924,0.000001764684,0.0001519194,0.03234181,0.7507475,0.169805],"study_design_scores_gemma":[0.0007365727,0.0002545142,0.0003930546,0.001839603,0.000173964,0.00004705347,0.0005442628,0.000001920745,0.000005853796,0.00001421094,0.9956239,0.0003650266],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1268106,0.2850946,0.00009359814,0.0005924008,0.01205217,0.002852371,0.00007588465,0.0005989958,0.5718294],"genre_scores_gemma":[0.5914602,0.2749209,0.00109269,0.03373693,0.01674903,0.0004381491,0.0004469595,0.0003595204,0.08079571],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4910336,"threshold_uncertainty_score":0.9999745,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2798429883","doi":"","title":"The French musicals: the dramatic impulse of Spectacle","year":2004,"lang":"en","type":"article","venue":"Latin American Theatre Review (The University of Kansas)","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Spectacle; Musical; Entertainment; Opera; Art; Comedy; Movie theater; German; Literature; Visual arts; Art history; History","retraction":null,"screen_n_in":null,"score":{"opus":0.009826221019737538,"gpt":0.1918697045591874,"spread":0.1820434835394499,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003733308,0.00014736,0.0003892818,0.0000306882,0.0008246761,0.00001507893,0.0006806246,0.0000146963,0.0007856622],"category_scores_gemma":[0.00001585162,0.00007430097,0.0002545335,0.0001394055,0.002693202,0.00007457432,0.00007213841,0.0001687294,0.00008920836],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006001917,"about_ca_system_score_gemma":0.00007394674,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00353229,"about_ca_topic_score_gemma":0.002398851,"domain_scores_codex":[0.9989936,0.0001519386,0.0002831266,0.0001401301,0.0002270034,0.0002042279],"domain_scores_gemma":[0.9986688,0.0002173239,0.0003966982,0.0005991074,0.00007446959,0.00004360456],"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":[0.00006173619,0.0002973664,0.0001966715,0.001480278,0.0003820773,0.000009484945,0.2251095,0.00009242546,0.00008890811,0.05505373,0.03393169,0.6832961],"study_design_scores_gemma":[0.0002234937,0.0001266611,0.0003744189,0.0007013907,0.0002118748,0.000002612598,0.01562666,0.00002226464,0.00001117624,0.000435332,0.9821466,0.000117524],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3406116,0.07198086,0.0003462258,0.02622976,0.001162026,0.00321383,0.0001475901,0.0002108292,0.5560972],"genre_scores_gemma":[0.9780595,0.01766903,0.00009334998,0.0008023507,0.0001762971,0.000002134473,0.000004188614,0.0000155316,0.003177579],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9482149,"threshold_uncertainty_score":0.9923214,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2306139647","doi":"","title":"Places to Hear the Play: The Performance of the Corpus Christi Play at York","year":2000,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Procession; Performance art; Visual arts; History; Performance practice; Art; Art history; Archaeology","retraction":null,"screen_n_in":null,"score":{"opus":0.01136460209600588,"gpt":0.1758109311705421,"spread":0.1644463290745362,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002785178,0.0002000308,0.0001943082,0.00003275833,0.001525421,0.00008411388,0.0006829373,0.00004671139,0.004345295],"category_scores_gemma":[0.000002856723,0.00008639468,0.0001319362,0.0000721707,0.0006390103,0.0001026459,0.00007960245,0.0002408158,0.0008283234],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005632989,"about_ca_system_score_gemma":0.00004978726,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001127389,"about_ca_topic_score_gemma":0.001971401,"domain_scores_codex":[0.9988063,0.00008441444,0.0002703526,0.0001942326,0.0003161852,0.0003285421],"domain_scores_gemma":[0.9990621,0.00009046437,0.00008826244,0.0006757163,0.00002832982,0.00005511815],"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":[0.0007921068,0.000141589,0.006643742,0.00007426802,0.0001475968,0.000003330798,0.6622226,0.0007696629,0.0005008364,0.007508999,0.2737975,0.0473978],"study_design_scores_gemma":[0.0002345656,0.0001954425,0.006039589,0.00006894387,0.00003017254,0.000009158415,0.001295358,0.00004825517,0.0004756984,0.00002198114,0.9914379,0.0001429857],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8447508,0.0006378424,1.047542e-7,0.0009177233,0.0008863389,0.0003603116,0.00005581025,0.00004324848,0.1523478],"genre_scores_gemma":[0.9020135,0.00006689645,0.000003025684,0.001011743,0.0009563826,0.0000446604,0.000002737793,0.0000247464,0.09587626],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7176403,"threshold_uncertainty_score":0.9999496,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1982225308","doi":"10.3138/md.48.3.540","title":"“Genuine Negroes and Real Bloodhounds”: Cross-Dressing, Eugene O’Neill, the Wooster Group, and <i>The Emperor Jones</i>","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Emperor; Blackface; Performance art; White (mutation); Art; Emancipation; Representation (politics); Character (mathematics); Identity (music); Race (biology); Art history; History; Humanities; Literature; Gender studies; Sociology; Ancient history; Aesthetics; Politics; Law; Political science; Hollywood","retraction":null,"screen_n_in":null,"score":{"opus":0.01365732153966928,"gpt":0.2157841252895989,"spread":0.2021268037499296,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0003620387,0.0002219683,0.0002411347,0.00004351368,0.001330461,0.0006425171,0.0002009422,0.00006011146,0.000201401],"category_scores_gemma":[0.000006718128,0.0001188202,0.00006889527,0.00001813847,0.001436798,0.0003761718,0.0001034663,0.0001918024,0.00003027636],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002765473,"about_ca_system_score_gemma":0.00002013823,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003739869,"about_ca_topic_score_gemma":0.00230396,"domain_scores_codex":[0.9988517,0.00006927225,0.0002875155,0.000276166,0.0001968706,0.0003185397],"domain_scores_gemma":[0.9993705,0.00006863655,0.00009986699,0.0003436938,0.00004498517,0.00007233748],"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":[0.0009175044,0.0002940877,0.002114865,0.0001925601,0.0002404162,0.00001800634,0.6840835,0.00004021193,0.002085715,0.07201666,0.02820441,0.2097921],"study_design_scores_gemma":[0.00251573,0.00006817574,0.001604677,0.00003604846,0.00007893507,0.00003282702,0.001029401,0.001227551,0.00009667485,0.001234988,0.9918166,0.0002584085],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9715957,0.004258595,0.00002022985,0.001776623,0.0004435857,0.0002511101,0.0000205982,0.00008371859,0.02154982],"genre_scores_gemma":[0.9703547,0.0004443963,0.00003459254,0.002671988,0.001899706,0.00003372899,0.000008164839,0.00003690701,0.0245158],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9636122,"threshold_uncertainty_score":0.9999697,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2077810549","doi":"10.3138/cras-s033-02-02","title":"“Les beaux jours sont passés”: Staging Whiteness and Postcolonial Ambivalence in The Europeans by Henry James","year":2003,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Criticism; Lightness; Comedy; Context (archaeology); Literature; Character (mathematics); Philosophy; Ambivalence; Art; Art history; Aesthetics; History; Psychoanalysis","retraction":null,"screen_n_in":null,"score":{"opus":0.02650721337702256,"gpt":0.2584816820156067,"spread":0.2319744686385842,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004965899,0.0001583678,0.0004323944,0.00009202278,0.0003630175,0.00002701201,0.0001636349,0.000008451581,0.00006747841],"category_scores_gemma":[0.00007950372,0.0001080522,0.00005227407,0.00008534647,0.001173953,0.00008182467,0.00001500605,0.0001165243,0.000004393556],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000112602,"about_ca_system_score_gemma":0.0001534151,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.05145993,"about_ca_topic_score_gemma":0.1750936,"domain_scores_codex":[0.9988965,0.0001995439,0.0002947314,0.0001725271,0.0001223498,0.0003143159],"domain_scores_gemma":[0.9994212,0.00006456451,0.0001523286,0.000178048,0.00009232997,0.00009154659],"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":[0.00001809406,0.0001021994,0.02307088,0.007697739,0.0003302701,0.0001161838,0.3388268,0.000001755506,0.00002536123,0.03622864,0.3438721,0.24971],"study_design_scores_gemma":[0.0000858645,0.0000780457,0.002762154,0.001318197,0.00004576282,0.000004737588,0.0484141,2.269231e-7,0.000001731623,0.0000105147,0.9471365,0.0001421205],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.4370637,0.5123088,9.587682e-7,0.003565372,0.0004003735,0.0004997365,0.0001427803,0.00001705405,0.04600114],"genre_scores_gemma":[0.8524384,0.1400482,0.00001872967,0.006752728,0.00007912571,0.00004501731,0.000003705675,0.00001552258,0.0005985224],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6032645,"threshold_uncertainty_score":0.9548565,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4237042073","doi":"10.3138/md.2012-s78","title":"Melodramatic Slaves","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Empire; Order (exchange); Sight; Literature; Institution; Art; History; Plot (graphics); Law; Political science; Ancient history; Economics","retraction":null,"screen_n_in":null,"score":{"opus":0.02776105731483459,"gpt":0.2116090236412929,"spread":0.1838479663264583,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001448238,0.0001190693,0.0001407187,0.00006050919,0.0002782158,0.00007326804,0.0001177766,0.00003258208,0.002479096],"category_scores_gemma":[0.000006442693,0.00009671772,0.00006054671,0.00001080849,0.0001419393,0.0003971529,0.00002580508,0.00008545278,0.0012677],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004066735,"about_ca_system_score_gemma":0.00001440199,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005817506,"about_ca_topic_score_gemma":0.00008318803,"domain_scores_codex":[0.9992359,0.00002105886,0.0001798031,0.0001008427,0.0001370807,0.0003252774],"domain_scores_gemma":[0.9996002,0.00001739159,0.00004930027,0.0002176413,0.00002546467,0.00008999573],"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":[0.00002460475,0.0002742338,0.0005803527,0.0001333648,0.00006257124,0.00000302783,0.6299107,0.000008770056,0.0006261863,0.2622713,0.04790696,0.05819793],"study_design_scores_gemma":[0.000192138,0.0000229814,0.0002102725,0.00001865191,0.00002078658,0.00000348045,0.001262982,0.0003932227,0.0001369586,0.001881614,0.9956841,0.0001727552],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5929335,0.000962712,0.0002072838,0.0001344012,0.001786314,0.0001229914,0.000008701011,0.000171632,0.4036725],"genre_scores_gemma":[0.9462025,0.000008067868,0.00007293501,0.0005301034,0.001400185,0.00002588539,0.000006938253,0.00002213003,0.05173121],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9477772,"threshold_uncertainty_score":0.9995099,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2010383318","doi":"10.1017/s1479409814000391","title":"Chinese Opera in Turn-of-the Century Canada: Local History and Transnational Circulation","year":2014,"lang":"en","type":"article","venue":"Nineteenth-Century Music Review","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Opera; Drama; Entertainment; China; History; Emotive; Immigration; Movie theater; Media studies; Political science; Sociology; Visual arts; Art history; Art; Law; Archaeology; Anthropology","retraction":null,"screen_n_in":null,"score":{"opus":0.01276054532794439,"gpt":0.1895992745247029,"spread":0.1768387291967585,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003215155,0.0002015208,0.0003808894,0.0000665968,0.0001144137,0.00001018288,0.0001943406,0.0000408315,0.002056344],"category_scores_gemma":[0.00002449101,0.0001388233,0.00009943263,0.00006102587,0.0002620007,0.0001571941,0.00002944103,0.000187399,0.000004180364],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004108005,"about_ca_system_score_gemma":0.0002641983,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.008984534,"about_ca_topic_score_gemma":0.1238723,"domain_scores_codex":[0.9985623,0.0001272332,0.0005308422,0.0002371634,0.0003362866,0.0002061305],"domain_scores_gemma":[0.9993675,0.00004197147,0.0001751796,0.0002702416,0.00007700904,0.00006807981],"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":[0.00008840859,0.0005774875,0.00861216,0.01455572,0.0001542524,0.0000116533,0.03982577,0.0001911478,0.0003207562,0.3978189,0.2242448,0.313599],"study_design_scores_gemma":[0.000411206,0.00001777292,0.01343141,0.0006039085,0.00003908125,0.000004863341,0.00005753892,0.0001998662,0.000001396308,0.00002476628,0.985043,0.0001651673],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5138124,0.4157017,0.00005396507,0.002438189,0.01129887,0.001939417,0.0000773115,0.00005741388,0.0546207],"genre_scores_gemma":[0.987325,0.009426039,0.000008808552,0.002440999,0.0003051266,0.00003866573,0.00003636396,0.00001718333,0.0004018043],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7607982,"threshold_uncertainty_score":0.9988559,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2005391439","doi":"10.3138/md.2012-s75","title":"Redressing the Black Crook: The Dancing Tableau of Melodrama","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Realm; Musical; Spectacle; Art; Literature; Singing; Virtue; Aesthetics; Dance; Philosophy; History; Epistemology; Law","retraction":null,"screen_n_in":null,"score":{"opus":0.03218986115941693,"gpt":0.2188169638845735,"spread":0.1866271027251565,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005123368,0.0001337318,0.0001684427,0.00003587011,0.0007450583,0.0001113085,0.0002956508,0.00003723103,0.000518974],"category_scores_gemma":[0.00001362943,0.00007050253,0.00008373299,0.0000245093,0.0006443803,0.0003225828,0.00006756715,0.0001797396,0.00008401777],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004539527,"about_ca_system_score_gemma":0.00003412276,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002719314,"about_ca_topic_score_gemma":0.0002681341,"domain_scores_codex":[0.998985,0.00006025915,0.0002736151,0.0001132345,0.0002131164,0.0003547846],"domain_scores_gemma":[0.9992611,0.00006945396,0.0001410918,0.0004241959,0.00005979138,0.00004432052],"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":[0.00004920515,0.0001231237,0.0004522095,0.0001013479,0.000075718,0.000001232051,0.8235836,0.0002159053,0.002775591,0.1024656,0.03409735,0.03605917],"study_design_scores_gemma":[0.0002349691,0.00002441688,0.0004825809,0.00007141547,0.000053117,0.00000420745,0.007306914,0.002016624,0.001109512,0.001595506,0.9869345,0.0001661806],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7729807,0.002096954,0.0003432767,0.0005849521,0.001365094,0.0002172912,0.00001135807,0.00006684555,0.2223336],"genre_scores_gemma":[0.9781856,0.00001592901,0.00002460417,0.0006056246,0.001399986,0.00001510113,0.000002830332,0.00002445798,0.01972588],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9528372,"threshold_uncertainty_score":0.5730461,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4402871500","doi":"10.5040/9798216038573","title":"Words and Music of Tom Waits","year":2008,"lang":"en","type":"book","venue":"Greenwood Publishing Group Inc. eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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; Communication; Psychology","retraction":null,"screen_n_in":null,"score":{"opus":0.03345520662574507,"gpt":0.1769951432752668,"spread":0.1435399366495217,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0004897283,0.0006174477,0.0008888607,0.0006500264,0.0006511233,0.0008489031,0.0007403016,0.0005143475,0.0008055044],"category_scores_gemma":[0.00003235404,0.0005799293,0.0002219534,0.0000213509,0.001316174,0.001379272,0.0003411313,0.001057073,0.00004408096],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001980084,"about_ca_system_score_gemma":0.0003885426,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00107637,"about_ca_topic_score_gemma":0.005262509,"domain_scores_codex":[0.9972147,0.00006576636,0.0008589415,0.0006367974,0.0006558601,0.0005679473],"domain_scores_gemma":[0.9980739,0.0001097861,0.000634749,0.0006956693,0.0002598593,0.0002259782],"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":[0.00005259326,0.0000460679,0.00001828888,0.0005495676,0.0001835553,0.00003886622,0.07128841,1.295698e-7,0.00001038382,0.2737743,0.5985418,0.05549604],"study_design_scores_gemma":[0.0006915556,0.000200229,0.00002915872,0.0004596761,0.0001210295,0.00003369041,0.0008468635,0.000006778786,0.00000498921,0.002475011,0.9945062,0.0006248004],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00838581,0.001473448,0.000004942145,0.00002703818,0.00225785,0.0004305163,0.0003882877,0.000235037,0.9867971],"genre_scores_gemma":[0.07566201,0.00008335009,0.00007146172,0.0007048617,0.004599757,0.00005983958,0.0004928961,0.0001613475,0.9181645],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3959644,"threshold_uncertainty_score":0.9996652,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3209014933","doi":"","title":"“More Truth than Poetry”: Parody and Intertextuality in Early American Political Song","year":2020,"lang":"en","type":"article","venue":"MUSICultures","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Intertextuality; Politics; Literature; Dichotomy; Ephemeral key; Poetry; Culture of the United States; Political culture; Appeal; Musical; Art; Aesthetics; History; Philosophy; Law; Political science; Epistemology","retraction":null,"screen_n_in":null,"score":{"opus":0.02727973006772198,"gpt":0.2298324158187992,"spread":0.2025526857510772,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00006000642,0.0001623207,0.000246945,0.0000442743,0.0001500999,0.0001145207,0.0001227148,0.00003313471,0.0002352434],"category_scores_gemma":[0.0000254796,0.0001173733,0.00005614049,0.000041137,0.0006087825,0.0001601088,0.00005382042,0.0001944127,0.0000351806],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003363033,"about_ca_system_score_gemma":0.00001494504,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002046893,"about_ca_topic_score_gemma":0.001995059,"domain_scores_codex":[0.9990345,0.00004393442,0.0002107282,0.0002573307,0.0001279891,0.0003255431],"domain_scores_gemma":[0.9996083,0.0000254803,0.00005012622,0.00011167,0.00002672877,0.0001776323],"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":[0.0001803128,0.0001288444,0.01216716,0.0001064616,0.00004690392,0.00003614418,0.6507851,7.444174e-7,0.0002981862,0.3113486,0.01808426,0.006817282],"study_design_scores_gemma":[0.000849803,0.0005028393,0.1621696,0.00006390845,0.00003781514,0.000006454335,0.07241241,0.00005642733,0.0001462368,0.0004697549,0.7627507,0.0005340279],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9692012,0.00008957234,0.000001779594,0.001628597,0.0003011501,0.0001001954,0.00003410846,0.00007786178,0.02856555],"genre_scores_gemma":[0.9945456,0.000005693155,0.00001356788,0.003895157,0.0009997889,0.00001551367,0.00001313794,0.00001338396,0.0004981888],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7446665,"threshold_uncertainty_score":0.4786344,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2245339632","doi":"10.3138/md.0723","title":"Watching <i>A Raisin in the Sun</i> and Seeing Red","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Communism; Politics; Capitalism; Individualism; Art; Art history; Political science; Law","retraction":null,"screen_n_in":null,"score":{"opus":0.04260522385282227,"gpt":0.2190235815970041,"spread":0.1764183577441819,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003993372,0.00008305349,0.0001015479,0.00004295387,0.0001809113,0.0001215128,0.0001123907,0.00002404629,0.00003733035],"category_scores_gemma":[0.000009385933,0.0000558181,0.00002015069,0.00001295195,0.0001004742,0.0001956578,0.00002676944,0.000120927,0.00002095899],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002923724,"about_ca_system_score_gemma":0.00002043033,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003797151,"about_ca_topic_score_gemma":0.001471894,"domain_scores_codex":[0.9994108,0.00004557322,0.0001360375,0.0001181126,0.0001275112,0.0001619774],"domain_scores_gemma":[0.9997429,0.00002425983,0.00002937908,0.000147142,0.00001993775,0.00003642035],"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":[0.0000379437,0.00004601349,0.0004458135,0.00002341634,0.000007419692,0.00001922948,0.9388217,0.00004192151,0.0001482526,0.01559612,0.02187518,0.02293695],"study_design_scores_gemma":[0.0005895759,0.00003746087,0.000221176,0.0000315203,0.000007596514,0.000009153571,0.008994331,0.002356229,0.00001828963,0.00586383,0.9817359,0.0001349287],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8513712,0.0005362268,0.00004816031,0.0008717604,0.0003534412,0.0001057457,0.000002990859,0.00003932042,0.1466712],"genre_scores_gemma":[0.993641,0.000008817652,0.00002599309,0.001068113,0.0003607791,0.00001226946,0.000003834522,0.00001118333,0.004868038],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9598607,"threshold_uncertainty_score":0.2276196,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1967283611","doi":"10.1093/notesj/gjs043","title":"The Original Salisbury Court Players of Richard Brome's The Antipodes","year":2012,"lang":"en","type":"article","venue":"Notes and Queries","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Toronto Public Health","funders":"","keywords":"Antipodes; History; Classics; Law; Political science; Geography","retraction":null,"screen_n_in":null,"score":{"opus":0.02213663403947638,"gpt":0.2185322191634138,"spread":0.1963955851239375,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002401817,0.00009270981,0.000114549,0.00001972501,0.0007773563,0.00006424626,0.00009344507,0.00002224597,0.0002370609],"category_scores_gemma":[0.0000133647,0.00004483051,0.00004107738,0.00001346091,0.0009361316,0.0002094782,0.00002513262,0.00007891814,0.0000146129],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000082318,"about_ca_system_score_gemma":0.0000179648,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003330029,"about_ca_topic_score_gemma":0.0003785873,"domain_scores_codex":[0.9994661,0.00002295308,0.0001406278,0.00006336314,0.0001062565,0.0002007601],"domain_scores_gemma":[0.9995776,0.0001442879,0.00006811783,0.0001398517,0.00003616365,0.00003402277],"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":[0.0001223523,0.00004709266,0.009112625,0.00007589113,0.00007720353,6.385396e-7,0.1309596,0.00000114839,0.0004964725,0.8187247,0.02597059,0.01441166],"study_design_scores_gemma":[0.00009482122,0.00004812129,0.002483811,0.00001491456,0.00002260789,0.000003444088,0.004808258,0.000005707602,0.0003730806,0.0001755896,0.9918939,0.00007570154],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9701807,0.006289187,0.00001068123,0.0006216462,0.001254945,0.00009662953,0.00003192351,0.00003007483,0.02148421],"genre_scores_gemma":[0.9948943,0.0008433087,0.00001820064,0.0001817107,0.0007481092,0.00001107263,0.00000269401,0.000008811776,0.003291742],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9659234,"threshold_uncertainty_score":0.5978875,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2295274207","doi":"10.1525/ch.2015.92.4.4","title":"Opera as Politics","year":2015,"lang":"en","type":"article","venue":"California History","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Opera; Elitism; Politics; Quarter (Canadian coin); Realization (probability); History; Opera house; Nomination; Political science; Economic history; Sociology; Art history; Law; Archaeology","retraction":null,"screen_n_in":null,"score":{"opus":0.06360219661387734,"gpt":0.2080899774817623,"spread":0.1444877808678849,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001742519,0.0001529746,0.0001757954,0.0001089608,0.0001970113,0.00002391578,0.0001848801,0.00005328218,0.005245388],"category_scores_gemma":[0.00002769209,0.0001387332,0.0000730563,0.00001115635,0.0004761139,0.0001464841,0.00003194823,0.000147503,0.009712823],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001109277,"about_ca_system_score_gemma":0.0004011555,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005056636,"about_ca_topic_score_gemma":0.0001667356,"domain_scores_codex":[0.9990645,0.00002977674,0.0002245251,0.0001824957,0.0002045647,0.000294127],"domain_scores_gemma":[0.9992525,0.00001111122,0.00005697534,0.0002835767,0.0001265388,0.000269289],"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":[0.00001527709,0.00005029892,0.00003222669,0.00002129421,0.00001155596,0.00001516782,0.04676671,0.000002248984,0.00003086543,0.1201563,0.832051,0.0008470226],"study_design_scores_gemma":[0.0003603886,0.0000753256,0.000004369597,0.0000120642,0.00001945036,0.00001014311,0.00162159,0.00002466336,0.00001748771,0.0005384921,0.9971099,0.0002060642],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07029629,0.003154106,0.00001085143,0.0001533896,0.00560914,0.0001197131,0.00006891973,0.0002094394,0.9203781],"genre_scores_gemma":[0.5740739,0.00002585965,0.00006026462,0.005159182,0.003286489,0.00004654229,0.00005650059,0.00005749468,0.4172338],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5037776,"threshold_uncertainty_score":0.9956639,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1565023749","doi":"10.1080/17400300701670659","title":"SLAPSTICK AND MIS‐REMEMBRANCE","year":2007,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Comics; Style (visual arts); Appeal; Literature; Art; History; Performance art; Art history; Law","retraction":null,"screen_n_in":null,"score":{"opus":0.04257673548382161,"gpt":0.2913748544489534,"spread":0.2487981189651318,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004115989,0.0001307549,0.0004186361,0.00005085095,0.0002089677,0.00001222696,0.00005425311,0.00001883978,0.000274064],"category_scores_gemma":[0.00006793209,0.00008832607,0.00004994763,0.00002796155,0.0003193757,0.0001035415,0.00003786349,0.00006173708,0.00001481787],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008698621,"about_ca_system_score_gemma":0.00001562042,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003312055,"about_ca_topic_score_gemma":0.00008985499,"domain_scores_codex":[0.9991891,0.00001391978,0.0003600938,0.0001593873,0.0001317046,0.0001458201],"domain_scores_gemma":[0.9994931,0.00009223297,0.0001193402,0.0001284954,0.0001026947,0.00006413383],"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":[0.00002235975,0.00002555985,0.0001382765,0.01124052,0.0000681494,0.000004077719,0.01503338,3.194555e-8,0.00007119198,0.01431283,0.1828142,0.7762694],"study_design_scores_gemma":[0.0002412914,0.00008082049,0.0004224444,0.004633613,0.00005689471,0.000004560499,0.001025812,7.293816e-7,0.00005115291,0.0001163337,0.9932605,0.0001058191],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.02815525,0.9105887,0.00001436915,0.0003297877,0.000543982,0.0002250542,0.0000073156,0.00002749794,0.06010805],"genre_scores_gemma":[0.1760946,0.8063203,0.0002142358,0.002024152,0.0006526829,0.000006395044,0.000002858454,0.00001394124,0.01467078],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.8104463,"threshold_uncertainty_score":0.3601832,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2522984800","doi":"10.1080/01956051.2016.1161585","title":"“Could We Not Dye It Red at Least?”: Color and Race in West Side Story","year":2016,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"University of Toronto; York University","keywords":"Dance; Art; Style (visual arts); Movie theater; Race (biology); Cinematography; Core (optical fiber); Aesthetics; Visual arts; Sociology; Gender studies; Optics; Physics","retraction":null,"screen_n_in":null,"score":{"opus":0.02301144677030111,"gpt":0.2242252032155135,"spread":0.2012137564452124,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004774632,0.0001340686,0.000290554,0.0001894114,0.0002524183,0.00003958746,0.00008562478,0.00006750879,0.0005302686],"category_scores_gemma":[0.0000435632,0.00008212561,0.00006415515,0.00001782768,0.0001647241,0.0003805232,0.00004798697,0.0001785589,0.00002307675],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001026339,"about_ca_system_score_gemma":0.00003108834,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002717545,"about_ca_topic_score_gemma":0.0006236346,"domain_scores_codex":[0.9990343,0.00006501666,0.000385374,0.0001346821,0.0002024107,0.0001782323],"domain_scores_gemma":[0.999422,0.00004345312,0.0002510778,0.0001075094,0.00006569734,0.0001102548],"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":[0.003663857,0.0005517527,0.02196995,0.0006248631,0.0001749983,0.0007056693,0.1264926,0.00001324595,0.08262032,0.009648397,0.3239662,0.4295681],"study_design_scores_gemma":[0.00138556,0.0003455616,0.006637994,0.0004853403,0.00002566637,0.00008193574,0.001216658,0.0000169068,0.0001976074,0.00007567219,0.9893897,0.0001413738],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9907572,0.002654073,0.000006534653,0.003630807,0.0007475264,0.00008414851,0.00001174717,0.000008660967,0.00209936],"genre_scores_gemma":[0.9780941,0.002370853,0.00004541262,0.0002963852,0.0005191254,0.00000169975,0.000001093864,0.00001507218,0.01865628],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6654235,"threshold_uncertainty_score":0.580607,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2618943529","doi":"10.3138/md.0814","title":"Strains of the Enlightenment: Making Belief in American Secularism and African Difference in <i>The Book of Mormon</i>","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Secularism; Rationality; Enlightenment; Musical; Feeling; Aesthetics; Affect (linguistics); Sociology; Religious studies; Philosophy; Psychology; Gender studies; History; Literature; Islam; Epistemology; Art; Theology; Linguistics","retraction":null,"screen_n_in":null,"score":{"opus":0.0185243613427204,"gpt":0.2191130334351517,"spread":0.2005886720924313,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001552106,0.0000911196,0.0001825313,0.00004667644,0.0002151925,0.00004705822,0.0003658525,0.00001968146,0.00002096458],"category_scores_gemma":[0.000007640126,0.00005521979,0.00003888875,0.0000130404,0.0008018361,0.00008759036,0.00007340133,0.0001271411,5.071938e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002361128,"about_ca_system_score_gemma":0.00002042105,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001403196,"about_ca_topic_score_gemma":0.004542737,"domain_scores_codex":[0.9993265,0.00004117543,0.0002079868,0.0001173462,0.0001601193,0.0001468727],"domain_scores_gemma":[0.9993514,0.00001670728,0.0002087784,0.0003951852,0.00001465693,0.00001331257],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0000344959,0.0002723303,0.01294414,0.0001177941,0.00002672009,0.00001064831,0.8834422,0.00001479992,0.002935288,0.04023877,0.0003852904,0.05957755],"study_design_scores_gemma":[0.002407483,0.0004324785,0.736807,0.0006959742,0.00008320827,0.00001105023,0.0340813,0.004503939,0.001050645,0.01121314,0.2080718,0.0006420593],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9626948,0.0002719841,0.00001285625,0.0003131971,0.00007564142,0.0001542166,0.00001731757,0.000004172045,0.03645584],"genre_scores_gemma":[0.9985541,0.00003304676,0.00001138644,0.0003184198,0.00004764893,0.00001613546,6.589585e-7,0.000007421072,0.001011209],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8493609,"threshold_uncertainty_score":0.2954398,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1995458625","doi":"10.3138/md.52.2.145","title":"The Function of Decorum at the Present Time: Manners, Moral Language, and Modernity in “an Oscar Wilde Play”","year":2009,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Decorum; Drama; Etiquette; Modernity; Literature; Art; Aesthetics; Code (set theory); Philosophy; Linguistics; Epistemology; Computer science","retraction":null,"screen_n_in":null,"score":{"opus":0.01433877303716574,"gpt":0.2120331377449965,"spread":0.1976943647078308,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001935167,0.0001069662,0.0001193152,0.00003721254,0.0004293263,0.00006724474,0.0001348432,0.0000356951,0.0001414561],"category_scores_gemma":[0.000003473723,0.00006278292,0.0000369257,0.00001359388,0.0002237931,0.000178443,0.00003740945,0.0001127575,0.00002216698],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004534366,"about_ca_system_score_gemma":0.00001415817,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002879691,"about_ca_topic_score_gemma":0.00415855,"domain_scores_codex":[0.9992829,0.00005756328,0.0001760838,0.0001426546,0.000144955,0.0001958692],"domain_scores_gemma":[0.9995802,0.00002951103,0.0000636931,0.0002667342,0.00002402593,0.00003585578],"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":[0.001450666,0.000550575,0.002855124,0.00006899693,0.00009334447,0.00001764545,0.5245827,0.002789232,0.004848269,0.02624694,0.06384854,0.3726479],"study_design_scores_gemma":[0.003428477,0.001273595,0.04979208,0.0001244311,0.0001737243,0.00001837852,0.01646667,0.1468324,0.001121446,0.01941466,0.7604068,0.0009473744],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9829712,0.001158643,0.00002133812,0.0004237892,0.0001710163,0.0001765181,0.00001522429,0.00003002653,0.01503223],"genre_scores_gemma":[0.9754184,0.00003039855,0.0000041054,0.0002406473,0.000226697,0.00001218796,0.00001383216,0.000009925351,0.02404384],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6965582,"threshold_uncertainty_score":0.3302074,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1991829634","doi":"10.1017/s0021875809990788","title":"The Imprint of Affect: Humor, Character and National Identity in American Studies","year":2009,"lang":"en","type":"article","venue":"Journal of American Studies","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Trent University","funders":"","keywords":"Scholarship; Articulation (sociology); Identity (music); Discipline; Sociology; Aesthetics; Affect (linguistics); Psychology; Politics; Social psychology; Gender studies; Social science; Political science; Law; Art","retraction":null,"screen_n_in":null,"score":{"opus":0.03757874623438025,"gpt":0.3211353291481746,"spread":0.2835565829137944,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005760593,0.0001134874,0.0004789483,0.0001543928,0.0002630258,0.00002962985,0.0001191975,0.000005705139,0.000006418278],"category_scores_gemma":[0.0001141691,0.00006688302,0.00008186525,0.00007672997,0.001919219,0.000254209,0.00004190108,0.0001483751,0.000001533371],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001071433,"about_ca_system_score_gemma":0.00003875705,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000711455,"about_ca_topic_score_gemma":0.0009009577,"domain_scores_codex":[0.9989723,0.00005394901,0.0004529464,0.00008157025,0.0002890771,0.0001501806],"domain_scores_gemma":[0.9986188,0.0001764309,0.0006981332,0.00006831717,0.0004091562,0.0000291153],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"observational","study_design_scores_codex":[0.0006120194,0.000548457,0.01626148,0.0001603334,0.002109403,0.00004686204,0.6376907,0.00001526439,0.001996149,0.05676435,0.02005303,0.263742],"study_design_scores_gemma":[0.001049933,0.00266424,0.4575579,0.0002788785,0.000132778,0.00004222873,0.344925,0.000006230523,0.0001714181,0.003205221,0.1896471,0.000319083],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.990167,0.00639424,0.000001142147,0.001091184,0.0004211337,0.00006054632,0.000003854983,0.000005057775,0.001855885],"genre_scores_gemma":[0.9896437,0.009116128,0.00003978394,0.0003960159,0.0004691874,0.000003684074,1.264481e-7,0.000004807399,0.0003265617],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4412964,"threshold_uncertainty_score":0.7071443,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2789199285","doi":"10.3138/md.0902","title":"Toward a Historicism of Setting: <i>Hamilton</i> and American History","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Narrative; Drama; Musical; Historicism; Cognitive dissonance; New Historicism; White (mutation); History; Aesthetics; Sociology; Literature; Art; Psychology; Social psychology","retraction":null,"screen_n_in":null,"score":{"opus":0.02645235976212925,"gpt":0.2040571505931626,"spread":0.1776047908310333,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001272217,0.0001420914,0.000247632,0.0001040921,0.000150086,0.00001533365,0.000133867,0.00002948687,0.0004029224],"category_scores_gemma":[0.000007318255,0.0001307863,0.00005556073,0.0000162558,0.001359114,0.0001284623,0.00003272942,0.00009211934,0.00004405338],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00024026,"about_ca_system_score_gemma":0.00005842551,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007486584,"about_ca_topic_score_gemma":0.000355852,"domain_scores_codex":[0.9991325,0.00002544974,0.0002509677,0.0002159119,0.0001586033,0.0002165526],"domain_scores_gemma":[0.99941,0.00001955249,0.0001632656,0.000239341,0.00009596945,0.00007192247],"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":[0.00009721402,0.0001186107,0.0001640758,0.0001231228,0.00004487504,0.00000701176,0.7587352,7.179543e-7,0.002602832,0.02124653,0.1487535,0.06810632],"study_design_scores_gemma":[0.0002443712,0.0002199579,0.00008744541,0.00002083113,0.00002290525,0.000003989288,0.001068668,0.0002926817,0.0001402956,0.0003756798,0.9973564,0.0001668484],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7356359,0.001849082,0.0002324293,0.0001630458,0.00199846,0.0001453932,0.00001777798,0.000131531,0.2598264],"genre_scores_gemma":[0.9700315,0.00003695641,0.0001556312,0.0008351891,0.0008673445,0.00001351819,0.000003703766,0.0000258572,0.02803029],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8486028,"threshold_uncertainty_score":0.533331,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1999408796","doi":"10.3138/md.0683.40","title":"“Attention Must Be Paid”: <i>Death of a Salesman</i>’s Counter-Adapted Yiddish Homecoming","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Miller; Homecoming; Yiddish; Loyalty; Acculturation; Sociology; History; Judaism; Immigration; Political science; Law; Art history","retraction":null,"screen_n_in":null,"score":{"opus":0.05990198087849732,"gpt":0.2259867937078862,"spread":0.1660848128293888,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002727802,0.0001714886,0.0002707537,0.0001154879,0.0001795537,0.00007572005,0.0001773288,0.00005966263,0.0003189008],"category_scores_gemma":[0.00001174318,0.0001570477,0.0001003719,0.00002134624,0.0001708699,0.0003173471,0.00004593017,0.0001228173,0.0000670298],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001031596,"about_ca_system_score_gemma":0.00005940342,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005061309,"about_ca_topic_score_gemma":0.0009675911,"domain_scores_codex":[0.9988613,0.00003704748,0.0003504502,0.0002164399,0.0002806565,0.0002541579],"domain_scores_gemma":[0.9992784,0.00001806459,0.0001553643,0.0002868732,0.0001624988,0.0000987712],"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":[0.0006937776,0.001501531,0.004449381,0.0006714988,0.0003812783,0.0000682895,0.6875288,0.000326844,0.006605764,0.1436893,0.1185212,0.0355623],"study_design_scores_gemma":[0.00178473,0.0002518234,0.0006302783,0.0001471712,0.00008525478,0.000009246681,0.004948083,0.007092096,0.0001813965,0.002144239,0.9823067,0.0004190148],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8657492,0.0002569205,0.0004443793,0.000146151,0.001161259,0.0001865262,0.00007269349,0.000130608,0.1318523],"genre_scores_gemma":[0.9821018,0.0000115295,0.00005724298,0.0003712744,0.0004451592,0.00002508722,0.00006015904,0.00003250738,0.01689523],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8637854,"threshold_uncertainty_score":0.6404219,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1520744031","doi":"10.7560/717596","title":"Monkey Business Theatre","year":2008,"lang":"en","type":"book","venue":"University of Texas Press eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Business","retraction":null,"screen_n_in":null,"score":{"opus":0.02749375587719171,"gpt":0.1553988004745152,"spread":0.1279050445973235,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.00004068029,0.0002647469,0.0004201543,0.0001694803,0.0003678569,0.00001752179,0.00048241,0.0001863773,0.0007079864],"category_scores_gemma":[0.000001045255,0.0002804302,0.000183934,0.000003292075,0.001055788,0.00009828017,0.0001401037,0.000250577,0.00009420783],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001323028,"about_ca_system_score_gemma":0.000269044,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002343118,"about_ca_topic_score_gemma":0.001012923,"domain_scores_codex":[0.9991041,0.00002201804,0.0001716588,0.0002685441,0.0002262899,0.0002074193],"domain_scores_gemma":[0.9990746,0.00002264088,0.0002238169,0.0004144849,0.0001937454,0.00007066146],"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":[0.0001805914,0.00006824666,0.000005299244,0.000591257,0.0002549575,0.0001046148,0.05752898,0.000008816989,0.000006097528,0.1336855,0.7964249,0.01114069],"study_design_scores_gemma":[0.0004069073,0.00003903442,0.00001082641,0.0002099674,0.0001277227,0.000004851086,0.0002094723,0.000004466886,0.00001173106,0.0001626472,0.9985166,0.0002958051],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0004084973,0.0003956909,0.000005615781,0.000006680657,0.0006681029,0.000225948,0.0001937582,0.0001063096,0.9979894],"genre_scores_gemma":[0.001528668,0.0002540988,0.00002193641,0.00003844826,0.0005194068,2.659872e-7,0.00006174227,0.000033343,0.9975421],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2020916,"threshold_uncertainty_score":0.9999648,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4362588921","doi":"10.1386/smt_00113_1","title":"Aggressively Millennial: A dialogue on &amp; Juliet","year":2023,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Musical; Conversation; Art; Visual arts; Adaptation (eye); Literature; Sociology; Communication; Psychology","retraction":null,"screen_n_in":null,"score":{"opus":0.1430796111026436,"gpt":0.3242237198006424,"spread":0.1811441086979988,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002544263,0.000232066,0.000384487,0.0002191138,0.0004563095,0.00003042394,0.0002008611,0.00005613799,0.0004071921],"category_scores_gemma":[0.00006147817,0.0001695542,0.0001228625,0.0001228522,0.0008321759,0.00007995997,0.0001362503,0.0002515331,0.002183221],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009549387,"about_ca_system_score_gemma":0.00002285201,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008100862,"about_ca_topic_score_gemma":0.001894748,"domain_scores_codex":[0.998623,0.00007119024,0.00029718,0.0003363208,0.0002311001,0.0004412619],"domain_scores_gemma":[0.9993199,0.0002093645,0.00006223324,0.0002992868,0.00004842388,0.00006075264],"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":[0.0001833177,0.0001858419,0.0001359549,0.0001584646,0.000141615,0.0001211572,0.2576395,0.00003678077,0.00004082733,0.03156231,0.6806781,0.02911613],"study_design_scores_gemma":[0.0005062044,0.0001208455,0.0002628516,0.0002027664,0.00001620021,0.000001447333,0.006875307,0.000009517727,0.000005327959,0.00257261,0.9892036,0.0002233543],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6127086,0.001412562,5.393258e-7,0.001158768,0.007214891,0.0003528131,0.0001012807,0.0003932945,0.3766572],"genre_scores_gemma":[0.9765931,0.001423988,0.00001438473,0.001312211,0.003100073,0.0001729322,0.00003381982,0.00004047641,0.01730907],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3638844,"threshold_uncertainty_score":0.9985937,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2913395330","doi":"10.1080/17460654.2018.1550853","title":"Toward a historiography of stage conjuring: are we entering a golden age?","year":2018,"lang":"en","type":"article","venue":"Early Popular Visual Culture","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"University of Texas at Austin","keywords":"Historiography; Stage (stratigraphy); History; Art; Ancient history; Archaeology; Biology","retraction":null,"screen_n_in":null,"score":{"opus":0.05439128933532488,"gpt":0.2628546001835224,"spread":0.2084633108481975,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00009502314,0.0002161973,0.0003044933,0.0001575699,0.0002776397,0.00007733318,0.0002189817,0.00008815546,0.001290171],"category_scores_gemma":[0.000005810744,0.0001771248,0.0001994373,0.00005882372,0.0003829432,0.0002537811,0.00005787761,0.0001871925,0.0001063433],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000608931,"about_ca_system_score_gemma":0.00001480301,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004162455,"about_ca_topic_score_gemma":0.0005824876,"domain_scores_codex":[0.9988728,0.00003384303,0.0003082913,0.0002539881,0.0002484134,0.0002826764],"domain_scores_gemma":[0.9993555,0.000002444874,0.000201598,0.0002173644,0.0001274067,0.0000957165],"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":[0.0002398842,0.0003456751,0.008472029,0.0005932613,0.0002532208,0.0001043911,0.9033776,5.850107e-7,0.01127134,0.02474273,0.04905813,0.001541158],"study_design_scores_gemma":[0.000389977,0.0004919339,0.001142261,0.0001636625,0.00003595453,0.000002137813,0.004866098,0.000002220591,0.0006241503,0.00003884024,0.9920084,0.0002343887],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9762551,0.001387443,0.00001554718,0.0000465518,0.001766309,0.0002088241,0.00006323976,0.0001409504,0.0201161],"genre_scores_gemma":[0.9525036,0.00005389566,0.00004135403,0.0001235916,0.001627527,0.00001780943,0.0000180945,0.00003003146,0.04558412],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9429502,"threshold_uncertainty_score":0.9996228,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2939621850","doi":"10.1386/smt.12.3.305_1","title":"Say there’s no future: The queer potential of Wicked’s Fiyero","year":2018,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Queer; Temporality; Scholarship; Aesthetics; Context (archaeology); Pleasure; Queer theory; Musical; Utopia; Heteronormativity; Sociology; Representation (politics); Character (mathematics); Art; Gender studies; Literature; History; Psychology; Art history; Politics; Philosophy; Epistemology","retraction":null,"screen_n_in":null,"score":{"opus":0.02912088182872677,"gpt":0.2573143998447014,"spread":0.2281935180159747,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002974826,0.0001920956,0.0003214276,0.00005864299,0.0004620031,0.00001945102,0.0002920897,0.00005297028,0.00181737],"category_scores_gemma":[0.00001586219,0.000106056,0.0001301209,0.00005216087,0.00325178,0.00009701817,0.0001371514,0.0002069346,0.0002522724],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004959209,"about_ca_system_score_gemma":0.00002909138,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001570913,"about_ca_topic_score_gemma":0.001697298,"domain_scores_codex":[0.9988359,0.00008805715,0.0003248717,0.0002233392,0.0002253955,0.0003024412],"domain_scores_gemma":[0.9992843,0.00006760412,0.00008278405,0.0003664073,0.0001664475,0.00003244836],"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":[0.000412153,0.0003075688,0.0001821414,0.0002253534,0.0004607589,0.00002490642,0.499776,0.000004643375,0.0003223039,0.112918,0.3517006,0.03366555],"study_design_scores_gemma":[0.0003834965,0.0002179742,0.0003433259,0.00006627711,0.00004013775,0.000002357873,0.03188743,0.0000183855,0.00004438353,0.001714886,0.9651272,0.00015412],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4814519,0.003920341,0.000005723113,0.001730251,0.01339939,0.0003826167,0.00003543584,0.00007569594,0.4989987],"genre_scores_gemma":[0.9806629,0.0003436241,0.00002412539,0.0009294759,0.01060628,0.00003570501,0.000002129404,0.0000208864,0.007374882],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6134266,"threshold_uncertainty_score":0.9994608,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2059870449","doi":"10.7202/019291ar","title":"Something to Sing About: A Preliminary List of Canadian Staged Dramatic Music Since 1867","year":2008,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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; Artifact (error); Musical; Scope (computer science); Politics; History; Visual arts; Foundation (evidence); Field (mathematics); Musicology; Literature; Art; Psychology; Political science; Archaeology; Computer science; Law","retraction":null,"screen_n_in":null,"score":{"opus":0.05001980937578428,"gpt":0.2060425912773934,"spread":0.1560227819016091,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000336746,0.0001892536,0.0003376374,0.003516559,0.001179959,0.00009371118,0.0003256454,0.00006508728,0.002359228],"category_scores_gemma":[0.0001008987,0.0001903218,0.0001944318,0.000317454,0.000422875,0.0004632312,0.00001268865,0.0004448895,0.00004410422],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000756219,"about_ca_system_score_gemma":0.002231865,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.7256688,"about_ca_topic_score_gemma":0.9900981,"domain_scores_codex":[0.9984241,0.00007158199,0.0006827291,0.000152945,0.0001990235,0.0004696558],"domain_scores_gemma":[0.9981558,0.00005854748,0.0002902476,0.0002400583,0.0003520359,0.0009033054],"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":[0.00007853537,0.00007074292,0.0005497949,0.0001437438,0.000205203,0.0006773511,0.886871,0.0005903615,0.0007835727,0.005972682,0.0988608,0.00519626],"study_design_scores_gemma":[0.0005893748,0.0008801039,0.002348696,0.001039574,0.000118584,0.001026691,0.04746799,0.00008601286,0.0001713986,0.000142046,0.9456802,0.0004493254],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9590223,0.0002973983,0.00005810734,0.0004024383,0.004587797,0.0001809434,0.0000805133,0.00001458637,0.03535586],"genre_scores_gemma":[0.9943401,0.000009935515,0.0001918044,0.001174355,0.0008766711,0.000007006113,0.000003674905,0.00003343096,0.003363061],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8468194,"threshold_uncertainty_score":0.9985527,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2114305753","doi":"10.7202/1014583ar","title":"Family Values: The Trapp Family Singers in North America, 1938-1956","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","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":"Appeal; Faith; Family values; Aesthetics; Family life; Sociology; Law; Gender studies; Political science; Art; Theology; Philosophy","retraction":null,"screen_n_in":null,"score":{"opus":0.02730431184298084,"gpt":0.1676009963531453,"spread":0.1402966845101645,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001304173,0.0001764886,0.0003049565,0.0002092591,0.0005323211,0.0000533615,0.0004375742,0.00003385399,0.0031326],"category_scores_gemma":[0.000008315388,0.0001464129,0.0001324552,0.0001976631,0.0004694676,0.0003173864,0.00002194993,0.0002097455,0.001235341],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000444991,"about_ca_system_score_gemma":0.0004569763,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.3018094,"about_ca_topic_score_gemma":0.6107944,"domain_scores_codex":[0.9989375,0.0001016155,0.0002013944,0.0002320773,0.0001272105,0.0004001945],"domain_scores_gemma":[0.999177,0.00002880258,0.00008358727,0.0003689288,0.00007579516,0.000265901],"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":[0.00000357483,0.00002430639,0.0002260517,0.0004504699,0.00004014395,0.00006203952,0.03271568,0.000005834382,0.000005370281,0.003102961,0.8407034,0.1226601],"study_design_scores_gemma":[0.0001415201,0.00002295915,0.003518151,0.0003308548,0.00004612531,0.000001091244,0.006540758,0.00001334539,4.698771e-8,0.00001265844,0.9891771,0.0001953978],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3509147,0.03259208,0.000003695872,0.001941476,0.001290828,0.001421637,0.0001185767,0.00006351386,0.6116535],"genre_scores_gemma":[0.787988,0.05851445,0.00004340949,0.0852078,0.0008640389,0.00003373355,0.0001560339,0.00006522224,0.06712731],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5445262,"threshold_uncertainty_score":0.9995423,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2461895924","doi":"10.1057/9781137436436_13","title":"J. M. Barrie and World War I","year":2015,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Performance art; History; Spanish Civil War; World War II; First world war; Art history; Literature; Art; Ancient history; Archaeology","retraction":null,"screen_n_in":null,"score":{"opus":0.03526398402618652,"gpt":0.2148763502579644,"spread":0.1796123662317779,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001926797,0.0005439261,0.0005773861,0.0003503467,0.0003518362,0.00008244222,0.0002356096,0.0001713059,0.00407896],"category_scores_gemma":[0.000004329882,0.0004736938,0.0001588732,0.00000334228,0.0007715017,0.000004995146,0.0001213377,0.0003968736,0.0005054713],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001044756,"about_ca_system_score_gemma":0.0001024713,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001387875,"about_ca_topic_score_gemma":0.003842112,"domain_scores_codex":[0.9983728,0.00001728953,0.0004302948,0.0004662898,0.0003252095,0.0003881169],"domain_scores_gemma":[0.9988374,0.00002908506,0.0002023266,0.00050493,0.0001392568,0.0002870291],"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":[0.00003708058,7.37125e-7,0.000006873,0.0001025265,0.00009560444,0.00004415503,0.01079358,9.613014e-8,0.000006164184,0.958343,0.0149815,0.01558868],"study_design_scores_gemma":[0.0003428091,0.00008017548,0.000005221031,0.0001321451,0.00009530284,0.00001307284,0.00009556138,0.000003081575,0.000006747813,0.1715981,0.8271133,0.0005144649],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.000212231,0.004796612,7.856802e-7,0.00001863951,0.001499243,0.0003468845,0.0002331194,0.0001732142,0.9927193],"genre_scores_gemma":[0.301036,0.0001306115,0.00001509103,0.0004581565,0.002054542,0.00002431515,0.0000678037,0.000111524,0.696102],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.8121318,"threshold_uncertainty_score":0.9997715,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4320030264","doi":"10.1386/smt_00103_1","title":"Ethnic mobilities and representations in Rose-Marie on stage and screen","year":2022,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Musical; Lyrics; White (mutation); Art; Ethnic group; Art history; Character (mathematics); Dance; Singing; Literature; History; Sociology; Anthropology","retraction":null,"screen_n_in":null,"score":{"opus":0.1023063086429994,"gpt":0.3224912595981396,"spread":0.2201849509551402,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002963031,0.0001222568,0.0002301851,0.000145592,0.0004928884,0.00002118785,0.00007629671,0.00001790973,0.0004359532],"category_scores_gemma":[0.00003126278,0.0001037641,0.00002779695,0.00005751871,0.0008125696,0.00009516226,0.0002336822,0.0002695071,0.000003340283],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009353869,"about_ca_system_score_gemma":0.0000153514,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006778541,"about_ca_topic_score_gemma":0.005067665,"domain_scores_codex":[0.9990718,0.0001106283,0.00021549,0.0002604886,0.0001429587,0.0001985965],"domain_scores_gemma":[0.9994583,0.0002957722,0.00003160831,0.0001696903,0.00001457834,0.0000300776],"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":[0.0003060313,0.0003509779,0.004568019,0.0002207365,0.00009187267,0.00007184849,0.7796347,0.0003179002,0.00002821391,0.1659713,0.007913064,0.04052541],"study_design_scores_gemma":[0.001131188,0.0004331082,0.006483129,0.00006288751,0.00001740148,0.000002409188,0.3030419,0.0001202377,0.000004288825,0.005568338,0.6828626,0.0002725673],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9057353,0.004082995,2.358876e-7,0.0003500977,0.0005197531,0.0002677386,0.00009618882,0.00003289162,0.08891481],"genre_scores_gemma":[0.9901681,0.0006016846,0.000009916476,0.0004779902,0.000195572,0.0001916264,0.000007733959,0.00001227764,0.008335111],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6749495,"threshold_uncertainty_score":0.4773382,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2077490115","doi":"10.12745/et.3.1.593","title":"The Pageant Wagon as Iconic Site in the &lt;em&gt;York Cycle&lt;/em&gt;","year":2000,"lang":"en","type":"article","venue":"Early Theatre","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Dramaturgy; Spectacle; Iconography; Art; Visual arts; Aesthetics; Art history; Law; Political science","retraction":null,"screen_n_in":null,"score":{"opus":0.01058829943368016,"gpt":0.1918943606563968,"spread":0.1813060612227166,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000653341,0.0003014588,0.0002630738,0.00008693253,0.001263206,0.0004596976,0.0006165764,0.00009011151,0.005045326],"category_scores_gemma":[0.000005479053,0.0001680111,0.0001887428,0.0000854386,0.0003614718,0.0002723534,0.00003925667,0.000405173,0.003458362],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000080826,"about_ca_system_score_gemma":0.0000654943,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007165867,"about_ca_topic_score_gemma":0.0108614,"domain_scores_codex":[0.9980703,0.0001917996,0.0003961843,0.0003246804,0.000404846,0.0006121939],"domain_scores_gemma":[0.9989403,0.0001390375,0.00008500586,0.0007256231,0.00003255348,0.00007745769],"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":[0.0002905201,0.0002383198,0.0002734312,0.000035414,0.00008549872,0.00007297981,0.642057,0.00004103812,0.0002446053,0.04619395,0.05165575,0.2588115],"study_design_scores_gemma":[0.0005177625,0.0002042253,0.002370433,0.00006064632,0.00003353611,0.00001369238,0.004819002,0.00003970013,0.00001851689,0.001227561,0.9904331,0.0002618123],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6572424,0.001976079,2.773355e-7,0.0004655685,0.0006145652,0.0002751567,0.00002463279,0.00008248664,0.3393188],"genre_scores_gemma":[0.935891,0.0004152857,0.000004087546,0.001113876,0.001460959,0.00006653528,0.00001567498,0.00004310185,0.06098943],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9387774,"threshold_uncertainty_score":0.9973176,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4225982751","doi":"10.1386/smt_00074_1","title":"‘Welcome to the Rock’: Come from Away as happiness machine","year":2021,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Queen's University","funders":"","keywords":"Happiness; Mainstream; Mythology; Utopia; Appeal; Aesthetics; Art; Psychology; Social psychology; Sociology; Philosophy; Literature; Art history; Law; Political science; Theology","retraction":null,"screen_n_in":null,"score":{"opus":0.04861617456970038,"gpt":0.2770487447085056,"spread":0.2284325701388052,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001858933,0.0002261603,0.0004202318,0.00006617515,0.0005920144,0.0000641455,0.0003024016,0.00004127495,0.002347748],"category_scores_gemma":[0.00004757839,0.0001431632,0.0001160579,0.0001081806,0.0002876488,0.00008808554,0.0003241883,0.0002788313,0.0007316752],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000981309,"about_ca_system_score_gemma":0.00003845444,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006685442,"about_ca_topic_score_gemma":0.008659059,"domain_scores_codex":[0.9986436,0.00009868433,0.0003231513,0.000351707,0.0002411072,0.0003417536],"domain_scores_gemma":[0.9991304,0.0001874095,0.00004183424,0.0004668623,0.0001000447,0.00007342578],"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":[0.0002755479,0.000633263,0.001216219,0.0002029848,0.0007039248,0.0004322096,0.6242765,0.0002387599,0.0002280416,0.1109665,0.2216437,0.03918236],"study_design_scores_gemma":[0.0003968069,0.0000580669,0.000471883,0.00009663562,0.00002958847,0.000004685982,0.01955897,0.00004217088,0.00002928828,0.00276233,0.9763395,0.0002100217],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5399574,0.01029835,0.00002058458,0.009896335,0.01387289,0.0004901495,0.0002353136,0.0001653571,0.4250636],"genre_scores_gemma":[0.9781575,0.0002590344,0.00002666715,0.004576259,0.00390456,0.00009748764,0.00002540138,0.00002613022,0.01292697],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7546958,"threshold_uncertainty_score":0.9985642,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2321111006","doi":"10.3138/cras.2015.008","title":"Debunking the Diasporic “China Doll” with Satirical Disquietude: Young Jean Lee’s<i>Songs of the Dragons Flying to Heaven</i>","year":2016,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Heaven; Homeland; China; Context (archaeology); Identity (music); Dual (grammatical number); Space (punctuation); Gender studies; History; Literature; Diaspora; Sociology; Art; Aesthetics; Philosophy; Political science; Law; Linguistics; Archaeology","retraction":null,"screen_n_in":null,"score":{"opus":0.01994760278020934,"gpt":0.2373475875711543,"spread":0.217399984790945,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003180833,0.0002092705,0.0006124105,0.00008282332,0.0006239319,0.00001194149,0.0003932293,0.00001081956,0.0001131264],"category_scores_gemma":[0.0001338819,0.00008628158,0.0001564801,0.0002131036,0.001721154,0.00007920671,0.00007266579,0.00009835324,0.00001210971],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002241103,"about_ca_system_score_gemma":0.0002331296,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.04170012,"about_ca_topic_score_gemma":0.3569355,"domain_scores_codex":[0.9986817,0.00009371417,0.0004095415,0.0002083811,0.0002443779,0.0003623095],"domain_scores_gemma":[0.9987796,0.0001386701,0.0003013131,0.0004719394,0.0001637553,0.000144709],"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":[0.0000522253,0.0000695148,0.01085239,0.003759649,0.0008629473,0.00001789952,0.2504363,0.00000359964,0.0001329983,0.01699355,0.1503142,0.5665048],"study_design_scores_gemma":[0.0001628984,0.0002258874,0.01045898,0.007128105,0.0002162151,0.000007283491,0.01962488,5.386715e-7,0.00002475075,0.00002905301,0.9618477,0.0002736794],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6942768,0.2180987,0.00004419917,0.04062255,0.002421167,0.002831877,0.0003538995,0.00008414173,0.04126664],"genre_scores_gemma":[0.9785781,0.01612943,0.00003532521,0.003078851,0.0002349207,0.00009538982,9.419184e-7,0.00002467161,0.001822385],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8115336,"threshold_uncertainty_score":0.9646813,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158529900","doi":"10.18274/yqdt2582","title":"\"Playing the Men\": Ellen Tree, Fanny Kemble, and Theatrical Constructions of Gender","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Tree (set theory); Gender studies; Sociology; Art; Visual arts; Mathematics","retraction":null,"screen_n_in":null,"score":{"opus":0.03445640414937957,"gpt":0.2206011245453507,"spread":0.1861447203959711,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006688556,0.0001156236,0.0001894831,0.0001717402,0.001079068,0.00006281889,0.0001631897,0.00004116198,0.0001310857],"category_scores_gemma":[0.00003145223,0.0000622263,0.00008877524,0.0001115631,0.0006055337,0.0001935645,0.00003855472,0.0002552938,0.000004563023],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002432245,"about_ca_system_score_gemma":0.00009849256,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006690046,"about_ca_topic_score_gemma":0.00009795715,"domain_scores_codex":[0.9990302,0.00009187672,0.0003852142,0.0000882188,0.0002340594,0.0001704482],"domain_scores_gemma":[0.9991979,0.0001894705,0.0002625173,0.0001516807,0.0001361698,0.00006229023],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0002977158,0.0001503951,0.00259275,0.0001674683,0.0007362044,0.00001199715,0.6663928,0.0003440978,0.001349687,0.1706815,0.1282293,0.02904604],"study_design_scores_gemma":[0.002127161,0.0003687555,0.01432677,0.0001083017,0.0007349752,0.0003260948,0.5288399,0.001952613,0.0000698115,0.004931977,0.4458002,0.0004133582],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8359712,0.00530411,0.0005912941,0.006116749,0.001585099,0.0006060406,0.00009415078,0.00007325027,0.1496581],"genre_scores_gemma":[0.9968794,0.001128902,0.00006333955,0.00009969351,0.0003569967,0.000004607706,0.000002540323,0.00001370065,0.001450829],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3175709,"threshold_uncertainty_score":0.8299425,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4250085159","doi":"10.3138/utq.79.3.881","title":"Reading at the Opera","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Opera; Reading (process); Singing; Musical; Literature; History; Visual arts; Art; Linguistics; Philosophy; Acoustics","retraction":null,"screen_n_in":null,"score":{"opus":0.007649418658325465,"gpt":0.1671532858086254,"spread":0.1595038671503,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00008382878,0.00006405265,0.00008581876,0.00001157904,0.0005297649,0.00001634582,0.0002089536,0.00002750242,0.01585426],"category_scores_gemma":[8.661738e-7,0.00005155877,0.00005982106,0.000003198999,0.0003252257,0.0002858073,0.00001707531,0.00007243862,0.0001550094],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007280641,"about_ca_system_score_gemma":0.00001727653,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01930572,"about_ca_topic_score_gemma":0.2536038,"domain_scores_codex":[0.999634,0.00001383235,0.0000643329,0.00009458904,0.00008057274,0.0001126488],"domain_scores_gemma":[0.9996462,0.00001523096,0.00004659131,0.0002138695,0.00004154943,0.00003656123],"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":[0.00009570422,0.00006683055,0.00018605,0.00002411112,0.00005056246,0.000009171841,0.7645431,4.855473e-7,0.007008137,0.1048948,0.08503718,0.0380838],"study_design_scores_gemma":[0.0002050316,0.0001167947,0.0004271051,0.000005761532,0.0000170147,0.000001833733,0.02401578,0.00001516907,0.0000304667,0.00002290543,0.9750693,0.00007282819],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.611733,0.0000504553,0.000004499218,0.0001015592,0.0008105388,0.00006141089,0.00001371118,0.00002772783,0.3871972],"genre_scores_gemma":[0.8757325,0.000008402891,0.00003035222,0.00005263643,0.0002199757,1.513335e-7,0.000004389966,0.000004725009,0.1239469],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8900321,"threshold_uncertainty_score":0.9872248,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2597703863","doi":"10.3138/md.0738","title":"Out-of-the-Way Closets: “Kabnis,” Race, and Closet Drama","year":2017,"lang":"en","type":"article","venue":"Modern Drama","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Closet; Harlem Renaissance; Drama; Identity (music); Negation; Race (biology); Reading (process); Performance art; The Renaissance; Art; Literature; Sociology; Aesthetics; Gender studies; Art history; History; Linguistics; Philosophy","retraction":null,"screen_n_in":null,"score":{"opus":0.02724984556779989,"gpt":0.2327882650139207,"spread":0.2055384194461208,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0001810419,0.0001791676,0.0002670973,0.00004731432,0.001320589,0.0002721456,0.0004655118,0.0000721816,0.0003042558],"category_scores_gemma":[0.00002686157,0.0001298492,0.0001050712,0.000005997061,0.0008675988,0.000339628,0.0001742449,0.0001687905,0.00007780731],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003022809,"about_ca_system_score_gemma":0.00003612673,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002313299,"about_ca_topic_score_gemma":0.001724889,"domain_scores_codex":[0.9989969,0.00003121027,0.0002701035,0.0002364784,0.0002015739,0.0002636931],"domain_scores_gemma":[0.9987827,0.00002230643,0.0002392085,0.0008230176,0.00006373196,0.00006905793],"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":[0.0002520328,0.0004084878,0.00570946,0.0004592835,0.0002387393,0.00002389835,0.4455151,0.000009041076,0.002623345,0.171625,0.1550669,0.2180686],"study_design_scores_gemma":[0.0006475216,0.00005678274,0.002458615,0.00007124505,0.00003919437,0.000002719914,0.0003858895,0.0003500412,0.0003915475,0.005341656,0.9900393,0.0002155129],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8100508,0.0004885404,0.0000374234,0.0009812431,0.003040416,0.0002555418,0.00008650438,0.0000591503,0.1850003],"genre_scores_gemma":[0.9483023,0.00004443363,0.00003342067,0.0003278436,0.0006423703,0.00001892875,0.000005444776,0.00002726913,0.05059798],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8349723,"threshold_uncertainty_score":0.9999796,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2073868909","doi":"10.1353/vpr.2007.0011","title":"Victorian Drama and Undergraduate Periodical Research","year":2006,"lang":"en","type":"article","venue":"Victorian periodicals review","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Drama; Period (music); Literature; Art; History; Victorian era; Aesthetics","retraction":null,"screen_n_in":null,"score":{"opus":0.03453225174994558,"gpt":0.28480198868435,"spread":0.2502697369344044,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001329916,0.0003399337,0.0006733603,0.0001966335,0.001908497,0.00075377,0.0003598773,0.0001287288,0.00453327],"category_scores_gemma":[0.0001045784,0.0002711641,0.0001770389,0.0001651902,0.002126489,0.0002937729,0.0001255505,0.0005631135,0.001090194],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001552592,"about_ca_system_score_gemma":0.0002707073,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003496491,"about_ca_topic_score_gemma":0.0009886861,"domain_scores_codex":[0.9967849,0.0003507112,0.000766506,0.0005750363,0.0007789903,0.0007438594],"domain_scores_gemma":[0.998652,0.0001061139,0.0001241621,0.0005484647,0.0002476088,0.000321671],"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":[0.00003638213,0.0002767456,0.0003401354,0.003806664,0.00005522552,0.00006889235,0.01592498,1.255699e-7,0.0002305365,0.7208478,0.2457298,0.01268275],"study_design_scores_gemma":[0.0003709124,0.0001223742,0.0001564302,0.001325216,0.00004801753,0.00001932278,0.0001202332,0.000005459655,0.000008258921,0.001371021,0.9961088,0.0003439027],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.05440227,0.3591473,0.00002557722,0.02188255,0.008569716,0.002623408,0.0001579775,0.0007211127,0.5524701],"genre_scores_gemma":[0.9070426,0.04452136,0.0001103866,0.002312782,0.01127472,0.0003652137,0.0001036551,0.0001165773,0.03415275],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8526403,"threshold_uncertainty_score":0.9999741,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}