{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":109,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":109,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"de5b5857cf3a","filters":{"venue":"Critique d’art"}},"results":[{"id":"W1596232164","doi":"10.4000/critiquedart.2602","title":"Philippe Dubois. La Question vidéo : entre cinéma et art contemporain ; Marie-José Mondzain. Images (à suivre)","year":2012,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Historical and Cultural Studies","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":"Francophone University Association","funders":"","keywords":"Art","authors":[{"name":"Christophe Domino","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01783243893070648,"gpt":0.2516229131771262,"spread":0.2337904742464197,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009366593,0.001185604,0.0003198997,0.002010052,0.005487416,0.005852321,0.0009522081,0.004353364,0.03566945],"category_scores_gemma":[0.001958948,0.0004520159,0.0001983761,0.002308157,0.003979071,0.006637194,0.002382827,0.003114453,0.00569013],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006727907,"about_ca_system_score_gemma":0.002390831,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1266899,"about_ca_topic_score_gemma":0.1819061,"domain_scores_codex":[0.999211,0.0003907104,0.00002238662,0.00013048,0.0001503007,0.00009513046],"domain_scores_gemma":[0.9987478,0.0006106255,0.0001343312,0.00003705095,0.0002865661,0.0001835425],"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":[0.0000570554,0.0000252219,0.0005020418,0.0006802969,0.000007867809,0.0005554786,0.0547145,0.00004238102,0.0003208343,0.08751608,0.8089852,0.04659297],"study_design_scores_gemma":[0.000004043603,0.000004620071,0.001287975,0.0002197052,0.000002240803,0.0001046359,0.007772474,0.00001440732,0.00007321177,0.001001426,0.9895102,0.000005145266],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.003667612,0.6280972,0.0006741882,0.1675113,0.005538712,0.00003737606,0.0004256773,0.0001443934,0.1939036],"genre_scores_gemma":[0.2193197,0.2289685,0.001102977,0.04196442,0.008280996,0.0002121673,0.0002599335,0.0005097134,0.4993817],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1266899,"threshold_uncertainty_score":0.251905,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2261228013","doi":"10.4000/critiquedart.17551","title":"Re : Vers une histoire mineure des performances et des expositions","year":2014,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Historical and Cultural Studies","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":"Humanities; Art","authors":[{"name":"Jean-Marc Huitorel","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03031802733541212,"gpt":0.2376851819199636,"spread":0.2073671545845515,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001226858,0.001243772,0.0003052051,0.002363267,0.007664754,0.008621313,0.0009016225,0.001946406,0.02039721],"category_scores_gemma":[0.003144924,0.0002118827,0.0004379191,0.001600273,0.009294685,0.004543557,0.001878612,0.003343953,0.005954492],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007806324,"about_ca_system_score_gemma":0.001638997,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03779247,"about_ca_topic_score_gemma":0.05266576,"domain_scores_codex":[0.9979917,0.001010699,0.00004166449,0.0002442347,0.0004477702,0.0002639072],"domain_scores_gemma":[0.9989229,0.0003795504,0.000115533,0.0001671602,0.0003191542,0.00009570699],"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":[0.0001071924,0.0000255393,0.0006153409,0.0002865236,0.00001406664,0.0007795207,0.1062636,0.0002451567,0.001782978,0.6117231,0.2250445,0.05311251],"study_design_scores_gemma":[0.000001744397,0.000008529819,0.000549998,0.0001404057,0.000002361446,0.0002006675,0.00929652,0.00004338791,0.0002659888,0.003518252,0.9859654,0.000006807202],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"commentary","genre_scores_codex":[0.01402602,0.02206789,0.004236398,0.02990695,0.004416274,0.00003681008,0.0002235214,0.0001818957,0.9249043],"genre_scores_gemma":[0.3133526,0.01058054,0.00176405,0.004817869,0.004138493,0.00009734325,0.0002225627,0.0005202487,0.6645063],"genre_candidate":"commentary","genre_consensus":null,"teacher_disagreement_score":0.03779247,"threshold_uncertainty_score":0.07514501,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3026841605","doi":"10.4000/critiquedart.53820","title":"Françoise Denoyelle, Arles : les rencontres de la photographie, une histoire française","year":2019,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Institut d'Histoire de l'Amérique Française","funders":"","keywords":"Art; Humanities","authors":[{"name":"Stewen Corvez","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006105968017449897,"gpt":0.2119021679895104,"spread":0.2057961999720605,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004089258,0.0006314077,0.0002533935,0.001354251,0.01801521,0.01012622,0.00092203,0.003969776,0.009221304],"category_scores_gemma":[0.006548165,0.0003428374,0.00026429,0.001429008,0.0174239,0.006181147,0.002468532,0.005135122,0.001254292],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01561082,"about_ca_system_score_gemma":0.008626637,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3170659,"about_ca_topic_score_gemma":0.5148103,"domain_scores_codex":[0.9963433,0.002030692,0.00007673055,0.0003706719,0.0007015804,0.0004769762],"domain_scores_gemma":[0.9963323,0.001811646,0.0002986932,0.0002005515,0.0009987071,0.0003579906],"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":[0.00006244291,0.00002549218,0.001644133,0.000191744,0.00001257691,0.0005921108,0.1532169,0.0001074044,0.0005730125,0.4156019,0.4015705,0.02640187],"study_design_scores_gemma":[0.000004195035,0.000007421507,0.001825837,0.0002238112,0.000002677027,0.0001085947,0.0322711,0.00002905482,0.0001665193,0.003854596,0.9614881,0.00001791928],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04521647,0.1022222,0.002863304,0.416622,0.00878936,0.00005785177,0.0002594221,0.00009066889,0.4238788],"genre_scores_gemma":[0.548766,0.02053435,0.001450204,0.03586462,0.001608253,0.00006903326,0.00007402404,0.0002106134,0.391423],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3170659,"threshold_uncertainty_score":0.6304408,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4254400819","doi":"10.4000/critiquedart.71428","title":"Besides, History: Go Hasegawa, Kersten Geers, David Van Severen","year":2018,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Historical Influence and Diplomacy","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Psychology; History; Art history","authors":[{"name":"Éléonore Marantz","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03906659946904872,"gpt":0.3302107457611922,"spread":0.2911441462921435,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001764935,0.001000976,0.0003983359,0.001589114,0.01831206,0.01005536,0.00137413,0.004772007,0.01013909],"category_scores_gemma":[0.003106772,0.0005719382,0.000284391,0.003779523,0.02090713,0.006104727,0.002832286,0.005356854,0.001357198],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.03482079,"about_ca_system_score_gemma":0.0275596,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.6058363,"about_ca_topic_score_gemma":0.8192646,"domain_scores_codex":[0.9983999,0.0005982819,0.00004122171,0.0001833216,0.000365322,0.0004120798],"domain_scores_gemma":[0.9986193,0.0004907157,0.0001012034,0.00007246142,0.000384443,0.0003319088],"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":[0.00006920876,0.00002121569,0.001293998,0.0003278646,0.00001716669,0.0004875479,0.08981178,0.0001236496,0.0004106677,0.2915204,0.5917031,0.02421336],"study_design_scores_gemma":[0.000004713307,0.000004418555,0.001208441,0.0002428946,0.000006367963,0.00007435428,0.01659123,0.00001437385,0.00009022663,0.005004156,0.9767445,0.00001437763],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.01322228,0.2856732,0.0006966857,0.4918681,0.01072879,0.00003693229,0.0002608455,0.0000694695,0.1974436],"genre_scores_gemma":[0.3621468,0.1092405,0.001287467,0.06865527,0.00398303,0.00008603335,0.0001434218,0.0002468951,0.4542105],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.6058363,"threshold_uncertainty_score":0.7929699,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4388975298","doi":"10.4000/critiquedart.109408","title":"Lynne Cohen : observatoires / laboratoires","year":2023,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Psychology","authors":[{"name":"Gaëlle Melin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05374381374678366,"gpt":0.3083103227576483,"spread":0.2545665090108646,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004791655,0.0009563609,0.0005050402,0.002205814,0.01001757,0.008480779,0.001018206,0.003021181,0.05278451],"category_scores_gemma":[0.008081837,0.0005839599,0.000365436,0.002537995,0.00620484,0.004952517,0.004092349,0.004506741,0.01308925],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01770188,"about_ca_system_score_gemma":0.009283442,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1316524,"about_ca_topic_score_gemma":0.1451543,"domain_scores_codex":[0.9953747,0.002004366,0.0001271677,0.0008381299,0.001204806,0.0004507848],"domain_scores_gemma":[0.996743,0.0009908979,0.000305574,0.0002859885,0.001068524,0.0006059864],"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":[0.00008760977,0.00001506089,0.001314798,0.0003102105,0.00000713696,0.0004672515,0.02887382,0.00007021753,0.0009686921,0.1102286,0.8001686,0.05748786],"study_design_scores_gemma":[0.000001171383,0.000001418912,0.0003186643,0.00007046086,5.083703e-7,0.00003593576,0.002005696,0.000004835424,0.00005653418,0.0005113822,0.9969893,0.000004096607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01118868,0.1465885,0.004263241,0.2748879,0.02180959,0.0001462748,0.001217576,0.0005903447,0.5393078],"genre_scores_gemma":[0.1033608,0.02763806,0.003133912,0.01833233,0.003067521,0.0002292306,0.0004156527,0.0008950168,0.8429275],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1316524,"threshold_uncertainty_score":0.2617722,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4382560937","doi":"10.4000/critiquedart.104899","title":"Normand Biron, Les Mots du regard : promenades en art (1974-2015...)","year":2022,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Rodrigo Fontanari","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.023337282571404,"gpt":0.2715625914964706,"spread":0.2482253089250666,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001938162,0.0009628081,0.0003380415,0.001424006,0.01242987,0.007115911,0.00125577,0.004631692,0.01875266],"category_scores_gemma":[0.003429184,0.0004222927,0.0003097228,0.001837961,0.008097099,0.005969333,0.001985691,0.005720288,0.003814668],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01832386,"about_ca_system_score_gemma":0.01034111,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3974986,"about_ca_topic_score_gemma":0.5748731,"domain_scores_codex":[0.9975426,0.001037482,0.00006879738,0.0002716727,0.0007697377,0.0003097118],"domain_scores_gemma":[0.9987345,0.0005484088,0.0001165393,0.00003732197,0.000403493,0.0001596606],"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":[0.00003234764,0.00001941235,0.0004982188,0.0001791385,0.000005267017,0.0001157521,0.01521615,0.00005853346,0.00009641474,0.189103,0.7687992,0.02587667],"study_design_scores_gemma":[0.000004559824,0.000004329074,0.001237994,0.0002794751,0.000002242194,0.0000402162,0.003954789,0.00001998146,0.00008315096,0.007073746,0.9872869,0.00001256332],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"other","genre_scores_codex":[0.004193333,0.3835458,0.001098903,0.3616118,0.01152351,0.00004510545,0.0004785913,0.00006274831,0.2374403],"genre_scores_gemma":[0.2063299,0.1466164,0.001672736,0.07260302,0.007959049,0.0001761239,0.0003068311,0.0003031921,0.5640328],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.3974986,"threshold_uncertainty_score":0.7903697,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3109499619","doi":"10.4000/critiquedart.46795","title":"CARF 01 – FRAC Champagne-Ardenne","year":2018,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Canadian Anesthesia Research Foundation","funders":"","keywords":"Humanities; Art","authors":[{"name":"Fanny Ollivier","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02566204791395075,"gpt":0.3328572185873835,"spread":0.3071951706734328,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003344952,0.0005433013,0.0005420041,0.001592593,0.007038582,0.00473431,0.0009113356,0.003138447,0.1087364],"category_scores_gemma":[0.007139919,0.0002933074,0.0003457507,0.001259045,0.002544813,0.001535988,0.002474464,0.003261916,0.01378894],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01049795,"about_ca_system_score_gemma":0.01070292,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1179702,"about_ca_topic_score_gemma":0.1553826,"domain_scores_codex":[0.9969814,0.0006616605,0.00004855387,0.0005316642,0.0009975942,0.000778934],"domain_scores_gemma":[0.9973827,0.0007529259,0.0001421422,0.0001525414,0.0009184021,0.0006512359],"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":[0.0002376212,0.0001006834,0.002635906,0.0004141805,0.00002431999,0.0006349836,0.01193129,0.0001525464,0.001126465,0.05906055,0.7988874,0.124794],"study_design_scores_gemma":[0.000006591712,0.00001543211,0.002399417,0.0002453325,0.00000153338,0.00009210485,0.001240165,0.00001220516,0.0001136276,0.0003302723,0.9955341,0.000009269856],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.06816781,0.06114913,0.001304458,0.1322448,0.02928878,0.0001988129,0.002036773,0.000521393,0.7050881],"genre_scores_gemma":[0.1698351,0.007015978,0.001551647,0.01465907,0.00326947,0.0003228932,0.0007565162,0.0003414591,0.8022478],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1179702,"threshold_uncertainty_score":0.3637595,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7118598455","doi":"10.4000/15goz","title":"Izabeau Legendre, Fanzines : une histoire québécoise","year":2024,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Literature and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Context (archaeology); Intersection (aeronautics); Feature (linguistics)","authors":[{"name":"Alexandrine Bonoron","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01207254109092099,"gpt":0.2461590661603194,"spread":0.2340865250693984,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008289259,0.0005060717,0.0003004877,0.001519039,0.01338408,0.005672543,0.0007069467,0.001543673,0.007235791],"category_scores_gemma":[0.001291226,0.0001738655,0.0001941739,0.002073784,0.01098976,0.001522384,0.001192699,0.002631021,0.000402156],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.03977595,"about_ca_system_score_gemma":0.01910185,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9427706,"about_ca_topic_score_gemma":0.9709859,"domain_scores_codex":[0.9995236,0.0001455745,0.000007436329,0.00005931266,0.00010438,0.0001597292],"domain_scores_gemma":[0.9996456,0.0001011813,0.00002612415,0.00001881128,0.0001484559,0.00005985344],"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":[0.00005503842,0.00002008844,0.003280196,0.0002143836,0.00001318837,0.0008185719,0.1693566,0.000456106,0.0008404625,0.7091001,0.0762832,0.03956195],"study_design_scores_gemma":[0.000006982718,0.00001230215,0.01004257,0.0004063808,0.00001556324,0.0002183338,0.05932309,0.000355297,0.0003514936,0.01748773,0.9117443,0.00003604744],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.1672606,0.05039502,0.005850918,0.08432548,0.002273896,0.00008957784,0.0005426907,0.0001292061,0.6891326],"genre_scores_gemma":[0.7753928,0.009110657,0.001737472,0.00377768,0.0001793958,0.00004680519,0.00009808315,0.00007240521,0.2095848],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.0572294,"threshold_uncertainty_score":0.2885961,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4388930039","doi":"10.4000/critiquedart.109081","title":"Réinventer la collection : l’art et le musée au temps de l’événementiel","year":2023,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Marine Bidegaray","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03721342404871438,"gpt":0.2856223384575132,"spread":0.2484089144087988,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004735549,0.0004774386,0.0003467513,0.001497142,0.02280851,0.01605115,0.001424678,0.002478085,0.01051969],"category_scores_gemma":[0.004956395,0.0003072011,0.0003799684,0.001802336,0.03339458,0.008553538,0.006008694,0.004558904,0.00186769],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.018116,"about_ca_system_score_gemma":0.02066351,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3585247,"about_ca_topic_score_gemma":0.5905277,"domain_scores_codex":[0.9969313,0.001584107,0.00005759711,0.0002681136,0.0006913484,0.0004675333],"domain_scores_gemma":[0.997391,0.0007370528,0.0002116494,0.0003900811,0.0006993683,0.0005708058],"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":[0.00004374834,0.00001999958,0.001492792,0.0001355975,0.00001331219,0.00053885,0.2232358,0.0001320584,0.0006852659,0.6375414,0.09246274,0.04369849],"study_design_scores_gemma":[0.000004782416,0.000009289867,0.002877771,0.0002386612,0.000008078262,0.0002192949,0.04173719,0.00006010189,0.0003517579,0.01505632,0.9394165,0.00002032795],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.05262699,0.02247715,0.009321525,0.110453,0.003140851,0.00007034367,0.0001715334,0.0002075861,0.801531],"genre_scores_gemma":[0.598659,0.005207636,0.00466294,0.008273508,0.0009718309,0.00007120832,0.00007648738,0.0003599332,0.3817174],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3585247,"threshold_uncertainty_score":0.7128757,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7119987278","doi":"10.4000/15h8w","title":"Marion Laval-Jeantet, Microbiota : créer et soigner","year":2025,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Contemporary art, education, critique","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Jargon; Human life; Humanity; Human being","authors":[{"name":"Angélique Mangeleer","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01595275480696435,"gpt":0.3320439532533522,"spread":0.3160911984463879,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003781876,0.0006634324,0.0003241524,0.001088534,0.00826175,0.01131035,0.0008944243,0.005691034,0.01184394],"category_scores_gemma":[0.007264163,0.0003604686,0.0003015843,0.0009476534,0.01220173,0.007525845,0.003790471,0.007377878,0.00313959],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.008127753,"about_ca_system_score_gemma":0.01059048,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0614498,"about_ca_topic_score_gemma":0.08065923,"domain_scores_codex":[0.9959458,0.001814947,0.00008465388,0.0004403881,0.001296649,0.0004176473],"domain_scores_gemma":[0.9976579,0.0009733414,0.0002488768,0.00008911463,0.0005325092,0.000498283],"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":[0.00006211423,0.00002979418,0.0008277104,0.0003389804,0.000008317381,0.0002328441,0.05921293,0.00006091191,0.0008995254,0.1761496,0.7040306,0.05814675],"study_design_scores_gemma":[0.000003140385,0.000006828855,0.0003271384,0.0001644533,0.000001458917,0.00008031359,0.006425451,0.000009764043,0.0001282722,0.002907565,0.9899386,0.000007080693],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.005328273,0.131633,0.001226315,0.7492718,0.02364242,0.00002746026,0.00009310084,0.0001288523,0.0886489],"genre_scores_gemma":[0.2010444,0.1060132,0.003418433,0.2712579,0.0136865,0.0001417338,0.0001144581,0.0006698063,0.4036534],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.0614498,"threshold_uncertainty_score":0.1221842,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7119997377","doi":"10.4000/15h87","title":"Josef Albers","year":2025,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Art, Politics, and Modernism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Gloom; Quarter (Canadian coin); Exhibition","authors":[{"name":"Fanny Drugeon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02152511678821743,"gpt":0.2909324017924082,"spread":0.2694072850041908,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001277163,0.0008134693,0.0004007092,0.002532905,0.003677432,0.007049138,0.0005516323,0.001682954,0.08062599],"category_scores_gemma":[0.003970982,0.0003491542,0.0002576269,0.00183868,0.00223625,0.004074642,0.001931407,0.002211922,0.03894725],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003595215,"about_ca_system_score_gemma":0.003450825,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009347205,"about_ca_topic_score_gemma":0.02057822,"domain_scores_codex":[0.9983947,0.0001928946,0.00005783292,0.0003516583,0.0008746008,0.000128389],"domain_scores_gemma":[0.9987545,0.0004264903,0.00009251787,0.0001503546,0.0004435161,0.0001325792],"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":[0.00002528359,0.00001122204,0.0002290919,0.0001551137,0.000002841139,0.00008904839,0.001717963,0.0000599639,0.0002579947,0.1096651,0.7977195,0.09006679],"study_design_scores_gemma":[7.42815e-7,0.000001561035,0.00009080465,0.0000542994,5.382337e-7,0.00003664262,0.0001493429,0.000007500992,0.00004730363,0.001314381,0.9982952,0.000001713355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002175414,0.07331082,0.001593695,0.03202644,0.01548096,0.00003273138,0.0004623757,0.0003825455,0.8745349],"genre_scores_gemma":[0.01560445,0.02116682,0.0008285748,0.002475096,0.001989485,0.00002798024,0.0001740665,0.0003439526,0.9573895],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.08062599,"threshold_uncertainty_score":0.2697208,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4248817592","doi":"10.4000/critiquedart.19309","title":"Jon Rafman","year":2015,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Families in Therapy and Culture","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Sociology","authors":[{"name":"Maëlys Moreau","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04444400924783179,"gpt":0.369442439919441,"spread":0.3249984306716092,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001538972,0.0005437298,0.0003563513,0.0009647898,0.006452274,0.00540935,0.001095173,0.003075985,0.09541361],"category_scores_gemma":[0.00581633,0.0002756752,0.0002744929,0.0007120676,0.003130588,0.004558272,0.002313121,0.003883698,0.02383116],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005193589,"about_ca_system_score_gemma":0.007056401,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02543308,"about_ca_topic_score_gemma":0.0375926,"domain_scores_codex":[0.9981969,0.0003954358,0.0000510333,0.0003777633,0.0006977617,0.0002811182],"domain_scores_gemma":[0.9982212,0.0003783155,0.0001180402,0.0001067678,0.0006829495,0.0004926732],"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":[0.00003002708,0.00002010808,0.0004332715,0.0001116482,0.000004966075,0.0002207073,0.002128222,0.00006374667,0.0001955314,0.1056854,0.8322306,0.05887578],"study_design_scores_gemma":[0.000001363112,0.000003167642,0.0001355949,0.0000686191,9.433443e-7,0.0001466228,0.0007438523,0.00001866808,0.00004898708,0.003213032,0.9956144,0.000004872545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.004083796,0.04767332,0.003135659,0.3093875,0.02468212,0.00005083549,0.0001863145,0.000295501,0.610505],"genre_scores_gemma":[0.03232502,0.01523289,0.00120312,0.03522341,0.001849995,0.00003929126,0.00008377189,0.0001810735,0.9138614],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.09541361,"threshold_uncertainty_score":0,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4253383443","doi":"10.4000/critiquedart.25528","title":"Bruno Nassim Aboudrar, Qui veut la peau de Vénus ?","year":2016,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Historical and Scientific Studies","field":"Medicine","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","authors":[{"name":"Gilles Froger","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01966867264686159,"gpt":0.2937571486442609,"spread":0.2740884759973993,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002119166,0.0004725753,0.0003207536,0.0006400299,0.00920876,0.004868803,0.0009633675,0.003884334,0.007465621],"category_scores_gemma":[0.004116934,0.0002434888,0.0001627972,0.0006193361,0.00867264,0.004257937,0.00202238,0.005504192,0.002032383],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006846079,"about_ca_system_score_gemma":0.005874549,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05735207,"about_ca_topic_score_gemma":0.150127,"domain_scores_codex":[0.9982396,0.0009745602,0.00003200158,0.0001668987,0.0003631312,0.0002237024],"domain_scores_gemma":[0.9990116,0.0004699932,0.0001105843,0.00003752514,0.000208168,0.0001620208],"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":[0.00007496872,0.00001917989,0.0009801488,0.0002753534,0.000007295293,0.0003662232,0.05856147,0.00005259985,0.0005246826,0.4199595,0.4914793,0.02769924],"study_design_scores_gemma":[0.000004134649,0.000007880395,0.0004317281,0.0002231697,0.000002536191,0.000172598,0.01465823,0.00002545058,0.0002254348,0.01527626,0.9689584,0.000014295],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.008348031,0.1087569,0.0009351795,0.6915801,0.01137784,0.00002286017,0.0001083618,0.00004646414,0.1788243],"genre_scores_gemma":[0.3296741,0.07488514,0.002026138,0.2687941,0.004266322,0.0001024618,0.00008980222,0.0001702126,0.3199918],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.05735207,"threshold_uncertainty_score":0.1140365,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3107908687","doi":"10.4000/critiquedart.61792","title":"Le Musée ne suffit pas","year":2019,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Alban Loosli","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0269050778829932,"gpt":0.2437143392306422,"spread":0.216809261347649,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003128301,0.0006189222,0.0006288497,0.001217464,0.01501201,0.01039902,0.00153669,0.002898547,0.02218369],"category_scores_gemma":[0.005595346,0.0004324791,0.000450989,0.001303853,0.0194765,0.005484188,0.007299702,0.003973363,0.003931943],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02169268,"about_ca_system_score_gemma":0.02003838,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2443137,"about_ca_topic_score_gemma":0.3561461,"domain_scores_codex":[0.9962273,0.0008926337,0.0001144426,0.0005680471,0.0015574,0.0006401357],"domain_scores_gemma":[0.9977555,0.0004948516,0.0001718441,0.0002914582,0.0008321922,0.00045419],"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":[0.00006052798,0.00001586133,0.001091278,0.0001416891,0.00001444802,0.0004384597,0.02821918,0.000166294,0.0007805938,0.8641261,0.05346851,0.05147706],"study_design_scores_gemma":[0.000006824185,0.00001135821,0.001114418,0.0001697996,0.00000511861,0.0001604366,0.003681869,0.00003787317,0.0002919605,0.009848731,0.9846534,0.00001820942],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02531484,0.02046018,0.004014899,0.04200836,0.002834343,0.00006788551,0.0002280476,0.0001766449,0.9048949],"genre_scores_gemma":[0.441231,0.007524607,0.003987373,0.007015344,0.0009909509,0.0001100592,0.0002183011,0.0001734389,0.5387489],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2443137,"threshold_uncertainty_score":0.4857833,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4254924161","doi":"10.4000/critiquedart.5385","title":"Zoo","year":2012,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Human-Animal Interaction Studies","field":"Biochemistry, Genetics and Molecular Biology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Geography","authors":[{"name":"Fabienne Dumont","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0221461005243301,"gpt":0.3690276059099431,"spread":0.346881505385613,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004109819,0.0005892183,0.0002858437,0.001582788,0.004737956,0.003541201,0.001255406,0.001093311,0.2842925],"category_scores_gemma":[0.0008858218,0.0002641399,0.0003268724,0.00195473,0.002459019,0.001524063,0.002290942,0.001230456,0.06017488],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00603676,"about_ca_system_score_gemma":0.004773394,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2969685,"about_ca_topic_score_gemma":0.6076406,"domain_scores_codex":[0.999588,0.00004607653,0.00001044016,0.00009584628,0.0001899861,0.00006975339],"domain_scores_gemma":[0.9996647,0.00003825947,0.00002638868,0.00005814998,0.0001404963,0.00007209025],"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":[0.00009253899,0.00003381562,0.002759181,0.0003750634,0.00002038222,0.0006774482,0.004750892,0.0002530994,0.005502586,0.1659787,0.6167167,0.2028395],"study_design_scores_gemma":[0.000002471853,0.0000043753,0.001618997,0.00003822223,0.00000230766,0.00007683114,0.0002981516,0.00002477101,0.0002371145,0.0009327446,0.9967592,0.000004789264],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.006089141,0.005093607,0.00379443,0.006764912,0.001999534,0.0001268094,0.00372197,0.0007783414,0.9716312],"genre_scores_gemma":[0.02570654,0.002310507,0.002372166,0.001538068,0.0003771111,0.00004667796,0.001199612,0.000278832,0.9661705],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2969685,"threshold_uncertainty_score":0,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3109735904","doi":"10.4000/critiquedart.46758","title":"Pensée en acte, vingt propositions pour la recherche-création (Erin Manning, Brian Massumi)","year":2018,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Cécile Marie-Castanet","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.474765928877579,"gpt":0.5328132234528135,"spread":0.05804729457523444,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005579568,0.00087906,0.0004598441,0.001394647,0.0109892,0.01235825,0.001066658,0.005388584,0.008361857],"category_scores_gemma":[0.008737187,0.0003676597,0.00042885,0.001404128,0.02516628,0.01105859,0.004000856,0.008607877,0.002513664],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007738968,"about_ca_system_score_gemma":0.006345142,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01867987,"about_ca_topic_score_gemma":0.02738658,"domain_scores_codex":[0.994894,0.002994335,0.000100143,0.0007500752,0.0009877905,0.0002736701],"domain_scores_gemma":[0.9954709,0.002669188,0.0003154928,0.0003156355,0.0007769695,0.0004518015],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00001952814,0.00001449426,0.0001766507,0.00006975955,0.000005549401,0.0000990335,0.01598335,0.0001023392,0.0001870355,0.841254,0.1305148,0.01157345],"study_design_scores_gemma":[0.00001123117,0.00001108281,0.0003387013,0.0003228319,0.000006169006,0.0001319915,0.008789605,0.0001408274,0.0004316967,0.183181,0.8066112,0.00002370358],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.006100909,0.0907083,0.01198591,0.6846187,0.008417224,0.00003046614,0.00009867537,0.0001319774,0.1979078],"genre_scores_gemma":[0.4102945,0.05791444,0.01545687,0.1128664,0.006894152,0.0002953248,0.0001068707,0.0005628989,0.3956086],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01867987,"threshold_uncertainty_score":0.05615038,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4251277215","doi":"10.4000/critiquedart.21377","title":"Aude Moreau. La nuit politique/The Political Nightfall","year":2015,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Politics; Art; Humanities; Political science; History; Law","authors":[{"name":"Lola Lorant","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0569944139430234,"gpt":0.3293579098576018,"spread":0.2723634959145784,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006960738,0.0006273387,0.0002120288,0.0009468054,0.00684243,0.005271861,0.0005760383,0.002581835,0.02527564],"category_scores_gemma":[0.001163907,0.0002315142,0.0002667049,0.001079459,0.008661148,0.002899078,0.001680472,0.002877014,0.002465846],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01587342,"about_ca_system_score_gemma":0.004846401,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3894306,"about_ca_topic_score_gemma":0.5406244,"domain_scores_codex":[0.999275,0.0002720625,0.000009604851,0.0001236529,0.0001831409,0.0001364844],"domain_scores_gemma":[0.9995127,0.0002247458,0.00005332065,0.0000421896,0.00009703862,0.00007004684],"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":[0.00003476884,0.00001590755,0.000711718,0.0001222727,0.000008238981,0.0001671537,0.02206151,0.00011578,0.0003866607,0.6777548,0.272402,0.02621917],"study_design_scores_gemma":[0.000004090455,0.000004088454,0.001287215,0.0001070392,0.00000266443,0.00004667138,0.002984594,0.00004333564,0.000144129,0.01279758,0.982573,0.000005649728],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01053555,0.1270219,0.001742974,0.2510755,0.002329673,0.0000265343,0.0003552928,0.0001408254,0.6067718],"genre_scores_gemma":[0.3595322,0.0295064,0.001304913,0.02065737,0.001741404,0.00005636362,0.0001259946,0.0002951592,0.5867803],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.3894306,"threshold_uncertainty_score":0.7743277,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4253029177","doi":"10.4000/critiquedart.67778","title":"Jeremy Shaw","year":2020,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Philosophy","authors":[{"name":"Laura Samori","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03604487036309634,"gpt":0.306793898628219,"spread":0.2707490282651227,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00113749,0.0007351114,0.0003688406,0.00175284,0.004790291,0.004941749,0.0006870565,0.00146077,0.04280265],"category_scores_gemma":[0.004569776,0.0003124391,0.0002191165,0.001176609,0.002274048,0.003398177,0.002169792,0.003807104,0.01627221],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003220126,"about_ca_system_score_gemma":0.003674073,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01625228,"about_ca_topic_score_gemma":0.03326524,"domain_scores_codex":[0.9985664,0.0003034179,0.00004535326,0.0003148735,0.0006454281,0.0001245405],"domain_scores_gemma":[0.9985019,0.0003684148,0.00008031363,0.0000869604,0.0006481386,0.0003142727],"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":[0.00001804164,0.00001046183,0.0001847709,0.0001288749,0.000003340257,0.0001353758,0.00272115,0.00005619963,0.0003264477,0.03509419,0.9183308,0.04299025],"study_design_scores_gemma":[9.3417e-7,0.000002574657,0.0001374602,0.00005726632,6.064175e-7,0.0000699667,0.0005337705,0.000007712227,0.00005615119,0.0009847869,0.9981455,0.000003371427],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.003508729,0.1630835,0.002317393,0.1889677,0.04835261,0.00005690131,0.0002482727,0.0002292847,0.5932356],"genre_scores_gemma":[0.02670491,0.0397937,0.0007145916,0.01535655,0.004177233,0.00003571843,0.00009317134,0.0001943607,0.9129297],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9571974,"threshold_uncertainty_score":0.1431892,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4253526698","doi":"10.4000/critiquedart.5390","title":"Valérie Blass","year":2012,"lang":"fr","type":"article","venue":"Critique d’art","topic":"European Socioeconomic and Political Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[{"name":"Bettie Nin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03671545145980861,"gpt":0.2611102942072215,"spread":0.2243948427474129,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009672213,0.000707161,0.0003351047,0.001678089,0.004812088,0.004187878,0.0008658993,0.001322586,0.03801821],"category_scores_gemma":[0.002665522,0.0002473767,0.0002546704,0.001689604,0.003970278,0.001612518,0.002129261,0.002159116,0.007680601],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01182256,"about_ca_system_score_gemma":0.009295335,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3678904,"about_ca_topic_score_gemma":0.5268456,"domain_scores_codex":[0.9988311,0.0001936777,0.00002364977,0.0002551952,0.0005261981,0.0001701832],"domain_scores_gemma":[0.9992759,0.0001688412,0.00004551296,0.00006245869,0.0003127131,0.0001346927],"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":[0.00003337268,0.00001123301,0.0009217142,0.0002177372,0.00001047024,0.0002042767,0.009106151,0.0001676181,0.0005420396,0.1954743,0.7169456,0.07636568],"study_design_scores_gemma":[8.293406e-7,0.000002070223,0.0004539494,0.00007802698,0.000001157276,0.00005134302,0.0003927765,0.00001338554,0.00005277797,0.001812321,0.9971366,0.00000473721],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.007688872,0.1147225,0.003159144,0.08791278,0.01020978,0.00004962744,0.0008206008,0.0003632853,0.7750733],"genre_scores_gemma":[0.07465311,0.02222255,0.001410397,0.01194122,0.001392122,0.00004405394,0.0002442192,0.0002742444,0.887818],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3678904,"threshold_uncertainty_score":0.7314981,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2615678855","doi":"10.4000/critiquedart.24504","title":"Walker Evans : Depth of Field","year":2015,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Art history; Atlanta; Exposition (narrative); Humanities; Archaeology; Geography; Metropolitan area","authors":[{"name":"Jean-Louis Boissier","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03634126940339236,"gpt":0.2685305440204515,"spread":0.2321892746170592,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006811851,0.0003613821,0.0001610211,0.0008945607,0.003827188,0.003999978,0.0005696567,0.00121616,0.09163958],"category_scores_gemma":[0.001645211,0.0002860735,0.0001390359,0.0009463189,0.001893111,0.003618215,0.002222115,0.001392545,0.01072936],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002510895,"about_ca_system_score_gemma":0.00295134,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04214925,"about_ca_topic_score_gemma":0.1155407,"domain_scores_codex":[0.9995244,0.0001456563,0.00001624641,0.00005656917,0.000177828,0.00007939469],"domain_scores_gemma":[0.9994041,0.000193711,0.00004371801,0.00005856553,0.000148395,0.0001514899],"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":[0.00003519399,0.000009036186,0.0002479663,0.0001402393,0.00000126326,0.0001987607,0.00912154,0.00003684435,0.0005661073,0.05537408,0.8473172,0.08695169],"study_design_scores_gemma":[6.286528e-7,0.000001275599,0.0001969065,0.00006290846,2.22875e-7,0.00003739244,0.001068123,0.000003951074,0.00004612593,0.0006315697,0.9979492,0.000001776702],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.005218922,0.03018341,0.0020539,0.02667347,0.006685858,0.00005657355,0.0005791005,0.0004368362,0.928112],"genre_scores_gemma":[0.04995136,0.008883148,0.001291996,0.00343953,0.0006263154,0.00005912079,0.0002018152,0.000338658,0.935208],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.09163958,"threshold_uncertainty_score":0.3065649,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2616616203","doi":"10.4000/critiquedart.23468","title":"Krzysztof Wodiczko, Transformative Avant-Garde and Other Writings","year":2016,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Art, Politics, and Modernism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Transformative learning; Avant garde; Art; Aesthetics; Art history; Sociology; Philosophy; Psychoanalysis; Psychology; Pedagogy","authors":[{"name":"Christophe Domino","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03017789386348347,"gpt":0.2713547245494873,"spread":0.2411768306860039,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000997751,0.0007245765,0.000312248,0.001499488,0.004994707,0.005815037,0.0006096799,0.001619635,0.005311396],"category_scores_gemma":[0.002243141,0.0002625293,0.0001953542,0.00188786,0.01145995,0.007049745,0.002148333,0.003327519,0.001329199],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003142174,"about_ca_system_score_gemma":0.001654712,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006073721,"about_ca_topic_score_gemma":0.01177101,"domain_scores_codex":[0.9991651,0.0003391869,0.00003894373,0.0001452274,0.0002097815,0.000101893],"domain_scores_gemma":[0.9992009,0.000507593,0.00008591489,0.00005820809,0.0000884684,0.00005899935],"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":[0.00002662665,0.00001308391,0.000161659,0.0001191503,0.000004970433,0.0001189223,0.01361593,0.00004853448,0.0002010354,0.8837805,0.08868791,0.01322163],"study_design_scores_gemma":[0.0000104753,0.000005694334,0.000682771,0.0002508695,0.000005666392,0.0001728495,0.006757326,0.00006785351,0.0003122286,0.1739863,0.8177341,0.000013808],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01836183,0.2549193,0.004797621,0.1737188,0.006266901,0.00003964106,0.0001880519,0.0000811958,0.5416266],"genre_scores_gemma":[0.5525392,0.1336792,0.003203925,0.01888123,0.005617463,0.0001366464,0.0001480613,0.000339325,0.2854549],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.006073721,"threshold_uncertainty_score":0.02279818,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1169584260","doi":"10.4000/critiquedart.17529","title":"In situ - de visu – in motu : architecture, cinéma et arts technologiques","year":2014,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Architecture; Representation (politics); Art; Art history; Political science; Visual arts; Law","authors":[{"name":"Mildred Durán Gamba","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01668510156126957,"gpt":0.2959877077081712,"spread":0.2793026061469017,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002872258,0.0006506246,0.0002707031,0.001358791,0.00592135,0.01222386,0.0008857551,0.003345518,0.009667248],"category_scores_gemma":[0.004353953,0.0002583826,0.0003516529,0.00153374,0.02449426,0.009182269,0.00410609,0.00473212,0.0009464663],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005644312,"about_ca_system_score_gemma":0.002655838,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02071794,"about_ca_topic_score_gemma":0.03354941,"domain_scores_codex":[0.9975274,0.001701742,0.00004328903,0.000243622,0.0003013102,0.0001826539],"domain_scores_gemma":[0.9972765,0.001894135,0.0001625036,0.000228365,0.0002693766,0.0001691549],"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":[0.00003148788,0.00001030584,0.0004986182,0.0001467613,0.000006846354,0.0001363484,0.0923031,0.00008872968,0.0004486505,0.8578253,0.02871775,0.01978604],"study_design_scores_gemma":[0.000008278744,0.00002631488,0.00181618,0.000518079,0.000009044965,0.0003437695,0.05155075,0.0001856111,0.0008474389,0.07478621,0.8698896,0.00001876947],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.03740612,0.06063678,0.01762099,0.1596034,0.005650123,0.00004447233,0.0001694031,0.0001761202,0.7186927],"genre_scores_gemma":[0.7614262,0.01769832,0.004897521,0.0123054,0.003313907,0.0001140657,0.0001076079,0.0003820074,0.1997552],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02071794,"threshold_uncertainty_score":0.04119474,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W655259598","doi":"10.4000/critiquedart.3311","title":"Klaus Scherübel : Vol. 13","year":2012,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Literature and Poetry","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[{"name":"Clara Pacquet","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01841709938116741,"gpt":0.2529997920125587,"spread":0.2345826926313913,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00117583,0.001342273,0.0004073855,0.001892949,0.004953581,0.00771439,0.000916656,0.003383704,0.04356778],"category_scores_gemma":[0.003176102,0.0004069337,0.0003238799,0.001705066,0.006526431,0.004817894,0.003361174,0.003271807,0.02268564],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007187844,"about_ca_system_score_gemma":0.004115738,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01828067,"about_ca_topic_score_gemma":0.03033596,"domain_scores_codex":[0.9978597,0.0005673642,0.0001215734,0.0004200096,0.0007658288,0.0002655809],"domain_scores_gemma":[0.9992156,0.0002895393,0.00009519171,0.00009213863,0.0002404202,0.00006710898],"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":[0.00005576575,0.00001466332,0.0002885764,0.000318335,0.000009232477,0.0001993694,0.007964277,0.0001513221,0.000561173,0.5246223,0.4082471,0.05756793],"study_design_scores_gemma":[0.000001495626,0.000004019233,0.000198152,0.0001800851,0.000001690037,0.00009982885,0.0007036055,0.00002300732,0.0001609223,0.01114762,0.9874735,0.000006142314],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.003331264,0.08716893,0.002698092,0.03451939,0.005159637,0.00004547049,0.0002440441,0.0002584988,0.8665747],"genre_scores_gemma":[0.08279172,0.02446443,0.001392188,0.009224982,0.001912476,0.00008078323,0.0002342211,0.0003856574,0.8795136],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.04356778,"threshold_uncertainty_score":0.1457487,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W159830546","doi":"10.4000/critiquedart.15532","title":"Anne Bénichou, Un Imaginaire institutionnel : musées, collections et archives d’artistes","year":2014,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Sociology","authors":[{"name":"François Trahais","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01612398115428286,"gpt":0.2483086734095309,"spread":0.232184692255248,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003362849,0.000534581,0.0004817183,0.001751839,0.01963834,0.008880495,0.001668667,0.003890686,0.01123984],"category_scores_gemma":[0.005528352,0.0004481733,0.0002443206,0.002051111,0.0102549,0.007471403,0.003387025,0.004523052,0.001628978],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01621133,"about_ca_system_score_gemma":0.01374886,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.493011,"about_ca_topic_score_gemma":0.6833581,"domain_scores_codex":[0.9978649,0.0009823469,0.00004948087,0.0002049908,0.0005888168,0.0003095219],"domain_scores_gemma":[0.9974163,0.001273715,0.0001658731,0.0001092606,0.0006471247,0.0003876523],"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":[0.00007832961,0.00002791243,0.001888466,0.0002468207,0.00001470243,0.0003678412,0.08333981,0.0001746706,0.0003673643,0.5616618,0.3292961,0.02253626],"study_design_scores_gemma":[0.000008873956,0.000006923961,0.001796201,0.0003412017,0.00000556737,0.0001331594,0.02155067,0.00007650052,0.0002500424,0.02700193,0.9487978,0.00003114673],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"review","genre_scores_codex":[0.01987262,0.1950278,0.005557168,0.4692096,0.006907278,0.0001081124,0.0003885351,0.0001434314,0.3027854],"genre_scores_gemma":[0.3317692,0.07783112,0.005359476,0.05763398,0.001981171,0.000193903,0.0001779356,0.0003276571,0.5247256],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.493011,"threshold_uncertainty_score":0.9802827,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4399561490","doi":"10.4000/11t7h","title":"Abstractions and resistance: why take an interest in the history of textile forms?","year":2024,"lang":"en","type":"article","venue":"Critique d’art","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Textile; Resistance (ecology); History; Archaeology; Biology; Ecology","authors":[{"name":"Ida Soulard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07322634644973519,"gpt":0.280803565144774,"spread":0.2075772186950388,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005696444,0.0006805524,0.0005237682,0.001757932,0.01014237,0.01402542,0.001696462,0.006089589,0.009722754],"category_scores_gemma":[0.005728356,0.0003190405,0.0006150206,0.001933233,0.08224054,0.01838193,0.008182959,0.01070621,0.001321703],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.008623721,"about_ca_system_score_gemma":0.001815775,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006014464,"about_ca_topic_score_gemma":0.006199916,"domain_scores_codex":[0.9927148,0.004462371,0.0001367673,0.00082548,0.0009884046,0.0008721658],"domain_scores_gemma":[0.9972528,0.001520881,0.0002069004,0.0004438378,0.0002022583,0.0003734934],"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":[0.00001699403,0.00001272487,0.0001831573,0.00004123711,0.000003360797,0.0001339482,0.04916025,0.0000544578,0.00008020573,0.9395729,0.00510623,0.005634539],"study_design_scores_gemma":[0.00001559622,0.00004609941,0.0009789658,0.000383557,0.000007032133,0.0004194154,0.06884992,0.0001681236,0.0001614389,0.3563768,0.5725654,0.00002759598],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.05428476,0.02742655,0.008638399,0.2509098,0.0025553,0.00003330707,0.00004124942,0.00008480038,0.6560258],"genre_scores_gemma":[0.9110376,0.009143332,0.001678159,0.01429814,0.001574788,0.0000480465,0.00002691163,0.0001422524,0.06205082],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01402542,"threshold_uncertainty_score":0.06256974,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3109802831","doi":"10.4000/critiquedart.47824","title":"Buveurs de quintessences","year":2019,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[{"name":"Fanny Drugeon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02232951988949037,"gpt":0.2940023396185018,"spread":0.2716728197290114,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002689554,0.0008738009,0.0004620047,0.001442177,0.008850759,0.007442221,0.000763062,0.001886686,0.02295421],"category_scores_gemma":[0.005521132,0.0003174888,0.0005273982,0.001682342,0.01195782,0.004618003,0.003222683,0.00442089,0.00311563],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007576101,"about_ca_system_score_gemma":0.00316996,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05091539,"about_ca_topic_score_gemma":0.07451251,"domain_scores_codex":[0.9965116,0.001563007,0.00007952272,0.0004214142,0.001034847,0.0003896153],"domain_scores_gemma":[0.9982315,0.0007045781,0.0001136208,0.0002261232,0.000566787,0.0001574355],"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":[0.00004884368,0.00001071828,0.0003569562,0.000118262,0.000008347583,0.0002553065,0.03856566,0.0000966951,0.0003268132,0.7548599,0.17788,0.02747248],"study_design_scores_gemma":[0.000002468723,0.000008666821,0.0004062449,0.0001132302,0.000001931052,0.00007231935,0.002884298,0.000039582,0.00009091292,0.009110725,0.9872629,0.000006708445],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01365771,0.04135149,0.002312362,0.06543733,0.004836794,0.00002568312,0.000143076,0.0001640125,0.8720716],"genre_scores_gemma":[0.3253199,0.01134234,0.001308144,0.01213983,0.002059075,0.00007631657,0.00009578141,0.0004855417,0.647173],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.05091539,"threshold_uncertainty_score":0.1012381,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2238287550","doi":"10.4000/critiquedart.19254","title":"Marc Dachy, Il y a des journalistes partout. De quelques coupures de presse relatives à Tristan Tzara et André Breton","year":2015,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Art; Humanities; Political science","authors":[{"name":"Jérôme Duwa","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04891647988540158,"gpt":0.350711458836903,"spread":0.3017949789515014,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004302126,0.0006414941,0.0004634979,0.001628031,0.006946107,0.01355225,0.0008974505,0.004678075,0.0128974],"category_scores_gemma":[0.01578093,0.0004432618,0.000308817,0.001346413,0.01119176,0.01320324,0.003179665,0.009060284,0.004366361],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005619061,"about_ca_system_score_gemma":0.005326973,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009509137,"about_ca_topic_score_gemma":0.01593942,"domain_scores_codex":[0.9947317,0.001966517,0.0001857305,0.001067402,0.001671579,0.0003771877],"domain_scores_gemma":[0.9938111,0.002722356,0.0006979152,0.00043602,0.001462664,0.0008700572],"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":[0.0001011265,0.00001831899,0.0005921241,0.0002512545,0.00001477811,0.0002990839,0.02643359,0.00004854186,0.0009135784,0.6813937,0.2604262,0.02950765],"study_design_scores_gemma":[0.00000638572,0.00001107594,0.0004637305,0.0001531952,0.000004092782,0.0001820852,0.004468213,0.0000363791,0.0003033745,0.01954386,0.9748087,0.00001878361],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.007575755,0.1222672,0.00517217,0.6290048,0.02267308,0.00005406507,0.0001288772,0.0001305942,0.2129935],"genre_scores_gemma":[0.2538809,0.05254251,0.004864054,0.1083852,0.01700046,0.0002025623,0.0001034302,0.0003443516,0.5626765],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01355225,"threshold_uncertainty_score":0.04314613,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3027287543","doi":"10.4000/critiquedart.54017","title":"Mirò à Majorque : un esprit libre","year":2019,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Death, Funerary Practices, and Mourning","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[{"name":"François Gilbert","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01566307036795256,"gpt":0.2991952141073493,"spread":0.2835321437393968,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001361914,0.0005500697,0.0003776584,0.002707036,0.008989285,0.00819315,0.0008183693,0.001966084,0.04159196],"category_scores_gemma":[0.002754934,0.0002926805,0.0002470745,0.003391195,0.004981629,0.003137506,0.002431017,0.00269647,0.005002491],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02144887,"about_ca_system_score_gemma":0.01706973,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.4640498,"about_ca_topic_score_gemma":0.7271204,"domain_scores_codex":[0.9991598,0.0001964729,0.00002980967,0.00009487617,0.0003827169,0.0001363753],"domain_scores_gemma":[0.9985678,0.000367955,0.00006490619,0.0001107158,0.0006646197,0.0002240437],"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":[0.00005243853,0.00002082991,0.0006274381,0.0005133533,0.000007784665,0.0003507991,0.05094189,0.00008173667,0.0009860825,0.09592798,0.7710475,0.07944228],"study_design_scores_gemma":[7.631214e-7,0.000002207232,0.0003073486,0.0001134221,0.000001200406,0.00002981458,0.002580032,0.00000826307,0.00004417034,0.0002744319,0.9966356,0.000002775802],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01515727,0.05371473,0.001752552,0.04339623,0.007038374,0.00007662221,0.0008464187,0.0003067775,0.877711],"genre_scores_gemma":[0.07837328,0.01352026,0.001299068,0.007186326,0.001492472,0.00007697188,0.0004390061,0.0003832859,0.8972293],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4640498,"threshold_uncertainty_score":0.9226975,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3116246862","doi":"10.4000/critiquedart.68406","title":"Building a new New World: Amerikanizm in Russian Architecture = Construire un nouveau Nouveau monde : l’Amerikanizm dans l’architecture russe","year":2020,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Architecture, Modernity, and Design","field":"Engineering","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Institut du Nouveau Monde","funders":"","keywords":"Humanities; Art; Architecture; Visual arts","authors":[{"name":"Thibaut de Ruyter","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01371439165228396,"gpt":0.2442998809003748,"spread":0.2305854892480909,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001295601,0.0003167116,0.0001551253,0.0005687581,0.006546803,0.005337438,0.0003689424,0.001213288,0.003653674],"category_scores_gemma":[0.0006762578,0.0002055926,0.0002065989,0.000613745,0.01626612,0.003573219,0.00269255,0.002670632,0.0004350515],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007095905,"about_ca_system_score_gemma":0.002984253,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03456688,"about_ca_topic_score_gemma":0.07894403,"domain_scores_codex":[0.9991971,0.0004749993,0.00001815468,0.00007776856,0.00009517642,0.0001369498],"domain_scores_gemma":[0.9997779,0.00009371016,0.00002648122,0.00003152806,0.0000309325,0.00003944064],"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":[0.00001638792,0.00000667418,0.0006298801,0.00002589971,0.000002459653,0.0001052529,0.08655812,0.0001028054,0.0004340736,0.9001694,0.005836447,0.006112715],"study_design_scores_gemma":[0.000025368,0.00004706823,0.006607678,0.0002068977,0.0000156453,0.0003415994,0.0976496,0.0004993212,0.0005167531,0.1827181,0.7113398,0.00003207898],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1829703,0.008938042,0.005189293,0.04689568,0.0005779988,0.00001997706,0.00004726344,0.00005837636,0.7553031],"genre_scores_gemma":[0.9586527,0.001207848,0.0009563478,0.001306935,0.00005423437,0.00002033705,0.00001125984,0.00003365219,0.03775657],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03456688,"threshold_uncertainty_score":0.06873137,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4398204064","doi":"10.4000/11p75","title":"Linda Rainaldi, Art brut du Canada","year":2023,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Geography","authors":[{"name":"Marc Décimo","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02311378501474912,"gpt":0.2408630311367907,"spread":0.2177492461220416,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00169172,0.0009970175,0.0006419485,0.002066934,0.02048156,0.01055276,0.001166145,0.004027121,0.04440043],"category_scores_gemma":[0.004395851,0.0005948554,0.0003302399,0.00251615,0.00512795,0.003165377,0.001786821,0.004860631,0.006636798],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.04138574,"about_ca_system_score_gemma":0.03893837,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.8763338,"about_ca_topic_score_gemma":0.9398669,"domain_scores_codex":[0.9977573,0.0003386197,0.0000512091,0.0003324452,0.001139967,0.0003805427],"domain_scores_gemma":[0.998201,0.0005354712,0.00005527961,0.00006790591,0.0008614344,0.0002787947],"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":[0.0000356291,0.00001773125,0.0003538842,0.0001048161,0.000005690917,0.0001425141,0.00330921,0.0002186649,0.0001976131,0.144933,0.8204356,0.03024568],"study_design_scores_gemma":[0.000002167669,0.000001183067,0.0002801387,0.0000500342,0.00000121729,0.00003451713,0.001339478,0.00003457637,0.00008297715,0.001584718,0.996582,0.000006990446],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.006082821,0.2327191,0.00180821,0.2777734,0.01998173,0.0000628624,0.0007817129,0.000316715,0.4604734],"genre_scores_gemma":[0.03885849,0.03001145,0.0007723643,0.008079523,0.001297753,0.00003066064,0.0001071003,0.0001952355,0.9206473],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1236662,"threshold_uncertainty_score":0.300276,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4253135213","doi":"10.4000/critiquedart.8123","title":"Féminismes électriques","year":2012,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Historical Gender and Feminism Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[{"name":"Fabienne Dumont","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0382017690897028,"gpt":0.3433450042720458,"spread":0.305143235182343,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001497367,0.0004670274,0.0001854631,0.001232882,0.004858374,0.005144282,0.0005354752,0.001489924,0.01267732],"category_scores_gemma":[0.002193495,0.000136767,0.000200268,0.001307971,0.02097945,0.003096559,0.002234465,0.002164397,0.001042637],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009785132,"about_ca_system_score_gemma":0.003379539,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02324874,"about_ca_topic_score_gemma":0.02465356,"domain_scores_codex":[0.9983662,0.0008280156,0.00002282563,0.0001844669,0.0003759488,0.0002225739],"domain_scores_gemma":[0.9993213,0.0003938092,0.00004455559,0.00006402759,0.000123808,0.00005254354],"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":[0.000006466778,0.000002480555,0.0001105093,0.00002476276,0.000001323297,0.00004421079,0.005839405,0.00006680012,0.00007644617,0.9772871,0.01050278,0.00603787],"study_design_scores_gemma":[0.000004340713,0.000005940496,0.0003915249,0.0001159219,0.000001647717,0.00006783888,0.006920711,0.0000687747,0.0001217626,0.103664,0.8886336,0.000003965232],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01221184,0.02129408,0.00244081,0.04941094,0.001121162,0.00001354061,0.0001077962,0.00002339892,0.9133765],"genre_scores_gemma":[0.6115714,0.01454412,0.001219048,0.008546896,0.001567478,0.00007126262,0.00008276761,0.00008061978,0.3623164],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02324874,"threshold_uncertainty_score":0.0709964,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3106634801","doi":"10.4000/critiquedart.46868","title":"Musée par la scène. Le spectacle vivant au musée. Pratiques, publics, médiations (sous la dir. de Pauline Chevalier, Aurélie Mouton Rezzouk)","year":2018,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Art; Humanities","authors":[{"name":"Mathilde Roman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02358366185872417,"gpt":0.2758019245493364,"spread":0.2522182626906123,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001054487,0.0005465088,0.0003194063,0.0008752613,0.007908997,0.008510405,0.0006624638,0.00193415,0.0152102],"category_scores_gemma":[0.001861743,0.0002823793,0.0002572656,0.001014475,0.01754942,0.005962058,0.005228881,0.003346859,0.002302805],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0036267,"about_ca_system_score_gemma":0.002154097,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02660324,"about_ca_topic_score_gemma":0.04904213,"domain_scores_codex":[0.9987436,0.0007360906,0.00002867521,0.0001452454,0.0002057003,0.0001406552],"domain_scores_gemma":[0.9995027,0.0001923826,0.00007421915,0.00004758364,0.00006237945,0.0001207349],"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":[0.00005135105,0.00001732831,0.0004470339,0.0002733472,0.00000935611,0.0003735296,0.08892455,0.0001090506,0.0004086388,0.6600641,0.2023786,0.04694317],"study_design_scores_gemma":[0.000005469685,0.00001459296,0.001135233,0.0003040537,0.000003263268,0.0003187316,0.01916386,0.0000382311,0.0001172405,0.01718951,0.9617004,0.00000938616],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01477537,0.2014107,0.002386889,0.09819868,0.006037079,0.00003394057,0.0001558866,0.0001094638,0.6768919],"genre_scores_gemma":[0.5655826,0.05096153,0.002094692,0.008428915,0.005865277,0.00007590941,0.0001386509,0.0002818235,0.3665706],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02660324,"threshold_uncertainty_score":0.0528968,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4230649900","doi":"10.4000/critiquedart.13502","title":"Adrian Paci - Transit","year":2013,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Literature, Culture, and Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Transit (satellite); History; Engineering; Transport engineering; Public transport","authors":[{"name":"Ophélie Naessens","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01190626569015626,"gpt":0.2269386023064646,"spread":0.2150323366163083,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004788944,0.0007744675,0.0002939975,0.003036368,0.00899744,0.006927935,0.0008405605,0.001068336,0.09122136],"category_scores_gemma":[0.001338346,0.0003602166,0.00024795,0.004146498,0.003327341,0.002929462,0.002450156,0.002305274,0.01473995],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009609642,"about_ca_system_score_gemma":0.008508435,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2843167,"about_ca_topic_score_gemma":0.4835252,"domain_scores_codex":[0.9993584,0.0000711914,0.00001544438,0.0001267979,0.0002639414,0.0001641167],"domain_scores_gemma":[0.9995199,0.00006631918,0.00003471221,0.00007454909,0.000224243,0.000080229],"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":[0.00009292563,0.00002059779,0.002512369,0.000357575,0.000009549064,0.00071809,0.02022279,0.00009656527,0.0005476663,0.3276349,0.5068297,0.1409572],"study_design_scores_gemma":[0.000001075403,0.000002329699,0.0008801318,0.00004314652,0.000001209614,0.0001067879,0.001068835,0.000008260345,0.00008059869,0.0007102189,0.9970938,0.000003553001],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.007561186,0.01023724,0.0006900791,0.006352737,0.001058621,0.00005361464,0.0009234292,0.0001442987,0.9729788],"genre_scores_gemma":[0.06111429,0.008242364,0.0009735738,0.001266605,0.0003653769,0.00006563208,0.0007647822,0.000236624,0.9269708],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2843167,"threshold_uncertainty_score":0.5653235,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3108555960","doi":"10.4000/critiquedart.54426","title":"Kirsty Robertson, Tear Gas Epiphanies: Protest, Culture, Museums","year":2019,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Japanese History and Culture","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Visual arts","authors":[{"name":"Johanna Renard","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01211749249052847,"gpt":0.2694830993441053,"spread":0.2573656068535768,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00171926,0.0005198524,0.0003938186,0.001349458,0.01446759,0.007905522,0.001135434,0.002576968,0.008170673],"category_scores_gemma":[0.00354067,0.0003815805,0.000233143,0.002002902,0.01354718,0.006409015,0.003317092,0.002739771,0.0006896194],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007748348,"about_ca_system_score_gemma":0.006706591,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1828314,"about_ca_topic_score_gemma":0.4040955,"domain_scores_codex":[0.9986507,0.000722106,0.00003815824,0.000146717,0.0002565758,0.0001857455],"domain_scores_gemma":[0.9983992,0.0009579171,0.0001442276,0.00007263735,0.0001636234,0.0002623156],"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":[0.0000569712,0.00002919433,0.002337402,0.0003496502,0.00002208376,0.0006342044,0.2723335,0.0001011987,0.0004067898,0.3795586,0.3087617,0.03540865],"study_design_scores_gemma":[0.000007990191,0.000009393026,0.00366224,0.0002591017,0.00001122674,0.0001828392,0.1396567,0.00003287405,0.0002168413,0.02014956,0.8357874,0.00002375369],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.05318558,0.2075359,0.001393172,0.4469636,0.003941052,0.00004352373,0.0001846951,0.00007940525,0.286673],"genre_scores_gemma":[0.6046746,0.08280944,0.001498353,0.04378693,0.001540231,0.00009443202,0.00007506981,0.0002274613,0.2652934],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.1828314,"threshold_uncertainty_score":0.3635343,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4234331895","doi":"10.4000/critiquedart.15493","title":"Art Orienté Objet","year":2014,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Diverse Cultural and Historical Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Pauline Lisowski","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02658469734229351,"gpt":0.2858185670032236,"spread":0.2592338696609301,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001287117,0.001245014,0.0004786745,0.004634845,0.005305764,0.01619135,0.001137266,0.001876911,0.1123016],"category_scores_gemma":[0.002474922,0.0004437727,0.0007018486,0.004552761,0.005184671,0.006107024,0.006239304,0.003142102,0.04344678],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005070298,"about_ca_system_score_gemma":0.003616305,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01843107,"about_ca_topic_score_gemma":0.03240548,"domain_scores_codex":[0.9973935,0.0004661473,0.0001311049,0.0004213925,0.001225233,0.0003625869],"domain_scores_gemma":[0.999027,0.0001958908,0.00008913731,0.0002068475,0.0003578072,0.0001234449],"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":[0.00004640882,0.00002126388,0.0008253896,0.0004283786,0.00001240259,0.0003584358,0.01696102,0.0001173905,0.000838294,0.614986,0.2355556,0.1298495],"study_design_scores_gemma":[0.000001098417,0.000002897628,0.0003609122,0.0001084608,0.000001553412,0.0001167946,0.0009898575,0.000009146212,0.00006090161,0.003131804,0.995212,0.0000045858],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001109403,0.002897224,0.00152744,0.001126997,0.0009122129,0.00002869152,0.0003784383,0.0002073922,0.9918122],"genre_scores_gemma":[0.0490043,0.006889017,0.003529479,0.001789766,0.0009224002,0.0001346169,0.001418819,0.0009418617,0.9353698],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1123016,"threshold_uncertainty_score":0.3756865,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4238302351","doi":"10.4000/critiquedart.21331","title":"La Condition post-photographique (sous la direction de Joan Fontcuberta)","year":2015,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Media, Journalism, and Communication History","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Antonio Castillo Guzmán","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0267085776882275,"gpt":0.2819873815450766,"spread":0.2552788038568491,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001974452,0.0004626281,0.0003119656,0.000848793,0.00698766,0.007143553,0.00117312,0.005216499,0.05171893],"category_scores_gemma":[0.006583304,0.0003918932,0.0003984608,0.0007641537,0.005984788,0.005615162,0.002488148,0.007229888,0.01449901],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006333986,"about_ca_system_score_gemma":0.006850029,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1239986,"about_ca_topic_score_gemma":0.1945075,"domain_scores_codex":[0.9976882,0.0004290919,0.00008715477,0.0005641323,0.0008778553,0.0003535937],"domain_scores_gemma":[0.9978084,0.0005087378,0.0002400837,0.000179404,0.00098112,0.0002823193],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.0000390266,0.0000146179,0.0003572947,0.000126516,0.000005304341,0.000349368,0.004781701,0.00001719243,0.0005728003,0.06955238,0.9080971,0.01608668],"study_design_scores_gemma":[0.000002185667,0.000003560653,0.0006930107,0.00006309472,0.000001235974,0.0001401149,0.0006949283,0.000009661511,0.0001476492,0.0009372912,0.9972991,0.000008122327],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"review","genre_scores_codex":[0.007451153,0.06969953,0.001815845,0.4381469,0.09417965,0.0001133829,0.0006267547,0.0003098239,0.387657],"genre_scores_gemma":[0.09675522,0.01641869,0.0015499,0.06575149,0.02633913,0.0001483054,0.0002763581,0.0005018883,0.792259],"genre_candidate":"review","genre_consensus":null,"teacher_disagreement_score":0.1239986,"threshold_uncertainty_score":0.2465537,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4235319437","doi":"10.4000/critiquedart.13319","title":"Michel de Broin","year":2013,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[{"name":"Lilian Froger","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01499573520117245,"gpt":0.2861901359630838,"spread":0.2711944007619114,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008835655,0.0005433112,0.0002550429,0.0009929569,0.007377057,0.005203766,0.0006328748,0.002016234,0.05736737],"category_scores_gemma":[0.003292685,0.0002777684,0.000206391,0.0008506342,0.002445497,0.002890907,0.001929562,0.002069881,0.01040127],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00834679,"about_ca_system_score_gemma":0.005329217,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1676974,"about_ca_topic_score_gemma":0.2995404,"domain_scores_codex":[0.9986456,0.0002804015,0.00002555656,0.0002923953,0.0005353304,0.0002206718],"domain_scores_gemma":[0.9992219,0.0001537435,0.00005599291,0.00004024738,0.00036926,0.0001588498],"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":[0.00004503259,0.00001345544,0.0008724385,0.0001372876,0.000004965696,0.0003652175,0.01067077,0.00008877245,0.0009345837,0.1146655,0.8222005,0.05000145],"study_design_scores_gemma":[9.532515e-7,0.000003018253,0.0003268032,0.00004366073,6.622694e-7,0.00007217967,0.000705601,0.00001207036,0.00010616,0.0008489929,0.9978747,0.000005186435],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.009216179,0.04521136,0.003450901,0.1121474,0.01173387,0.00008393835,0.0004920067,0.000381658,0.8172827],"genre_scores_gemma":[0.06571289,0.01027123,0.001392134,0.01265523,0.001045815,0.00004686146,0.0001415729,0.0002680322,0.9084662],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1676974,"threshold_uncertainty_score":0.3334426,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4232364945","doi":"10.4000/critiquedart.15424","title":"Parachute: The Anthology (1975-2000), vol. II : Performance &amp; Performativity","year":2013,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Performativity; History; Art history; Sociology; Gender studies","authors":[{"name":"Anne Creissels","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02138636240665328,"gpt":0.2539008394956834,"spread":0.2325144770890301,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001009518,0.0009420413,0.0004029674,0.002052776,0.005376165,0.006688817,0.001273423,0.001320204,0.02768038],"category_scores_gemma":[0.002456859,0.000248209,0.0002709327,0.002467178,0.006803358,0.0028123,0.001729695,0.00304165,0.004022967],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01446934,"about_ca_system_score_gemma":0.009288097,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.08530299,"about_ca_topic_score_gemma":0.1579473,"domain_scores_codex":[0.9991499,0.0002274305,0.00002296644,0.0001290377,0.0003434212,0.0001272422],"domain_scores_gemma":[0.9993154,0.000283541,0.00006738498,0.00005405934,0.0001584939,0.0001211999],"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":[0.00005361874,0.00002692466,0.0004007612,0.0003783325,0.000005428036,0.0001557615,0.0188358,0.0001149586,0.0005286416,0.2092552,0.7147364,0.05550828],"study_design_scores_gemma":[0.000001893753,0.000006447906,0.0008561222,0.0002121354,0.000001467737,0.00004527392,0.001865722,0.00001857301,0.0001031238,0.002268665,0.9946173,0.000003264768],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.007790238,0.151368,0.003984051,0.04622612,0.01187551,0.0001190329,0.0007239754,0.0002099445,0.777703],"genre_scores_gemma":[0.144835,0.06040903,0.00153537,0.004799447,0.007835776,0.0002191085,0.0004170593,0.0005227915,0.7794264],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.08530299,"threshold_uncertainty_score":0.169613,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4242994601","doi":"10.4000/critiquedart.17607","title":"Photography, Film, Video, and New Media","year":2014,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Photography; Computer graphics (images); Art; Visual arts; Computer science; Multimedia","authors":[{"name":"Mathilde Roman","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02873806988639873,"gpt":0.2645153825516366,"spread":0.2357773126652379,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009537616,0.0005847945,0.0003404068,0.002055633,0.004072222,0.00801855,0.0005794924,0.001818693,0.02215972],"category_scores_gemma":[0.002259664,0.0002175519,0.0003292613,0.001438378,0.006958627,0.00472963,0.00195558,0.003422722,0.002133717],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004419161,"about_ca_system_score_gemma":0.001913992,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008577736,"about_ca_topic_score_gemma":0.02179193,"domain_scores_codex":[0.9990987,0.000461745,0.00002832658,0.00008540577,0.0002343033,0.00009161924],"domain_scores_gemma":[0.9981349,0.001349711,0.00009244354,0.0001002605,0.0001771849,0.0001455533],"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":[0.00005247576,0.00005678817,0.0008887775,0.0005541137,0.00001476284,0.0002744949,0.02363095,0.0001382362,0.0008244083,0.6506769,0.2618099,0.0610782],"study_design_scores_gemma":[0.000002800308,0.00001064758,0.001010304,0.0003533836,0.000003197881,0.0001298156,0.005403805,0.00005545829,0.0001963744,0.01381547,0.9790125,0.000006218409],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01059337,0.1578389,0.004138381,0.06127993,0.013599,0.00003950012,0.0001194065,0.00007505648,0.7523164],"genre_scores_gemma":[0.2597354,0.1015111,0.002820689,0.0100775,0.02225157,0.00009208748,0.000112574,0.0002474659,0.6031516],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02215972,"threshold_uncertainty_score":0.07413167,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4232659824","doi":"10.4000/critiquedart.8132","title":"Valentine Plisnier, Le Primitivisme dans la photographie","year":2012,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Diverse Cultural and Historical Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Lilian Froger","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02804346138483759,"gpt":0.2805110695385323,"spread":0.2524676081536947,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001467417,0.0006487478,0.0002526816,0.001160613,0.007825124,0.007348452,0.0008675142,0.002846399,0.008473497],"category_scores_gemma":[0.004239753,0.0003464548,0.0002899667,0.0008226795,0.009787286,0.006396637,0.002610978,0.005631421,0.001161658],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003563093,"about_ca_system_score_gemma":0.002346449,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0191995,"about_ca_topic_score_gemma":0.04777557,"domain_scores_codex":[0.9985735,0.0006593463,0.00003415817,0.0003358833,0.0002917284,0.0001053147],"domain_scores_gemma":[0.9986672,0.0008685528,0.0001041729,0.00008324574,0.0001771101,0.00009969751],"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":[0.00004152346,0.00001386695,0.001096715,0.0001955057,0.000009524701,0.0004265472,0.06637651,0.0001459176,0.0008967228,0.7489358,0.152162,0.02969924],"study_design_scores_gemma":[0.00000326698,0.00001128992,0.0009216211,0.0002084926,0.000003941501,0.0003289085,0.009408755,0.00009846754,0.0004933499,0.02622871,0.9622776,0.00001563417],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04104048,0.07429237,0.01238138,0.2770641,0.01445988,0.00007998204,0.0002630257,0.000193087,0.5802255],"genre_scores_gemma":[0.456429,0.02718864,0.006199867,0.03136896,0.003562863,0.00009884339,0.00008028404,0.0003605275,0.4747111],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0191995,"threshold_uncertainty_score":0.03817546,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4232971281","doi":"10.4000/critiquedart.15484","title":"La Beauté du geste","year":2014,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Linguistics and Discourse Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Emilie Letur","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01347449195660955,"gpt":0.2638109348224518,"spread":0.2503364428658423,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001558004,0.0006835177,0.0003102341,0.001123163,0.01028228,0.008211507,0.001069549,0.001074548,0.03786226],"category_scores_gemma":[0.004216595,0.0003786142,0.0004107865,0.001103066,0.01238911,0.002463762,0.004141177,0.00267643,0.00508318],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01556108,"about_ca_system_score_gemma":0.0132702,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.4079532,"about_ca_topic_score_gemma":0.5686432,"domain_scores_codex":[0.9979887,0.0005045407,0.00003214465,0.0002948795,0.0008650769,0.0003147709],"domain_scores_gemma":[0.998316,0.0003493558,0.00009060257,0.0002260148,0.0007325747,0.000285448],"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":[0.000109963,0.00001750306,0.00212681,0.0002079163,0.00003129501,0.0005703889,0.05532555,0.0002777411,0.002032347,0.3359654,0.5285058,0.07482933],"study_design_scores_gemma":[0.000001885778,0.000004492959,0.001104295,0.0000556149,0.000003142594,0.0000780105,0.002170141,0.00002556782,0.0002254177,0.001751417,0.994572,0.000007944704],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02606103,0.02001864,0.005714857,0.06955992,0.01020445,0.00007314907,0.0008635938,0.0005150291,0.8669893],"genre_scores_gemma":[0.1818955,0.004683136,0.001582381,0.002606806,0.001832552,0.00004441186,0.0001882682,0.0004354283,0.8067316],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4079532,"threshold_uncertainty_score":0.8111572,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405372424","doi":"10.4000/12x8g","title":"Les Vies des documents : la photographie en tant que projet","year":2024,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Art; Political science","authors":[{"name":"Henri Guette","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1253318273492242,"gpt":0.3579725713098343,"spread":0.2326407439606102,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001553399,0.0004564264,0.0002470434,0.002612223,0.003790865,0.00877942,0.0004679573,0.0015672,0.04668728],"category_scores_gemma":[0.003848232,0.0003161948,0.0004664297,0.002784002,0.001985903,0.00316247,0.001737602,0.002248443,0.0111568],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003837433,"about_ca_system_score_gemma":0.004083607,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03276103,"about_ca_topic_score_gemma":0.06793157,"domain_scores_codex":[0.998302,0.0003392522,0.00004617705,0.0002418215,0.0009348214,0.0001358959],"domain_scores_gemma":[0.998434,0.0004003564,0.0001053563,0.0002949233,0.0005959235,0.0001694342],"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":[0.000274797,0.00007691405,0.001860082,0.001262322,0.00002768364,0.001355945,0.03425833,0.0007151836,0.02130464,0.07043825,0.3735665,0.4948595],"study_design_scores_gemma":[0.000006855006,0.00001634599,0.00197324,0.0001952952,0.000004728802,0.000371351,0.003534318,0.00006565432,0.001410009,0.0009395086,0.9914691,0.00001358136],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04037345,0.01764033,0.01996925,0.02585207,0.006062692,0.0003653413,0.002692713,0.001796685,0.8852474],"genre_scores_gemma":[0.1752651,0.0150634,0.03003056,0.001626151,0.001105643,0.0002732392,0.001579972,0.001442275,0.7736137],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.04668728,"threshold_uncertainty_score":0.1561845,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4406323229","doi":"10.4000/132rz","title":"Makiko Furuichi : le vent, la vague, l’étoile","year":2024,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Linguistic and Sociocultural Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Mathematics; Art; Humanities","authors":[{"name":"Sophie Mokhtari","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02334183874512612,"gpt":0.341010708757249,"spread":0.3176688700121229,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002799266,0.000537623,0.0004779605,0.001322008,0.005654051,0.008634491,0.0008471278,0.004905985,0.01256334],"category_scores_gemma":[0.006305718,0.000396807,0.0004545596,0.0009617383,0.009745496,0.009045347,0.003303636,0.005297511,0.002237679],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004354771,"about_ca_system_score_gemma":0.003356532,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0158214,"about_ca_topic_score_gemma":0.02282435,"domain_scores_codex":[0.9980269,0.0009529893,0.00008181095,0.0003429021,0.0004068585,0.0001884706],"domain_scores_gemma":[0.9972012,0.001721937,0.0001549121,0.0002166629,0.0005635244,0.0001418391],"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":[0.00004064141,0.0000198986,0.0004418407,0.00022538,0.00001586748,0.000224919,0.01581898,0.0001172182,0.0005175049,0.8988996,0.06437152,0.01930657],"study_design_scores_gemma":[0.00003095436,0.00001659836,0.001332872,0.000439463,0.00003352405,0.0004464341,0.01271558,0.0006968516,0.001010976,0.2290098,0.7542093,0.00005756267],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.02784923,0.09413666,0.02703339,0.4407836,0.01324521,0.00004922879,0.0002162584,0.0001808633,0.3965056],"genre_scores_gemma":[0.5995753,0.03754824,0.01647395,0.02848781,0.01000726,0.0001983729,0.0001883673,0.0003466338,0.3071741],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.0158214,"threshold_uncertainty_score":0.04202861,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4399541572","doi":"10.4000/11sq5","title":"Gordon Matta-Clark: An Archival Sourcebook","year":2022,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Archaeology and Natural History","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[{"name":"Roula Matar","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01939063815733589,"gpt":0.3050095503645806,"spread":0.2856189122072447,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001568376,0.0009437204,0.0005325667,0.008672033,0.002423441,0.005616054,0.001860442,0.001239989,0.1549926],"category_scores_gemma":[0.005884404,0.0007991475,0.0002760337,0.01733114,0.001326544,0.004599949,0.002064776,0.001604236,0.07445607],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005009196,"about_ca_system_score_gemma":0.008313251,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1378932,"about_ca_topic_score_gemma":0.2351491,"domain_scores_codex":[0.9988385,0.0001204724,0.00009479385,0.000145491,0.0007273134,0.00007355931],"domain_scores_gemma":[0.9966434,0.0008148251,0.0001816956,0.0006046275,0.001553831,0.0002017353],"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":[0.000007302321,0.000004502418,0.0001040648,0.00009690649,0.000001243361,0.00002196281,0.0006136055,0.00002274804,0.0001744591,0.005558957,0.9533244,0.04006983],"study_design_scores_gemma":[4.988136e-7,4.378952e-7,0.0001966698,0.00004463004,3.877177e-7,0.0000132027,0.0001071132,0.000005532483,0.00002660177,0.0003667919,0.9992362,0.00000196821],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002478228,0.04354427,0.01191652,0.02605965,0.009926847,0.0004288563,0.0552576,0.004354923,0.846033],"genre_scores_gemma":[0.007837872,0.01608531,0.008242584,0.00252981,0.001030056,0.0002826111,0.01654562,0.003224547,0.9442216],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1549926,"threshold_uncertainty_score":0.5185019,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4316193525","doi":"10.4000/critiquedart.98137","title":"Roberto Masiero, Une Machine à penser : la maison de Paros de Silvia Gmür et Livio Vacchini","year":2022,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Italian Literature and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Humanities; Art","authors":[{"name":"Roula Matar","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007568550262723813,"gpt":0.2513533093453698,"spread":0.243784759082646,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002055208,0.0009501856,0.0004537234,0.001862256,0.005103209,0.00718281,0.00067761,0.002376935,0.007265219],"category_scores_gemma":[0.003130992,0.0004053691,0.0003037954,0.001187723,0.01027483,0.005748764,0.001687635,0.003620873,0.002968973],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00392236,"about_ca_system_score_gemma":0.001690769,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008752848,"about_ca_topic_score_gemma":0.01439964,"domain_scores_codex":[0.9986163,0.000692198,0.00002607899,0.0002361096,0.0003038869,0.0001253035],"domain_scores_gemma":[0.9986169,0.0008129203,0.0001186298,0.0001090556,0.000210767,0.0001316649],"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":[0.0000617859,0.00001918991,0.000673189,0.0002501,0.000009390085,0.0003634214,0.04890519,0.0001516956,0.0005644972,0.5969531,0.3165284,0.03552005],"study_design_scores_gemma":[0.000005317557,0.00001095344,0.0005759496,0.0002229918,0.000005320012,0.000216227,0.003790046,0.00009603518,0.0001917639,0.01665324,0.9782208,0.00001132983],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01365421,0.1903291,0.005254186,0.2873355,0.00850563,0.00002971141,0.00008530858,0.0002792781,0.494527],"genre_scores_gemma":[0.43772,0.09628959,0.005596268,0.03443215,0.01636776,0.0001317763,0.00009830587,0.0009284953,0.4084356],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.008752848,"threshold_uncertainty_score":0.02845883,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4399561593","doi":"10.4000/11t7p","title":"Lynne Cooke","year":2024,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Crafts, Textile, and Design","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Art","authors":[{"name":"Lola Lorant","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02539027110011265,"gpt":0.274764094759092,"spread":0.2493738236589794,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001014037,0.0006463379,0.0003535784,0.000678119,0.004619415,0.006547153,0.0007081402,0.00262215,0.1570518],"category_scores_gemma":[0.005673194,0.0003137672,0.0001586821,0.000565846,0.001862892,0.004274216,0.003571006,0.005027756,0.07753956],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003167454,"about_ca_system_score_gemma":0.003784729,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01708701,"about_ca_topic_score_gemma":0.03614188,"domain_scores_codex":[0.9987385,0.0002081335,0.00003242225,0.0003280563,0.0005664052,0.0001266423],"domain_scores_gemma":[0.9984704,0.0002587677,0.00006974846,0.0001084238,0.0005635112,0.0005291796],"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":[0.000005927554,0.000003477568,0.00004515145,0.00002819971,4.980382e-7,0.00002389989,0.0002481006,0.000009196619,0.00006150719,0.005846048,0.9795379,0.01418993],"study_design_scores_gemma":[3.585307e-7,7.671733e-7,0.00003600439,0.00004017671,1.448725e-7,0.0000152742,0.000127627,0.000003372358,0.00001860865,0.0002407811,0.9995157,0.00000129883],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001381725,0.06445848,0.001186767,0.2472387,0.06553499,0.00005264736,0.0005878473,0.0004659187,0.6190929],"genre_scores_gemma":[0.005656078,0.008475475,0.0002493999,0.01298735,0.002233695,0.00003321349,0.0001049906,0.000198838,0.9700608],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1570518,"threshold_uncertainty_score":0.5253907,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405372764","doi":"10.4000/12x6c","title":"Jennifer L. Roberts, Contact: Art and the Pull of Print","year":2024,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Art; Visual arts; Art history","authors":[{"name":"Alexandrine Bonoron","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01535549972277724,"gpt":0.2480681138180675,"spread":0.2327126140952903,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00273392,0.000941033,0.0005318099,0.002054565,0.008495708,0.007624998,0.001710887,0.007430468,0.01847545],"category_scores_gemma":[0.007552061,0.0006761247,0.000318687,0.002033736,0.008160435,0.01087869,0.002018969,0.008085512,0.005070521],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004085673,"about_ca_system_score_gemma":0.002543948,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.06047622,"about_ca_topic_score_gemma":0.1422937,"domain_scores_codex":[0.9978985,0.0009771726,0.0001095465,0.0002434067,0.000605102,0.0001662811],"domain_scores_gemma":[0.993462,0.004728699,0.0002911882,0.0002138979,0.001046835,0.0002574046],"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":[0.00005566938,0.00002913241,0.0004215036,0.0002657827,0.0000127003,0.0003289301,0.0216802,0.00005804854,0.0002562167,0.1759713,0.7746449,0.02627568],"study_design_scores_gemma":[0.00001152065,0.0000116891,0.001590391,0.0005767479,0.000006782681,0.0002649225,0.01367948,0.00006100403,0.0003538269,0.02399581,0.9594263,0.00002143964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.00321931,0.3553391,0.00203927,0.4109103,0.008603603,0.00003637138,0.0002350833,0.0001501281,0.2194668],"genre_scores_gemma":[0.1618041,0.1770348,0.002703707,0.09510902,0.009055363,0.000166902,0.0001542052,0.0005790438,0.5533929],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.06047622,"threshold_uncertainty_score":0.1202484,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2946870973","doi":"10.4000/critiquedart.46172","title":"Françoise Sullivan : Artist Present","year":2019,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Nothing; Praxis; Art; Art history; Discipline; Visual arts; Dance; Aesthetics; Sociology; Philosophy; Law; Social science; Political science","authors":[{"name":"Ariane De Blois","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01660211695864104,"gpt":0.3124180580942332,"spread":0.2958159411355922,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009317394,0.0009711736,0.0004248079,0.00161928,0.02150336,0.009046394,0.001345005,0.003035058,0.1140143],"category_scores_gemma":[0.003042707,0.0003319751,0.0003245073,0.001376618,0.005350587,0.002126399,0.002419168,0.003817434,0.01983839],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02331644,"about_ca_system_score_gemma":0.02030067,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.7335783,"about_ca_topic_score_gemma":0.8714555,"domain_scores_codex":[0.9987593,0.0001015513,0.00002135321,0.0002131182,0.0006329242,0.0002717776],"domain_scores_gemma":[0.998758,0.0001470764,0.0000386317,0.00007347218,0.0005993496,0.0003836108],"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":[0.00001712005,0.000007497576,0.000130192,0.00004135124,0.00000161527,0.0001572654,0.002110759,0.00003753582,0.0002208147,0.03004308,0.9488196,0.01841323],"study_design_scores_gemma":[0.000001056443,0.000001429896,0.0001639262,0.00002737202,6.600649e-7,0.00005961768,0.000782213,0.0000117722,0.00005308558,0.0005163216,0.998378,0.000004644126],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002583553,0.02023305,0.001118905,0.0965712,0.03000915,0.00004475208,0.0005302592,0.0004320688,0.8484771],"genre_scores_gemma":[0.0203791,0.00324405,0.0002952746,0.004887513,0.001607229,0.00001378676,0.0000717524,0.0001667473,0.9693346],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.7335783,"threshold_uncertainty_score":0.5359815,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2087839210","doi":"10.4000/critiquedart.823","title":"Jean-François Chevrier et Jeff Wall : une position critique","year":2007,"lang":"fr","type":"article","venue":"Critique d’art","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","authors":[{"name":"Anna Guilló","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02138374468178518,"gpt":0.3149000561844174,"spread":0.2935163115026322,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004074329,0.0007469919,0.0004920841,0.001652487,0.02100438,0.01396568,0.00111623,0.009930909,0.008203216],"category_scores_gemma":[0.006289264,0.000350877,0.0003918085,0.00181162,0.02125045,0.005884878,0.002723313,0.006686863,0.001180238],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01680598,"about_ca_system_score_gemma":0.008983442,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1557695,"about_ca_topic_score_gemma":0.1725158,"domain_scores_codex":[0.9947632,0.00279556,0.00007226993,0.0006105168,0.001019675,0.0007388408],"domain_scores_gemma":[0.9966011,0.002111603,0.0002030884,0.0001181182,0.0006643566,0.0003018079],"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":[0.00002887613,0.00001313054,0.000469139,0.00007296134,0.000009324286,0.0002539965,0.05258938,0.00009265115,0.0001380653,0.7947026,0.1396908,0.01193901],"study_design_scores_gemma":[0.000007359116,0.00001084505,0.0009071614,0.000278343,0.000006273382,0.0001136168,0.01984978,0.00007882407,0.0001672061,0.02849792,0.9500623,0.00002044017],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.02370113,0.05591403,0.003433746,0.5199191,0.004124159,0.0000201992,0.00006435836,0.00005173633,0.3927715],"genre_scores_gemma":[0.6571118,0.01702061,0.001614974,0.06928064,0.004035154,0.00007895581,0.00003914621,0.0002424847,0.2505763],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1557695,"threshold_uncertainty_score":0.3097257,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4318323736","doi":"10.4000/critiquedart.98173","title":"Craig Owens, Le Discours des autres","year":2022,"lang":"fr","type":"article","venue":"Critique d’art","topic":"Linguistics and Discourse Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Francophone University Association","funders":"","keywords":"Philosophy; Humanities","authors":[{"name":"Jill Gasparina","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02445897574056342,"gpt":0.2857928797169951,"spread":0.2613339039764316,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003344873,0.0007574008,0.0003948121,0.001874642,0.0123626,0.007569117,0.001271022,0.005509313,0.01022124],"category_scores_gemma":[0.007317456,0.0004059426,0.0004019697,0.001847306,0.01112416,0.007117145,0.003235602,0.007715441,0.001745145],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007812779,"about_ca_system_score_gemma":0.00613916,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0690259,"about_ca_topic_score_gemma":0.1102672,"domain_scores_codex":[0.9959446,0.001710123,0.0001063526,0.0006437307,0.001237756,0.0003574923],"domain_scores_gemma":[0.9962229,0.002393241,0.000234406,0.0001653341,0.0007530214,0.0002310996],"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":[0.0000423419,0.00002315735,0.0005434437,0.0002200625,0.00001079185,0.0001413923,0.04048482,0.000060016,0.0002087152,0.4238702,0.5131797,0.02121544],"study_design_scores_gemma":[0.000004233164,0.000004047203,0.0004771482,0.0001707112,0.000003222283,0.00005028621,0.004646972,0.00002826709,0.0001147069,0.01395367,0.9805346,0.00001217929],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.01225867,0.1859465,0.003861317,0.5099239,0.01672341,0.00005005366,0.000391959,0.0001142932,0.27073],"genre_scores_gemma":[0.2422236,0.06939713,0.003686702,0.1614869,0.01163616,0.0002245435,0.0002353659,0.0003775409,0.5107321],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.0690259,"threshold_uncertainty_score":0.1372483,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}