{"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008224164,0.0005654002,0.0006114932,0.00007747262,0.0008336359,0.0003695648,0.0002253205,0.0002804197,0.009739893],"category_scores_gemma":[0.0003379133,0.0004961065,0.0003243813,0.00008923493,0.0010525,0.001152485,0.0001330853,0.0006189072,0.003627637],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002291345,"about_ca_system_score_gemma":0.00005505662,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006575998,"about_ca_topic_score_gemma":0.001729191,"domain_scores_codex":[0.9970188,0.0006585136,0.000582011,0.0004679686,0.0003738066,0.0008988787],"domain_scores_gemma":[0.9984233,0.0003950711,0.0001696153,0.0002988944,0.0003420319,0.0003710213],"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":[0.00002347142,0.0003769466,0.0002493937,0.0001948388,0.00006971416,0.00003069109,0.006934499,5.146898e-7,0.0001067284,0.3752126,0.6140481,0.002752512],"study_design_scores_gemma":[0.0004658932,0.0002008304,0.001035638,0.0003726226,0.0001324873,0.00002801927,0.002545169,0.0000080294,0.0001564903,0.003745472,0.9906525,0.0006568528],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001533008,0.145833,0.0001133561,0.09369784,0.004276409,0.000482836,0.0004925502,0.0002664573,0.7533045],"genre_scores_gemma":[0.1460022,0.007416011,0.00008135049,0.00261492,0.002908641,0.0001145814,0.0003034492,0.00005643056,0.8405024],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3766044,"threshold_uncertainty_score":0.9997491,"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":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.0001211866,0.0002874531,0.0002944995,0.00004365402,0.003119285,0.0001792787,0.0001619473,0.0001040973,0.003024438],"category_scores_gemma":[0.00009294409,0.0002426478,0.0001810869,0.00008744304,0.002865704,0.0005859401,0.00004548923,0.0002727744,0.0007031027],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002356173,"about_ca_system_score_gemma":0.00002506274,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001220016,"about_ca_topic_score_gemma":0.01882766,"domain_scores_codex":[0.9987228,0.0001178423,0.0002762702,0.0002847246,0.0001738382,0.0004245169],"domain_scores_gemma":[0.9992405,0.000108648,0.00006069079,0.0001621532,0.0002848441,0.0001431304],"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":[0.00001148738,0.0001466094,0.00008083216,0.0004171974,0.00003726268,0.00001171014,0.02681923,0.00000698311,0.00004858105,0.2080249,0.7491348,0.01526044],"study_design_scores_gemma":[0.0002105141,0.0003998535,0.000534158,0.0004444521,0.00009535813,0.00001014499,0.009480594,0.0000415983,0.00005115221,0.006766953,0.9816184,0.0003467991],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01719122,0.09433509,0.0001056623,0.0406154,0.002400765,0.0001578166,0.0001333186,0.0001585839,0.8449022],"genre_scores_gemma":[0.3391819,0.005418757,0.0002839166,0.001558333,0.001206914,0.00007269831,0.00008371119,0.00002783717,0.6521659],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3219907,"threshold_uncertainty_score":0.9998479,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003472413,0.0004561277,0.0007287459,0.000124693,0.005454291,0.0002626112,0.0003180369,0.0003771034,0.009247064],"category_scores_gemma":[0.0001253554,0.0003955361,0.0007766703,0.0002222277,0.002153346,0.0002497808,0.00008077055,0.0007075967,0.001194808],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006014224,"about_ca_system_score_gemma":0.00004325473,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.05274581,"about_ca_topic_score_gemma":0.07075029,"domain_scores_codex":[0.9975827,0.0004162997,0.0005085766,0.0005216429,0.0003123737,0.0006584269],"domain_scores_gemma":[0.9984487,0.0005102652,0.0001735521,0.00034831,0.0002680277,0.0002511214],"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":[0.00005610003,0.0004272869,0.007857821,0.0003696393,0.0004376061,0.0001083805,0.08820339,0.00001648189,0.0001125364,0.09485609,0.7965443,0.01101034],"study_design_scores_gemma":[0.0005182821,0.0001330728,0.0008122985,0.0002247814,0.0004397688,0.000006123394,0.01046763,0.00005424818,0.00002060995,0.005050573,0.9817146,0.0005579889],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.6104977,0.1517981,0.00008540826,0.08154074,0.001844284,0.0004509132,0.0003584069,0.0002110407,0.1532134],"genre_scores_gemma":[0.3709727,0.03172113,0.00009010711,0.0006189668,0.0009063432,0.00005771892,0.00004221371,0.00005063587,0.5955402],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4423268,"threshold_uncertainty_score":0.9998497,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008107818,0.0003748567,0.000475169,0.0001331071,0.0007626865,0.0001111343,0.0006941059,0.0005339922,0.01736618],"category_scores_gemma":[0.0005609214,0.0004360148,0.0002674373,0.0005311662,0.00301742,0.001127162,0.0001021317,0.0004767703,0.03060696],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002558827,"about_ca_system_score_gemma":0.0009566384,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003639454,"about_ca_topic_score_gemma":0.002493901,"domain_scores_codex":[0.9965698,0.0004999673,0.0005093169,0.0007112734,0.0006472753,0.001062367],"domain_scores_gemma":[0.9978515,0.000223597,0.0001529787,0.0005901029,0.0004354565,0.0007463957],"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":[0.00002494484,0.0001666248,0.000628971,0.00004798287,0.00003432179,0.00008324304,0.01061286,5.739555e-7,0.0001643595,0.09557194,0.888573,0.004091199],"study_design_scores_gemma":[0.0003080453,0.000296348,0.000306649,0.0001521234,0.0001091537,0.0000104055,0.0009795417,0.00002662268,0.0001173747,0.007215715,0.9899144,0.0005636452],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.007502197,0.01611116,0.0004621721,0.03378254,0.007462827,0.0004114276,0.00008243275,0.0002949644,0.9338903],"genre_scores_gemma":[0.09413524,0.0008431781,0.0009828075,0.01186369,0.004734586,0.0000469866,0.00005229463,0.00006984501,0.8872713],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1013414,"threshold_uncertainty_score":0.9998091,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008471591,0.0003037282,0.000463093,0.00008274932,0.00134257,0.0002046681,0.0004347959,0.0003720485,0.001809527],"category_scores_gemma":[0.001217711,0.0003459299,0.000206316,0.001979755,0.00185683,0.0004558392,0.000170329,0.0003401545,0.009450452],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003416569,"about_ca_system_score_gemma":0.0003385749,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003513754,"about_ca_topic_score_gemma":0.01125105,"domain_scores_codex":[0.9970193,0.0004715496,0.0003854388,0.0004622787,0.000571946,0.001089518],"domain_scores_gemma":[0.9983796,0.000618572,0.0000890501,0.0002639186,0.0003444561,0.0003044002],"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":[0.000003137297,0.00005169786,0.0008637837,0.00006640033,0.00004894243,0.00009850051,0.009182388,0.000002489711,0.00002350564,0.3199973,0.6645944,0.005067474],"study_design_scores_gemma":[0.0002016981,0.00005600305,0.004799559,0.000174053,0.00004286531,8.163215e-7,0.008439934,0.00005114352,0.00005954446,0.02844882,0.9573447,0.0003808443],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.05642479,0.08204757,0.00004796043,0.2308889,0.01310475,0.0006098122,0.0003914089,0.001147288,0.6153375],"genre_scores_gemma":[0.07433668,0.03243377,0.0001668958,0.003979014,0.003454563,0.000121754,0.00008325354,0.00006471578,0.8853593],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2927504,"threshold_uncertainty_score":0.9999576,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001392057,0.0003419748,0.0004888624,0.00009975072,0.00292958,0.0001697507,0.0005446016,0.0002330047,0.009036514],"category_scores_gemma":[0.0003777765,0.0003929776,0.0002449852,0.0005690184,0.001305428,0.0003888714,0.0003893215,0.0006904323,0.001227976],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001019681,"about_ca_system_score_gemma":0.0002857362,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002356197,"about_ca_topic_score_gemma":0.007635647,"domain_scores_codex":[0.9962213,0.001060114,0.0004371371,0.0005349508,0.0008187491,0.0009277363],"domain_scores_gemma":[0.998827,0.0003208817,0.0001381357,0.0002605795,0.0001758651,0.0002774755],"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":[0.00001253407,0.0002294713,0.001957196,0.00008270692,0.00007657489,0.00006977544,0.03190729,0.00001188883,0.00002151219,0.08873235,0.8737732,0.003125578],"study_design_scores_gemma":[0.0003374058,0.0002240178,0.001998642,0.00005844248,0.0000671204,0.000009487788,0.01441669,0.0000392769,0.00002715073,0.008248406,0.9741184,0.0004549781],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03038985,0.04079866,0.0001342291,0.170322,0.00802688,0.0009856899,0.0002735325,0.0003133777,0.7487558],"genre_scores_gemma":[0.2628402,0.00685164,0.0001530236,0.001842951,0.003388667,0.0003664888,0.00005498776,0.00005704194,0.724445],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.2324504,"threshold_uncertainty_score":0.9998522,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.002999208,0.0004339899,0.0004897193,0.0001667484,0.001219572,0.0002785638,0.0007227875,0.0005686406,0.02506268],"category_scores_gemma":[0.0007539643,0.0005517479,0.0002560879,0.0007546009,0.00264861,0.002840502,0.00009783239,0.0005638765,0.01351254],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003027036,"about_ca_system_score_gemma":0.001398606,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003211821,"about_ca_topic_score_gemma":0.01343826,"domain_scores_codex":[0.9948783,0.001879046,0.0006665659,0.0008388358,0.000580972,0.001156318],"domain_scores_gemma":[0.9971023,0.0004363157,0.0001748043,0.0007978017,0.0008195089,0.0006692514],"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":[0.00001586495,0.0002714423,0.001239977,0.00008548269,0.00003252367,0.00003310216,0.0273361,1.961613e-7,0.0001346767,0.1152372,0.8517851,0.003828343],"study_design_scores_gemma":[0.0002869474,0.0002433844,0.001238065,0.0002777987,0.00004888726,0.00002523982,0.01172513,0.00002862238,0.001037325,0.01763671,0.966862,0.0005898798],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03045383,0.008645133,0.0006364261,0.3926062,0.01065537,0.0006938398,0.000102337,0.0002734349,0.5559334],"genre_scores_gemma":[0.317404,0.003278191,0.000772893,0.005138282,0.008512273,0.00009398381,0.00006298124,0.00007284476,0.6646646],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.387468,"threshold_uncertainty_score":0.9996934,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001375464,0.0004854564,0.0004446759,0.0001157603,0.001114084,0.001070253,0.0002120847,0.0002244835,0.004497561],"category_scores_gemma":[0.00003236389,0.0004154995,0.0003582588,0.0001638256,0.001038231,0.0007058497,0.00007909397,0.0005622791,0.003808808],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000111919,"about_ca_system_score_gemma":0.0001302588,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001331849,"about_ca_topic_score_gemma":0.01268068,"domain_scores_codex":[0.9980848,0.00009020959,0.0004333413,0.0005689208,0.0002464586,0.0005762021],"domain_scores_gemma":[0.9991182,0.00009346577,0.00004054725,0.00032565,0.000274025,0.0001481192],"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":[0.000006557947,0.00005900186,0.000002316307,0.0007044096,0.0001144529,0.0002916503,0.02407331,2.475938e-7,0.00003405565,0.4761404,0.4940519,0.004521745],"study_design_scores_gemma":[0.0001400332,0.0001233333,0.00001713732,0.001248401,0.0002609483,0.00007497668,0.00597269,0.00001683543,0.00008674515,0.01119974,0.9803318,0.0005273068],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0001297234,0.2985951,0.00002396309,0.08816566,0.009678677,0.0001696494,0.0004739847,0.00027438,0.6024888],"genre_scores_gemma":[0.03450683,0.003449166,0.00003888393,0.003818858,0.007832752,0.00007928856,0.0002190584,0.00008381295,0.9499714],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4862799,"threshold_uncertainty_score":0.9999667,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006915586,0.0002567652,0.0002722908,0.0001621626,0.001108962,0.0009410722,0.0001810741,0.0002182251,0.006756398],"category_scores_gemma":[0.00008052403,0.0002902665,0.0002592666,0.0001669496,0.0004135873,0.0007922553,0.0001190538,0.00042943,0.006993344],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001841584,"about_ca_system_score_gemma":0.0002310821,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003429132,"about_ca_topic_score_gemma":0.05879046,"domain_scores_codex":[0.998169,0.000305589,0.0003561975,0.0003417784,0.0002201897,0.0006072308],"domain_scores_gemma":[0.9992973,0.0001079026,0.00007100883,0.0002242299,0.0001452561,0.0001543034],"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":[0.00001670303,0.0001659593,0.0001093531,0.0002757035,0.00005236837,0.00007930479,0.0127869,0.000003506202,0.0002678212,0.3608549,0.6252226,0.0001648167],"study_design_scores_gemma":[0.0005548797,0.0001076751,0.001158461,0.0003666342,0.00007430711,0.00003898211,0.01225012,0.0001376417,0.0002787508,0.006003804,0.9786973,0.0003314667],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.06826737,0.0009379475,0.00008931661,0.07624643,0.003536508,0.0004270173,0.0002617823,0.0003986601,0.849835],"genre_scores_gemma":[0.1284203,0.001680804,0.00003467608,0.002207267,0.00113687,0.00009905892,0.0002829954,0.00004933788,0.8660886],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.3548511,"threshold_uncertainty_score":0.9999549,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.003115444,0.0004241476,0.0004664409,0.0002551258,0.0007373916,0.0003772285,0.0006282177,0.0005537375,0.004381123],"category_scores_gemma":[0.0005437089,0.0005212068,0.0002900238,0.0008754249,0.001021427,0.002303707,0.0001454333,0.0007071792,0.002229344],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003197739,"about_ca_system_score_gemma":0.002433924,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003498761,"about_ca_topic_score_gemma":0.01135666,"domain_scores_codex":[0.9946765,0.002653835,0.0006954673,0.0008081418,0.000315023,0.0008510463],"domain_scores_gemma":[0.9978058,0.0006019444,0.0001362097,0.0006719381,0.0005058611,0.000278217],"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":[0.00001589867,0.0003223445,0.001305593,0.0001652644,0.00004842582,0.00002459857,0.006580519,0.000001047374,0.00124217,0.2654237,0.7225496,0.002320842],"study_design_scores_gemma":[0.0003619682,0.00004852112,0.001873915,0.0007165144,0.00008179036,0.00001274887,0.00472845,0.00002069481,0.001321708,0.01952787,0.9708214,0.0004844057],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.00608637,0.007437728,0.0009426656,0.537021,0.006078545,0.0006299238,0.00009408973,0.0001740045,0.4415357],"genre_scores_gemma":[0.06894966,0.008941012,0.0008746169,0.01439504,0.0007774871,0.00007915545,0.0001308198,0.00005239677,0.9057998],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5226259,"threshold_uncertainty_score":0.999724,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001958801,0.0002915559,0.0003261772,0.0001386822,0.000666271,0.0003280147,0.0002361621,0.0002095358,0.008862681],"category_scores_gemma":[0.00009892842,0.0003326357,0.000223748,0.000005133364,0.001088681,0.0003192385,0.00009800826,0.0003725137,0.003235774],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001254984,"about_ca_system_score_gemma":0.000243421,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001645485,"about_ca_topic_score_gemma":0.01137338,"domain_scores_codex":[0.9982847,0.0001179246,0.0003893136,0.0003654862,0.0001514205,0.0006911735],"domain_scores_gemma":[0.9990049,0.0001695916,0.00005090441,0.0004096253,0.000189617,0.0001753703],"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":[0.000005136119,0.00008380089,0.00002789916,0.0001882253,0.00004603223,0.00002130916,0.01073249,0.000001210498,0.000006181192,0.5071194,0.4802948,0.001473546],"study_design_scores_gemma":[0.0003331905,0.00006056048,0.0001033664,0.0003653384,0.0001258554,0.00000711002,0.002674354,0.0001264758,0.0002259845,0.05325395,0.9424111,0.0003127638],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0006884134,0.007346717,0.0007588771,0.05333072,0.005581242,0.000228566,0.0003043716,0.0001200728,0.931641],"genre_scores_gemma":[0.05812798,0.001094023,0.00008688849,0.01653369,0.001867091,0.00003325069,0.00008591084,0.00003891759,0.9221323],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4621162,"threshold_uncertainty_score":0.9999126,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006147147,0.0002885839,0.0003088923,0.00004903146,0.0001016001,0.00006808771,0.0003741255,0.0006807027,0.01059558],"category_scores_gemma":[0.0001272444,0.0003043479,0.0001556324,0.0001815562,0.0004307318,0.0001907997,0.00005561111,0.0006531765,0.02631103],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001018623,"about_ca_system_score_gemma":0.0000860716,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004666963,"about_ca_topic_score_gemma":0.00008427705,"domain_scores_codex":[0.9978685,0.0005707726,0.0003179641,0.0004426671,0.0002055855,0.0005944434],"domain_scores_gemma":[0.9986821,0.00007545821,0.00005985671,0.0006555587,0.0001903462,0.0003366758],"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":[0.0001092967,0.0003094607,0.0001279997,0.0000569486,0.00007294421,0.0001894773,0.009116897,0.000003705285,0.0001900878,0.129578,0.8466163,0.0136288],"study_design_scores_gemma":[0.001273447,0.0003640651,0.0002019616,0.0001207467,0.00004604838,0.0002092186,0.005376231,0.00001585944,0.0003576289,0.01680075,0.9748861,0.0003479989],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.008939011,0.03838931,0.0004564401,0.04318383,0.01426164,0.0002770249,0.00007829611,0.0001604409,0.894254],"genre_scores_gemma":[0.03927976,0.0008693417,0.0005083747,0.01690446,0.002426346,0.00006447666,0.0001093037,0.00007077948,0.9397672],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1282697,"threshold_uncertainty_score":0.9999409,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008942611,0.0002869258,0.0004839145,0.0001020755,0.0002765227,0.00004674753,0.0002200921,0.0002998481,0.003859045],"category_scores_gemma":[0.001499441,0.0002101238,0.0002208048,0.0002697791,0.0009515199,0.0001588227,0.0001012971,0.000329155,0.009546766],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005462113,"about_ca_system_score_gemma":0.0003875713,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001059546,"about_ca_topic_score_gemma":0.00009494011,"domain_scores_codex":[0.9974641,0.0002716514,0.000407793,0.0005418322,0.0003901766,0.0009245118],"domain_scores_gemma":[0.9979956,0.000696562,0.0000624899,0.0004710294,0.0002380541,0.0005363381],"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":[0.00004613667,0.0002860424,0.001509613,0.0002548627,0.00006660957,0.0007176901,0.001703292,1.000227e-7,0.01007201,0.02330859,0.9299174,0.03211764],"study_design_scores_gemma":[0.0009794497,0.0001862858,0.003866633,0.001146164,0.0001282403,0.0001886032,0.0004616958,0.00001579288,0.001741034,0.001682625,0.9893101,0.0002933745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01898297,0.05186383,0.004849127,0.1302204,0.01647403,0.0004400552,0.0002004132,0.0002753408,0.7766938],"genre_scores_gemma":[0.1553205,0.002526356,0.0004543918,0.001976389,0.002399253,0.00004840649,0.000009247652,0.00004443649,0.837221],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1363375,"threshold_uncertainty_score":0.9970515,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001824028,0.0002506269,0.0003332742,0.00005833352,0.0005055653,0.0008423916,0.0002431904,0.0001935391,0.0419053],"category_scores_gemma":[0.00003189614,0.00027121,0.0002455609,0.00004667999,0.0004106539,0.000997063,0.00009816932,0.0004088897,0.03243591],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004962159,"about_ca_system_score_gemma":0.00009944602,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00300752,"about_ca_topic_score_gemma":0.0163153,"domain_scores_codex":[0.9985472,0.00009325051,0.0003238468,0.0003519685,0.0001960309,0.0004876986],"domain_scores_gemma":[0.9991907,0.00006286796,0.00006440077,0.0003461275,0.0001908083,0.0001450567],"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":[0.00001268295,0.0001432605,0.0000509876,0.0002957735,0.00002982381,0.00004093053,0.006200191,0.000001104611,0.0002555989,0.6659194,0.3266854,0.0003648971],"study_design_scores_gemma":[0.0004286071,0.0001368111,0.0003180541,0.0002726032,0.00004528054,0.00002329048,0.00695503,0.00002318825,0.0002122656,0.005332767,0.9858606,0.0003915344],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.1690489,0.005480542,0.000009156898,0.04330976,0.004339125,0.0003493489,0.0002099941,0.0001281799,0.777125],"genre_scores_gemma":[0.2748773,0.0006861555,0.00002676518,0.002962079,0.001636728,0.0000147978,0.000107388,0.00003367079,0.7196551],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6605866,"threshold_uncertainty_score":0.999974,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002175606,0.0002199567,0.000193967,0.00003327829,0.0001241985,0.00004182223,0.0001289767,0.0002667201,0.002328211],"category_scores_gemma":[0.0001980684,0.0002498095,0.0001582333,0.00005317764,0.0002051845,0.00002086405,0.000158891,0.0002180224,0.005738484],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004229891,"about_ca_system_score_gemma":0.00003776239,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0000125827,"about_ca_topic_score_gemma":0.00005528342,"domain_scores_codex":[0.9987119,0.0001248707,0.0002448513,0.0002748114,0.0001039872,0.0005396009],"domain_scores_gemma":[0.9992514,0.00002978433,0.00005767604,0.0003046222,0.0001705745,0.0001859103],"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":[0.00003142182,0.0002189872,0.002206671,0.00007744296,0.0001278353,0.000007675627,0.0002902025,4.502221e-7,0.08243601,0.00817407,0.9048481,0.001581103],"study_design_scores_gemma":[0.0001634432,0.0001428352,0.00172503,0.00004493293,0.00004770499,0.00008362879,0.0003734643,0.000003383281,0.06564912,0.00005163386,0.9314609,0.0002539058],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1585714,0.1059678,0.00190738,0.01874082,0.008592664,0.0003598785,0.0001516661,0.00006593695,0.7056425],"genre_scores_gemma":[0.7148895,0.001759746,0.0003865592,0.002565739,0.002557257,0.00003524306,0.00007891596,0.00003554283,0.2776915],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5563182,"threshold_uncertainty_score":0.9999954,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.007294965,0.0002193941,0.0002197843,0.0000988886,0.0009063741,0.0001665879,0.000323959,0.0007659671,0.001860133],"category_scores_gemma":[0.005345442,0.000272439,0.0001199461,0.0004273914,0.002237666,0.0005871569,0.00004202832,0.0006940336,0.00157148],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004181272,"about_ca_system_score_gemma":0.0009905261,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003299915,"about_ca_topic_score_gemma":0.0004428546,"domain_scores_codex":[0.9934009,0.005010919,0.0003680863,0.0004448898,0.0002616137,0.0005135715],"domain_scores_gemma":[0.9950008,0.003739375,0.0001537253,0.0002389835,0.0006666559,0.0002004358],"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":[0.000006424128,0.0003050173,0.002740424,0.00009359336,0.00006144742,0.00000436903,0.1240885,0.000001324248,0.00106006,0.7042312,0.159729,0.007678587],"study_design_scores_gemma":[0.0002379684,0.00009942127,0.01473385,0.000321272,0.00007447106,0.00002421717,0.06527624,0.0001083324,0.0002695001,0.04914832,0.8693283,0.000378066],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.05654921,0.000629731,0.007940491,0.331623,0.004635856,0.0005604941,0.00005434712,0.0002327199,0.5977741],"genre_scores_gemma":[0.585773,0.001345125,0.04277861,0.002399883,0.01493762,0.0001808714,0.0002820372,0.00006700098,0.3522359],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7095993,"threshold_uncertainty_score":0.9999728,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001430414,0.0003568475,0.0004683317,0.00005370334,0.0007768566,0.0002757858,0.0006326342,0.0005300353,0.0008482574],"category_scores_gemma":[0.001509127,0.0003127875,0.0002904597,0.0004316599,0.004459894,0.0003467116,0.0001843062,0.0006904459,0.002656995],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009896557,"about_ca_system_score_gemma":0.0007581414,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02647414,"about_ca_topic_score_gemma":0.01490518,"domain_scores_codex":[0.9953017,0.001417215,0.0004350294,0.0004413745,0.000787422,0.001617297],"domain_scores_gemma":[0.9973408,0.0007800584,0.00008019112,0.0003540337,0.000429569,0.00101536],"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":[0.000003821965,0.00009385346,0.0002585428,0.00001751875,0.00003125391,0.00004320385,0.008962083,3.333656e-7,0.0000011451,0.539539,0.4506032,0.0004459801],"study_design_scores_gemma":[0.0002417639,0.00007199073,0.0006932185,0.00006641818,0.00005907605,0.00001385707,0.01326448,0.00001648728,0.0000190588,0.241897,0.7433649,0.0002917246],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001968497,0.02106436,0.0001231364,0.2258348,0.002941499,0.000290234,0.00008015445,0.000137722,0.7475595],"genre_scores_gemma":[0.4411389,0.002769706,0.0002668965,0.01632635,0.007029652,0.0001155218,0.00002788037,0.00006988778,0.5322552],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4391704,"threshold_uncertainty_score":0.9999324,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002236016,0.0002176561,0.0003454176,0.00002422824,0.000430904,0.000256957,0.0003702051,0.0003682781,0.01176962],"category_scores_gemma":[0.0002436559,0.0002015638,0.0003068706,0.0007699156,0.0006265685,0.0005250145,0.00006741368,0.0004192312,0.005938255],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005191264,"about_ca_system_score_gemma":0.00009917204,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001043347,"about_ca_topic_score_gemma":0.0006688298,"domain_scores_codex":[0.9980878,0.0003762539,0.0002860866,0.0004482816,0.0002861681,0.0005154386],"domain_scores_gemma":[0.9990569,0.00008928624,0.00006897724,0.0001440278,0.0001990841,0.0004417415],"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":[0.000008284419,0.00005670789,0.0002083116,0.00006401177,0.00006130605,0.00005618785,0.01351084,0.000001447595,0.0002565137,0.2130944,0.7671122,0.005569754],"study_design_scores_gemma":[0.0001489394,0.00007775374,0.0001445524,0.00005028096,0.000143853,0.000003621893,0.00310529,0.0001030328,0.0001163702,0.008423113,0.9874122,0.0002709593],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.007769928,0.02214747,0.00009873129,0.5081998,0.002034317,0.0002135234,0.00008770633,0.0001472214,0.4593013],"genre_scores_gemma":[0.3008084,0.001509772,0.0004690452,0.254294,0.00809395,0.00003647778,0.0001366343,0.00003223882,0.4346195],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.2930385,"threshold_uncertainty_score":0.9948357,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0008281237,0.0002863026,0.0005848076,0.0000758095,0.0002140833,0.00009869915,0.0002385413,0.0002424132,0.0104321],"category_scores_gemma":[0.0002709351,0.0003982124,0.0002839456,0.00009235604,0.0004929458,0.0005458718,0.0001590949,0.0003927915,0.1054545],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002507735,"about_ca_system_score_gemma":0.00001912658,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00004651714,"about_ca_topic_score_gemma":0.000008702134,"domain_scores_codex":[0.997627,0.00007959323,0.0007242926,0.0003829442,0.00003048399,0.001155719],"domain_scores_gemma":[0.9988152,0.0002443622,0.0001627223,0.0003697345,0.00004120669,0.0003667256],"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":[0.000002600364,0.0001206675,0.04217206,0.000076886,0.0000667089,0.000004040312,0.0006627809,6.269689e-7,4.910235e-7,0.5630167,0.3930676,0.0008089358],"study_design_scores_gemma":[0.0002807847,0.00005009287,0.01758725,0.00004856348,0.000026668,0.00001262995,0.0003339583,0.00003602438,0.00003082263,0.01529494,0.9658455,0.000452725],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02657607,0.08712727,0.001334377,0.02946685,0.006945614,0.0001788999,0.0006189847,0.00006601584,0.8476859],"genre_scores_gemma":[0.3390113,0.007583876,0.0006356687,0.007938838,0.003465356,0.00002805715,0.00004274746,0.0000840165,0.6412102],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.572778,"threshold_uncertainty_score":0.999847,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001821796,0.0001863965,0.0004064618,0.00003264708,0.0007280453,0.00006189824,0.0001524762,0.0001402071,0.003447289],"category_scores_gemma":[0.0001706458,0.0001529779,0.000303422,0.00006635526,0.0003517594,0.0001636337,0.00006357705,0.0002210824,0.0009169107],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004387989,"about_ca_system_score_gemma":0.00004314896,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00207246,"about_ca_topic_score_gemma":0.00670315,"domain_scores_codex":[0.9987909,0.00009105162,0.0003530673,0.0002104312,0.0002448982,0.0003096654],"domain_scores_gemma":[0.9989792,0.0001206886,0.00007634034,0.0001764922,0.0004565763,0.0001907663],"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":[0.00001206348,0.0001237765,0.0001010685,0.00009564625,0.0001071993,0.00001697693,0.04257185,0.000002178783,0.000007415032,0.1333139,0.8212175,0.002430372],"study_design_scores_gemma":[0.0001933201,0.0002388674,0.00001417368,0.00007434316,0.0001953451,0.000002011916,0.009370021,0.00003011098,0.00008240336,0.005578076,0.9840108,0.0002104826],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03504526,0.02895635,0.000244167,0.4594209,0.002978171,0.0002007151,0.0001160685,0.00006532944,0.472973],"genre_scores_gemma":[0.1804573,0.003494748,0.00008872402,0.001804444,0.001441555,0.00001583985,0.00002417519,0.00001919147,0.812654],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4576165,"threshold_uncertainty_score":0.999861,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000320873,0.000379942,0.0004097601,0.0001017046,0.0005873507,0.0002439068,0.0001640418,0.0002171934,0.01019879],"category_scores_gemma":[0.00006389164,0.0003087923,0.0001686052,0.000001285714,0.001982611,0.0006763885,0.00004687522,0.000258267,0.002242127],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007690288,"about_ca_system_score_gemma":0.00008818784,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004242292,"about_ca_topic_score_gemma":0.006543806,"domain_scores_codex":[0.9979454,0.00015253,0.0004915593,0.0003857205,0.0002147251,0.0008101194],"domain_scores_gemma":[0.9989241,0.0002412821,0.00009067643,0.0002628344,0.0001763509,0.0003047585],"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":[0.00003178349,0.0001328805,0.0000947017,0.0003677503,0.00008735473,0.00003231578,0.1943431,7.942005e-8,0.000177033,0.514111,0.2767209,0.01390106],"study_design_scores_gemma":[0.0009159164,0.0001840568,0.00006430434,0.0008145552,0.00009314754,0.00005140876,0.005285236,0.00001934964,0.001003024,0.0200835,0.9710009,0.0004846672],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00488637,0.004314129,0.003926758,0.03895866,0.001331394,0.000431018,0.002461735,0.0001650692,0.9435249],"genre_scores_gemma":[0.1701843,0.002127544,0.0001388137,0.009182055,0.00201381,0.00004596863,0.00001858173,0.00009086707,0.8161981],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6942799,"threshold_uncertainty_score":0.9999364,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0008469257,0.000357606,0.000418443,0.0004275269,0.0001537852,0.0002228734,0.000289939,0.0005002202,0.000649936],"category_scores_gemma":[0.0002186727,0.0003519559,0.0001669262,0.000192564,0.000589483,0.0003614491,0.00008032161,0.001254432,0.0001306171],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006616215,"about_ca_system_score_gemma":0.00005706697,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006164865,"about_ca_topic_score_gemma":0.02869814,"domain_scores_codex":[0.997897,0.000410134,0.0004069577,0.000434089,0.0001513882,0.0007004896],"domain_scores_gemma":[0.9992415,0.0001905235,0.0000710875,0.000312503,0.0000689075,0.0001154382],"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":[0.0000464255,0.0005428152,0.0005619262,0.00028684,0.00001916993,0.0001716423,0.01633058,0.00001244715,0.005281686,0.9076201,0.06674588,0.002380485],"study_design_scores_gemma":[0.0003939065,0.0003466582,0.001365893,0.0006790933,0.00001640401,0.00004610825,0.001528637,0.00006114637,0.01263988,0.09431116,0.8881928,0.0004183217],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5499842,0.004044754,0.0006558101,0.0363028,0.0008482364,0.0006528178,0.0001273949,0.000315509,0.4070685],"genre_scores_gemma":[0.9721726,0.0008885087,0.0003106314,0.006704899,0.0005518707,0.000122745,0.00004688427,0.0000431619,0.01915866],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8214469,"threshold_uncertainty_score":0.9998932,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000367548,0.0003547703,0.0003193858,0.0001030601,0.0004501308,0.0004769426,0.0002156594,0.0003338303,0.03680006],"category_scores_gemma":[0.0001223228,0.0003572145,0.0002133446,0.00007034597,0.0005213598,0.001164143,0.00006374422,0.0006746639,0.01293595],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006200189,"about_ca_system_score_gemma":0.00006685471,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002099259,"about_ca_topic_score_gemma":0.0002755005,"domain_scores_codex":[0.9980486,0.0001629165,0.0003663453,0.0002764204,0.0002195047,0.0009262136],"domain_scores_gemma":[0.9987028,0.0001303793,0.00006967247,0.0004206246,0.0003170698,0.0003594497],"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":[0.000005463731,0.0001749236,0.0002725047,0.0001742009,0.00003306691,0.00001534756,0.006830892,1.0198e-7,0.00002186744,0.4398426,0.5501025,0.002526499],"study_design_scores_gemma":[0.0002494561,0.00009965776,0.0004188171,0.0003436177,0.00009171094,0.0000332116,0.0009340766,0.00001171629,0.0002793353,0.002502716,0.9945731,0.0004625846],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.004914235,0.1485683,0.00006606233,0.00944576,0.01717102,0.0002023284,0.0003441039,0.0001251918,0.819163],"genre_scores_gemma":[0.1090416,0.0008500657,0.0001761657,0.005564765,0.01853617,0.00003803796,0.0001730686,0.00006197166,0.8655582],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4444706,"threshold_uncertainty_score":0.999888,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002610818,0.0003558151,0.0003757395,0.0001662798,0.002545654,0.001468965,0.0002667112,0.0001449884,0.006611635],"category_scores_gemma":[0.0002477667,0.0003767038,0.0002749539,0.0001520399,0.001665066,0.001089045,0.0001091854,0.0005666717,0.001639115],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007537236,"about_ca_system_score_gemma":0.0001306098,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001744305,"about_ca_topic_score_gemma":0.02488698,"domain_scores_codex":[0.9980108,0.0003393084,0.0004530595,0.0004565874,0.0001986626,0.0005415758],"domain_scores_gemma":[0.9989162,0.0002192274,0.0001015679,0.0003648888,0.0001725884,0.0002255474],"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":[0.00001859236,0.0002682977,0.00005173936,0.0002264785,0.0000494641,0.00002511711,0.01001415,0.000009689492,0.0001630778,0.6731477,0.3143546,0.001671036],"study_design_scores_gemma":[0.0005308111,0.0001697171,0.001030092,0.0004745511,0.0001202011,0.00008447289,0.003046785,0.00028571,0.0002081796,0.04477653,0.9488003,0.0004726398],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.01323957,0.007508633,0.001174211,0.06419557,0.003641905,0.0004295629,0.0005583056,0.0003279875,0.9089243],"genre_scores_gemma":[0.2900464,0.00222884,0.0004113414,0.002829279,0.001897961,0.0000877548,0.0002219851,0.00004541849,0.702231],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6344457,"threshold_uncertainty_score":0.9998685,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001295415,0.00007328596,0.00008300087,0.00005199034,0.00006154611,0.000113858,0.00008976026,0.0000307751,0.003203745],"category_scores_gemma":[0.00001463297,0.00004747959,0.00003781953,0.00001602645,0.0002213966,0.0003703211,0.000008912822,0.0001606087,0.00007695357],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003901141,"about_ca_system_score_gemma":0.00002486323,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002985908,"about_ca_topic_score_gemma":0.02442947,"domain_scores_codex":[0.9995455,0.00003356773,0.0001509755,0.0001190277,0.00005855278,0.00009234164],"domain_scores_gemma":[0.9997523,0.00005540404,0.00001772459,0.000114613,0.00003523067,0.00002467421],"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":[0.000003226336,0.00002776335,0.000001564434,0.00007626421,0.000003175929,0.000007944343,0.04026549,5.543054e-8,0.0001509683,0.5205933,0.4384375,0.0004327113],"study_design_scores_gemma":[0.00004781013,0.0000302536,0.0002771008,0.0001056172,0.000007167293,0.000005118943,0.03476419,0.0000109737,0.00001156816,0.005600228,0.9590735,0.00006646257],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1931833,0.001539601,0.000003267154,0.004379393,0.0007869182,0.0001439733,0.00004660678,0.0000781054,0.7998388],"genre_scores_gemma":[0.8978105,0.00009329395,0.000007787829,0.0008970618,0.0001223341,0.00002268601,0.00002372625,0.000007943456,0.1010147],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7046272,"threshold_uncertainty_score":0.9977075,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006968165,0.0002001,0.0003203393,0.00003887999,0.0004161482,0.0001256715,0.0003418186,0.0002628094,0.00576496],"category_scores_gemma":[0.0003368835,0.0002225898,0.0001850981,0.0003594305,0.001188363,0.0003341502,0.00006758302,0.0003086786,0.008389587],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003701251,"about_ca_system_score_gemma":0.0002789588,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003933004,"about_ca_topic_score_gemma":0.004672776,"domain_scores_codex":[0.9979337,0.0003477127,0.0002370331,0.0003298339,0.0003499512,0.0008017476],"domain_scores_gemma":[0.9990621,0.0003220605,0.00006953054,0.0001710922,0.0001561365,0.0002190439],"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":[0.000002945735,0.00006434987,0.003832182,0.00006052654,0.00002775984,0.00001496567,0.01430811,0.000001864513,0.00004392083,0.4795251,0.4994583,0.002659993],"study_design_scores_gemma":[0.0001377106,0.00008897176,0.001744907,0.0001710147,0.00002789873,0.000002594203,0.01325114,0.00003406668,0.00007535411,0.02883687,0.9553572,0.000272294],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04706714,0.03491554,0.0001543719,0.04776011,0.007529179,0.0002885454,0.00002444509,0.0001128525,0.8621478],"genre_scores_gemma":[0.3692225,0.006556291,0.0002308091,0.002608025,0.001366802,0.00002186363,0.000004967721,0.00002000155,0.6199687],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4558989,"threshold_uncertainty_score":0.9951439,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.002351535,0.0003766852,0.0005584079,0.00009296811,0.0007317704,0.0008780555,0.0004548081,0.000559413,0.0007603748],"category_scores_gemma":[0.001287554,0.0003251254,0.0003357155,0.000549862,0.001862529,0.001432784,0.00008268935,0.0007364631,0.00008197473],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004296723,"about_ca_system_score_gemma":0.0006713725,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001760589,"about_ca_topic_score_gemma":0.009327311,"domain_scores_codex":[0.9950621,0.002550803,0.0005170302,0.0004695847,0.0004739585,0.0009265675],"domain_scores_gemma":[0.9976634,0.0004251795,0.0002327975,0.0002512168,0.0006798226,0.0007475605],"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":[0.0001580512,0.0004376672,0.0117527,0.0002041393,0.0002930731,0.0002669504,0.1153813,0.00004191685,0.001003821,0.2561654,0.6125358,0.001759178],"study_design_scores_gemma":[0.0005635886,0.000286902,0.003450717,0.0004572714,0.0003822998,0.0001048328,0.02103016,0.0001968138,0.0006216612,0.1353502,0.8370487,0.0005068219],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4830381,0.1700184,0.0008317364,0.09765713,0.001504133,0.0006437282,0.0004337321,0.000295941,0.2455771],"genre_scores_gemma":[0.8183165,0.00927403,0.001949766,0.01256053,0.001755597,0.00008354856,0.0001137703,0.00004779887,0.1558985],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3352784,"threshold_uncertainty_score":0.9999201,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001313971,0.0003113209,0.000394586,0.00009011681,0.0004962643,0.0004312901,0.0005518406,0.0005027802,0.02067089],"category_scores_gemma":[0.0003608782,0.0003640517,0.0002262694,0.0004360413,0.0003644566,0.002371266,0.0001329813,0.0008104651,0.02252973],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000120967,"about_ca_system_score_gemma":0.000420384,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005191754,"about_ca_topic_score_gemma":0.000438603,"domain_scores_codex":[0.9967504,0.0008600708,0.0004133468,0.0005979904,0.0004919301,0.0008863349],"domain_scores_gemma":[0.9981717,0.0006323427,0.0001838216,0.000461027,0.0001584499,0.0003926997],"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":[0.0000594615,0.0004083246,0.003958211,0.0003216777,0.0001187508,0.0003148291,0.02129713,0.0000144847,0.0008205187,0.4108757,0.4458327,0.1159783],"study_design_scores_gemma":[0.0004443112,0.0001303384,0.0004963289,0.0002645753,0.00007938928,0.00004142913,0.002439959,0.000114054,0.0004158087,0.003989057,0.991128,0.0004567868],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.08424821,0.01016655,0.0001575412,0.08822877,0.006771152,0.0004534018,0.00003468946,0.0001779185,0.8097618],"genre_scores_gemma":[0.1265122,0.004565365,0.001208374,0.00575501,0.001807789,0.00002639839,0.00003287043,0.00006293213,0.860029],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5452953,"threshold_uncertainty_score":0.9998811,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0003572119,0.001985987,0.001947986,0.0009150046,0.0004157604,0.0004503418,0.001525641,0.0009660386,0.001845284],"category_scores_gemma":[0.0004801707,0.002258539,0.000736994,0.002582557,0.0007484742,0.0005047906,0.0003895847,0.004847441,0.0007061627],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005558192,"about_ca_system_score_gemma":0.001277202,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001674605,"about_ca_topic_score_gemma":0.004531003,"domain_scores_codex":[0.9921697,0.0006378519,0.001584933,0.001968571,0.0008657795,0.002773123],"domain_scores_gemma":[0.9949051,0.0005974934,0.0002788917,0.001291765,0.00007426517,0.002852542],"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":[0.0007785937,0.0004715845,0.002677406,0.002602845,0.0008119917,0.003824126,0.0721162,0.2029215,0.02970446,0.05229422,0.1617947,0.4700024],"study_design_scores_gemma":[0.005158934,0.0007935771,0.003475788,0.002571296,0.0005407784,0.001192046,0.001695699,0.01517431,0.0149006,0.0737822,0.8758655,0.004849259],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.01407934,0.0156701,0.8076686,0.1028035,0.002157639,0.001943433,0.0004148301,0.001580323,0.05368219],"genre_scores_gemma":[0.634851,0.001886121,0.3181151,0.01516555,0.008465656,0.0001522368,0.0003091112,0.00121787,0.01983739],"genre_candidate":"methods","genre_consensus":null,"teacher_disagreement_score":0.7140708,"threshold_uncertainty_score":0.9992883,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000293957,0.0003040107,0.0003507889,0.00008431426,0.001054236,0.0008018267,0.0002833941,0.0001606234,0.02831429],"category_scores_gemma":[0.0001595167,0.0003284853,0.0001940471,0.0001364622,0.0004145489,0.0005475597,0.0001217217,0.0004545094,0.01204779],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002145706,"about_ca_system_score_gemma":0.000479095,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.3460324,"about_ca_topic_score_gemma":0.9603644,"domain_scores_codex":[0.9980584,0.0001174697,0.0004025937,0.0003771012,0.000350111,0.0006942723],"domain_scores_gemma":[0.9989725,0.0001499508,0.0000683822,0.0002906559,0.0002689317,0.0002496302],"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":[0.00001022017,0.00004235575,0.00004027348,0.0002666454,0.00004154962,0.0007029416,0.0047656,0.000004039718,0.00003213669,0.2475352,0.7461534,0.0004056717],"study_design_scores_gemma":[0.0002706298,0.00006083849,0.0004368558,0.0002480473,0.00006024762,0.00005081424,0.005651612,0.0000792957,0.00007020546,0.002422414,0.9902149,0.000434138],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.08232521,0.00428058,0.000009514849,0.1803245,0.01198862,0.0004792468,0.001351844,0.0003915976,0.7188489],"genre_scores_gemma":[0.04848513,0.001884724,0.00001120477,0.004204319,0.004361787,0.00003742275,0.0004822306,0.0000482248,0.9404849],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6143321,"threshold_uncertainty_score":0.9999167,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000820784,0.0002408353,0.0003435234,0.0000547269,0.0006789222,0.00005114509,0.0002368506,0.0003085784,0.002240935],"category_scores_gemma":[0.0003043959,0.0002576462,0.0001940196,0.0003841575,0.0008420999,0.000507088,0.00006891522,0.0003321418,0.004714403],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000285183,"about_ca_system_score_gemma":0.0001156115,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001672195,"about_ca_topic_score_gemma":0.00005581459,"domain_scores_codex":[0.9976044,0.0004156071,0.0003028446,0.0002738782,0.0003589069,0.001044339],"domain_scores_gemma":[0.9988545,0.0003120495,0.00006086319,0.0002079495,0.0001161014,0.000448602],"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":[0.000004787377,0.0002296054,0.001481694,0.00005095571,0.00003344015,0.000007352761,0.1267905,4.355744e-8,0.00003689985,0.1572171,0.7045591,0.00958851],"study_design_scores_gemma":[0.00009623128,0.00007690837,0.0008236177,0.00003958816,0.00005813472,0.000005599576,0.01458639,0.000002010102,0.0002552798,0.005057055,0.97868,0.0003192167],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0005197568,0.06264125,0.0007711145,0.02074221,0.00609418,0.0001788917,0.00002431182,0.0001530419,0.9088752],"genre_scores_gemma":[0.6021491,0.007442506,0.000555892,0.001961957,0.00327688,0.0000390621,0.000006289446,0.00002460431,0.3845437],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.6016294,"threshold_uncertainty_score":0.9999876,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001196158,0.0005366092,0.000573292,0.0001742635,0.001876372,0.002201439,0.0004872606,0.000534468,0.007314656],"category_scores_gemma":[0.0006047945,0.000571027,0.000344095,0.0001713429,0.002016216,0.001481277,0.0002171234,0.0008614465,0.001968561],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003861539,"about_ca_system_score_gemma":0.001034797,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.0138695,"about_ca_topic_score_gemma":0.09979462,"domain_scores_codex":[0.9964184,0.0007039218,0.0007866364,0.0006831488,0.0003969978,0.001010948],"domain_scores_gemma":[0.9977348,0.0002971124,0.0002413827,0.0006439623,0.0006524285,0.0004303055],"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":[0.00003703674,0.0006757619,0.0001243191,0.0002751549,0.00009915182,0.0001428239,0.02630089,0.000002771061,0.0008369907,0.5880424,0.3826022,0.0008604786],"study_design_scores_gemma":[0.0007384125,0.000275067,0.001619545,0.0003475017,0.0001642176,0.0001081864,0.006277799,0.0002730484,0.001570509,0.01081914,0.9770868,0.0007197097],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1354146,0.006241151,0.0006947258,0.07584944,0.003009776,0.0009894968,0.001269714,0.0006823895,0.7758487],"genre_scores_gemma":[0.596222,0.003286519,0.0007433539,0.002755745,0.008058008,0.0001159595,0.000490644,0.000137801,0.3881899],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5944846,"threshold_uncertainty_score":0.9996741,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001607172,0.000474842,0.0004489759,0.00008699452,0.0006734829,0.00168759,0.0002966869,0.0003973013,0.06421068],"category_scores_gemma":[0.00003873735,0.0004447752,0.0003400054,0.00006440412,0.0007416813,0.001372395,0.00003002661,0.0006679472,0.01484879],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005095694,"about_ca_system_score_gemma":0.00006363829,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00034619,"about_ca_topic_score_gemma":0.0004283208,"domain_scores_codex":[0.9976788,0.0001860024,0.000496121,0.0005006584,0.0002870174,0.0008513671],"domain_scores_gemma":[0.9985774,0.000081142,0.00005439296,0.0004509092,0.000463689,0.0003724567],"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":[0.000005347368,0.0001420778,0.000005649052,0.0002482554,0.00003965242,0.00005186038,0.01454377,3.034872e-7,0.00009980833,0.4841787,0.499278,0.001406532],"study_design_scores_gemma":[0.0004905775,0.0001596179,0.00009858908,0.0004280433,0.0001238381,0.00006731242,0.006806027,0.0000315502,0.0003449395,0.02897052,0.9618819,0.0005970252],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.003961559,0.02061225,0.0001551783,0.05025423,0.005232151,0.000649464,0.0006313922,0.0002148035,0.9182889],"genre_scores_gemma":[0.1880887,0.0005961679,0.0001382404,0.01384242,0.005427928,0.0001531215,0.0002816061,0.00008247807,0.7913894],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4626039,"threshold_uncertainty_score":0.9998004,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007863052,0.0004378628,0.0005020103,0.00005500329,0.0007268989,0.0001803562,0.0006092438,0.0007813446,0.01517265],"category_scores_gemma":[0.0002808029,0.0004223268,0.0003156706,0.0005487546,0.000820916,0.001030123,0.00008054337,0.0008026854,0.01662243],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003394912,"about_ca_system_score_gemma":0.0002812044,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000455999,"about_ca_topic_score_gemma":0.001591864,"domain_scores_codex":[0.9966958,0.0006203719,0.0004275193,0.00073957,0.0006027523,0.0009139811],"domain_scores_gemma":[0.9984786,0.00008455581,0.0001566193,0.0005269503,0.0003359425,0.0004173699],"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":[0.0000249233,0.0003170097,0.0005657375,0.0003678817,0.00004528164,0.00005761929,0.05574617,0.00000835671,0.001230146,0.1370019,0.8030951,0.001539797],"study_design_scores_gemma":[0.0003597478,0.0002099513,0.0001298864,0.0004317765,0.00005914855,0.00003416362,0.01014476,0.00001938792,0.0003911295,0.005366605,0.9822662,0.0005872067],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04761021,0.01539307,0.00005938161,0.02679736,0.006751559,0.001886985,0.00009662031,0.0003679808,0.9010369],"genre_scores_gemma":[0.1021811,0.001188998,0.0003860933,0.003421932,0.001788098,0.000126268,0.00005733851,0.00006128897,0.8907889],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1791711,"threshold_uncertainty_score":0.9998229,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004062527,0.0001993748,0.0003017263,0.00002455303,0.0008707874,0.0001057189,0.0002559851,0.0001883591,0.005198103],"category_scores_gemma":[0.0004221869,0.0001816921,0.0001750073,0.0003126986,0.0009189688,0.0003389591,0.00009909512,0.0002266197,0.02624553],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002476409,"about_ca_system_score_gemma":0.00004006808,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004907157,"about_ca_topic_score_gemma":0.001297922,"domain_scores_codex":[0.9982434,0.0002433631,0.0002271186,0.0003492454,0.0003792964,0.0005575952],"domain_scores_gemma":[0.9991611,0.0001378895,0.00006066261,0.0001507674,0.0002104386,0.0002791439],"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":[0.000003094953,0.00006430026,0.0001212519,0.00002385508,0.00001294251,0.000006143324,0.002542005,3.818181e-7,0.00001055746,0.4209724,0.5717894,0.004453616],"study_design_scores_gemma":[0.0001562027,0.00009561811,0.0003851008,0.00006728464,0.00004705024,0.0000016934,0.001827523,0.000008332254,0.00001938659,0.007698611,0.9894221,0.0002710849],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.001328541,0.002169776,0.0001399696,0.05278618,0.006562933,0.0001394817,0.00002613911,0.0001066767,0.9367403],"genre_scores_gemma":[0.0823297,0.001999447,0.0001849194,0.003604368,0.002390005,0.00002452064,0.00002046358,0.00001403658,0.9094325],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4176327,"threshold_uncertainty_score":0.9957113,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001340882,0.0002661867,0.0002933889,0.0002586695,0.0005291557,0.0003169989,0.0002907001,0.0003462891,0.002067584],"category_scores_gemma":[0.0002954206,0.0003045211,0.0002220718,0.00007665951,0.0009308298,0.0005180162,0.00004451289,0.0008213235,0.0005176881],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003174265,"about_ca_system_score_gemma":0.0003589442,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001524609,"about_ca_topic_score_gemma":0.005295756,"domain_scores_codex":[0.9970844,0.001595138,0.0004265195,0.0002489597,0.0002659542,0.0003790249],"domain_scores_gemma":[0.9979033,0.000417175,0.0001773171,0.0004630273,0.0006286542,0.0004104839],"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":[0.00005594811,0.0003484128,0.00008086421,0.0001288094,0.00006536197,0.00008961877,0.0476367,0.000003509672,0.0001969146,0.30089,0.645445,0.005058825],"study_design_scores_gemma":[0.0005889728,0.0001918481,0.000306974,0.0003535676,0.000110574,0.0003895406,0.009137418,0.00006810766,0.0001447966,0.008899755,0.9794667,0.0003416922],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02481372,0.02684228,0.0004585884,0.01531254,0.002991889,0.0003296396,0.0002033178,0.0002337955,0.9288142],"genre_scores_gemma":[0.7035464,0.01963926,0.0002860314,0.006970331,0.002608306,0.0002580498,0.0005306317,0.0001357218,0.2660252],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.6787327,"threshold_uncertainty_score":0.9999407,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002572473,0.0001402051,0.0001966831,0.00002845455,0.0004001896,0.00007151822,0.0001987601,0.0001694618,0.007381996],"category_scores_gemma":[0.0002011833,0.0001448437,0.00011206,0.0002380977,0.0005652885,0.0004261542,0.00004672607,0.0002216432,0.01428131],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002171886,"about_ca_system_score_gemma":0.0001010843,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003754774,"about_ca_topic_score_gemma":0.0004028384,"domain_scores_codex":[0.9985843,0.0002745384,0.0001994116,0.0002267238,0.0001765518,0.0005384205],"domain_scores_gemma":[0.9992913,0.0001740999,0.0000327764,0.0001311008,0.0001186835,0.0002520599],"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":[0.000001252941,0.00008134061,0.0007549176,0.00004059675,0.00001275342,0.00001298581,0.0177281,1.763245e-7,0.0001102206,0.07693194,0.8965228,0.007802938],"study_design_scores_gemma":[0.00007916354,0.00004314411,0.001217643,0.00006009012,0.00001509681,0.00000375218,0.001357963,0.00002179698,0.00003805773,0.009700752,0.9872788,0.0001837849],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02900807,0.02459247,0.0002898403,0.1626607,0.002364973,0.000253512,0.00002240628,0.0001027634,0.7807052],"genre_scores_gemma":[0.04667562,0.001168267,0.0009413282,0.01042695,0.001350638,0.00006056539,0.000005571481,0.00001474357,0.9393563],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1586511,"threshold_uncertainty_score":0.9935254,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006799061,0.0005701614,0.0005866252,0.0001171962,0.004360712,0.0004119607,0.0005202953,0.0002518605,0.02720262],"category_scores_gemma":[0.0000742252,0.0004153569,0.0002514883,0.0001163805,0.002481033,0.001857026,0.0003322476,0.0009997626,0.02067542],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009451235,"about_ca_system_score_gemma":0.0001447,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006028317,"about_ca_topic_score_gemma":0.001277192,"domain_scores_codex":[0.9971924,0.000278071,0.0006451593,0.0004380682,0.0003069868,0.001139248],"domain_scores_gemma":[0.9980858,0.0002560232,0.0001736023,0.0007551443,0.000572289,0.0001571548],"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":[0.00003405612,0.0002557733,0.0022586,0.0004590973,0.0001210911,0.000005142608,0.04306084,0.00001089096,0.00002667908,0.03615086,0.8942769,0.02334009],"study_design_scores_gemma":[0.0003331696,0.0004156132,0.007846729,0.000210005,0.0001135653,0.00008415047,0.003289798,0.0005964856,0.0001307376,0.0008650839,0.9855527,0.0005619945],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.562752,0.01140057,0.00003549715,0.03526846,0.005976003,0.000735584,0.0002115883,0.0001579562,0.3834623],"genre_scores_gemma":[0.5207915,0.006861562,0.00005339182,0.002644275,0.003220275,0.000266528,0.00006779905,0.00004480162,0.4660498],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09127579,"threshold_uncertainty_score":0.9998298,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003073965,0.000395071,0.0004073481,0.0001666354,0.0005379149,0.000526552,0.0002144101,0.0002926614,0.007688283],"category_scores_gemma":[0.0001222569,0.0003825807,0.0002821575,0.0001220069,0.0009210069,0.0004694354,0.00006647385,0.0004940814,0.0005096286],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001108896,"about_ca_system_score_gemma":0.00004682785,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009294754,"about_ca_topic_score_gemma":0.002550799,"domain_scores_codex":[0.9982051,0.000184674,0.0003445034,0.0004727208,0.0002285144,0.0005644364],"domain_scores_gemma":[0.9987316,0.0002483724,0.0000787364,0.0003160069,0.0001392187,0.0004860238],"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":[0.0000220986,0.00008950097,0.0001422503,0.0001770986,0.00004807043,0.000009729592,0.008641359,1.427253e-7,0.0002706709,0.4266976,0.5613551,0.002546389],"study_design_scores_gemma":[0.0005933982,0.0002565489,0.0007277803,0.000379454,0.000127391,0.00002727472,0.001736122,0.00005299456,0.001037577,0.02457323,0.9700016,0.0004865873],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0738337,0.05100974,0.001183796,0.02267625,0.009545204,0.001023217,0.00120311,0.0005744954,0.8389505],"genre_scores_gemma":[0.7216211,0.007178882,0.0004114386,0.01365732,0.01035882,0.0000839253,0.0003563307,0.0001411821,0.246191],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.6477874,"threshold_uncertainty_score":0.9998626,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005191414,0.0002316499,0.000299963,0.00004576048,0.0009684402,0.00008431785,0.0002414825,0.0002193439,0.001187554],"category_scores_gemma":[0.0001447227,0.0002201717,0.0002627378,0.0004918427,0.001746418,0.0007099193,0.0001186945,0.0002695763,0.001751102],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001582077,"about_ca_system_score_gemma":0.00005964148,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002046315,"about_ca_topic_score_gemma":0.0008399123,"domain_scores_codex":[0.9980544,0.0003155957,0.0002293783,0.0002734927,0.0003521271,0.00077504],"domain_scores_gemma":[0.999146,0.0001507552,0.00007285354,0.0001356165,0.0001348384,0.0003599408],"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":[0.000006249387,0.0005092741,0.002257421,0.00006371193,0.00005537346,0.00001612571,0.01860145,1.503598e-7,0.0002252285,0.6548976,0.3210218,0.002345541],"study_design_scores_gemma":[0.0002152584,0.00003495433,0.005219398,0.00007413686,0.00008783131,0.000006709517,0.008676744,0.000001038028,0.0001520655,0.001636356,0.983584,0.0003114512],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02331678,0.01156912,0.000132444,0.0156089,0.003991514,0.0002296536,0.00005900591,0.0001391623,0.9449534],"genre_scores_gemma":[0.6367598,0.006322327,0.0002875111,0.0007895398,0.001631344,0.00004976755,0.00001941961,0.00002248002,0.3541178],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.6625623,"threshold_uncertainty_score":0.9997255,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000543769,0.0002455963,0.0003322664,0.00009580737,0.0004467475,0.0006074111,0.0002033357,0.0001671011,0.0110057],"category_scores_gemma":[0.0003881104,0.000247383,0.0002562835,0.00003720328,0.0005846187,0.0001423373,0.00006462795,0.000283317,0.003816379],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003150726,"about_ca_system_score_gemma":0.00005850195,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004659961,"about_ca_topic_score_gemma":0.0009247732,"domain_scores_codex":[0.998543,0.0002238692,0.0003275839,0.000311169,0.0002018886,0.0003925535],"domain_scores_gemma":[0.9988152,0.0002813461,0.00007922166,0.0003606347,0.0002838023,0.0001798434],"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":[0.000003396905,0.0001173294,0.0001243884,0.00009624357,0.00005852115,0.00004493719,0.001760642,0.000007185373,0.000003053985,0.7015265,0.2945026,0.001755167],"study_design_scores_gemma":[0.0002309762,0.00007300463,0.0001351982,0.0001637456,0.0003179526,0.00001302424,0.0009785065,0.001182681,0.00002962844,0.02212593,0.9744263,0.0003230482],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.002817904,0.002977639,0.0005820144,0.01945774,0.001922512,0.00007744755,0.0001211155,0.00006520964,0.9719784],"genre_scores_gemma":[0.5023638,0.001237097,0.0001065381,0.002777694,0.01172415,0.00001758901,0.0001004643,0.00005473565,0.4816179],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.6799237,"threshold_uncertainty_score":0.9999979,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0003504948,0.0003543561,0.0002695211,0.0001681482,0.000218396,0.005379853,0.0004628616,0.0002176112,0.0002718895],"category_scores_gemma":[0.0001309641,0.0002728085,0.000228304,0.0006940258,0.0005823231,0.004518109,0.0002810396,0.0003639261,0.0007641256],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009721562,"about_ca_system_score_gemma":0.0001723059,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001193395,"about_ca_topic_score_gemma":0.0007272146,"domain_scores_codex":[0.9979612,0.0002345908,0.0003402613,0.000575337,0.0002969006,0.0005917025],"domain_scores_gemma":[0.9988899,0.0002614866,0.00003634846,0.0003513864,0.0001720576,0.0002887987],"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":[0.000006429406,0.0001811162,0.00007711196,0.0006150345,0.00007484506,0.001376631,0.007597934,0.000002860228,0.001803358,0.7644365,0.1590498,0.06477839],"study_design_scores_gemma":[0.0001207164,0.0002129616,0.0006135136,0.001629649,0.00003261279,0.0006927056,0.0002295888,0.0007235077,0.00434644,0.05916212,0.931841,0.0003951546],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04795204,0.04957448,0.01148541,0.01971529,0.003575107,0.0007507082,0.000156154,0.0008044462,0.8659863],"genre_scores_gemma":[0.7206661,0.005086517,0.002991131,0.001108356,0.0004963432,0.00007680392,0.00003401652,0.0000493889,0.2694913],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7727913,"threshold_uncertainty_score":0.9999724,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006803071,0.0002351165,0.0002897777,0.00003403025,0.0008210973,0.0003333089,0.0002469927,0.0003017769,0.001400599],"category_scores_gemma":[0.0004964675,0.0002267029,0.0002431077,0.000351102,0.001153334,0.0002404916,0.0001080092,0.0004512548,0.004054685],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001594067,"about_ca_system_score_gemma":0.0002892049,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001272499,"about_ca_topic_score_gemma":0.0008014137,"domain_scores_codex":[0.9980379,0.0003809395,0.0002776746,0.0004108823,0.0003263652,0.0005661767],"domain_scores_gemma":[0.9991033,0.0003858093,0.00003467142,0.0001486183,0.0001529937,0.0001746022],"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":[0.000001750583,0.00004728333,0.0000735425,0.0001302268,0.00005850359,0.0001525034,0.01421474,5.909693e-7,0.000009506524,0.5359536,0.4437221,0.005635632],"study_design_scores_gemma":[0.00009920138,0.00003489195,0.0002480795,0.0003865123,0.00007872254,0.00001000488,0.009181025,0.00004243872,0.00003309164,0.02906064,0.9605394,0.0002859779],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.004477832,0.05930915,0.0002102833,0.08042412,0.007190867,0.0002053498,0.00009220294,0.0002806243,0.8478096],"genre_scores_gemma":[0.3686424,0.005395769,0.0001879417,0.0008601507,0.003457957,0.00004165362,0.0000210523,0.00002915069,0.6213639],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5168173,"threshold_uncertainty_score":0.9995123,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001244878,0.0002099364,0.0002691783,0.0001143043,0.002426453,0.000007234159,0.0006291005,0.000173681,0.01568969],"category_scores_gemma":[0.00008098424,0.0002643973,0.0001777696,0.0002331368,0.002689391,0.0003336108,0.0003439668,0.001264406,0.001486788],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003586742,"about_ca_system_score_gemma":0.0003261958,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004104227,"about_ca_topic_score_gemma":0.001013713,"domain_scores_codex":[0.9959204,0.002195078,0.0002725362,0.0004718822,0.0004268478,0.0007133101],"domain_scores_gemma":[0.9990031,0.000247806,0.00008747472,0.0003125989,0.00005086127,0.0002981636],"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":[0.000095711,0.0002368732,0.0005593667,0.00004594684,0.00002921692,0.0002479288,0.0413362,0.00002518658,0.000148766,0.2950346,0.6220797,0.04016053],"study_design_scores_gemma":[0.0001807675,0.0002712912,0.0008485778,0.00001613881,0.00003523291,0.00005710661,0.003285016,0.00008666001,0.00003116548,0.05641405,0.9384747,0.0002993455],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.08487896,0.02554973,0.0004978915,0.09434775,0.009898522,0.0007338685,0.0002278684,0.0003532545,0.7835122],"genre_scores_gemma":[0.3130887,0.0008863288,0.00102196,0.009189966,0.001380058,0.0001203513,0.0001170862,0.00004673203,0.6741488],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.316395,"threshold_uncertainty_score":0.9999808,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007539092,0.0004700989,0.0004226653,0.00009251746,0.00113124,0.0008373599,0.000403689,0.0002597111,0.03047321],"category_scores_gemma":[0.00005822906,0.0004876811,0.0003242012,0.0001338958,0.0002402282,0.0004543263,0.0001778349,0.001556255,0.0005043144],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002020216,"about_ca_system_score_gemma":0.0002186214,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007342366,"about_ca_topic_score_gemma":0.002788416,"domain_scores_codex":[0.9969307,0.0009624166,0.0004137489,0.0004987884,0.0003215641,0.0008728264],"domain_scores_gemma":[0.998909,0.0001688906,0.0001085617,0.0004362254,0.0001131399,0.0002641889],"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":[0.00005494261,0.0003187718,0.0002170062,0.0001728028,0.00005647277,0.0005530397,0.0373041,0.0000159424,0.0002220887,0.4088373,0.5517957,0.0004518338],"study_design_scores_gemma":[0.0005073161,0.0002910024,0.0004692917,0.0001742983,0.0001516017,0.0004407311,0.005796736,0.0001080224,0.0002082761,0.0109964,0.9802633,0.0005930175],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.05076871,0.05072362,0.0001276824,0.09554917,0.003159645,0.0007570554,0.003114635,0.0003452489,0.7954543],"genre_scores_gemma":[0.2849591,0.0003000533,0.0002298222,0.02098743,0.001238466,0.0001855495,0.0006651803,0.0001091571,0.6913252],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4284676,"threshold_uncertainty_score":0.9997575,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003395686,0.0003320122,0.0003180862,0.0001528796,0.0004108344,0.001322547,0.0001970481,0.0002081008,0.05168071],"category_scores_gemma":[0.00006197771,0.0003445132,0.0002760448,0.00007672098,0.0006809401,0.0005163436,0.00005078314,0.0004649091,0.02936187],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009353016,"about_ca_system_score_gemma":0.0001618123,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001868361,"about_ca_topic_score_gemma":0.0005625992,"domain_scores_codex":[0.9981986,0.0001144787,0.0003945211,0.0004777781,0.0002262983,0.0005882817],"domain_scores_gemma":[0.9989226,0.0003581106,0.00002776197,0.0003508494,0.0001402609,0.0002004131],"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":[0.000007864004,0.00007055717,0.000001811155,0.0004472636,0.00003691313,0.0003139439,0.004587602,0.000001043761,0.00004025547,0.481598,0.5062387,0.006656057],"study_design_scores_gemma":[0.0001720299,0.0001624232,0.00001471043,0.0008323577,0.0001170772,0.00007860415,0.001847909,0.0005738242,0.0002068098,0.01756228,0.9780033,0.000428629],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00146754,0.08455834,0.0009250875,0.02617629,0.01046462,0.000301228,0.0005198297,0.0005150379,0.8750721],"genre_scores_gemma":[0.06322236,0.003202779,0.00007282515,0.00256517,0.006056074,0.00005004272,0.00009415132,0.00009238158,0.9246442],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4717647,"threshold_uncertainty_score":0.9999007,"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":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003198548,0.0002202054,0.0003076792,0.00004147719,0.0002268544,0.0005536312,0.0001365583,0.0001109265,0.01379052],"category_scores_gemma":[0.00005625792,0.0001396694,0.0001912784,0.00003645201,0.0009565396,0.0002772499,0.00007147049,0.0003305716,0.001321921],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002328696,"about_ca_system_score_gemma":0.00004254264,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000102593,"about_ca_topic_score_gemma":0.0008043924,"domain_scores_codex":[0.9988286,0.0001347312,0.0003520641,0.0002608059,0.0001593896,0.0002644041],"domain_scores_gemma":[0.99932,0.0002193173,0.00004159289,0.0002061812,0.0001245396,0.00008832314],"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":[0.00001716359,0.00003631619,0.000003068507,0.0004177236,0.00005219637,0.00002343959,0.01353866,2.979683e-7,0.00009981954,0.6686295,0.3144925,0.002689394],"study_design_scores_gemma":[0.0003853971,0.00007527667,0.0001380755,0.0008071353,0.00009921907,0.00005040984,0.007067224,0.0002142719,0.0002499238,0.006835394,0.9838843,0.0001933564],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03114647,0.03781272,0.00003221047,0.09502146,0.003116747,0.0005643,0.0002209526,0.0001325023,0.8319526],"genre_scores_gemma":[0.395481,0.004040849,0.00001499416,0.00164448,0.0006248528,0.00003414901,0.00002952243,0.0000241627,0.598106],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6693919,"threshold_uncertainty_score":0.9994557,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003308175,0.0002890253,0.0003784404,0.0000928458,0.0001143773,0.0001186191,0.0004486274,0.0003949603,0.06317237],"category_scores_gemma":[0.00007752076,0.0003587729,0.0002100137,0.0001742542,0.0002979749,0.0004567413,0.000136423,0.0005563679,0.1491003],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008316588,"about_ca_system_score_gemma":0.00007727652,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002993142,"about_ca_topic_score_gemma":0.00006468056,"domain_scores_codex":[0.9977669,0.0003242282,0.0003029891,0.0005381244,0.0002653124,0.0008024464],"domain_scores_gemma":[0.9984633,0.0001861217,0.00008606925,0.0008067355,0.0001140236,0.000343705],"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":[0.0001200916,0.0007077531,0.00770768,0.0002425087,0.00009709652,0.0002025988,0.001898597,0.000007445919,0.0003304694,0.03282686,0.949392,0.006466956],"study_design_scores_gemma":[0.001222367,0.0004256299,0.02359738,0.0002536691,0.00006021543,0.00006157625,0.0007830297,0.00004116351,0.0004311072,0.001173317,0.9715608,0.0003897885],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.1272266,0.008165045,0.0003239637,0.05065925,0.008252215,0.0005793237,0.0003640102,0.0001116058,0.804318],"genre_scores_gemma":[0.2166078,0.0004303763,0.0001715283,0.003966155,0.0007209984,0.000009726532,0.00006531026,0.00003856224,0.7779896],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.08938123,"threshold_uncertainty_score":0.9998865,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.002557012,0.0004344783,0.0005468943,0.000118444,0.001114271,0.0002007415,0.0003766476,0.0007143921,0.002168066],"category_scores_gemma":[0.0007417082,0.0005134552,0.0003623671,0.0009116916,0.001695731,0.000751246,0.00009456887,0.000730831,0.001660928],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007679065,"about_ca_system_score_gemma":0.0002558107,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01818367,"about_ca_topic_score_gemma":0.07764579,"domain_scores_codex":[0.9962071,0.0005501399,0.0006353685,0.0005904016,0.0006979503,0.001319019],"domain_scores_gemma":[0.9977884,0.000802812,0.0001357408,0.000291818,0.0005106928,0.0004704889],"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":[0.00002122138,0.0002570095,0.0001562657,0.00009192048,0.00006359642,0.0001352851,0.02686421,0.000001830119,0.0001792891,0.4637781,0.5009032,0.007548034],"study_design_scores_gemma":[0.0004286751,0.0001589414,0.002643864,0.0002498447,0.00008695369,0.000007175986,0.005929989,0.00002194614,0.0005392249,0.03406719,0.955282,0.0005841981],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00868211,0.03723736,0.004660823,0.2644746,0.004671328,0.0006421019,0.00009896026,0.0002958778,0.6792368],"genre_scores_gemma":[0.3525294,0.01680647,0.0009617726,0.02640658,0.003566902,0.00007364422,0.0001263198,0.0001029594,0.599426],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.4543788,"threshold_uncertainty_score":0.9997317,"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":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000389829,0.0002997763,0.0003777818,0.0001676196,0.002755465,0.0006051724,0.0003551214,0.00006319698,0.05951005],"category_scores_gemma":[0.0001426163,0.0003287022,0.0003740231,0.0000952564,0.001066766,0.0002327724,0.000262753,0.0004350325,0.0006200952],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001238207,"about_ca_system_score_gemma":0.0002722364,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002410333,"about_ca_topic_score_gemma":0.003472976,"domain_scores_codex":[0.9979397,0.0002355239,0.0004081597,0.0004325049,0.0003776048,0.0006065028],"domain_scores_gemma":[0.9989437,0.0001179024,0.0001125705,0.000413385,0.0002156791,0.0001967179],"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":[0.00001040845,0.0003563126,0.00008924019,0.00008452442,0.0001101535,0.0001607854,0.004281186,0.0001048428,0.000008599286,0.6252009,0.3687526,0.0008405106],"study_design_scores_gemma":[0.0002505786,0.0001340577,0.000052552,0.00006972045,0.0002960621,0.00001747976,0.0265819,0.0004437111,0.00004059281,0.07805296,0.8936585,0.0004018614],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.006122312,0.02336603,0.0001624436,0.06279633,0.003034988,0.000184306,0.001521882,0.0001061703,0.9027056],"genre_scores_gemma":[0.4126314,0.0008591348,0.00009832803,0.001376529,0.003317848,0.00007932994,0.0002836148,0.00006083027,0.581293],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5471479,"threshold_uncertainty_score":0.9999165,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}