{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":6,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":6,"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":"22ca73b4cdd5","filters":{"venue":"Dance Research"}},"results":[{"id":"W2043636045","doi":"10.3366/drs.2011.0026","title":"Points in Mental Space: an Interdisciplinary Study of Imagery in Movement Creation","year":2011,"lang":"en","type":"article","venue":"Dance Research","topic":"Action Observation and Synchronization","field":"Psychology","cited_by":39,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Western University","funders":"Medical Research Council; Ministerio de Ciencia e Innovación","keywords":"Dance; Psychology; Movement (music); Mental image; Session (web analytics); Task (project management); Cognitive psychology; Object (grammar); Cognition; Visual arts; Aesthetics; Computer science; Art; Artificial intelligence","authors":[{"name":"Jon May","is_ca":false},{"name":"Beatriz Calvo‐Merino","is_ca":false},{"name":"Scott deLahunta","is_ca":false},{"name":"Wayne McGregor","is_ca":false},{"name":"Rhodri Cusack","is_ca":false},{"name":"Adrian M. Owen","is_ca":true},{"name":"Michele Veldsman","is_ca":false},{"name":"Cristina Ramponi","is_ca":false},{"name":"Philip Barnard","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2068232094591278,"gpt":0.5060788124307671,"spread":0.2992556029716393,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001852597,0.0003759692,0.0003754208,0.00114419,0.00227906,0.002917978,0.0008488282,0.001000598,0.001304903],"category_scores_gemma":[0.004124188,0.0004041758,0.0003089042,0.0005921899,0.005826632,0.002318669,0.002975822,0.001874192,0.0001704448],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006686546,"about_ca_system_score_gemma":0.0005944267,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001659334,"about_ca_topic_score_gemma":0.002922811,"domain_scores_codex":[0.9983783,0.001022332,0.00004714466,0.000253952,0.0001616988,0.0001365243],"domain_scores_gemma":[0.9976186,0.001382515,0.0003586345,0.0001841928,0.0001243964,0.0003315973],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000135397,0.000558411,0.01188065,0.0001978896,0.00002734761,0.0007241229,0.9496136,0.0001514129,0.01721497,0.003985572,0.0002895377,0.01522107],"study_design_scores_gemma":[0.0001049534,0.001008091,0.1468882,0.0002756207,0.00005718508,0.003336175,0.803528,0.001988769,0.006431694,0.01289991,0.02336043,0.0001209935],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9937541,0.0002543968,0.001810167,0.0002834367,0.000006693036,0.00002527371,0.000006074785,0.00000633641,0.003853643],"genre_scores_gemma":[0.9957814,0.000233297,0.002311864,0.0001080542,0.000009172399,0.00003742272,0.00001039248,0.00001216672,0.00149624],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.002917978,"threshold_uncertainty_score":0.009797633,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2769775433","doi":"10.3366/drs.2017.0201","title":"Liberated Women and Travesty Fetishes: Conflicting Representations of Gender in Parisian Fin-de-Siècle Music-Hall Ballet","year":2017,"lang":"en","type":"article","venue":"Dance Research","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":27,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Fin de siecle; Ballet; Mores; Art; Opera; Tragedy (event); Humanities; Dance; Art history; Literature; Political science; Law","authors":[{"name":"Sarah Gutsche-Miller","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1846259429514051,"gpt":0.4536564454056092,"spread":0.2690305024542042,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00274533,0.0006643182,0.0003837924,0.002502289,0.01115676,0.01043317,0.0008920956,0.001676381,0.005138032],"category_scores_gemma":[0.002719518,0.0003017115,0.0001800193,0.001192638,0.03496915,0.003412693,0.005851006,0.0024592,0.0003532038],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.008626005,"about_ca_system_score_gemma":0.001724498,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03276403,"about_ca_topic_score_gemma":0.06964114,"domain_scores_codex":[0.9973643,0.001507374,0.00003654155,0.0002341419,0.0003600048,0.0004976136],"domain_scores_gemma":[0.9989693,0.0005111822,0.0001853814,0.00006358796,0.00008672161,0.0001838653],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00006372057,0.00001117331,0.002200025,0.00002811259,0.000007387673,0.0003882943,0.9266384,0.00003834991,0.0003722554,0.06176604,0.001032993,0.007453172],"study_design_scores_gemma":[0.00001189166,0.00007096402,0.008889304,0.0001375802,0.00001061384,0.0003272006,0.8800265,0.00006701876,0.00035163,0.00545668,0.1046203,0.00003041394],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8148412,0.003686223,0.001140323,0.007746502,0.0001960116,0.00001182443,0.00004145939,0.0000360643,0.1723004],"genre_scores_gemma":[0.9890808,0.0003554888,0.0000801516,0.0002713628,0.00003673743,0.000004036586,0.000006122204,0.00001228214,0.01015286],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03276403,"threshold_uncertainty_score":0.06514663,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2623581718","doi":"10.3366/drs.2017.0186","title":"Site, Adapt, Perform: A Practice-as-Research Confrontation with Climate Change","year":2017,"lang":"en","type":"article","venue":"Dance Research","topic":"Sustainability and Climate Change Governance","field":"Environmental Science","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Globe; Precarity; Popularity; Adaptation (eye); The arts; Aesthetics; Sociology; Timeline; Work (physics); Climate change; Environmental ethics; Visual arts; Architectural engineering; Art; History; Political science; Ecology; Engineering; Psychology; Gender studies; Law","authors":[{"name":"Melanie Kloetzel","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2404221012725266,"gpt":0.4776911534895358,"spread":0.2372690522170092,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0495783,0.0008097616,0.00112398,0.002714061,0.03587911,0.03194472,0.004367374,0.01286067,0.003445551],"category_scores_gemma":[0.03303092,0.0006517796,0.0007313556,0.003972495,0.1295503,0.01676743,0.02215461,0.0175009,0.0005001778],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009821756,"about_ca_system_score_gemma":0.01050678,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00340396,"about_ca_topic_score_gemma":0.008676199,"domain_scores_codex":[0.9136267,0.07643387,0.0006952881,0.002824777,0.003571867,0.002847472],"domain_scores_gemma":[0.942223,0.04697885,0.001829597,0.003277858,0.001468179,0.004222603],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002359304,0.0001137475,0.0005817465,0.00012542,0.000009784217,0.0006455176,0.7592549,0.0001768383,0.000241036,0.2239951,0.003723884,0.01110839],"study_design_scores_gemma":[0.00002081643,0.00006797643,0.0004037351,0.0002925394,0.000006636039,0.0004591703,0.842324,0.0002656726,0.0001716799,0.06548004,0.09048755,0.00002013052],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.3089494,0.01118683,0.02791048,0.4698068,0.003564594,0.0002560891,0.00003583149,0.0001544036,0.1781355],"genre_scores_gemma":[0.9724946,0.002733795,0.00491652,0.01220266,0.0005055703,0.0002014634,0.00001088525,0.00006955169,0.006864955],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0495783,"threshold_uncertainty_score":0.2621982,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3102047811","doi":"10.3366/drs.2020.0315","title":"The Limitations of the Archive: Lost Ballet Histories and the Case of Madame Mariquita","year":2020,"lang":"en","type":"article","venue":"Dance Research","topic":"Vietnamese History and Culture Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Ballet; Dance; Choreography; Narrative; State (computer science); Visual arts; Art; Art history; History; Historical record; Literature; Biography; Computer science","authors":[{"name":"Sarah Gutsche-Miller","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.154354881043943,"gpt":0.3760638212900574,"spread":0.2217089402461144,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002701098,0.0004890602,0.0004798604,0.001952481,0.03420808,0.007058169,0.002511779,0.00294857,0.00875416],"category_scores_gemma":[0.006743214,0.0005306347,0.0002118421,0.002836172,0.01878847,0.005763825,0.006234877,0.003994714,0.0006082585],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.012033,"about_ca_system_score_gemma":0.005812217,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1582432,"about_ca_topic_score_gemma":0.286233,"domain_scores_codex":[0.9979056,0.001131637,0.00005678664,0.0001849034,0.0002289773,0.0004920978],"domain_scores_gemma":[0.9978465,0.001039447,0.0003021992,0.0002204469,0.0001908473,0.000400601],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002473694,0.00001497391,0.002147373,0.00007595305,0.000004148057,0.00624659,0.9567539,0.00004312296,0.0001652358,0.02469096,0.002228883,0.007604071],"study_design_scores_gemma":[0.000002806762,0.00002237124,0.00227508,0.000341461,0.000009276862,0.001935596,0.8992805,0.00006212083,0.0001805255,0.001650493,0.09422511,0.00001462046],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8720132,0.00542151,0.0008990404,0.02607895,0.000210504,0.00008682903,0.0001220861,0.00003885398,0.09512905],"genre_scores_gemma":[0.9806392,0.001237489,0.0003016481,0.0008458277,0.0000391719,0.00004411764,0.00003252348,0.00003490452,0.01682511],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1582432,"threshold_uncertainty_score":0.3146443,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2895013564","doi":"10.3366/drs.2018.0221","title":"Parisian Music-Hall Ballet through the Eyes of its Critics","year":2018,"lang":"en","type":"article","venue":"Dance Research","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Ballet; Spectacle; Dance; Choreography; Art; Viewpoints; Visual arts; Musical; Period (music); Classical ballet; Concert dance; Performance art; Art history; Aesthetics","authors":[{"name":"Sarah Gutsche-Miller","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2877144724852655,"gpt":0.4961925513875252,"spread":0.2084780789022596,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005186812,0.0008493933,0.0004051565,0.003698557,0.008785576,0.01228044,0.0009951845,0.003104801,0.007591799],"category_scores_gemma":[0.01014584,0.0003224156,0.0002465965,0.00301016,0.02534791,0.004945488,0.002633035,0.005334401,0.001327362],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01643596,"about_ca_system_score_gemma":0.002494879,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03774732,"about_ca_topic_score_gemma":0.04392834,"domain_scores_codex":[0.995667,0.002386902,0.00009827482,0.0005709387,0.0008833911,0.000393465],"domain_scores_gemma":[0.9952593,0.002730596,0.0004964105,0.0002880397,0.0008693683,0.0003562199],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.000226092,0.00002974618,0.002663558,0.0005498335,0.00005083454,0.001354614,0.327284,0.0002349438,0.0006674262,0.4125054,0.1967319,0.0577016],"study_design_scores_gemma":[0.00001037388,0.00003222191,0.003931773,0.0003836866,0.00001575966,0.000286854,0.0612909,0.00006664504,0.0003030852,0.005181575,0.9284678,0.00002937595],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1193995,0.06562219,0.001814971,0.2275393,0.005077593,0.00003766537,0.0002699625,0.0003660229,0.5798727],"genre_scores_gemma":[0.8906749,0.008878605,0.0005151125,0.01352759,0.002491583,0.00002899202,0.00006028308,0.0002443578,0.08357865],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03774732,"threshold_uncertainty_score":0.1192518,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4410559727","doi":"10.3366/drs.2025.0441","title":"Managing a Career at the Paris Opéra: The Negotiations of Émilie Bigottini and Fanny Bias","year":2025,"lang":"en","type":"article","venue":"Dance Research","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Queen's University; Queen's University Belfast","keywords":"Art; Negotiation; Art history; Visual arts; Political science; Law","authors":[{"name":"Sarah McCleave","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1763354383335345,"gpt":0.3548566413423993,"spread":0.1785212030088648,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005900702,0.0004630721,0.0002727801,0.001295972,0.0253245,0.004853386,0.0008725924,0.002092566,0.0048373],"category_scores_gemma":[0.004239499,0.0002882105,0.0001322668,0.0006406899,0.01621661,0.002205506,0.004418508,0.003188564,0.0005249122],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01088721,"about_ca_system_score_gemma":0.005226774,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05640763,"about_ca_topic_score_gemma":0.1438388,"domain_scores_codex":[0.9973593,0.001141205,0.00002282887,0.0001492574,0.0002923866,0.001034944],"domain_scores_gemma":[0.9977883,0.0006858812,0.0002143408,0.00004202349,0.0001476293,0.001121835],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007063244,0.00005698439,0.008355611,0.00005291397,0.000006439966,0.002514503,0.840171,0.00006925968,0.0005511307,0.07853805,0.03379029,0.03582324],"study_design_scores_gemma":[0.00001210986,0.00008953556,0.01565891,0.0002224773,0.000005120506,0.00101031,0.5565873,0.00007137348,0.0002444863,0.002947245,0.4231176,0.00003352624],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7063428,0.01187445,0.0007795996,0.08034293,0.001483972,0.00006771545,0.00001889668,0.00004092741,0.1990486],"genre_scores_gemma":[0.9495789,0.00109193,0.0002265801,0.003467978,0.0003102508,0.00001903765,0.000003843879,0.00001766373,0.04528365],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05640763,"threshold_uncertainty_score":0.1121586,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}