{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":97,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":97,"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":"3d6ce4bdb999","filters":{"venue":"Fashion Studies"}},"results":[{"id":"W3081440429","doi":"10.38055/fs010201","title":"Clothing Fit Issues for Trans People","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":14,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Clothing; Theme (computing); Identity (music); Qualitative research; Psychology; Population; Sociology; Advertising; Public relations; Political science; Business; Aesthetics; Social science; Computer science; Art","authors":[{"name":"Andrew Reilly","is_ca":false},{"name":"Jory M. Catalpa","is_ca":false},{"name":"Jenifer K. McGuire","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1162764224328702,"gpt":0.3281394573617348,"spread":0.2118630349288647,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003065069,0.0004522898,0.000303664,0.001053551,0.0122609,0.006326553,0.0005992336,0.00173227,0.01071807],"category_scores_gemma":[0.003517355,0.0002745994,0.0004664818,0.001074779,0.005168533,0.003647581,0.006746389,0.002151848,0.000897044],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001991403,"about_ca_system_score_gemma":0.00178846,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009603074,"about_ca_topic_score_gemma":0.0210249,"domain_scores_codex":[0.9975926,0.00146414,0.00009665531,0.0001249813,0.0002631908,0.0004583877],"domain_scores_gemma":[0.9982431,0.0005453221,0.0002615138,0.0001532954,0.0003088491,0.0004879335],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003122127,0.00008720379,0.02183762,0.0001256738,0.00001160558,0.002720506,0.9360458,0.00002293266,0.001271216,0.0117719,0.003114179,0.02296003],"study_design_scores_gemma":[0.000001287098,0.00003383383,0.003149045,0.00007755867,0.000003508647,0.001077831,0.9715874,0.00001523662,0.00009228599,0.0007307943,0.02322547,0.000005823205],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9255109,0.001391921,0.001239936,0.003822183,0.0002117742,0.0000401916,0.00002896119,0.00002038605,0.06773384],"genre_scores_gemma":[0.9812754,0.001000261,0.0006478622,0.001887849,0.00004118575,0.00003977359,0.00003146098,0.00002050757,0.01505574],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0122609,"threshold_uncertainty_score":0.03585553,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3042858552","doi":"10.38055/fs010107","title":"Body Doubles: The Origins of the Fashion Mannequin","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Clothing; Bespoke; Aesthetics; Commodification; Art; Metaphor; Embodied cognition; Visual arts; Sociology; Advertising; Law; Business; Political science; Epistemology; Philosophy","authors":[{"name":"Alison Matthews David","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08709639199484027,"gpt":0.3019912934437481,"spread":0.2148949014489078,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001486032,0.0005368482,0.0002405789,0.001310374,0.005538208,0.007452996,0.0005143145,0.00157552,0.0109459],"category_scores_gemma":[0.001531936,0.0003437279,0.000303989,0.0005929492,0.02718437,0.004830332,0.003563667,0.002381382,0.001922376],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004442886,"about_ca_system_score_gemma":0.001560012,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008245186,"about_ca_topic_score_gemma":0.009135365,"domain_scores_codex":[0.9988568,0.000455188,0.00001841904,0.0002422838,0.0002140426,0.000213216],"domain_scores_gemma":[0.9994492,0.0002054808,0.00005458029,0.00009406744,0.0001031877,0.00009348747],"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":[0.00005155769,0.00001359673,0.0009620069,0.00004066975,0.000004283875,0.0006056614,0.07633051,0.000114895,0.0006331939,0.8972524,0.00407525,0.01991605],"study_design_scores_gemma":[0.00001580613,0.0001014392,0.003300995,0.0004203157,0.00001350128,0.001269238,0.03913135,0.0003295677,0.001976407,0.08274004,0.87065,0.00005132941],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1057941,0.005460788,0.01733888,0.009590529,0.0009396488,0.0000370216,0.0001258151,0.0002969184,0.8604163],"genre_scores_gemma":[0.8615252,0.001930258,0.003166183,0.001208307,0.0003414635,0.00002337083,0.00005217232,0.0002833498,0.1314697],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0109459,"threshold_uncertainty_score":0.03661764,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3081256681","doi":"10.38055/fs010105","title":"Flourishing Fashion: An Interpretive Phenomenological Analysis of the Experience of Wearing a Happy Outfit","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Flourishing; Psychology; Positive psychology; Social psychology; Interpretative phenomenological analysis; Identity (music); Coping (psychology); Meaning (existential); Clothing; Aesthetics; Qualitative research; Psychotherapist; Sociology; Art","authors":[{"name":"Rebecca Smith","is_ca":false},{"name":"Julia Yates","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1074378509154231,"gpt":0.3291008809851479,"spread":0.2216630300697248,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005236744,0.0008362461,0.0006490428,0.002015899,0.006842602,0.004777886,0.001104109,0.001287107,0.001778965],"category_scores_gemma":[0.005891381,0.0005315102,0.0006363303,0.001524653,0.01107158,0.003945109,0.003621018,0.002521474,0.0002386318],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001792506,"about_ca_system_score_gemma":0.001317813,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002387739,"about_ca_topic_score_gemma":0.00581812,"domain_scores_codex":[0.9973827,0.001877818,0.00008093666,0.0001708464,0.0002079041,0.0002797138],"domain_scores_gemma":[0.995648,0.003277001,0.0003061183,0.0002499525,0.0002581189,0.0002608598],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000041142,0.00003250134,0.001379861,0.0000801622,0.000004289262,0.0008308848,0.9925361,0.0000341584,0.001316438,0.001275069,0.0002685893,0.002200887],"study_design_scores_gemma":[0.00000589381,0.00005889116,0.002356949,0.0001004261,0.000007186649,0.0006243649,0.9870921,0.00009341873,0.0005104782,0.0007563271,0.00837482,0.00001915014],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9753844,0.0006981371,0.009724474,0.001427663,0.0001507967,0.0002350433,0.0002066303,0.00003125443,0.0121416],"genre_scores_gemma":[0.9923133,0.0008043515,0.002996836,0.0003909683,0.00004787866,0.0001865466,0.00008947941,0.0000404727,0.003130104],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006842602,"threshold_uncertainty_score":0.02769488,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080383035","doi":"10.38055/fs010106","title":"The Several Lives of a Collection of Rag Dump Clothing from Normandy (1900–55): From Farm, to Dump, to Poverty Chic","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Clothing; Denim; Vintage; Poverty; Textile; Abandonment (legal); Engineering; Advertising; Business; History; Political science; Archaeology; Law","authors":[{"name":"Lou Taylor","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05038034460262908,"gpt":0.2794993583919478,"spread":0.2291190137893188,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004720751,0.0004504798,0.0002105903,0.001290888,0.009121383,0.002277831,0.0005040606,0.000481169,0.005028058],"category_scores_gemma":[0.0008350226,0.0001814122,0.0001123066,0.001130588,0.007212242,0.001843314,0.001729768,0.001024339,0.0003737942],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0059569,"about_ca_system_score_gemma":0.001730258,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1443722,"about_ca_topic_score_gemma":0.4681037,"domain_scores_codex":[0.9995797,0.0001494903,0.00001298485,0.00006107429,0.0001058671,0.00009093232],"domain_scores_gemma":[0.9997239,0.0000953832,0.0000550824,0.00002221565,0.00004301727,0.00006046861],"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":[0.0001927899,0.00004141609,0.01611207,0.0002772037,0.00001607345,0.003232915,0.8247202,0.000112711,0.003487495,0.03106384,0.05224255,0.06850076],"study_design_scores_gemma":[0.000002226282,0.0000491889,0.06956222,0.0005517255,0.00000658292,0.001307046,0.2499764,0.00003550547,0.0007295292,0.0007514494,0.6770012,0.00002680973],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7839273,0.01970574,0.0006034175,0.006833398,0.001145426,0.00003786188,0.0007011744,0.00003356834,0.1870121],"genre_scores_gemma":[0.9007177,0.009227394,0.0007326864,0.0009036346,0.0002472459,0.00003788094,0.0003061582,0.00006662269,0.08776065],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1443722,"threshold_uncertainty_score":0.2870637,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2903679486","doi":"10.38055/fs010110","title":"Behind the Scenes with Louise Dahl-Wolfe and Toni Frissell: Alternative Views of Fashion Photography in Mid-Century America","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Bazaar; Vision; Clothing; Visual arts; Style (visual arts); Negotiation; Art; Sociology; History","authors":[{"name":"Rebecca Arnold","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0675601652177621,"gpt":0.2941729605878304,"spread":0.2266127953700683,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00541867,0.0006783992,0.0003124451,0.003341627,0.03325993,0.02083149,0.001322078,0.00514356,0.003117027],"category_scores_gemma":[0.006920463,0.000603048,0.0003603445,0.001388523,0.03902044,0.009284193,0.005764495,0.007654323,0.0005637989],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01504137,"about_ca_system_score_gemma":0.005722857,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.07863186,"about_ca_topic_score_gemma":0.1647522,"domain_scores_codex":[0.9945825,0.003597307,0.00007831852,0.0005493768,0.0005900147,0.000602459],"domain_scores_gemma":[0.9950722,0.003235925,0.0002849922,0.0001944818,0.0006184116,0.0005939264],"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":[0.00002752892,0.00002985513,0.001206945,0.00005697433,0.00000524262,0.001121618,0.8356934,0.00003435416,0.0004044397,0.1272422,0.02628886,0.00788861],"study_design_scores_gemma":[0.00000668409,0.00001247637,0.00106451,0.0002370864,0.000006073537,0.0004633704,0.4804905,0.0000564221,0.0003272646,0.006479249,0.5108361,0.00002017529],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.295237,0.03437365,0.005532306,0.1964417,0.004423353,0.00008642834,0.0001027952,0.0001542294,0.4636486],"genre_scores_gemma":[0.910711,0.005924289,0.001819171,0.01407334,0.001118042,0.00008115664,0.00003218029,0.0001650673,0.06607588],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.07863186,"threshold_uncertainty_score":0.1563484,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3107962515","doi":"10.38055/fs030105","title":"Indigenous Dress Theory in Canadian Residential Schools","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Canadian Identity and History","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Indigenous; Residential school; Clothing; Genocide; Politics; Sociology; Gender studies; Political science; Law; Socioeconomics","authors":[{"name":"Shawkay Ottmann","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03841582099030963,"gpt":0.2984444467090399,"spread":0.2600286257187302,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001611565,0.0003047446,0.0003194009,0.002516816,0.02255862,0.00541363,0.001270645,0.0007408642,0.00652867],"category_scores_gemma":[0.002137245,0.0002980741,0.0003261953,0.002987289,0.01535262,0.001554852,0.00273008,0.00144491,0.0002523241],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.08141179,"about_ca_system_score_gemma":0.04928327,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9812633,"about_ca_topic_score_gemma":0.9910085,"domain_scores_codex":[0.9986602,0.0002656886,0.00002853614,0.0001520801,0.0003385648,0.0005548891],"domain_scores_gemma":[0.9986396,0.0002255232,0.0001161681,0.000084476,0.0005335062,0.0004007095],"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":[0.00004845625,0.0000932349,0.02800221,0.0001235942,0.00001272049,0.0006627053,0.4182819,0.0003838904,0.0003597244,0.50971,0.005902718,0.03641892],"study_design_scores_gemma":[0.0000213297,0.00005649013,0.1179874,0.0005918402,0.00006304299,0.0003400369,0.6555372,0.001801935,0.0003796394,0.03341091,0.1897004,0.000109669],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5833049,0.00157271,0.001381021,0.003698663,0.00008475727,0.00005266037,0.0001077114,0.00002516855,0.4097723],"genre_scores_gemma":[0.9884639,0.0007265285,0.0004409103,0.0001463191,0.000007441315,0.000007685081,0.00002035201,0.000008278759,0.01017846],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.08141179,"threshold_uncertainty_score":0.5906866,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3110467757","doi":"10.38055/fs030108","title":"You Aren’t What You Wear: An Exploration into Infinifat Identity Construction and Performance through Fashion","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Obesity and Health Practices","field":"Health Professions","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Clothing; Identity (music); Poverty; Social identity theory; Sociology; Gender studies; Aesthetics; Psychology; Social psychology; Social group; Art; Political science","authors":[{"name":"Calla Evans","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2353027925644121,"gpt":0.470989677433596,"spread":0.2356868848691839,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006290543,0.000709332,0.0005367737,0.001745699,0.01218491,0.005633426,0.001582468,0.001548367,0.003891679],"category_scores_gemma":[0.006188912,0.0004994903,0.0003710134,0.0009744611,0.02011336,0.005551796,0.007051188,0.003455201,0.0004401628],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002449861,"about_ca_system_score_gemma":0.001684226,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007810747,"about_ca_topic_score_gemma":0.01414762,"domain_scores_codex":[0.9946769,0.003791295,0.0001049621,0.000301233,0.0004009576,0.0007247485],"domain_scores_gemma":[0.9964685,0.002379258,0.000283662,0.0001996575,0.0002291233,0.0004397677],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000222377,0.0000215858,0.001203436,0.00002471439,0.000001594401,0.0003647236,0.9913668,0.00001502407,0.0006221856,0.004329746,0.0001531343,0.001874769],"study_design_scores_gemma":[0.000002521394,0.00002874204,0.001053474,0.00003868989,0.000001866402,0.000271329,0.9917156,0.00008646612,0.0001780521,0.0007246482,0.005889066,0.000009476357],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9785661,0.0002192685,0.00258301,0.0008347156,0.00004676789,0.00003188043,0.00002174341,0.00001814231,0.01767841],"genre_scores_gemma":[0.9960189,0.0001180702,0.0006458632,0.0001183928,0.000007711767,0.00001918658,0.00001334794,0.0000213484,0.003037089],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01218491,"threshold_uncertainty_score":0.03326797,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3108082869","doi":"10.38055/fs030103","title":"Affect and Sensation","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"Bard Graduate Center, Bard College","keywords":"Affect (linguistics); Clothing; Embodied cognition; Visual arts; Narrative; TRACE (psycholinguistics); Aesthetics; Ethnography; Photo elicitation; Sociology; Psychology; History; Art; Communication; Computer science; Literature; Linguistics; Anthropology; Archaeology","authors":[{"name":"Ellen Sampson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1772914334477402,"gpt":0.2985678329734931,"spread":0.1212763995257529,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001029115,0.0005494242,0.000295096,0.001288095,0.003038344,0.008139909,0.0004719788,0.0021379,0.0104609],"category_scores_gemma":[0.002306049,0.0001446144,0.0003771565,0.0008320771,0.01535714,0.004197023,0.003312125,0.002144304,0.001200309],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001827405,"about_ca_system_score_gemma":0.0007018192,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001618167,"about_ca_topic_score_gemma":0.001128884,"domain_scores_codex":[0.9982449,0.0009737297,0.00005635077,0.0002241912,0.0002813648,0.000219477],"domain_scores_gemma":[0.9992087,0.0003888303,0.00009955664,0.0000979456,0.00008892884,0.0001159883],"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":[0.00008074339,0.00003804867,0.002096995,0.0002699814,0.0000291825,0.0003819972,0.0966821,0.0002578779,0.00156842,0.8224866,0.01580289,0.0603052],"study_design_scores_gemma":[0.00002300393,0.0001272507,0.01193256,0.0007019094,0.00003164559,0.001577087,0.05049418,0.0003343552,0.0008087981,0.2819722,0.6519315,0.00006559877],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04369752,0.02467476,0.01101323,0.01835619,0.001463496,0.00006092087,0.0001409768,0.0001289062,0.900464],"genre_scores_gemma":[0.946067,0.006756046,0.002451222,0.004614393,0.0006950886,0.00008823898,0.00006163453,0.00008061813,0.03918572],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.0104609,"threshold_uncertainty_score":0.03499526,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3081104326","doi":"10.38055/fs010111","title":"Let My Hair Be Me: An Investigation of Employee Authenticity and Organizational Appearance Policies Through the Lens of Black Women’s Hair","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Emotional Labor in Professions","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Workforce; Scholarship; Sociology; Black hair; Black women; Hierarchy; Identity (music); Gender studies; Psychology; Aesthetics; Political science; Art; Law","authors":[{"name":"Tina Opie","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08117591793648392,"gpt":0.3705682569936581,"spread":0.2893923390571742,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005075,0.0002967867,0.0002003206,0.001429375,0.008576423,0.005081688,0.0006549481,0.0009045015,0.003238881],"category_scores_gemma":[0.004818765,0.0002642802,0.0002441071,0.0007405113,0.00813561,0.002908241,0.00446165,0.001949018,0.0002111134],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003248776,"about_ca_system_score_gemma":0.002549165,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01517953,"about_ca_topic_score_gemma":0.03590607,"domain_scores_codex":[0.9978004,0.001500201,0.00002580352,0.0001230259,0.0002268306,0.0003237575],"domain_scores_gemma":[0.996425,0.001799588,0.0008084194,0.0001787348,0.0003764883,0.0004116574],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00006138002,0.0001067403,0.0249695,0.00006495461,0.00001149841,0.0002650726,0.9460329,0.00002226869,0.001051326,0.01403807,0.0009372823,0.01243907],"study_design_scores_gemma":[0.000003678015,0.00003742688,0.01965896,0.0001142661,0.000008939388,0.0000705522,0.9689842,0.00006290464,0.0002109572,0.001630032,0.009211504,0.000006478553],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9761796,0.0004262201,0.0004884558,0.002716134,0.00003764404,0.00001586884,0.00001575511,0.000002525279,0.02011789],"genre_scores_gemma":[0.9973846,0.0002587739,0.0002127977,0.0003592127,0.00001401561,0.00001296949,0.000006252848,0.000006392285,0.001745086],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01517953,"threshold_uncertainty_score":0.0301823,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4251443093","doi":"10.38055/fs030203","title":"Marks of Obsession: Appearance, Transformation, Pain, and the Abject Female Body","year":2021,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Historical Gender and Feminism Studies","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Psychology; Transformation (genetics); Psychoanalysis; Art; Gender studies; Sociology","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.04581880930205433,"gpt":0.3353482921440258,"spread":0.2895294828419714,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002048234,0.0003481545,0.0002175963,0.001025983,0.003100873,0.004363061,0.0005920239,0.001042447,0.002600004],"category_scores_gemma":[0.004019932,0.000187316,0.00025181,0.0005167826,0.02329101,0.003629947,0.004230665,0.001865807,0.0002035962],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009564073,"about_ca_system_score_gemma":0.0007083649,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007537862,"about_ca_topic_score_gemma":0.0009308574,"domain_scores_codex":[0.9984221,0.000983083,0.00003933108,0.0001143197,0.0002759993,0.000165128],"domain_scores_gemma":[0.9982932,0.0009820921,0.0002964981,0.0001911534,0.0001078231,0.0001292708],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00006126632,0.00003992192,0.003315757,0.00008377883,0.000006192868,0.001041814,0.8614531,0.00007442893,0.003084415,0.1170112,0.0005760147,0.01325214],"study_design_scores_gemma":[0.00001611942,0.0002656256,0.00827214,0.000273656,0.0000143796,0.00355197,0.9016674,0.000260631,0.003283171,0.02527809,0.05707001,0.00004669213],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.926194,0.00108448,0.006309287,0.003446132,0.0001243915,0.00002416307,0.00002277659,0.00003251109,0.06276236],"genre_scores_gemma":[0.9953921,0.0001752073,0.0005217869,0.0001454632,0.00002260311,0.00001284655,0.000006003491,0.00001478883,0.003709318],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.004363061,"threshold_uncertainty_score":0.01083225,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080948549","doi":"10.38055/fs010108","title":"Figurative Mobility: Veiling, Orientalism, and Unknowing Women in US Vogue, 1917–25","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Femininity; Literal and figurative language; White (mutation); Power (physics); Aesthetics; Normative; Gender studies; Sociology; Art; Literature; Philosophy; Linguistics; Epistemology","authors":[{"name":"Ilya Parkins","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05794355594286214,"gpt":0.2984859405494857,"spread":0.2405423846066236,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001378206,0.0004621915,0.0003030243,0.001530833,0.01380427,0.00658167,0.0004657444,0.001924667,0.003354142],"category_scores_gemma":[0.002016621,0.0002899418,0.0001894862,0.001156717,0.02801155,0.003837101,0.003898708,0.002614135,0.000311706],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006053731,"about_ca_system_score_gemma":0.001116185,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03474983,"about_ca_topic_score_gemma":0.06320258,"domain_scores_codex":[0.9990298,0.0005032977,0.00002186513,0.0001146184,0.00006759927,0.0002628304],"domain_scores_gemma":[0.9995353,0.0002710796,0.00004909303,0.00004420605,0.00003175327,0.00006860937],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003251201,0.000009887991,0.001169979,0.00002161763,0.000002461062,0.000405513,0.8401909,0.0000277671,0.0002904783,0.1498459,0.001542467,0.006460485],"study_design_scores_gemma":[0.000009954645,0.00007715566,0.009191363,0.0002671027,0.000008125177,0.0007679241,0.476295,0.0000915812,0.0007381456,0.02045009,0.4920453,0.00005831924],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6730881,0.01390367,0.001126409,0.00623383,0.0004632566,0.00002665416,0.00007758899,0.00004030257,0.3050401],"genre_scores_gemma":[0.9798647,0.0008698177,0.00008874637,0.0002518011,0.00006581097,0.000007442904,0.00001238584,0.00001828596,0.01882105],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03474983,"threshold_uncertainty_score":0.06909513,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3081426449","doi":"10.38055/fs010102","title":"Ogling, Quizzing, and Spying: The Eyeglass","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Staring; Gaze; Virtue; Enlightenment; Object (grammar); Politeness; Gossip; Art; Visual arts; Aesthetics; Sociology; Philosophy; Psychology; Law; Psychoanalysis; Epistemology; Political science; Linguistics; Communication","authors":[{"name":"Susan Vincent","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09167936382275693,"gpt":0.2985168259738138,"spread":0.2068374621510569,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006154106,0.0002429052,0.00009107574,0.0007339375,0.003723424,0.003819779,0.0002371651,0.0005987661,0.004012303],"category_scores_gemma":[0.0009653535,0.0001209918,0.00009771689,0.0005750111,0.01266557,0.002239496,0.001509739,0.001333313,0.0004678145],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002139474,"about_ca_system_score_gemma":0.000746567,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.012807,"about_ca_topic_score_gemma":0.03022238,"domain_scores_codex":[0.9996963,0.0001274935,0.000008044914,0.00004442221,0.00005862373,0.0000650661],"domain_scores_gemma":[0.9996601,0.000154933,0.00005396789,0.00003547116,0.0000347915,0.00006065083],"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":[0.0001376281,0.0000348065,0.005756678,0.0001623879,0.000009467963,0.001678503,0.5602689,0.00007506726,0.001316795,0.3459098,0.02160361,0.0630463],"study_design_scores_gemma":[0.00001084855,0.00007203496,0.01447241,0.0003461222,0.00001513207,0.001172427,0.2139766,0.0000892322,0.001396035,0.02217944,0.7462417,0.00002801156],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.415409,0.01186193,0.002735911,0.01068788,0.0005558089,0.00002011939,0.0001283117,0.0001083368,0.5584928],"genre_scores_gemma":[0.9623254,0.003049114,0.0006168095,0.0006277148,0.0001423291,0.000004688717,0.00002139829,0.00007629953,0.03313621],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.012807,"threshold_uncertainty_score":0.02546495,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3108218456","doi":"10.38055/fs030106","title":"Diagrammatic Manifestos: A Method for Studying the Fluidity of Gender in the Production of Fashion Photography","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Diagrammatic reasoning; Narrative; Ontology; Sociology; Photography; Epistemology; Psychology; Aesthetics; Computer science; Visual arts; Art; Literature","authors":[{"name":"Floriane Misslin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.242438294771098,"gpt":0.3390027308151352,"spread":0.09656443604403717,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01474713,0.0006994875,0.0003549655,0.005214711,0.002885067,0.005297287,0.001185715,0.001071039,0.01178047],"category_scores_gemma":[0.03050485,0.000538713,0.0003927692,0.004444506,0.00648711,0.007518982,0.00346849,0.001934471,0.001436411],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002117254,"about_ca_system_score_gemma":0.002591771,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00109357,"about_ca_topic_score_gemma":0.002527963,"domain_scores_codex":[0.9898384,0.008008199,0.0004324784,0.0006503629,0.0009021501,0.0001684541],"domain_scores_gemma":[0.9424924,0.04706648,0.002104874,0.00579248,0.002023431,0.0005204412],"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":[0.0002107346,0.0001477061,0.003041297,0.001017047,0.00002330805,0.0005226215,0.3203692,0.0006124483,0.0105216,0.5468898,0.01272778,0.1039164],"study_design_scores_gemma":[0.0001366169,0.0002632041,0.003478368,0.00106609,0.00003960879,0.00104952,0.1216116,0.005345461,0.01436011,0.1558971,0.6966167,0.0001356669],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"methods","genre_scores_codex":[0.08624919,0.001215109,0.8055792,0.004038325,0.000916868,0.003250565,0.004408885,0.001741585,0.09260022],"genre_scores_gemma":[0.4283834,0.0009619517,0.5446799,0.0004523569,0.0001822805,0.005394473,0.001265226,0.0007417157,0.0179387],"genre_candidate":"methods","genre_consensus":"methods","teacher_disagreement_score":0.01474713,"threshold_uncertainty_score":0.07799119,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3081135486","doi":"10.38055/fs020104","title":"Custom Clothing Technology: Diffusion of Luxury Practices in Fashion","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Clothing; Business; Fashion industry; Service (business); Fashion design; Marketing; Fast fashion; Computer science; Political science","authors":[{"name":"Nicholas Paganelli","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07557355150351329,"gpt":0.3183163155972468,"spread":0.2427427640937335,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00418109,0.0003393397,0.0002561168,0.003204217,0.002539487,0.007450216,0.0008858349,0.001482852,0.005370494],"category_scores_gemma":[0.01304559,0.0003799137,0.0004662304,0.004055182,0.006330299,0.006820921,0.00414335,0.001324686,0.0005277306],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004429522,"about_ca_system_score_gemma":0.001756781,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005323873,"about_ca_topic_score_gemma":0.004890548,"domain_scores_codex":[0.9954796,0.00228652,0.0002620446,0.0006462464,0.0009495041,0.0003761561],"domain_scores_gemma":[0.9881578,0.007980137,0.00163884,0.0009608937,0.0008307146,0.0004316708],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001644752,0.0001190283,0.06535698,0.0005188048,0.00003695278,0.002841746,0.7291771,0.0003936758,0.004954992,0.07874687,0.001158415,0.116531],"study_design_scores_gemma":[0.00003873252,0.0003823614,0.1776768,0.00102837,0.00006842674,0.00581819,0.6443886,0.002613102,0.004340939,0.02163281,0.1418653,0.0001464253],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8886226,0.00157612,0.006378836,0.001333373,0.00005727876,0.0001136508,0.00007531118,0.00004857779,0.1017943],"genre_scores_gemma":[0.9940261,0.0006788977,0.001373585,0.00007357549,0.00001515507,0.00003538594,0.00002731494,0.00001917906,0.003750744],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007450216,"threshold_uncertainty_score":0.03213859,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080752733","doi":"10.38055/fs010202","title":"Status, Votive Luxury, and Labour: The Female Rapper’s Delight","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Brock University","funders":"","keywords":"Habitus; Fashion design; Value (mathematics); Taste; Human sexuality; Commodity; Sociology; Aesthetics; Clothing; Art; Gender studies; Psychology; Cultural capital; History; Business; Social science","authors":[{"name":"Nigel Lezama","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04636728053149232,"gpt":0.257589395189999,"spread":0.2112221146585067,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000659548,0.0002139753,0.0001154501,0.0005165152,0.005844616,0.003957715,0.000334019,0.00072798,0.005377343],"category_scores_gemma":[0.00129382,0.0001459963,0.00008036174,0.0003649971,0.00708319,0.001981622,0.001797473,0.001408929,0.0004251451],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001128736,"about_ca_system_score_gemma":0.0005738031,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008661775,"about_ca_topic_score_gemma":0.02073534,"domain_scores_codex":[0.9996123,0.0002198806,0.000004324388,0.0000335936,0.00004552324,0.00008444505],"domain_scores_gemma":[0.9996649,0.0001294227,0.00005268968,0.00001746796,0.00003344953,0.0001020578],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001198231,0.00005557304,0.01164837,0.00004158868,0.000007054627,0.001442317,0.8703071,0.00003021947,0.001281626,0.07827607,0.009076091,0.02771419],"study_design_scores_gemma":[0.000006315998,0.00006056812,0.01760387,0.00009023539,0.000006231125,0.001361179,0.8639557,0.00009122656,0.0004050284,0.004449621,0.1119507,0.00001929938],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7778196,0.002172291,0.0005242369,0.01216331,0.000196692,0.00000831829,0.00002777154,0.00001220388,0.2070756],"genre_scores_gemma":[0.9826529,0.0004922597,0.000111326,0.0004189754,0.0000515494,0.000004270419,0.000005371237,0.000009575576,0.01625379],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.008661775,"threshold_uncertainty_score":0.01798904,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4362649798","doi":"10.38055/sof010104","title":"The Battle of the Hemlines: Clothing and Illness in the Early Twentieth Century","year":2023,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Clothing; Battle; History; Ancient history; Art; Archaeology","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.06185633702910938,"gpt":0.2840655534407207,"spread":0.2222092164116113,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001592871,0.0003223513,0.0002800582,0.002489028,0.004936371,0.005937643,0.0003755841,0.002463411,0.003064343],"category_scores_gemma":[0.002261942,0.0002314418,0.0001671315,0.001780415,0.02291139,0.005509418,0.002768919,0.002256727,0.0003401272],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004467748,"about_ca_system_score_gemma":0.001576948,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01409857,"about_ca_topic_score_gemma":0.02704678,"domain_scores_codex":[0.9987586,0.0007702979,0.00006328486,0.00008082038,0.0001630084,0.0001639594],"domain_scores_gemma":[0.9985575,0.0009943205,0.0002154887,0.00004700147,0.00007622677,0.0001095134],"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":[0.0001106313,0.00004644858,0.002653914,0.0005485121,0.00001074201,0.001934153,0.6633938,0.0001271504,0.0006864632,0.2794908,0.01266412,0.03833326],"study_design_scores_gemma":[0.00002616844,0.0001184121,0.009301995,0.001939595,0.00001707488,0.002644126,0.2549992,0.0001293625,0.0005914115,0.03238085,0.6977985,0.00005336452],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.320628,0.3165314,0.001783925,0.09729585,0.002810648,0.00003869894,0.0001018212,0.00005280466,0.2607569],"genre_scores_gemma":[0.9012614,0.06014749,0.0006269551,0.006974554,0.0009816355,0.0000189498,0.00003220824,0.00002984194,0.02992699],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01409857,"threshold_uncertainty_score":0.03241587,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390787841","doi":"10.38055/fs050102","title":"It’s a Black Thing, American Fashion Wants to Understand","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Aesthetics; Art; Visual arts; History","authors":[{"name":"Alphonso D. McClendon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1237914322110533,"gpt":0.3383880618646777,"spread":0.2145966296536244,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002082873,0.0004623611,0.0002932761,0.0009902201,0.01041277,0.01039829,0.0004812124,0.003264711,0.0124511],"category_scores_gemma":[0.003392605,0.0001904211,0.000288161,0.001197361,0.01247357,0.01040021,0.002206663,0.01089575,0.002151016],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002631117,"about_ca_system_score_gemma":0.004388681,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03927661,"about_ca_topic_score_gemma":0.0671262,"domain_scores_codex":[0.9990707,0.0003630417,0.00002104926,0.000121447,0.0002000651,0.0002236403],"domain_scores_gemma":[0.9979908,0.0005646396,0.0001271259,0.0001428389,0.0006695456,0.0005049563],"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":[0.00006294867,0.0001071431,0.005957255,0.00009739579,0.00001681335,0.0001336401,0.06770007,0.0000821285,0.0006343134,0.4104748,0.4722995,0.04243403],"study_design_scores_gemma":[0.000009956622,0.0000242273,0.004457526,0.0002457687,0.00001713849,0.000119868,0.1078823,0.0001397618,0.0002084444,0.08513677,0.8017303,0.00002805248],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.02057249,0.006993966,0.001511094,0.7946156,0.009413148,0.000007912899,0.00007756694,0.00005866373,0.1667496],"genre_scores_gemma":[0.4250801,0.008519667,0.002441558,0.3664064,0.006200773,0.000038462,0.000109053,0.0002123771,0.1909917],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03927661,"threshold_uncertainty_score":0.07809597,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080250916","doi":"10.38055/fs010112","title":"Re-Dressing Race and Gender: The Performance and Politics of Eldridge Cleaver’s Pants","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Politics; Context (archaeology); Gender studies; Sociology; Queer; Power (physics); Aesthetics; History; Art; Political science; Law","authors":[{"name":"Art M. Blake","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1271089562616319,"gpt":0.3116133043426668,"spread":0.1845043480810349,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002239595,0.0003482085,0.0002437945,0.0008174197,0.02835604,0.007106909,0.0004619664,0.001924906,0.008797892],"category_scores_gemma":[0.002320056,0.0002867354,0.0001385512,0.0007607423,0.02775171,0.002994515,0.003662304,0.003275318,0.0008463758],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009754405,"about_ca_system_score_gemma":0.002226313,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.08772043,"about_ca_topic_score_gemma":0.1985029,"domain_scores_codex":[0.9975511,0.001218035,0.00001968604,0.0002632913,0.0003171447,0.0006306748],"domain_scores_gemma":[0.9992039,0.0003689539,0.00008780372,0.00004933612,0.00009372892,0.0001962814],"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":[0.00008179222,0.00002238063,0.002634715,0.00002865542,0.000004544959,0.0009139706,0.7010113,0.00004894948,0.0006630818,0.2438129,0.03085894,0.01991871],"study_design_scores_gemma":[0.000005440112,0.00004067555,0.004352221,0.000107681,0.000003198394,0.0003142214,0.3999529,0.00003215422,0.0004677209,0.004628686,0.5900732,0.00002204349],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4520353,0.005134877,0.0008427632,0.02793446,0.0007942101,0.00001657557,0.00002974661,0.00004462418,0.5131674],"genre_scores_gemma":[0.8624894,0.0008099767,0.0002024199,0.002457317,0.00009608192,0.000007862949,0.000005724609,0.00004755493,0.1338838],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.08772043,"threshold_uncertainty_score":0.1744196,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3106808666","doi":"10.38055/fs030101","title":"Body As Architecture: Designing the Stout Body in the Age of Standardization","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Architecture; Gestalt psychology; Style (visual arts); Aesthetics; Sociology; Epistemology; Literature; Art; Visual arts; Philosophy","authors":[{"name":"Lauren Downing Peters","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08957894818769517,"gpt":0.2956046637284027,"spread":0.2060257155407075,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004307968,0.000534132,0.0001758356,0.00127432,0.003998274,0.007575524,0.0006284575,0.001226715,0.003235107],"category_scores_gemma":[0.003309571,0.0003355364,0.0003369028,0.0006548336,0.02664389,0.006843988,0.004760861,0.001728885,0.0005495418],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001810126,"about_ca_system_score_gemma":0.001895981,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002147091,"about_ca_topic_score_gemma":0.00359412,"domain_scores_codex":[0.9978003,0.001550933,0.0000407024,0.0001394783,0.0002686118,0.0001999956],"domain_scores_gemma":[0.9989259,0.0004854468,0.00007640439,0.0002570272,0.0001282902,0.0001269124],"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":[0.00003689586,0.00002487805,0.00218369,0.0000796959,0.000008934369,0.0002369747,0.1243887,0.001034234,0.001966977,0.8270279,0.001747201,0.04126397],"study_design_scores_gemma":[0.00002855666,0.0001993391,0.003398952,0.0005351356,0.00004632102,0.0006334501,0.1256497,0.004054891,0.004146517,0.4111265,0.4501266,0.00005401174],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.3011463,0.003135253,0.1564802,0.01301078,0.0007377067,0.0001031983,0.00002941449,0.0003520203,0.5250052],"genre_scores_gemma":[0.9543833,0.0009833032,0.02211373,0.0005096088,0.00006425611,0.00003888413,0.00001559156,0.0001513136,0.02174003],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.007575524,"threshold_uncertainty_score":0.02278298,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4250330902","doi":"10.38055/fs010204","title":"Contemporizing Modesty","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Visual arts; Narrative; Globe; Clothing; Art; Context (archaeology); The arts; Fashion design; Art history; History; Literature","authors":[{"name":"Romana Mirza","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1110352934235204,"gpt":0.2921474375603073,"spread":0.1811121441367869,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009871634,0.0003603665,0.0001486133,0.0006535016,0.008078073,0.003471964,0.0003578327,0.0006533359,0.01915616],"category_scores_gemma":[0.001436117,0.0001712135,0.0001652469,0.0004530879,0.007110489,0.001768095,0.003607002,0.002363701,0.002529733],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00186463,"about_ca_system_score_gemma":0.0008977614,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003343789,"about_ca_topic_score_gemma":0.01315735,"domain_scores_codex":[0.999363,0.0002701727,0.00001336501,0.00009954116,0.0001333688,0.0001206822],"domain_scores_gemma":[0.9995564,0.0000932866,0.00004215123,0.00007833151,0.00008567254,0.000144193],"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":[0.0001729428,0.00006992674,0.005188131,0.0001482306,0.00001126913,0.001100924,0.2389058,0.0001351281,0.001794006,0.5990949,0.08372669,0.06965207],"study_design_scores_gemma":[0.000004787121,0.00006064583,0.002860465,0.0001395021,0.000004280288,0.0004207654,0.03415857,0.00007191116,0.0004788062,0.006478122,0.9553112,0.00001091665],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1078206,0.001996095,0.001289767,0.006039507,0.001441923,0.00002039443,0.00006120386,0.00006962901,0.8812609],"genre_scores_gemma":[0.7501225,0.001525376,0.0007324946,0.001456424,0.0004430344,0.00001674541,0.00006505055,0.0001299149,0.2455084],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01915616,"threshold_uncertainty_score":0.06408376,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3110506394","doi":"10.38055/fs030110","title":"The Kurious Kase of Kim Kardashian's Korset","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Theme (computing); Opposition (politics); Rhetoric; Art; Art history; Sociology; Aesthetics; History; Visual arts; Philosophy; Law; Political science; Politics","authors":[{"name":"Alanna McKnight","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.138347856088708,"gpt":0.2887558343548798,"spread":0.1504079782661718,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009479618,0.0004606101,0.0002398105,0.0005549245,0.009853145,0.005009977,0.0005920378,0.001591518,0.006570182],"category_scores_gemma":[0.001580156,0.0002557466,0.0002691474,0.0005081236,0.009342147,0.003185969,0.004405727,0.005276519,0.001198587],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00384285,"about_ca_system_score_gemma":0.001994951,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004872696,"about_ca_topic_score_gemma":0.01554212,"domain_scores_codex":[0.9993322,0.0002782955,0.00001453597,0.00009214148,0.0001375487,0.0001451398],"domain_scores_gemma":[0.9993541,0.0002551433,0.00006257997,0.0000686912,0.0001286521,0.0001308719],"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":[0.0002412011,0.0000658668,0.002399248,0.0004194255,0.0000151468,0.00168718,0.2495511,0.00008436004,0.002490941,0.5781037,0.1255739,0.03936783],"study_design_scores_gemma":[0.000009850667,0.00005211112,0.002458249,0.0002913749,0.000009697049,0.0009108101,0.09237728,0.0000813464,0.0009288956,0.008494333,0.894361,0.0000250971],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.1687975,0.01328773,0.002473828,0.09067748,0.00632785,0.00005847322,0.0001047017,0.0001188728,0.7181536],"genre_scores_gemma":[0.8029876,0.002844115,0.0009541588,0.01127741,0.0005527211,0.0000428604,0.00003182406,0.0001104448,0.1811988],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.009853145,"threshold_uncertainty_score":0.02788192,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404558339","doi":"10.38055/fst030104","title":"Learning from the Past: Why the Second World War 'Make Do and Mend' Scheme Provides a Poor Model for the Future of Sustainable Fashion","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Scheme (mathematics); Computer science; Business; Economics; Environmental economics; Mathematics","authors":[{"name":"Bethan Bide","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05235430283162604,"gpt":0.3030908242115498,"spread":0.2507365213799237,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003158034,0.0002834163,0.0002529156,0.0009749733,0.005998476,0.0071307,0.0006020984,0.00217976,0.004621959],"category_scores_gemma":[0.00416835,0.0002156941,0.000153214,0.001097156,0.0292626,0.01023853,0.00204277,0.003745163,0.0007183627],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006192104,"about_ca_system_score_gemma":0.002650269,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02337611,"about_ca_topic_score_gemma":0.0540578,"domain_scores_codex":[0.9984762,0.0009242134,0.00002438566,0.0001511885,0.0001940294,0.0002299551],"domain_scores_gemma":[0.998239,0.001013951,0.0001579792,0.000181306,0.0002144582,0.0001932718],"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":[0.00003282083,0.00001492664,0.001508415,0.00007651185,0.000005726673,0.0002345113,0.08105259,0.0002175325,0.0002003709,0.8885695,0.009723788,0.0183633],"study_design_scores_gemma":[0.00000801086,0.00003256305,0.003139593,0.0004829315,0.000008986115,0.0003391737,0.09994534,0.0004039364,0.0005003558,0.4688641,0.4262391,0.00003582943],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2022536,0.02471681,0.01025865,0.2742316,0.001576762,0.00001703725,0.0001234271,0.00007819429,0.4867439],"genre_scores_gemma":[0.9778186,0.003906355,0.0008373688,0.004119026,0.000183735,0.000006512268,0.00002050274,0.00004059283,0.01306735],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02337611,"threshold_uncertainty_score":0.04648006,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3046103690","doi":"10.38055/fs020204","title":"Review: Who’s In and Who’s Out of Fashion (Studies)?","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Session (web analytics); Panel discussion; Field (mathematics); Visual arts; Art history; History; Art; Media studies; Sociology; Computer science; Advertising","authors":[{"name":"Jaclyn Marcus","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1753456598977548,"gpt":0.3342558816373643,"spread":0.1589102217396095,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003115356,0.0007079887,0.002491931,0.004346656,0.0008004927,0.003968453,0.001375609,0.002924912,0.005559489],"category_scores_gemma":[0.01407824,0.0005218599,0.001440622,0.00806481,0.00145343,0.003799504,0.001214565,0.002143874,0.001322627],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002433368,"about_ca_system_score_gemma":0.007615413,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006909176,"about_ca_topic_score_gemma":0.02197418,"domain_scores_codex":[0.9975497,0.0009488498,0.0005629148,0.0002695468,0.0005346671,0.0001342429],"domain_scores_gemma":[0.9892864,0.006585455,0.001479193,0.0002041129,0.002047551,0.0003973201],"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":[0.0001250537,0.00003568321,0.0008894979,0.2971417,0.0008682201,0.0004630372,0.0009691044,0.0001059673,0.0003868542,0.004798007,0.2795861,0.4146307],"study_design_scores_gemma":[0.00002729535,0.00007243166,0.002962653,0.2410495,0.0010733,0.000831352,0.001368392,0.00003571853,0.00009860961,0.001040316,0.7514126,0.00002789189],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00006101946,0.9964324,0.00001907344,0.002013369,0.0009857842,0.000009062073,0.00002533741,0.000002045909,0.0004519262],"genre_scores_gemma":[0.0008165287,0.996221,0.0000427497,0.002062786,0.0006155528,0.00001479259,0.00002445317,0.000001176519,0.0002010185],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.006909176,"threshold_uncertainty_score":0.01859832,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4240426888","doi":"10.38055/fs030107","title":"#NaturalDye","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Craft; Natural (archaeology); Articulation (sociology); Visual arts; Social media; Textile; Sociology; Situated; Space (punctuation); Style (visual arts); Art; Computer science; History; Political science; World Wide Web","authors":[{"name":"Kelsie Doty","is_ca":false},{"name":"Denise Nicole Green","is_ca":false},{"name":"Dehanza Rogers","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2133411339539519,"gpt":0.2997408879849481,"spread":0.08639975403099628,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001001126,0.0005967186,0.0003716692,0.001038155,0.001785761,0.004360196,0.001167704,0.001708285,0.6237914],"category_scores_gemma":[0.004017598,0.0003773257,0.0004457035,0.0008221208,0.0008944367,0.005356641,0.003482863,0.001609589,0.2725953],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009952839,"about_ca_system_score_gemma":0.001216734,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002288664,"about_ca_topic_score_gemma":0.009685197,"domain_scores_codex":[0.9991135,0.0001640287,0.0000469807,0.0001999572,0.0003695223,0.0001059789],"domain_scores_gemma":[0.9983619,0.000361056,0.00007887499,0.0003506958,0.0004829275,0.0003645255],"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":[0.0001396759,0.00003758846,0.0003906722,0.0003833782,0.000005804554,0.0002145484,0.0006294823,0.00004068156,0.001591426,0.01767359,0.8879555,0.09093761],"study_design_scores_gemma":[0.000004066701,0.000006519664,0.0001541161,0.00003180804,0.00000102731,0.00008144681,0.00008284777,0.00002021015,0.0001902679,0.0005402658,0.9988834,0.000003953173],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.001701045,0.0009868713,0.003765653,0.003556264,0.002212855,0.0001659679,0.005880835,0.003947492,0.9777829],"genre_scores_gemma":[0.009940578,0.0009807517,0.004480279,0.002021278,0.0003054237,0.0001518338,0.004536929,0.002658969,0.974924],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6237914,"threshold_uncertainty_score":0.5366159,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080639385","doi":"10.38055/fs020107","title":"Selly Raby Kane: Surrealist Designer and Social Innovator","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Innovator; Empowerment; Identity (music); GRASP; Visual arts; Fashion design; Sociology; Art; Aesthetics; Engineering; Political science; Clothing; Law","authors":[{"name":"Enrica Picarelli","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08076581357169413,"gpt":0.2805934040250405,"spread":0.1998275904533464,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002291516,0.0005568155,0.0003067542,0.0007078727,0.008101578,0.007252405,0.0008442352,0.001903401,0.01788988],"category_scores_gemma":[0.00292411,0.0004300376,0.0002370704,0.0004966484,0.008560572,0.00635542,0.004141283,0.003742982,0.004458073],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002601143,"about_ca_system_score_gemma":0.002571935,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003294254,"about_ca_topic_score_gemma":0.01121686,"domain_scores_codex":[0.9979458,0.0009423931,0.00006518339,0.0003332267,0.0004081242,0.0003051303],"domain_scores_gemma":[0.9980845,0.0005366828,0.0001578855,0.0002179119,0.0004124809,0.000590528],"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":[0.0002844239,0.0001882824,0.004326376,0.0006840182,0.00003597987,0.004102272,0.2562432,0.0004892849,0.01139741,0.3445116,0.2674496,0.1102876],"study_design_scores_gemma":[0.000007639784,0.00006358408,0.0006435891,0.0001179154,0.000007178774,0.001855507,0.04444247,0.000214873,0.001318092,0.005705353,0.9455877,0.00003622062],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2028638,0.0181644,0.0294868,0.1699529,0.004641728,0.0002180646,0.0002025673,0.001249827,0.5732199],"genre_scores_gemma":[0.5075455,0.00563863,0.0135025,0.01090003,0.0001830059,0.0001214396,0.00005203363,0.0005432745,0.4615135],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01788988,"threshold_uncertainty_score":0.05984765,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3043268118","doi":"10.38055/fs010104","title":"Enclothed Knowledge: The Fashion Show as a Method of Dissemination in Arts-Informed Research","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Participatory Visual Research Methods","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Anonymity; Embodied cognition; The arts; Qualitative research; Research ethics; Sociology; Psychology; Public relations; Social psychology; Computer science; Political science; Social science; Law","authors":[{"name":"Ben Barry","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.7812475835594884,"gpt":0.7432602835629597,"spread":0.03798729999652872,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.1053673,0.0007314149,0.0005100624,0.002367045,0.006482994,0.008976143,0.002083041,0.003081324,0.00999269],"category_scores_gemma":[0.1108892,0.0007842824,0.001190105,0.001768947,0.02051106,0.01104499,0.0145848,0.003565613,0.001610483],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002123847,"about_ca_system_score_gemma":0.003137257,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004044205,"about_ca_topic_score_gemma":0.0008700349,"domain_scores_codex":[0.8780509,0.1131729,0.001390223,0.002408218,0.003853762,0.001123975],"domain_scores_gemma":[0.841826,0.1236332,0.004508531,0.02483363,0.003297987,0.001900531],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0005451314,0.0003978134,0.004004816,0.002311221,0.000100388,0.001177052,0.5191329,0.0008801483,0.01186845,0.2379874,0.006952653,0.214642],"study_design_scores_gemma":[0.0006373834,0.002323111,0.005889924,0.00537287,0.0002768555,0.002801512,0.2793895,0.004039514,0.02174075,0.249139,0.4280801,0.0003095024],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.2344309,0.002651432,0.5757876,0.03004624,0.001597075,0.005994359,0.0003754587,0.001181404,0.1479355],"genre_scores_gemma":[0.7220147,0.001033525,0.2563101,0.002276358,0.0003443629,0.007879524,0.00008524497,0.0003861915,0.009670053],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1053673,"threshold_uncertainty_score":0.5572425,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390819803","doi":"10.38055/fs050110","title":"Beauty and the Packaging Beast: Plastic in the Beauty Industry","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Art, Politics, and Modernism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Beauty; Aesthetics; Art","authors":[{"name":"Shelley Haines","is_ca":false},{"name":"Cassandra Sisto","is_ca":false},{"name":"Daniel Foucher","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09302617002969202,"gpt":0.3133281851020633,"spread":0.2203020150723713,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001466286,0.0003342869,0.0002148351,0.001344202,0.008215535,0.01151506,0.0005157487,0.003603671,0.01298457],"category_scores_gemma":[0.002255536,0.0002598426,0.0002126232,0.002607082,0.0284918,0.009652701,0.002573549,0.003770554,0.0006076982],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003148035,"about_ca_system_score_gemma":0.001513472,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00456313,"about_ca_topic_score_gemma":0.011183,"domain_scores_codex":[0.9991629,0.0005203497,0.0000118027,0.00006648994,0.0001223563,0.0001161475],"domain_scores_gemma":[0.9986477,0.0009244206,0.000107759,0.000102814,0.00009158094,0.000125694],"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":[0.00004178616,0.0000573226,0.0006586811,0.00006011145,0.000002386955,0.0001097086,0.03521151,0.00006769781,0.0001784776,0.9369469,0.01257899,0.01408655],"study_design_scores_gemma":[0.00001493803,0.00007365026,0.005583078,0.0006296244,0.0000146684,0.0005159095,0.1666086,0.0002722142,0.0006437127,0.258569,0.5670394,0.0000352541],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1056271,0.04169461,0.001651947,0.08253488,0.0009979646,0.00001194346,0.00003694954,0.00002274599,0.7674218],"genre_scores_gemma":[0.9325314,0.009447351,0.000336137,0.004813768,0.0007265751,0.00001052349,0.00001037323,0.00004618808,0.05207766],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01298457,"threshold_uncertainty_score":0.04343772,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080792136","doi":"10.38055/fs020105","title":"Alien Beauty: Posthuman Re-Imaginings","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Body Image and Dysmorphia Studies","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Beauty; Alien; Aesthetics; Art; Sociology","authors":[{"name":"Presley Mills","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06241604818747754,"gpt":0.3805199698556321,"spread":0.3181039216681545,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005625379,0.0009076435,0.0003854478,0.001163666,0.01062948,0.00915869,0.001300391,0.002216303,0.005447872],"category_scores_gemma":[0.004129628,0.0003264031,0.0006120912,0.0007565702,0.06882169,0.01019529,0.01081603,0.006650109,0.0006674185],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003078739,"about_ca_system_score_gemma":0.001220525,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002132116,"about_ca_topic_score_gemma":0.004873151,"domain_scores_codex":[0.9953377,0.003117388,0.00004754496,0.000463965,0.0006116505,0.0004216114],"domain_scores_gemma":[0.9976038,0.001449262,0.0001489936,0.0004383294,0.0001514794,0.0002080232],"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":[0.00003841295,0.00003150477,0.0004343508,0.00008637335,0.000008637973,0.000501491,0.607639,0.0001667539,0.001323787,0.3752453,0.003637838,0.01088652],"study_design_scores_gemma":[0.00001562254,0.00009390739,0.0008653415,0.0003080451,0.00001439886,0.001403784,0.3728036,0.0004132134,0.0020946,0.125457,0.4964871,0.00004333792],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2902316,0.004885246,0.03806068,0.02063619,0.001549173,0.00006105323,0.00006621396,0.000229501,0.6442803],"genre_scores_gemma":[0.9669155,0.001163921,0.003236349,0.001300328,0.0001645387,0.00003273799,0.00002968496,0.000188432,0.02696851],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01062948,"threshold_uncertainty_score":0.02975023,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4294215114","doi":"10.38055/fr010106","title":"Land Based Fashion: A Leading Fashion Framework","year":2022,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Business; Computer science","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.09211298892231441,"gpt":0.3008614931440217,"spread":0.2087485042217073,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008166152,0.0006338228,0.0003200232,0.003508056,0.005120869,0.0109351,0.001484402,0.001938004,0.01681473],"category_scores_gemma":[0.0008574933,0.0002041354,0.0005042819,0.003922451,0.01542881,0.004953033,0.002162576,0.002176059,0.001915247],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005538544,"about_ca_system_score_gemma":0.002788516,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01012436,"about_ca_topic_score_gemma":0.02215487,"domain_scores_codex":[0.9993806,0.0003122136,0.00001281468,0.00008845006,0.00007643897,0.0001294073],"domain_scores_gemma":[0.9994662,0.0001659139,0.00003238756,0.00009101022,0.0001225212,0.0001219355],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000002436734,0.000007135984,0.00009388016,0.000008145882,9.220705e-7,0.0000192801,0.0008530813,0.0001456604,0.00002059793,0.996157,0.0006681789,0.002023777],"study_design_scores_gemma":[0.000005162463,0.00002196462,0.0007077103,0.000103195,0.000007461776,0.00004390823,0.005245541,0.001046261,0.0001249826,0.886866,0.1058195,0.000008383278],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01401979,0.001271649,0.02714727,0.004990058,0.0001833134,0.00004259931,0.00009385843,0.00004950428,0.952202],"genre_scores_gemma":[0.8698376,0.002404679,0.01512269,0.001217474,0.0003558578,0.0001231089,0.0001321473,0.0001521058,0.1106543],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01681473,"threshold_uncertainty_score":0.05625093,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3045838858","doi":"10.38055/fs010203","title":"Review: Diversity NOW! Fashion &amp; Race with Kimberly Jenkins","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Diversity (politics); Representation (politics); Race (biology); Racism; Sociology; Power (physics); Visual arts; Media studies; Gender studies; Art; Anthropology; Political science; Law","authors":[{"name":"Jaclyn Marcus","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07231913770651137,"gpt":0.2796376286569046,"spread":0.2073184909503932,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002995885,0.001215235,0.00203247,0.005645155,0.001270331,0.004488419,0.001793279,0.003854583,0.01349291],"category_scores_gemma":[0.01315265,0.0007623015,0.001196057,0.007914829,0.001496927,0.004553303,0.001999447,0.004769814,0.006642695],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003314976,"about_ca_system_score_gemma":0.007025464,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007048367,"about_ca_topic_score_gemma":0.01377038,"domain_scores_codex":[0.9973407,0.0006654973,0.0003543052,0.000399659,0.001054408,0.0001853551],"domain_scores_gemma":[0.9894387,0.004109732,0.001266959,0.0002650502,0.0040932,0.0008263912],"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":[0.00002865968,0.00001140819,0.00007383936,0.01214562,0.00007028211,0.00009790927,0.0001256971,0.00003769109,0.0001935231,0.001242359,0.8873791,0.09859394],"study_design_scores_gemma":[0.00001279276,0.00002308785,0.0002833101,0.01116563,0.0000622564,0.000179781,0.0001357179,0.00001582314,0.0000604815,0.0006357093,0.9874083,0.00001722137],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.0000808824,0.9198927,0.0002517528,0.04705269,0.0290441,0.00006811877,0.0001104354,0.00005031662,0.003449082],"genre_scores_gemma":[0.001495722,0.9027597,0.0003253659,0.06103286,0.02448889,0.0001405227,0.0001440788,0.00003885817,0.00957399],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01349291,"threshold_uncertainty_score":0.0451383,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080293459","doi":"10.38055/fs020111","title":"(Un)Dress in Southworth &amp; Hawes’ Daguerreotype Portraits: Clytie, Proserpine, and Antebellum Boston Women","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Elite; Art; Portrait; Art history; Bourgeoisie; Style (visual arts); Sculpture; White (mutation); Visual arts; Law; Politics; Political science","authors":[{"name":"Margo L. Beggs","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0401663802764471,"gpt":0.2814954296804977,"spread":0.2413290494040506,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002711875,0.0004524116,0.0001297272,0.0007539227,0.005286567,0.002262874,0.0002852929,0.0006057725,0.008050712],"category_scores_gemma":[0.0002656864,0.0001909014,0.00008193174,0.0003386795,0.003313372,0.0009827197,0.001394028,0.001098259,0.0007629425],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002861659,"about_ca_system_score_gemma":0.0004512143,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.07174275,"about_ca_topic_score_gemma":0.2884331,"domain_scores_codex":[0.9998541,0.00005358476,0.00000177727,0.00002276278,0.00002648237,0.00004134171],"domain_scores_gemma":[0.9999167,0.00001467319,0.000009760452,0.000004982718,0.00001054023,0.00004342749],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00007662548,0.00002675792,0.00642838,0.00007731415,0.00001265672,0.00223004,0.8464215,0.00006109757,0.003644623,0.05476965,0.05710093,0.0291503],"study_design_scores_gemma":[0.000004717912,0.00003925174,0.0217333,0.0001136828,0.000008843833,0.000995207,0.2406119,0.0000430674,0.0005561478,0.0008848089,0.7349918,0.00001724008],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.679272,0.008149506,0.0008785889,0.008515364,0.0006421512,0.00002397758,0.0002333887,0.00006325119,0.3022217],"genre_scores_gemma":[0.8543938,0.001629206,0.0002616867,0.0009874877,0.000128216,0.00001549639,0.00007042959,0.00006076392,0.1424529],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.07174275,"threshold_uncertainty_score":0.1426503,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3110317180","doi":"10.38055/fs030109","title":"Fashioning the Academic and Private Self: The Clothing of Johanna Westerdijk in the Context of her Biography","year":2020,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Clothing; Biography; Portrait; Context (archaeology); Style (visual arts); Character (mathematics); Art; Visual arts; Sociology; Art history; Variety (cybernetics); Aesthetics; History; Computer science","authors":[{"name":"Marta Kargól","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09140840502605037,"gpt":0.2884751342281482,"spread":0.1970667292020979,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005654425,0.0002270947,0.0001871873,0.0006441336,0.002795227,0.002726689,0.0002793686,0.0003484164,0.00409665],"category_scores_gemma":[0.0009131246,0.0001944227,0.00007530039,0.000766364,0.004823386,0.002363751,0.001526046,0.000979,0.0004969536],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001786414,"about_ca_system_score_gemma":0.0006893737,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007388753,"about_ca_topic_score_gemma":0.02395895,"domain_scores_codex":[0.9995333,0.0002104829,0.00001371515,0.00006615022,0.0001045238,0.00007184627],"domain_scores_gemma":[0.9997382,0.0001081663,0.0000561144,0.00001972867,0.00002613405,0.00005173116],"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":[0.0000893437,0.00005167917,0.004117291,0.0002315753,0.0000151703,0.002157588,0.8496455,0.0001468163,0.005341452,0.09969439,0.007839896,0.03066933],"study_design_scores_gemma":[0.000004729598,0.0000382365,0.009989112,0.0002441738,0.00001048707,0.001700538,0.2290923,0.0001096061,0.001522429,0.003890216,0.7533702,0.0000280457],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6995422,0.01218298,0.002518189,0.004397357,0.0006178176,0.00002634625,0.0001960511,0.00002540009,0.2804936],"genre_scores_gemma":[0.947917,0.003578469,0.0007599838,0.0002525638,0.00005435362,0.000009075028,0.00004408164,0.00006511862,0.04731927],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007388753,"threshold_uncertainty_score":0.01469147,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404558287","doi":"10.38055/fst030103","title":"Waste and Wasted Opportunity: Utilizing Archive Collections at the Victoria and Albert Museum to Inform Contemporary Sustainability","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Cultural Heritage Management and Preservation","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Sustainability; Environmental ethics; Sociology; Media studies; Archaeology; Art history; Geography; Art; Ecology; Philosophy","authors":[{"name":"Hannah Auerbach George","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1689174422124005,"gpt":0.3080008344553616,"spread":0.1390833922429611,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005642815,0.0003007296,0.0003186022,0.003949674,0.009211136,0.01510825,0.001359814,0.001060228,0.004360049],"category_scores_gemma":[0.0114986,0.0003973608,0.0002983709,0.007817505,0.008905844,0.006911172,0.007713178,0.001978827,0.0004187314],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009035663,"about_ca_system_score_gemma":0.01641427,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1870894,"about_ca_topic_score_gemma":0.6018771,"domain_scores_codex":[0.9970053,0.001573807,0.00009131076,0.0001881856,0.0006464164,0.0004950531],"domain_scores_gemma":[0.9947768,0.00240923,0.0007284535,0.0006307104,0.0009129567,0.0005417704],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00008126358,0.0000966735,0.06012477,0.0003333981,0.00004504722,0.0005221912,0.800738,0.0002040567,0.000685335,0.01889206,0.00726741,0.1110097],"study_design_scores_gemma":[0.00000276932,0.00002731837,0.03066702,0.0005475858,0.00003733936,0.0001335786,0.8807656,0.000191528,0.0005177499,0.005183242,0.08189984,0.00002639375],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8747912,0.003995319,0.003772265,0.007438089,0.000168733,0.0001686712,0.0005308913,0.00005914708,0.1090757],"genre_scores_gemma":[0.9766418,0.003710164,0.004340627,0.0007203385,0.00003566046,0.0001093061,0.0001847224,0.00008657361,0.01417083],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1870894,"threshold_uncertainty_score":0.3720008,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4295879588","doi":"10.38055/fr010101","title":"I Love You as Much as All the Beads in the Universe: A Garment-Based Inquiry into Re-Stitching Alternative Worlds of Love","year":2022,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Crafts, Textile, and Design","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"Strong","keywords":"Image stitching; Aesthetics; Art; Computer science; Artificial intelligence","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.103941334727611,"gpt":0.3289501144230118,"spread":0.2250087796954008,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01696174,0.000518617,0.0006246757,0.001378564,0.009876926,0.01653592,0.001764677,0.001664797,0.006261854],"category_scores_gemma":[0.01279951,0.0005399632,0.0006157373,0.001062665,0.02852652,0.00949544,0.007476419,0.004154513,0.000830538],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004026322,"about_ca_system_score_gemma":0.003470852,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001274584,"about_ca_topic_score_gemma":0.002414297,"domain_scores_codex":[0.979053,0.01791291,0.0002404156,0.0006901549,0.001423865,0.0006797134],"domain_scores_gemma":[0.9890175,0.007870829,0.0005866108,0.001319406,0.0005744508,0.0006312897],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003336814,0.00008488088,0.001480452,0.0001572445,0.00001080197,0.0001796955,0.8619891,0.0001874465,0.0008144209,0.107927,0.002923939,0.02421168],"study_design_scores_gemma":[0.00001757679,0.0001720419,0.001640372,0.0005440311,0.00001570641,0.0004496688,0.7823321,0.0005007304,0.001176029,0.02273142,0.1903922,0.00002819786],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6096284,0.003661002,0.07974488,0.02518054,0.0005707607,0.0006209651,0.0001121045,0.0001688603,0.2803124],"genre_scores_gemma":[0.9466491,0.001537279,0.01436767,0.001486071,0.00006620231,0.0004027406,0.00002840253,0.0001263055,0.03533621],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01696174,"threshold_uncertainty_score":0.08970332,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390825207","doi":"10.38055/fs050106","title":"Khawab – A Mipsterz Collaboration: The Nexus of Muslim-futurism through Fashion, Art and Technology","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Education and Islamic Studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Nexus (standard); Visual arts; Art; Aesthetics; Computer science","authors":[{"name":"Reyhab Mohmed Patel","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04092492759888768,"gpt":0.3739892666750168,"spread":0.3330643390761291,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001455809,0.0004452713,0.0002053759,0.0005503136,0.01043583,0.004601803,0.0006410916,0.0009732957,0.009358675],"category_scores_gemma":[0.001455297,0.0002505799,0.0001981687,0.0008160881,0.009470497,0.002336654,0.008531817,0.001198547,0.000940744],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005151557,"about_ca_system_score_gemma":0.005603372,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05916775,"about_ca_topic_score_gemma":0.1787694,"domain_scores_codex":[0.9987286,0.0006711533,0.00001940016,0.0001141447,0.0001844032,0.0002823381],"domain_scores_gemma":[0.9990025,0.0002699128,0.00006375409,0.000191283,0.00007155129,0.0004010157],"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":[0.0002654643,0.00007748361,0.005685894,0.0003279666,0.00002326351,0.002173385,0.8523793,0.0003175301,0.008515857,0.04848682,0.01764212,0.06410503],"study_design_scores_gemma":[0.00003475384,0.0001673471,0.00953862,0.0002199531,0.00002668413,0.0008433905,0.4555654,0.0003559306,0.002372026,0.004659857,0.5261722,0.00004388114],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.7755647,0.002598266,0.007229236,0.009990284,0.0003302853,0.0001818706,0.0003364365,0.0002904735,0.2034786],"genre_scores_gemma":[0.9663226,0.0007663133,0.003412141,0.0003226926,0.00003343169,0.00005705126,0.0000946857,0.00006074685,0.02893033],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.05916775,"threshold_uncertainty_score":0.1176467,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4362654865","doi":"10.38055/sof010103","title":"Methodologies for the Creolization of Fashion Studies","year":2023,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Creolization; Art; Literature","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.521143498035615,"gpt":0.4400502891079519,"spread":0.08109320892766314,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.1174763,0.00136004,0.001706283,0.01147114,0.008667275,0.02420977,0.004607818,0.003543946,0.01008552],"category_scores_gemma":[0.1083077,0.001151696,0.001195404,0.008380536,0.07117215,0.02351485,0.01752411,0.01027263,0.002302022],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01050326,"about_ca_system_score_gemma":0.01527791,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002208274,"about_ca_topic_score_gemma":0.002269296,"domain_scores_codex":[0.8698862,0.1115026,0.00399031,0.00648933,0.006661159,0.0014704],"domain_scores_gemma":[0.8249567,0.1142993,0.006233117,0.03771119,0.01344172,0.003357935],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00002192586,0.00003955479,0.0004071999,0.0003007183,0.00001249062,0.00006952298,0.04197061,0.00009862708,0.000238269,0.9355761,0.002770044,0.01849498],"study_design_scores_gemma":[0.00003943626,0.00005767447,0.000734409,0.001729445,0.00001694354,0.0001712564,0.03764414,0.0006921547,0.0005313087,0.6373484,0.3210025,0.00003230225],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"methods","genre_scores_codex":[0.01962506,0.01793796,0.6389585,0.04745264,0.004799749,0.003513097,0.0006951147,0.0005935745,0.2664244],"genre_scores_gemma":[0.3931102,0.009927207,0.5273027,0.01000242,0.003016383,0.01883456,0.0007258384,0.001224528,0.03585628],"genre_candidate":"methods","genre_consensus":"methods","teacher_disagreement_score":0.9913327,"threshold_uncertainty_score":0.6212813,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4402825749","doi":"10.38055/fs050203","title":"Representations Creation for Women: Marimekko's Unisex Clothing of 1956-1979","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Clothing; Business; Geography; Archaeology","authors":[{"name":"Anna Parviainen","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1040576297073913,"gpt":0.3605678455490283,"spread":0.256510215841637,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010203,0.0004076498,0.0002479664,0.002506866,0.01775897,0.005588661,0.0005525969,0.0008434774,0.01473537],"category_scores_gemma":[0.001715699,0.0003331771,0.0001785782,0.002548739,0.004851237,0.002155397,0.002982233,0.001512848,0.001147058],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01135093,"about_ca_system_score_gemma":0.002641974,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.09613113,"about_ca_topic_score_gemma":0.4052341,"domain_scores_codex":[0.9992213,0.0002434158,0.00002611845,0.0001101989,0.0001425885,0.0002564109],"domain_scores_gemma":[0.9995186,0.0001773483,0.00006297082,0.00003756912,0.00007504403,0.0001285227],"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":[0.0001548855,0.00008185511,0.01221933,0.00009240763,0.000007899149,0.001045263,0.8719851,0.00003875252,0.0009009315,0.06401456,0.01142721,0.03803173],"study_design_scores_gemma":[0.000003679934,0.0000361932,0.03890908,0.0002054834,0.000009521638,0.0005158871,0.5603319,0.00003399592,0.001049171,0.001156296,0.3977326,0.00001609825],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7401313,0.002782072,0.0002360554,0.001923177,0.0002647011,0.00003057161,0.0001944431,0.00001376423,0.2544239],"genre_scores_gemma":[0.8790859,0.0007953258,0.0001821513,0.0001463723,0.00002700478,0.00001121619,0.00007589548,0.00004085618,0.1196353],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09613113,"threshold_uncertainty_score":0.1911432,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390826983","doi":"10.38055/fs050109","title":"Clothing Norms in Nigerian Universities: Negotiating Fashion Towards Social Hegemony","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Hegemony; Clothing; Negotiation; Political science; Sociology; Law; Politics","authors":[{"name":"Adaku Agnes Ubelejit-Nte","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07311963588600634,"gpt":0.3108133352857402,"spread":0.2376936993997339,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00608138,0.0002897929,0.0002228534,0.001557598,0.0226157,0.01310933,0.0007034259,0.001786046,0.006403266],"category_scores_gemma":[0.007937581,0.0003231073,0.0001417879,0.00145552,0.01504638,0.003844521,0.004857973,0.002841914,0.0004469487],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01094625,"about_ca_system_score_gemma":0.01272976,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01735291,"about_ca_topic_score_gemma":0.04156825,"domain_scores_codex":[0.9940871,0.00347425,0.0001753807,0.000347193,0.0005290076,0.001387016],"domain_scores_gemma":[0.990584,0.004822107,0.001168213,0.0003263679,0.00085895,0.002240353],"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":[0.0001732777,0.0002541094,0.05511814,0.00008501647,0.00001065773,0.001290366,0.6686201,0.0002730842,0.001176054,0.2375262,0.002267454,0.03320558],"study_design_scores_gemma":[0.000009896762,0.00006128737,0.0213186,0.0001748656,0.000009423055,0.0001879806,0.9252998,0.0005370021,0.0006275587,0.02022665,0.03151781,0.00002911546],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8641282,0.0003392898,0.00113372,0.005027447,0.00008067236,0.00002761197,0.000008834984,0.000008867381,0.1292454],"genre_scores_gemma":[0.996529,0.00005712823,0.0001048373,0.00008821114,0.000003720765,0.000004428859,0.000001248825,0.00000313034,0.003208365],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0226157,"threshold_uncertainty_score":0.07942092,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404555594","doi":"10.38055/fst030101","title":"Long Views and Acts of Translation: Finding Usable Pasts for Sustainable Fashion","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"Arts and Humanities Research Council","keywords":"USable; Translation (biology); Computer science; World Wide Web; Biology; Genetics","authors":[{"name":"Amy Twigger Holroyd","is_ca":false},{"name":"Annebella Pollen","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1680927550395689,"gpt":0.3424856952809181,"spread":0.1743929402413492,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01010196,0.0006052352,0.0003834248,0.001803259,0.01202823,0.01334635,0.001161508,0.002560129,0.01951629],"category_scores_gemma":[0.01942317,0.0004952396,0.0004091454,0.002220358,0.02203845,0.02211876,0.006748482,0.003754572,0.003185541],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003881609,"about_ca_system_score_gemma":0.002648691,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002544262,"about_ca_topic_score_gemma":0.006938615,"domain_scores_codex":[0.9926097,0.005965107,0.0001448349,0.0003270859,0.0006694835,0.0002838177],"domain_scores_gemma":[0.9878486,0.00861962,0.0004294355,0.001650936,0.000946563,0.0005047701],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00007702168,0.00002734579,0.0008248076,0.000240429,0.000007207036,0.0006999817,0.6163886,0.0001077434,0.0008638634,0.2845479,0.03749825,0.05871687],"study_design_scores_gemma":[0.00001149772,0.00004089133,0.0005488032,0.0005621813,0.000008480225,0.0004437775,0.3263059,0.0003438178,0.0008203036,0.04279329,0.6280937,0.00002729879],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1474911,0.01495367,0.04063353,0.1079673,0.00618207,0.0001829625,0.0003781248,0.0005835398,0.6816277],"genre_scores_gemma":[0.8357526,0.006482983,0.01323388,0.005321455,0.0007410223,0.0001723846,0.000296469,0.0007839978,0.137215],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01951629,"threshold_uncertainty_score":0.06528848,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4402790693","doi":"10.38055/fs050202","title":"'Fashioning Identity': Exploring Psychologic and Social Implications of Wearing Fashion in a Grounded Theory Analysis of Five Female 'Fashionistas'","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Grounded theory; Social identity theory; Psychology; Identity (music); Social psychology; Sociology; Qualitative research; Social group; Art; Aesthetics; Anthropology","authors":[{"name":"Giuppy d’Aura","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1986180984016519,"gpt":0.3630756754998837,"spread":0.1644575770982318,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002593592,0.0003286115,0.0002733128,0.001644553,0.009848815,0.006044324,0.0008903939,0.001087971,0.003088003],"category_scores_gemma":[0.004509906,0.000277748,0.0002128364,0.001151791,0.009436754,0.002235716,0.002227019,0.002225681,0.0002204768],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003858819,"about_ca_system_score_gemma":0.002882178,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01567759,"about_ca_topic_score_gemma":0.03933287,"domain_scores_codex":[0.9983341,0.001002705,0.0000356312,0.0001498238,0.0001878817,0.0002898309],"domain_scores_gemma":[0.9970124,0.00209328,0.0002214847,0.0001512909,0.0002655362,0.0002559281],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000239986,0.00006254492,0.007256723,0.00002805159,0.000002739306,0.0003196745,0.9702497,0.00003534752,0.0006274318,0.0164625,0.0002301989,0.004701067],"study_design_scores_gemma":[0.000002742541,0.0000294448,0.01258752,0.00003392749,0.000004524515,0.0001351792,0.9797083,0.0001874129,0.0003461571,0.001462364,0.005496413,0.000006101247],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9692194,0.00005979062,0.001326879,0.0006029374,0.00002075407,0.00003217179,0.00003174193,0.000004973813,0.0287013],"genre_scores_gemma":[0.9972879,0.00003597464,0.000363553,0.00006956801,0.000002820042,0.00001001836,0.00001461789,0.000006420341,0.002209191],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01567759,"threshold_uncertainty_score":0.03117269,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390828324","doi":"10.38055/fs050101","title":"Subspace: An Internal and Liminal Place","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Spatial and Cultural Studies","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Liminality; Aesthetics; Art","authors":[{"name":"Deanna Armenti","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08216632274600719,"gpt":0.4035844427891317,"spread":0.3214181200431245,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001147783,0.0002981201,0.0003448532,0.002784945,0.004328155,0.008786473,0.0008910702,0.000666995,0.01472599],"category_scores_gemma":[0.003471939,0.0002487843,0.000360136,0.003638911,0.01827086,0.00929923,0.006083156,0.001063648,0.0006778095],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001390032,"about_ca_system_score_gemma":0.001557011,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002832293,"about_ca_topic_score_gemma":0.004780208,"domain_scores_codex":[0.9987143,0.0005794792,0.00006379384,0.0002260661,0.0002554395,0.0001608106],"domain_scores_gemma":[0.9980741,0.0004322385,0.0002279619,0.0006309567,0.0003307665,0.0003040548],"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":[0.0000263718,0.00001600613,0.002403742,0.00002493232,0.000005210592,0.00003722572,0.006725631,0.0001428794,0.0003054776,0.9812221,0.0004904771,0.008600007],"study_design_scores_gemma":[0.00002956607,0.0001110394,0.01011806,0.0001003054,0.0000244135,0.0003713794,0.0595048,0.001534836,0.001041626,0.865081,0.06204283,0.00004012937],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2709902,0.001214638,0.1028963,0.003633673,0.0002618842,0.00004857079,0.0004303089,0.0001741953,0.6203503],"genre_scores_gemma":[0.9891076,0.0001504158,0.004687686,0.00005854636,0.00003635535,0.00001368266,0.00007450725,0.00004942385,0.005821806],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01472599,"threshold_uncertainty_score":0.0492633,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390829941","doi":"10.38055/fs050111","title":"The Fragmented Fashion Body: Mannequins and the Paris Exposition Internationale, 1937","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"French Historical and Cultural Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Exposition (narrative); Art; Literature","authors":[{"name":"Paula Alaszkiewicz","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03987298073370414,"gpt":0.2512004801492908,"spread":0.2113274994155866,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001384479,0.001016854,0.0003557654,0.003136536,0.01995005,0.01037915,0.0006641469,0.002790879,0.01449648],"category_scores_gemma":[0.002151995,0.0004422265,0.0002561717,0.005679374,0.01980614,0.005340596,0.002878362,0.004230918,0.001390944],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02575388,"about_ca_system_score_gemma":0.007192627,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1871051,"about_ca_topic_score_gemma":0.3031849,"domain_scores_codex":[0.9987373,0.0005087109,0.00002843421,0.0001715218,0.0001318423,0.000422203],"domain_scores_gemma":[0.9995419,0.0002187378,0.00005881255,0.00003674854,0.00007591098,0.00006784879],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00003373003,0.00002105684,0.00046049,0.00003158924,0.00000327801,0.0001690622,0.06832694,0.00007774486,0.00006135034,0.8990328,0.02226901,0.00951308],"study_design_scores_gemma":[0.0000100143,0.00003295925,0.003676488,0.0001788986,0.000008009509,0.0001642318,0.03130042,0.00005714351,0.0001783675,0.02725675,0.9371112,0.00002547846],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04804545,0.03702307,0.0005492695,0.01307033,0.0008655552,0.00002875954,0.0001604783,0.00004292689,0.9002142],"genre_scores_gemma":[0.6580901,0.009237307,0.0004519964,0.001588376,0.0006132281,0.00006114146,0.00006295416,0.00008617995,0.3298087],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1871051,"threshold_uncertainty_score":0.3720321,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390820821","doi":"10.38055/fs050107","title":"Jardines: A Decolonial approach at Fashion and Reconciliation in Colombia","year":2024,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Art; Sociology","authors":[{"name":"Andrés López Galeano","is_ca":false},{"name":"Diana Carolina Varón","is_ca":false},{"name":"Oscar Cubillos","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08205225166776621,"gpt":0.2968583862914207,"spread":0.2148061346236545,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001694954,0.0003524183,0.0004365128,0.001902736,0.01721374,0.007414562,0.0009995707,0.001492527,0.01123467],"category_scores_gemma":[0.004197105,0.0002058075,0.0001946188,0.001828212,0.00824611,0.003956632,0.005536669,0.002766452,0.0002937871],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01847681,"about_ca_system_score_gemma":0.009842395,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1547383,"about_ca_topic_score_gemma":0.3270808,"domain_scores_codex":[0.9981142,0.0008761505,0.00004975052,0.0002218374,0.0001479044,0.0005901447],"domain_scores_gemma":[0.9984996,0.0006243401,0.0001285334,0.0001885909,0.0002868769,0.0002720448],"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":[0.0001543375,0.000105557,0.006873357,0.0002472453,0.000009161352,0.0008719945,0.2323475,0.0002745115,0.000462732,0.664924,0.01500557,0.07872403],"study_design_scores_gemma":[0.00002984273,0.00006860767,0.01633837,0.0003318139,0.00002497413,0.0002837094,0.3917885,0.0004721175,0.0008204794,0.02696209,0.5628181,0.00006146346],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.3976805,0.004657395,0.002106766,0.01591559,0.000546323,0.0001532353,0.0001412218,0.00008619686,0.5787128],"genre_scores_gemma":[0.9588184,0.0008193975,0.000798939,0.000567041,0.00004000335,0.0000574523,0.00003833761,0.00003824419,0.03882225],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1547383,"threshold_uncertainty_score":0.3076752,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4415997934","doi":"10.38055/fct040108","title":"Threads of Gold: Reclaiming the Textile in the Metaphors for Biblical Citations in Medieval Hebrew Literature","year":2025,"lang":"","type":"article","venue":"Fashion Studies","topic":"Medieval and Classical Philosophy","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Textile; Clothing; Metaphor; Hebrew","authors":[{"name":"Emma Cusson","is_ca":false},{"name":"Guadalupe González Diéguez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1077551693882221,"gpt":0.3721011190674613,"spread":0.2643459496792392,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01026826,0.0006555523,0.0006767081,0.01153035,0.0119946,0.0177801,0.001917948,0.005638472,0.006780372],"category_scores_gemma":[0.03052778,0.00054657,0.0003461426,0.009173982,0.07174208,0.02524365,0.007349196,0.00640147,0.0006554361],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006813195,"about_ca_system_score_gemma":0.004407648,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009036978,"about_ca_topic_score_gemma":0.01540201,"domain_scores_codex":[0.9929345,0.005135474,0.0002807488,0.0004055027,0.0008189318,0.0004247058],"domain_scores_gemma":[0.9764076,0.01794096,0.001218762,0.001622574,0.001972777,0.0008372031],"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":[0.00001294647,0.000004713048,0.0001703642,0.00004931074,0.000002853768,0.00005580322,0.06926356,0.00002489926,0.00007468677,0.9254852,0.001482754,0.003372806],"study_design_scores_gemma":[0.00004629735,0.00003297779,0.001210328,0.0009699235,0.00002878399,0.000428311,0.09028339,0.0005388844,0.0003074922,0.7085337,0.1975874,0.00003267083],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1468792,0.01765991,0.03712229,0.1019129,0.004091125,0.0001089326,0.0001872259,0.0002004146,0.691838],"genre_scores_gemma":[0.9752977,0.002408125,0.004131355,0.002707341,0.00146547,0.00007691862,0.0000393533,0.0001958873,0.01367777],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0177801,"threshold_uncertainty_score":0.05430436,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3081414157","doi":"10.38055/fs020201","title":"Grief Becomes Her: Fashion Connections in Daemon &amp; Saudade","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","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":true,"about_ca":true},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Grief; Daemon; Narrative; Identity (music); Journaling file system; Aesthetics; Visual arts; Photography; Art; Psychoanalysis; Psychology; Sociology; Psychotherapist; Computer science; Literature","authors":[{"name":"Colleen Schindler-Lynch","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08801872089229593,"gpt":0.3006486053133409,"spread":0.2126298844210449,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001294287,0.0004953813,0.0002439252,0.000992354,0.01712383,0.006884802,0.0005107737,0.0009629055,0.006607044],"category_scores_gemma":[0.001316651,0.0002979068,0.0001909542,0.0008304129,0.01940884,0.002622356,0.004331837,0.0027939,0.0004995772],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004989335,"about_ca_system_score_gemma":0.001489764,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02904198,"about_ca_topic_score_gemma":0.1706128,"domain_scores_codex":[0.9989943,0.0005089502,0.00001272637,0.00009878753,0.0001925523,0.0001926117],"domain_scores_gemma":[0.9994559,0.0002207157,0.00006242397,0.00005438373,0.00005589995,0.0001507312],"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":[0.00005513447,0.00002683536,0.002373286,0.00005071689,0.000005316993,0.001175467,0.9446806,0.00003572595,0.001051938,0.03448042,0.006030631,0.01003399],"study_design_scores_gemma":[0.000003802463,0.00002984617,0.005673728,0.0001162564,0.000005051627,0.0008262752,0.6999463,0.00003963089,0.0003813005,0.00215848,0.290804,0.00001530066],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6806394,0.00256204,0.001508746,0.005389484,0.0005354903,0.0000268542,0.00007260889,0.00004427973,0.3092211],"genre_scores_gemma":[0.958884,0.0007908891,0.0004504643,0.0004342237,0.00004528578,0.000009596097,0.0000206705,0.00005824195,0.03930657],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02904198,"threshold_uncertainty_score":0.05774587,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3081511410","doi":"10.38055/fs020203","title":"An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts","year":2019,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Bachelor; Exhibition; Visual arts; Art history; Art; The arts; Textile; Conversation; Plan (archaeology); Sociology; History; Archaeology","authors":[{"name":"Marley Healy","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0440047927447483,"gpt":0.2773282466028947,"spread":0.2333234538581464,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001879286,0.00061723,0.0006700302,0.001306716,0.01402639,0.003265502,0.001019127,0.001964075,0.02057543],"category_scores_gemma":[0.005735033,0.0007771438,0.0002743233,0.001604723,0.004321404,0.003717146,0.002858671,0.004771711,0.003374216],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01003385,"about_ca_system_score_gemma":0.004785905,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1450804,"about_ca_topic_score_gemma":0.2836885,"domain_scores_codex":[0.9980391,0.0008568714,0.00005287861,0.0002892188,0.0004711428,0.0002909528],"domain_scores_gemma":[0.9965475,0.001408458,0.0001842704,0.00008708286,0.000732205,0.001040515],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003594264,0.00005234214,0.00371263,0.0001651855,0.000007739367,0.003577646,0.7079111,0.00005827349,0.001568443,0.004643094,0.2666792,0.01158849],"study_design_scores_gemma":[0.000005202458,0.00003637248,0.00464148,0.0002402785,0.000006358448,0.0006812258,0.4237307,0.00007539573,0.0003419576,0.0003205781,0.5698822,0.00003829533],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4430269,0.01791186,0.003127973,0.2816606,0.004657374,0.0005191315,0.0009966654,0.0003978494,0.2477016],"genre_scores_gemma":[0.6105624,0.008851768,0.001241712,0.05160861,0.0006474523,0.000524652,0.0002733082,0.0003282021,0.3259619],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1450804,"threshold_uncertainty_score":0.288472,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4408221541","doi":"10.38055/fs050205","title":"Textile Narrative: Waste as Cultural Archive","year":2025,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Public Spaces through Art","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Textile; Narrative; Sociology; Architectural engineering; History; Engineering; Art; Archaeology; Literature","authors":[{"name":"Mina Keykhaei","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04251517604288072,"gpt":0.4281461313428898,"spread":0.3856309553000091,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002571102,0.0005028045,0.0002691074,0.001300432,0.01073395,0.01002928,0.001011285,0.001474281,0.007708578],"category_scores_gemma":[0.00308422,0.0001824691,0.0003081867,0.002021978,0.014326,0.007125192,0.005516955,0.00207128,0.0007338865],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00292254,"about_ca_system_score_gemma":0.001822507,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001827279,"about_ca_topic_score_gemma":0.004872125,"domain_scores_codex":[0.9983492,0.0009889444,0.00004544964,0.0001149932,0.0003120411,0.0001893247],"domain_scores_gemma":[0.9988017,0.0005408605,0.0001277757,0.00025402,0.0001105094,0.0001651509],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001053481,0.00007816226,0.00228239,0.0002331274,0.0000113716,0.001745617,0.5606596,0.0003059911,0.001374397,0.372209,0.01696757,0.04402731],"study_design_scores_gemma":[0.00001021344,0.00008547179,0.001365356,0.000346091,0.00001335643,0.001308789,0.3661822,0.0002855869,0.001460704,0.02367015,0.6052518,0.00002020998],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3142252,0.004636707,0.01415005,0.01472387,0.00173546,0.0001091132,0.0002376009,0.0002053038,0.6499767],"genre_scores_gemma":[0.9425725,0.001990234,0.002470833,0.0008543862,0.0002345721,0.00005688243,0.00007495746,0.0001627734,0.05158274],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01073395,"threshold_uncertainty_score":0.02578777,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4295633088","doi":"10.38055/fr010109","title":"Discussant: In Conversation with Christi Belcourt","year":2022,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Augustinian Studies and Theology","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Conversation; Sociology; Communication","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.049145465636199,"gpt":0.2555358512742968,"spread":0.2063903856380979,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003039283,0.001209534,0.001274123,0.001415844,0.02239143,0.009055764,0.002280573,0.01432484,0.04613508],"category_scores_gemma":[0.01697021,0.0005951049,0.0005834603,0.001230524,0.00425367,0.009588799,0.007905866,0.02687507,0.01032746],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005901035,"about_ca_system_score_gemma":0.004008003,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01727134,"about_ca_topic_score_gemma":0.03539259,"domain_scores_codex":[0.9972946,0.001139278,0.0000803384,0.0004537542,0.0005861564,0.0004459166],"domain_scores_gemma":[0.9934442,0.003098455,0.0003840038,0.00009563976,0.001114975,0.001862698],"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":[0.00003460967,0.00001484772,0.000116869,0.00008749314,0.000006207255,0.0008604227,0.02100871,0.00002660551,0.0002835067,0.01307372,0.9615788,0.002908261],"study_design_scores_gemma":[0.000003459676,0.000005496887,0.0001526553,0.00009675039,0.000002973686,0.0001975919,0.02246204,0.00002638846,0.00008416585,0.0006654233,0.976289,0.00001405071],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.002326148,0.01017434,0.000854484,0.8254382,0.1064692,0.00005239233,0.0001606289,0.0001327965,0.05439187],"genre_scores_gemma":[0.0684818,0.005713436,0.0006622392,0.4306588,0.06001193,0.0002142014,0.0001241317,0.0009571823,0.4331762],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.04613508,"threshold_uncertainty_score":0.1543373,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3080478814","doi":"10.38055/fs010103","title":"Making Research: An Analysis of Arts-Based Practices in the Academic Process, A Case Study of Methods of Inscription","year":2018,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Tattoo and Body Piercing Complications","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Adornment; Exhibition; Visual arts; Context (archaeology); The arts; Process (computing); Subject (documents); Art; Sociology; Computer science; Aesthetics; History; World Wide Web","authors":[{"name":"Ketzia Sherman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.8270303055671837,"gpt":0.7114503686615459,"spread":0.1155799369056378,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["metaresearch","sts"],"consensus_categories":[],"category_scores_codex":[0.03596647,0.0009922902,0.0009837708,0.007893579,0.02915397,0.01497327,0.00315583,0.00277556,0.004206438],"category_scores_gemma":[0.04500729,0.0008964395,0.0008960104,0.009991599,0.04045821,0.007772755,0.01321645,0.003810122,0.0006064331],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01516837,"about_ca_system_score_gemma":0.01647535,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007893456,"about_ca_topic_score_gemma":0.01653163,"domain_scores_codex":[0.9487405,0.03993468,0.001460528,0.002269309,0.005193525,0.002401481],"domain_scores_gemma":[0.9417628,0.04537036,0.003878267,0.00452263,0.00246204,0.002003958],"domain_codex":null,"domain_gemma":"methods","domain_candidate":"methods","domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002429775,0.00006144045,0.001460481,0.0002006716,0.00000544264,0.0004768863,0.9583937,0.00006857284,0.0004407941,0.02415631,0.0003929776,0.0143185],"study_design_scores_gemma":[0.00001068124,0.00006244905,0.002908405,0.0005356359,0.00001476268,0.0004728794,0.9297689,0.0001556963,0.001191895,0.005821977,0.05903251,0.00002433006],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8191645,0.004020099,0.04202418,0.006592504,0.0002978066,0.002066232,0.0001936898,0.0001490838,0.1254918],"genre_scores_gemma":[0.9684952,0.001847071,0.01526581,0.0003161754,0.00004291912,0.000940084,0.00005575513,0.0001004635,0.01293635],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.970846,"threshold_uncertainty_score":0.1902112,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4386265309","doi":"10.38055/fs040203","title":"Review: Alexander McQueen: Art Meets Fashion","year":2023,"lang":"en","type":"article","venue":"Fashion Studies","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Art; Art history; Visual arts","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.1343245775597139,"gpt":0.3307976118653795,"spread":0.1964730343056657,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003531917,0.002271736,0.003831446,0.007154719,0.001813514,0.006541409,0.002712058,0.01266565,0.01786301],"category_scores_gemma":[0.01444129,0.0009601461,0.001081998,0.008495173,0.002656571,0.007800384,0.00542683,0.005599332,0.009065188],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003922138,"about_ca_system_score_gemma":0.007445469,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01065109,"about_ca_topic_score_gemma":0.01928966,"domain_scores_codex":[0.9975721,0.0006708904,0.0003335934,0.0004021425,0.0008224077,0.0001987643],"domain_scores_gemma":[0.9930897,0.003142674,0.000632784,0.0001880549,0.002255973,0.0006908321],"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":[0.00003936016,0.000007267031,0.00003361459,0.006390382,0.00004293001,0.00005383484,0.00009027056,0.00003662129,0.00005623139,0.001251763,0.9396641,0.05233353],"study_design_scores_gemma":[0.00003759461,0.00001898102,0.0002978953,0.008261939,0.00007692698,0.0001707175,0.0001701799,0.00002238993,0.00003768414,0.001227394,0.9896573,0.00002104413],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.00002860187,0.9149285,0.00006072481,0.03778237,0.04608131,0.00002254182,0.00006004012,0.000009794918,0.001026028],"genre_scores_gemma":[0.001037711,0.8756118,0.0001481724,0.05529268,0.06048464,0.00007686909,0.00008168497,0.00001831622,0.007248136],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01786301,"threshold_uncertainty_score":0.05975771,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}