{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":69,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":69,"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":"6588e383768a","filters":{"venue":"Journal of Aesthetics and Art Criticism"}},"results":[{"id":"W1974753197","doi":"10.1111/j.0021-8529.2005.00190.x","title":"Profound Offense and Cultural Appropriation","year":2005,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Interdisciplinary Cultural and Social Studies","field":"Social Sciences","cited_by":114,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"","keywords":"Appropriation; Cultural appropriation; Aesthetics; Psychology; Sociology; History; Criminology; Environmental ethics; Art; Philosophy; Epistemology","authors":[{"name":"James O. Young","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02180835725455042,"gpt":0.3255613633246602,"spread":0.3037530060701097,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003326105,0.00005907051,0.0001272636,0.00002132154,0.0005930001,0.0001033957,0.00004614268,0.00004180389,0.00001580327],"category_scores_gemma":[0.0000580682,0.00003998195,0.00004225379,0.0000368565,0.0002863445,0.0002620732,0.00002785947,0.000101806,0.000005438872],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002834054,"about_ca_system_score_gemma":0.00001920846,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009105065,"about_ca_topic_score_gemma":0.00009854756,"domain_scores_codex":[0.9993905,0.00005033533,0.0001836397,0.00005573758,0.0001908768,0.0001289408],"domain_scores_gemma":[0.9995565,0.00002551115,0.00008286041,0.00002020324,0.0002344678,0.00008044835],"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":[0.0001110686,0.0003011624,0.001945177,0.00005169638,0.00009407596,0.00005784489,0.410923,0.000007418121,0.001339327,0.4012292,0.01899702,0.164943],"study_design_scores_gemma":[0.0006701134,0.0004285517,0.004171823,0.00009467718,0.00006903184,0.0001490785,0.05377898,0.00006121902,0.0001140782,0.02994754,0.910275,0.000239895],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9457265,0.000677641,0.00002346047,0.04039916,0.0001818061,0.00006082086,6.60718e-7,0.000005865772,0.01292416],"genre_scores_gemma":[0.9940085,0.001152261,0.0006555351,0.000268253,0.0006003471,7.144261e-7,2.30546e-7,0.000002935903,0.003311224],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.891278,"threshold_uncertainty_score":0.4560938,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1982146135","doi":"10.1111/j.1540-594x.2004.00153.x","title":"The Relative Importance of Local and Global Structures in Music Perception","year":2004,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":112,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Canadian Nautical Research Society","funders":"","keywords":"Perception; Psychology; Musical; Cognitive psychology; Music psychology; Context (archaeology); Reading (process); Cognition; Music and emotion; Improvisation; Performing arts; Cognitive science; Music perception; Linguistics; Art; Visual arts; Music history; History","authors":[{"name":"Barbara Tillmann","is_ca":true},{"name":"Emmanuel Bigand","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02166236345792188,"gpt":0.2826344705127969,"spread":0.2609721070548751,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002058663,0.00006668249,0.0001118042,0.00003839433,0.0001114883,0.00003642405,0.00008463935,0.0000314449,0.000003627326],"category_scores_gemma":[0.0001002352,0.00004366949,0.0000314602,0.0001106602,0.00058215,0.0002181073,0.00002617898,0.0001437381,5.661217e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002981065,"about_ca_system_score_gemma":0.00003823848,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002963229,"about_ca_topic_score_gemma":0.00002699453,"domain_scores_codex":[0.9992447,0.00003980602,0.0002708002,0.0001100016,0.0002101107,0.0001245674],"domain_scores_gemma":[0.9996753,0.00004432327,0.0001212123,0.0000664192,0.00003777657,0.00005492322],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000186064,0.0002307498,0.003787738,0.00003799991,0.000003202957,0.0002862622,0.004566615,0.0004298119,0.6176274,0.3209649,0.0002543259,0.05162492],"study_design_scores_gemma":[0.002307101,0.00169442,0.3319682,0.0002293161,0.00003476837,0.004133065,0.003183441,0.0004502596,0.01010873,0.642511,0.003103356,0.0002763103],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9965337,0.00006403731,0.001113674,0.001825243,0.0001477174,0.00004669205,0.000002430623,0.000001879654,0.0002646382],"genre_scores_gemma":[0.9985927,0.0004878941,0.0001900846,0.0006897931,0.00002208507,3.658534e-7,4.676523e-8,0.000002970305,0.00001406697],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6075187,"threshold_uncertainty_score":0.2144956,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2737099530","doi":"10.1111/jaac.12348","title":"Descriptivism and Its Discontents","year":2017,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophy and Theoretical Science","field":"Psychology","cited_by":54,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Philosophy; Linguistics; Sociology","authors":[{"name":"David Davies","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09728123136283695,"gpt":0.3313723551566015,"spread":0.2340911237937646,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000333594,0.00007357496,0.0001514201,0.00003376148,0.000255544,0.0001322477,0.0001958495,0.0000423364,0.00004959727],"category_scores_gemma":[0.0001044324,0.00005254955,0.00003925218,0.00001163264,0.0003873394,0.000191273,0.00006113826,0.0001539131,0.00001733754],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003520884,"about_ca_system_score_gemma":0.000006672217,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001093404,"about_ca_topic_score_gemma":4.449903e-7,"domain_scores_codex":[0.9993889,0.00003232279,0.0001871143,0.00009944991,0.0001288007,0.0001633888],"domain_scores_gemma":[0.9994408,0.00003463637,0.0001283767,0.0001408211,0.00007256528,0.0001828024],"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":[0.00003082919,0.00008137183,0.0004668843,0.000004742222,0.00001175178,0.000169518,0.0004947295,4.249899e-8,0.0006872335,0.9906492,0.0002757407,0.007127972],"study_design_scores_gemma":[0.001379718,0.0008761619,0.03755768,0.0001677114,0.00006186191,0.001888484,0.0002549761,0.00008544751,0.0005061604,0.936951,0.02005681,0.0002139722],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9147822,0.0009326519,0.000189523,0.01148994,0.0006310669,0.00003897776,0.000003558098,0.000002980421,0.07192912],"genre_scores_gemma":[0.9983831,0.0001259925,0.00009579564,0.0004038451,0.0001062155,5.419934e-7,5.132289e-8,0.00000526546,0.0008791699],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.08360095,"threshold_uncertainty_score":0.2142908,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2003420827","doi":"10.1111/j.1540-594x.2004.00169.x","title":"New Formalism and the Aesthetic Appreciation of Nature","year":2004,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":48,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Alberta; Wilfrid Laurier University","funders":"","keywords":"Formalism (music); Aesthetics; Cognitivism (psychology); Philosophy; Epistemology; Art; Literature; Psychology; Cognition","authors":[{"name":"Glenn Parsons","is_ca":true},{"name":"Allen Carlson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.00849083651491102,"gpt":0.253411053586702,"spread":0.244920217071791,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003770472,0.0001024128,0.0002504754,0.0001047181,0.0001174919,0.0000590603,0.0001425195,0.00008115656,0.0000199826],"category_scores_gemma":[0.0001173266,0.0000625863,0.0001205647,0.0001251904,0.0003215045,0.000149317,0.00003343904,0.0002988518,0.000002788153],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001066161,"about_ca_system_score_gemma":0.00004818872,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000003308903,"about_ca_topic_score_gemma":0.000001853011,"domain_scores_codex":[0.9989882,0.00006699182,0.0003926487,0.0001045971,0.000317025,0.0001305988],"domain_scores_gemma":[0.9994011,0.00003437774,0.0002423862,0.0001171866,0.00008992456,0.0001150614],"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":[0.0003469314,0.0003025332,0.0001585403,0.00005539742,0.00001389356,0.00008664268,0.009187243,0.0005098765,0.02422436,0.8493991,0.001743109,0.1139724],"study_design_scores_gemma":[0.02376929,0.002062761,0.002049782,0.0007827505,0.0007451386,0.01966133,0.00303929,0.00268529,0.03762563,0.7310789,0.1755709,0.0009289379],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9572413,0.0008335266,0.00543507,0.03486744,0.0001492906,0.00009233262,0.000003251126,0.000007165994,0.001370653],"genre_scores_gemma":[0.9954379,0.001516737,0.000924252,0.001736721,0.00004866089,4.907808e-7,1.986265e-7,0.000008365374,0.0003266801],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1738278,"threshold_uncertainty_score":0.2552195,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2100025750","doi":"10.1111/1540-6245.00090","title":"Rock Art Aesthetics and Cultural Appropriation","year":2003,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":40,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"","keywords":"Appropriation; Aesthetics; Art; Cultural appropriation; Philosophy; Epistemology","authors":[{"name":"Thomás Heyd","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02507633652056327,"gpt":0.2766389642196375,"spread":0.2515626276990742,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003370618,0.0001599971,0.0002683494,0.0001274736,0.0002044818,0.0001633106,0.0001009898,0.00007618968,0.00008457412],"category_scores_gemma":[0.0002361954,0.000122227,0.0001085449,0.0001368489,0.00015733,0.0002207292,0.0000234045,0.0002417836,0.00004988017],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001685545,"about_ca_system_score_gemma":0.00002911227,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":2.549808e-7,"about_ca_topic_score_gemma":6.146132e-7,"domain_scores_codex":[0.9986558,0.0001377389,0.0004417423,0.0001920101,0.0003538235,0.0002189089],"domain_scores_gemma":[0.9992833,0.00002741157,0.0001964711,0.0001267468,0.0001513896,0.0002147533],"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":[0.000234294,0.00241889,0.003853002,0.0002195725,0.00005195447,0.0009347566,0.01356524,0.0009343005,0.3950415,0.4556362,0.03666745,0.09044283],"study_design_scores_gemma":[0.002744656,0.001359671,0.0007333931,0.000190279,0.0002788916,0.01336106,0.002594221,0.005899636,0.01683255,0.03039589,0.9247724,0.000837406],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9838797,0.000266226,0.004037229,0.005631948,0.000193974,0.00007933078,0.000003213723,0.00001686808,0.005891496],"genre_scores_gemma":[0.9932489,0.001626528,0.001159745,0.001464636,0.00004625368,0.000001033672,6.053165e-7,0.00001513029,0.002437201],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8881049,"threshold_uncertainty_score":0.4984274,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2059093334","doi":"10.1111/j.0021-8529.2005.00177.x","title":"Leaving It Up to the Imagination: POV Shots and Imagining from the Inside","year":2005,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Digital Games and Media","field":"Social Sciences","cited_by":37,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University","funders":"","keywords":"Amusement; Narrative; Character (mathematics); Art; Nothing; Aesthetics; Reading (process); Feeling; Theme park; Visual arts; Literature; History; Psychology; Philosophy; Social psychology; Linguistics; Epistemology","authors":[{"name":"Jinhee Choi","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02008919501568137,"gpt":0.3069398612820828,"spread":0.2868506662664014,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006198612,0.00006086208,0.00009898256,0.00002543388,0.000203453,0.0003686191,0.0001488202,0.00002036037,0.00002266397],"category_scores_gemma":[0.0002283049,0.00003533494,0.00003593899,0.00006037868,0.0002194262,0.0002733922,0.00004333509,0.0001483393,0.00000805531],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001473397,"about_ca_system_score_gemma":0.00005369347,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002249038,"about_ca_topic_score_gemma":0.0002487087,"domain_scores_codex":[0.9992726,0.00004545273,0.0001870043,0.00006898322,0.0002741371,0.0001517733],"domain_scores_gemma":[0.9994026,0.0001904798,0.00006448832,0.00006782291,0.0001414014,0.0001332444],"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":[0.00001206007,0.0000317518,0.0008665102,0.000002560081,0.00001490375,0.00002446319,0.1086644,0.00001648297,0.00009771876,0.0234383,0.03440148,0.8324293],"study_design_scores_gemma":[0.0001401856,0.00003853054,0.001166613,0.00006092149,0.00001769097,0.00003925339,0.01338055,0.00004818958,0.0000272591,0.002974255,0.982052,0.00005455296],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.3414617,0.002423891,0.0002370217,0.5991876,0.0005553456,0.00009070662,0.000005005215,0.000006482084,0.05603231],"genre_scores_gemma":[0.9847198,0.0007538748,0.0006064458,0.009795358,0.0006992355,7.331855e-7,2.385184e-7,0.000006019405,0.003418331],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9476505,"threshold_uncertainty_score":0.3554603,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2982458085","doi":"10.1111/jaac.12680","title":"Glued to the Image: A Critical Phenomenology of Racialization through Works of Art","year":2019,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Feminist Epistemology and Gender Studies","field":"Social Sciences","cited_by":37,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":true},"ca_institutions":"Concordia University; McGill University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Racialization; Exhibition; Art; Phenomenology (philosophy); Sculpture; Exposition (narrative); Painting; Visual arts; Art history; Fine art; Aesthetics; White (mutation); Sociology; Literature; Race (biology); Gender studies; Philosophy","authors":[{"name":"Alia Al‐Saji","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02059162017057101,"gpt":0.3397031602930438,"spread":0.3191115401224727,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007198118,0.00006427598,0.0002698941,0.00004476123,0.0001636095,0.00001989613,0.0001470253,0.00007453423,0.0000669566],"category_scores_gemma":[0.0004072392,0.00004642363,0.00006368585,0.0001137964,0.000717675,0.000101313,0.00004202576,0.0001296789,0.00001381251],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001015846,"about_ca_system_score_gemma":0.00006739267,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005842727,"about_ca_topic_score_gemma":0.00002272464,"domain_scores_codex":[0.9990208,0.0001601552,0.0003723065,0.0000769117,0.0002074966,0.0001624039],"domain_scores_gemma":[0.9990754,0.0002674,0.0001378736,0.00009374143,0.0003776225,0.00004800935],"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":[0.0001913098,0.0003201007,0.002367185,0.0001098357,0.00008653696,0.00002354959,0.09801588,0.00003003918,0.000808695,0.8794565,0.01554899,0.003041374],"study_design_scores_gemma":[0.001638099,0.002938403,0.00407513,0.0005944592,0.0002861131,0.0001989119,0.08767538,0.00006413585,0.001280935,0.2459525,0.6548982,0.0003976904],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6480206,0.004441111,0.01263689,0.2304293,0.002378394,0.0004610699,0.00001289439,0.00001226096,0.1016075],"genre_scores_gemma":[0.9966354,0.0004972277,0.001463124,0.0006799251,0.00009105296,0.000001041749,2.377772e-7,0.000004631831,0.0006272989],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6393492,"threshold_uncertainty_score":0.2644303,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2110966693","doi":"10.1111/jaac.12076","title":"Kant's Expressive Theory of Music","year":2014,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Bach Studies and Logistics Development","field":"Arts and Humanities","cited_by":37,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Philosophy; Philosophy of music; Expression (computer science); Musical expression; Musical; Epistemology; Music theory; Music and emotion; Aesthetics; Music history; Literature; Art; Computer science","authors":[{"name":"Samantha Matherne","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02735585542117329,"gpt":0.2180659561115381,"spread":0.1907101006903648,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004198742,0.00009403218,0.0002526784,0.0000635961,0.0001410699,0.00004618748,0.00009367914,0.00002296508,0.0002473514],"category_scores_gemma":[0.00007510703,0.0000656983,0.00007259163,0.00001074124,0.0003743993,0.00005697499,0.00004408478,0.0001139389,0.000004809939],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000005561205,"about_ca_system_score_gemma":0.00001568013,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001328467,"about_ca_topic_score_gemma":0.000005613918,"domain_scores_codex":[0.9992295,0.00004501354,0.0003655944,0.00006600404,0.0001620901,0.0001317777],"domain_scores_gemma":[0.9992328,0.0001359915,0.0002000354,0.00008043865,0.0002892475,0.00006149163],"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":[0.00002343184,0.00008512457,0.00002354513,0.00004741908,0.00003937569,0.000008115984,0.01282989,0.000003334295,0.0001389897,0.9705684,0.007664938,0.008567461],"study_design_scores_gemma":[0.0004860581,0.0004462355,0.0003508164,0.0001566454,0.00006831289,0.00005003798,0.004739485,0.00003614564,0.0002600951,0.1183929,0.8748792,0.0001339829],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7424206,0.003431111,0.004619539,0.005659759,0.002908964,0.0001978981,0.00003392992,0.00002122889,0.240707],"genre_scores_gemma":[0.9964938,0.0002486751,0.000602779,0.0005011644,0.0003070737,7.964463e-7,4.80729e-7,0.000009014972,0.001836238],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8672143,"threshold_uncertainty_score":0.2708325,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4237920603","doi":"10.1111/1540-6245.00118","title":"Image Structure","year":2003,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Umberto Eco and Semiotics","field":"Arts and Humanities","cited_by":35,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Carleton University","funders":"","keywords":"Art","authors":[{"name":"John Kulvicki","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01271044754253466,"gpt":0.2211359307794974,"spread":0.2084254832369627,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001443094,0.0000935008,0.0001779307,0.00006058494,0.0001474655,0.0001787298,0.00006706021,0.00003159513,0.0009169975],"category_scores_gemma":[0.00005081552,0.00006962231,0.00006848033,0.00001231252,0.0001906046,0.0001473869,0.000008840375,0.0001769711,0.00001405101],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006761811,"about_ca_system_score_gemma":0.0000237252,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":8.309564e-7,"about_ca_topic_score_gemma":0.00001638588,"domain_scores_codex":[0.9993442,0.00003102445,0.0002746942,0.00006039784,0.0001426512,0.0001470085],"domain_scores_gemma":[0.9994884,0.00003521481,0.00009538085,0.00007740996,0.0002053712,0.00009819675],"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":[0.000009780288,0.00009212154,0.0001244257,0.00003511461,0.00002776921,0.0001184833,0.008229823,0.000001679698,0.0007069465,0.960299,0.02916827,0.001186587],"study_design_scores_gemma":[0.0003276086,0.0001956366,0.00002367241,0.00003403584,0.00003770703,0.0005197201,0.001304606,0.00003212588,0.0003703023,0.05303169,0.9440102,0.0001127265],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8531435,0.00108605,0.0001994277,0.003500511,0.001396158,0.00006510629,0.00002166654,0.00001261691,0.140575],"genre_scores_gemma":[0.9920484,0.0001325868,0.001819968,0.0007776514,0.0002758614,1.198048e-7,6.301142e-7,0.00001453959,0.004930217],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9148419,"threshold_uncertainty_score":0.9999963,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2132705190","doi":"10.1111/j.1540-594x.2007.00271.x","title":"Is a Theory of the Sublime Possible?","year":2007,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophy, Ethics, and Existentialism","field":"Arts and Humanities","cited_by":30,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Winnipeg","funders":"","keywords":"Sublime; Aesthetics; Art; Philosophy","authors":[{"name":"Jane Forsey","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04675093041171772,"gpt":0.2755680812416585,"spread":0.2288171508299408,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001074504,0.00009732612,0.0002032777,0.00009819555,0.0002230435,0.00009234132,0.0001917011,0.00005169911,0.0001837572],"category_scores_gemma":[0.00004878194,0.00006070869,0.0001848078,0.00002687381,0.0007107171,0.0001278802,0.00004080055,0.0002753839,0.000006324245],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000763697,"about_ca_system_score_gemma":0.00003960778,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00000430927,"about_ca_topic_score_gemma":0.00001913729,"domain_scores_codex":[0.9989701,0.00004825975,0.0004520296,0.00006872484,0.0002922389,0.0001686544],"domain_scores_gemma":[0.9990748,0.0001039427,0.0002211382,0.0001470432,0.000371582,0.00008150084],"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":[0.00004742519,0.0001005664,0.00008158938,0.00003732677,0.00003410802,0.00001784444,0.02692426,3.058651e-7,0.000284244,0.9683895,0.002988793,0.001094078],"study_design_scores_gemma":[0.000499664,0.0002966251,0.0004916204,0.0001869454,0.0001056425,0.000208421,0.003874396,0.000006373728,0.001701846,0.7383283,0.2541679,0.0001322347],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.792395,0.00209102,0.0002534934,0.02541862,0.002496314,0.0001096457,0.00003614145,0.00001082278,0.1771889],"genre_scores_gemma":[0.9930077,0.0001122668,0.00007944697,0.00240581,0.0005866233,1.666298e-7,2.357626e-7,0.00001212217,0.003795619],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2511791,"threshold_uncertainty_score":0.2618667,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1494921502","doi":"10.1111/j.1540-6245.2012.01537.x","title":"The Dialogue between Words and Music in the Composition and Comprehension of Song","year":2013,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Educational Technology and Pedagogy","field":"Computer Science","cited_by":26,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Composition (language); Linguistics; Comprehension; Psychology; Art; Philosophy","authors":[{"name":"David Davies","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02444563630556571,"gpt":0.2733610756880311,"spread":0.2489154393824654,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003645004,0.00004545644,0.0000987206,0.00005436801,0.0001219148,0.00006335996,0.0001632094,0.00003713596,8.854056e-7],"category_scores_gemma":[0.00001391627,0.00002596749,0.00001449181,0.00005653301,0.0002132959,0.000123685,0.00005060359,0.0001584081,5.495787e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000002578618,"about_ca_system_score_gemma":0.00001501225,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005475944,"about_ca_topic_score_gemma":0.000004580067,"domain_scores_codex":[0.9995071,0.0000692151,0.0001952332,0.00005466813,0.00009670627,0.000077081],"domain_scores_gemma":[0.999375,0.0003564877,0.00008194814,0.00008873991,0.00007072349,0.00002706435],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","study_design_scores_codex":[0.00002127284,0.0003099129,0.05967679,0.00006641832,0.00003810378,0.00002834079,0.01726969,0.00001329628,0.004120747,0.6091297,0.002452703,0.3068731],"study_design_scores_gemma":[0.0007113093,0.0007733391,0.5880769,0.0001986463,0.00003093414,0.001104517,0.001911278,0.001744999,0.0004762133,0.3971176,0.007697141,0.0001571],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9701056,0.0008657539,0.002107032,0.0267338,0.00007012452,0.00004943522,4.682912e-7,0.000001885017,0.00006588536],"genre_scores_gemma":[0.9976618,0.0004063666,0.001579342,0.0003103206,0.00003194053,0.000001046999,2.618165e-7,0.000001531199,0.000007414877],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5284002,"threshold_uncertainty_score":0.1058924,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3049716056","doi":"10.1111/jaac.12740","title":"Art Forms Emerging: An Approach to Evaluative Diversity in Art","year":2020,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":25,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Commensurability (mathematics); Indeterminacy (philosophy); Aesthetics; Pleasure; Diversity (politics); String (physics); Epistemology; Art; Sociology; Philosophy; Psychology; Mathematics; Anthropology; Pure mathematics","authors":[{"name":"Mohan Matthen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08497263154070671,"gpt":0.3237995195902801,"spread":0.2388268880495734,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004160356,0.0001313388,0.0002879168,0.0001629826,0.0001743146,0.00006866104,0.000235582,0.00004452732,0.00008700588],"category_scores_gemma":[0.0001803776,0.0001069795,0.0001069361,0.0002821182,0.0001109185,0.0002689576,0.0001396614,0.0002552379,0.00009059154],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002387824,"about_ca_system_score_gemma":0.00002831113,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":6.050939e-7,"about_ca_topic_score_gemma":0.00000150115,"domain_scores_codex":[0.9985921,0.0001163463,0.0003638238,0.0002339016,0.0004775747,0.0002162263],"domain_scores_gemma":[0.9992625,0.00001650447,0.0001092099,0.0001086232,0.00009948548,0.00040368],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"not_applicable","study_design_scores_codex":[0.002235171,0.011919,0.02542093,0.0003778325,0.00009646327,0.002472886,0.2666504,0.01785884,0.2823034,0.1366952,0.1176949,0.1362749],"study_design_scores_gemma":[0.01150981,0.01179967,0.01950663,0.0004966292,0.0006940517,0.003191386,0.03249861,0.2034104,0.01161722,0.04127421,0.6608149,0.003186389],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9666609,0.00001764213,0.005622381,0.01710949,0.00005379611,0.0001018173,0.000005073952,0.00001192549,0.010417],"genre_scores_gemma":[0.9901438,0.00009502344,0.001053564,0.008078729,0.00004832573,0.000001105664,9.570965e-7,0.00001021202,0.0005683099],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.54312,"threshold_uncertainty_score":0.4362497,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4246334558","doi":"10.1111/j.1540-594x.2003.00151.x","title":"Directive Pictures","year":2004,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Action Observation and Synchronization","field":"Psychology","cited_by":20,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Directive; Depiction; Representation (politics); Action (physics); Feeling; Aesthetics; Art; Psychology; Visual arts; Social psychology; Computer science; Political science; Law","authors":[{"name":"Dominic McIver Lopes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01783425060114576,"gpt":0.3033984211593954,"spread":0.2855641705582497,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001236985,0.00005382041,0.00009936511,0.00006676718,0.00006128765,0.00002624413,0.00004041539,0.00004512108,0.0002068885],"category_scores_gemma":[0.00003192173,0.00004360618,0.00003819348,0.0000525032,0.00004994521,0.00007782051,0.000005999433,0.0001133194,0.00002889195],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002007696,"about_ca_system_score_gemma":0.00002049118,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001652757,"about_ca_topic_score_gemma":0.000001549062,"domain_scores_codex":[0.9995205,0.00002529623,0.0002154994,0.00005553944,0.0001045246,0.00007866314],"domain_scores_gemma":[0.9995934,0.00002079574,0.0001041712,0.00005533148,0.0001650238,0.00006122121],"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":[0.0001968946,0.001125736,0.006922414,0.00003198226,0.0001776776,0.0003561353,0.01969031,0.000712466,0.00178278,0.861518,0.03332801,0.07415765],"study_design_scores_gemma":[0.004250418,0.001407423,0.0820121,0.0001244435,0.00009653989,0.002648216,0.003249462,0.00005618996,0.00162063,0.1453857,0.7588037,0.0003451655],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9087921,0.0007556002,0.03706532,0.01965026,0.001602381,0.00008173663,0.000002984271,0.00002089013,0.03202873],"genre_scores_gemma":[0.9962307,0.00008056106,0.0008321403,0.001332614,0.0001360838,6.277329e-7,6.226169e-7,0.000007536691,0.001379177],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7254757,"threshold_uncertainty_score":0.2265284,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2898687380","doi":"10.1111/jaac.12593","title":"Nature Aesthetics and the Respect Argument","year":2018,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Psychedelics and Drug Studies","field":"Psychology","cited_by":20,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Contemplation; Argument (complex analysis); Epistemology; Action (physics); Object (grammar); Philosophy; Aesthetics; Constraint (computer-aided design); Sociology; Mathematics","authors":[{"name":"Glenn Parsons","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01462619586058385,"gpt":0.3231166150466291,"spread":0.3084904191860453,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008281571,0.000146184,0.0002920846,0.00008047822,0.0002532604,0.00008539097,0.0001531573,0.0001137156,0.00004883124],"category_scores_gemma":[0.00005864761,0.00008575279,0.00009030876,0.00007228726,0.0008835024,0.00003963386,0.00006778297,0.0004366639,0.00002242163],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008967095,"about_ca_system_score_gemma":0.00001639694,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002260767,"about_ca_topic_score_gemma":0.000006298148,"domain_scores_codex":[0.9989079,0.0001001796,0.000383382,0.0001454884,0.0002281508,0.0002348518],"domain_scores_gemma":[0.9991108,0.0001351713,0.000166533,0.0002094176,0.0002702717,0.0001077713],"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":[0.0006180964,0.0002667329,0.0005605757,0.00001623266,0.0001847532,0.0001510016,0.01032422,5.316487e-7,0.0001076724,0.8924746,0.0792831,0.01601252],"study_design_scores_gemma":[0.003743029,0.001430313,0.002184981,0.0001057179,0.0001448195,0.002398442,0.002487335,0.00005663318,0.0001548312,0.1158359,0.8712374,0.0002206019],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8482729,0.01571279,0.0002661793,0.0798393,0.001940384,0.0001586913,0.000006505892,0.00001114254,0.05379207],"genre_scores_gemma":[0.9923089,0.001446786,0.0003851809,0.003471347,0.0004867649,0.000002443828,1.859769e-7,0.00001648773,0.00188195],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7919543,"threshold_uncertainty_score":0.3496897,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1577501047","doi":"10.1111/jaac.12170","title":"Aesthetic Experts, Guides to Value","year":2015,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":19,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Pleasure; Aesthetic value; Aesthetics; Empiricism; Value (mathematics); Aesthetic theory; Aesthetic experience; Psychology; Epistemology; Philosophy; Computer science","authors":[{"name":"Dominic McIver Lopes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06321272911538957,"gpt":0.3195566921215692,"spread":0.2563439630061796,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004907377,0.0001559162,0.0002998723,0.0002246917,0.0001079852,0.0001249634,0.0002473314,0.00005396985,0.00005687983],"category_scores_gemma":[0.0003460259,0.0001215568,0.000131984,0.0001949491,0.0001691207,0.0001545695,0.00006490956,0.0001412493,0.0001113743],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003226473,"about_ca_system_score_gemma":0.00006732217,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001668255,"about_ca_topic_score_gemma":7.649151e-7,"domain_scores_codex":[0.9984106,0.0001197395,0.0004973321,0.0001933804,0.0005231175,0.0002558178],"domain_scores_gemma":[0.998839,0.00001704666,0.0001310602,0.0001949802,0.0002129198,0.000604997],"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":[0.0004608681,0.002366038,0.001024865,0.00006120917,0.00001695819,0.002959938,0.03045539,0.002614435,0.2528781,0.180133,0.3018474,0.2251818],"study_design_scores_gemma":[0.001300311,0.001574764,0.00006977359,0.0001508085,0.00007866622,0.008234364,0.002807408,0.001465983,0.008013547,0.01885759,0.9569829,0.0004639558],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9639805,0.000250717,0.003238236,0.02574598,0.0003095799,0.00007809122,0.000002815802,0.00002300822,0.006371074],"genre_scores_gemma":[0.9865146,0.000214578,0.002654479,0.008296887,0.00009537493,0.000001801722,1.921957e-7,0.00002115707,0.002200905],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6551355,"threshold_uncertainty_score":0.4956943,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2010764843","doi":"10.1111/0021-8529.00014","title":"The Conceptual Dimension in Art and the Modern Theory of Artistic Value","year":2001,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":18,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Misnomer; Theory of art; Nothing; Aesthetics; Art methodology; Art; Value (mathematics); The arts; Modern art; Dimension (graph theory); Perception; Abstract art; Contemporary art; Epistemology; Art history; Philosophy; Visual arts; Painting; Mathematics; Performance art","authors":[{"name":"Roger Seamon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01484995163500817,"gpt":0.2151355977070072,"spread":0.200285646071999,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001168176,0.00008490297,0.0002342933,0.00005878732,0.0003299174,0.00005608277,0.00008738394,0.00002284397,0.00007080137],"category_scores_gemma":[0.00009444614,0.00004386745,0.0000830397,0.00002035251,0.001708692,0.00009344987,0.00003165821,0.0001645606,0.000002869028],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008196716,"about_ca_system_score_gemma":0.00001848376,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000003474458,"about_ca_topic_score_gemma":0.00007762267,"domain_scores_codex":[0.99906,0.0001952796,0.0003907909,0.00006587102,0.0001652101,0.0001228403],"domain_scores_gemma":[0.999094,0.0004827579,0.0001590689,0.00009992765,0.0001178767,0.00004638858],"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":[0.0002895769,0.00005152634,0.00006427436,0.000006729966,0.00003091762,0.00002900847,0.02113536,0.00002470997,0.00003305961,0.9694696,0.001996822,0.00686842],"study_design_scores_gemma":[0.001514797,0.0003262221,0.0001168504,0.0001130113,0.0002113381,0.0001998641,0.009488733,0.002791899,0.00001954842,0.4599391,0.5251488,0.0001298482],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9339882,0.008458808,0.000903171,0.007955942,0.0004468061,0.0001524208,0.000005110621,0.000006215816,0.0480833],"genre_scores_gemma":[0.9905272,0.00151142,0.00003087934,0.0003648305,0.00009329504,0.000001100957,3.178193e-7,0.000006843672,0.007464189],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.523152,"threshold_uncertainty_score":0.6295747,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2117162064","doi":"10.1111/j.1540-594x.2007.00239.x","title":"<i>Shikinen Sengu</i>and the Ontology of Architecture in Japan","year":2007,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Architecture, Modernity, and Design","field":"Engineering","cited_by":17,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Ontology; Architecture; Computer science; History; Philosophy; Epistemology; Archaeology","authors":[{"name":"Dominic McIver Lopes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.00808704695144891,"gpt":0.2226104746955445,"spread":0.2145234277440956,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006523338,0.0001000446,0.0002685374,0.0001332099,0.0000326654,0.0000129801,0.00008651023,0.00006358045,0.000003065833],"category_scores_gemma":[0.00004166139,0.00006511004,0.00005412878,0.00004923894,0.0002308015,0.00002741793,0.00001883494,0.0003627131,3.928342e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006680399,"about_ca_system_score_gemma":0.000009337995,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000003970717,"about_ca_topic_score_gemma":0.00007467846,"domain_scores_codex":[0.9992495,0.00003881734,0.0003576984,0.00005508626,0.0001262019,0.0001726937],"domain_scores_gemma":[0.9995165,0.0002304934,0.00005564048,0.00008283499,0.00004304749,0.00007149881],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.003351619,0.0008333691,0.03536795,0.001742612,0.0005781422,0.0016465,0.1244081,0.06120249,0.03604598,0.1372345,0.004053729,0.593535],"study_design_scores_gemma":[0.0246318,0.002841142,0.109375,0.001265841,0.0005305712,0.02147938,0.004413188,0.02563997,0.02044218,0.6626586,0.1249366,0.00178574],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9721704,0.002372102,0.02178334,0.001282555,0.0001217881,0.00006465129,0.000001525915,0.000006838342,0.002196821],"genre_scores_gemma":[0.9977618,0.0003047355,0.001593293,0.0002230373,0.00007478127,3.692054e-7,1.650968e-7,0.0000122044,0.00002964964],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5917493,"threshold_uncertainty_score":0.265511,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2090868150","doi":"10.1111/j.0021-8529.2005.00206.x","title":"Just a Song? Exploring the Aesthetics of Popular Song Performance","year":2005,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":16,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Feeling; Aesthetics; Art; Expression (computer science); Relevance (law); Love song; Literature; Psychology; Social psychology; Poetry; Law","authors":[{"name":"Jeanette Bicknell","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05502245046788135,"gpt":0.2310001225724266,"spread":0.1759776721045453,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003422183,0.0001282039,0.0002320247,0.00006311703,0.0004129443,0.0000828274,0.0001765836,0.0000319458,0.0002974396],"category_scores_gemma":[0.00001427423,0.00008091964,0.0001198132,0.00002431015,0.0003492328,0.00030569,0.00002555342,0.0002816084,0.00001304434],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001620696,"about_ca_system_score_gemma":0.00002648558,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001419979,"about_ca_topic_score_gemma":0.00003688335,"domain_scores_codex":[0.9989981,0.00003478328,0.0004408896,0.00007927795,0.0002657174,0.0001812082],"domain_scores_gemma":[0.9993365,0.00001579099,0.0001980539,0.0001419753,0.0002270634,0.0000805553],"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":[0.0001673288,0.0005671355,0.0002762486,0.0002812372,0.0000920741,0.00007532911,0.2901755,0.000291101,0.0004177597,0.5547755,0.054024,0.09885679],"study_design_scores_gemma":[0.0002712431,0.0004331164,0.0000528201,0.000161669,0.00007112986,0.0002196648,0.007395062,0.0001672331,0.0001731488,0.000591989,0.9903439,0.0001190139],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9836653,0.001262396,0.00002275395,0.003497405,0.0005401903,0.00005643479,0.000004669899,0.000007264937,0.01094358],"genre_scores_gemma":[0.9943056,0.0003992943,0.0002149563,0.0006055714,0.0007329666,0.00000220363,5.840636e-7,0.00001503375,0.003723787],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9363199,"threshold_uncertainty_score":0.3299807,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1968174984","doi":"10.1111/j.0021-8529.2006.00240.x","title":"The Substance of Cinema","year":2006,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Art; Art history","authors":[{"name":"Trevor Ponech","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01404278290914778,"gpt":0.2081564089640577,"spread":0.1941136260549099,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003651912,0.00006196248,0.0002488306,0.00006048904,0.00008637018,0.00002211191,0.00008354488,0.00002376272,0.00001082462],"category_scores_gemma":[0.00005054996,0.00004542747,0.00007726477,0.00005794059,0.0001381551,0.00004808983,0.00001186594,0.00008297134,0.000006866322],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000007155929,"about_ca_system_score_gemma":0.000006991301,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005195195,"about_ca_topic_score_gemma":0.00002118493,"domain_scores_codex":[0.9992156,0.000005100715,0.0005558577,0.00005994242,0.00004092506,0.0001225722],"domain_scores_gemma":[0.9994032,0.00008149628,0.0003012953,0.0000883782,0.00009195966,0.00003366004],"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":[0.00002788599,0.0001232218,0.01993729,0.00003843324,0.00003284952,0.00002535348,0.0004988815,0.00001605054,0.0001935318,0.9475694,0.02956269,0.001974456],"study_design_scores_gemma":[0.000788981,0.0002713865,0.02044972,0.000063505,0.00001710558,0.0001313737,0.0003126095,0.00007716093,0.000508368,0.2417268,0.7355268,0.0001261672],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9343742,0.03170017,0.0005718068,0.01168881,0.000565921,0.00005314213,0.00001293259,0.000002838125,0.02103025],"genre_scores_gemma":[0.9936472,0.003799653,0.0003481458,0.00009683395,0.0001336352,7.105756e-7,2.144832e-7,0.000006706025,0.001966961],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7059641,"threshold_uncertainty_score":0.1852478,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3027612146","doi":"10.1111/jaac.12712","title":"Kant's Musical Antiformalism","year":2020,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophical Ethics and Theory","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"","keywords":"The arts; Musical; Philosophy of music; Philosophy; Formalism (music); Innovator; Fine art; Literature; Art; Aesthetics; Epistemology; Music history; Visual arts; Computer science","authors":[{"name":"James O. Young","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04736726681240135,"gpt":0.2427215118381031,"spread":0.1953542450257018,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002692559,0.0001007229,0.0002274738,0.00004367108,0.0001627713,0.0001531881,0.000124269,0.00004637104,0.0003160743],"category_scores_gemma":[0.00008135259,0.00007456628,0.0001083685,0.00001783783,0.0004069507,0.0001681782,0.00004429171,0.0003963929,0.00003507065],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003532808,"about_ca_system_score_gemma":0.00002694823,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":7.823389e-7,"about_ca_topic_score_gemma":0.000001466751,"domain_scores_codex":[0.9991558,0.00003413417,0.0003442251,0.00008388738,0.0002304625,0.0001514574],"domain_scores_gemma":[0.9993267,0.00006692453,0.0001032501,0.00006225667,0.0002027313,0.0002381079],"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":[0.00002716588,0.00004971852,0.000002725441,0.00002527575,0.00001385005,0.0001079859,0.007430537,0.000001157998,0.0001302727,0.9889374,0.001657874,0.001616039],"study_design_scores_gemma":[0.0003196645,0.0003965991,0.000008220738,0.00004040105,0.00002901177,0.0001064121,0.0004725342,0.0001813734,0.00006357691,0.3736258,0.6246591,0.00009733564],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6076711,0.0009269859,0.000364055,0.2693458,0.001067951,0.00009183679,0.00003328281,0.00003278818,0.1204661],"genre_scores_gemma":[0.9870847,0.0001761958,0.000103662,0.01124087,0.001230542,2.748852e-7,7.078742e-7,0.00001276325,0.0001502587],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6230013,"threshold_uncertainty_score":0.3460791,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3118057185","doi":"10.1111/jaac.12763","title":"Is Stand-Up Comedy Art?","year":2020,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Cape Breton University","funders":"","keywords":"Comedy; Vernacular; Aesthetics; Art; Style (visual arts); Visual arts; Sociology; Literature","authors":[{"name":"Ian Brodie","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0418887707948851,"gpt":0.2544448407039324,"spread":0.2125560699090473,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001094583,0.0001055034,0.0002386559,0.00004297755,0.0002165841,0.0001279334,0.00008323488,0.00002055878,0.0006210643],"category_scores_gemma":[0.000009671891,0.0000766274,0.00009019193,0.00001755634,0.0002104586,0.0001653933,0.00002886509,0.0001723098,0.00008760523],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000004830327,"about_ca_system_score_gemma":0.00002098273,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":7.530238e-7,"about_ca_topic_score_gemma":0.000004863208,"domain_scores_codex":[0.9992855,0.00001386858,0.0002991945,0.00007119159,0.0001799195,0.0001503716],"domain_scores_gemma":[0.9995401,0.00002800321,0.00008975754,0.00005576667,0.0001627214,0.0001236736],"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":[0.0001392375,0.0001058451,0.0004839624,0.0001715114,0.0001231877,0.0000931133,0.1379912,0.000003037906,0.00009131668,0.1016247,0.7474138,0.01175911],"study_design_scores_gemma":[0.0004319453,0.0006093793,0.00003814235,0.00006166992,0.00004690764,0.00004685349,0.004340147,0.00004281676,0.0001189704,0.002553052,0.9916064,0.0001037447],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5819943,0.008100795,0.0001876759,0.1847432,0.002409805,0.000173822,0.0001155075,0.00004684999,0.2222281],"genre_scores_gemma":[0.9837473,0.001710933,0.00006641434,0.006559504,0.0009018245,5.733024e-7,7.456989e-7,0.00001343735,0.006999236],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4017531,"threshold_uncertainty_score":0.6800218,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4406614913","doi":"10.1093/jaac/kpae047","title":"Texts without authors: ascribing literary meaning in the case of AI","year":2025,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Meaning (existential); Linguistics; Literature; Philosophy; History; Epistemology; Art","authors":[{"name":"Sofie Vlaad","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02375609464703272,"gpt":0.3237758391950646,"spread":0.3000197445480319,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000715741,0.00009519653,0.0002352198,0.0002671524,0.000119984,0.00009279633,0.0001718034,0.00004370748,0.00002137796],"category_scores_gemma":[0.0002072303,0.00006337343,0.0001064871,0.0002854948,0.0001661617,0.0001484567,0.0000364823,0.0003431283,0.000001996209],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001050072,"about_ca_system_score_gemma":0.00004098947,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000003639926,"about_ca_topic_score_gemma":0.000006658754,"domain_scores_codex":[0.9988537,0.0002098329,0.0004906029,0.0001194569,0.0001816974,0.000144694],"domain_scores_gemma":[0.9995153,0.00007495475,0.0001305941,0.0001400981,0.00008525219,0.00005379348],"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":[0.0002277576,0.001894735,0.00961131,0.0003291789,0.00003404947,0.01900524,0.06870206,0.0004531179,0.1029083,0.5308368,0.00699135,0.2590061],"study_design_scores_gemma":[0.00802971,0.002502418,0.003740085,0.00612452,0.0009733511,0.1152829,0.03170896,0.06338954,0.02853403,0.5737957,0.1644059,0.001512952],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9847679,0.0002490364,0.0009185286,0.01079118,0.00009379305,0.00004924016,0.000002201888,0.000004164621,0.003123982],"genre_scores_gemma":[0.9954278,0.0001363843,0.0003324258,0.003684424,0.00002353904,7.387314e-7,1.149524e-7,0.000005562864,0.0003890507],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2574932,"threshold_uncertainty_score":0.2584293,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1968654803","doi":"10.1111/j.1540-6245.2010.01454.x","title":"The Aesthetics of Hanoi's Architecture: Sense of Place through the Eyes of Local Painters","year":2011,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Vietnamese History and Culture Studies","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Aesthetics; Painting; Architecture; Sense of place; Art; Visual arts; Sociology; Social science","authors":[{"name":"Dinh Quoc Phuong","is_ca":false},{"name":"Derham Groves","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02170753362463809,"gpt":0.2668597308507068,"spread":0.2451521972260687,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0009922935,0.0001008495,0.0002820139,0.0000269818,0.0004411616,0.00001178618,0.0002285564,0.00005577937,0.00001186881],"category_scores_gemma":[0.0001375856,0.0000527401,0.0001731429,0.00009174171,0.003147051,0.00005614867,0.00004074817,0.0002051942,5.359219e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001289751,"about_ca_system_score_gemma":0.00007697676,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002369375,"about_ca_topic_score_gemma":0.0001836875,"domain_scores_codex":[0.9986465,0.0002584642,0.000477056,0.00006812624,0.0003786482,0.0001712112],"domain_scores_gemma":[0.9988965,0.0001320193,0.000405772,0.0001382903,0.0003744432,0.00005292466],"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":[0.0003402935,0.0003620161,0.0001473436,0.00009636703,0.000175246,0.00004260113,0.6699612,0.00009378369,0.000546062,0.3010354,0.008158399,0.01904131],"study_design_scores_gemma":[0.0006375441,0.001489245,0.0001282322,0.000395552,0.0002441335,0.0001543838,0.3779601,0.00001724651,0.003021549,0.06090961,0.5548382,0.0002042237],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8232937,0.02421889,0.01020108,0.05911003,0.001898247,0.0005688665,0.00003181497,0.00001935747,0.08065799],"genre_scores_gemma":[0.9977994,0.0009938697,0.0006298582,0.0001482226,0.0000476136,7.261825e-7,7.149813e-8,0.00000679388,0.0003734575],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5466798,"threshold_uncertainty_score":0.9995658,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2165788277","doi":"10.1111/j.1540-6245.2010.01443.x","title":"Fact and Function in Architectural Criticism","year":2011,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Beauty; Criticism; Aesthetics; Function (biology); Architecture; Focus (optics); Art criticism; Art; Epistemology; Psychology; Philosophy; Visual arts; Art history; Performance art; Literature","authors":[{"name":"Glenn Parsons","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03000807411531099,"gpt":0.2652155125558252,"spread":0.2352074384405142,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003207781,0.000062704,0.0001505837,0.0000915808,0.0001802519,0.00002570831,0.00004951306,0.0000370023,0.00004188482],"category_scores_gemma":[0.00007126272,0.00004896594,0.00003530752,0.00006211283,0.000253668,0.0001414935,0.00001664163,0.0001520043,0.00000238239],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000168753,"about_ca_system_score_gemma":0.00002065613,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00006153723,"about_ca_topic_score_gemma":0.000104008,"domain_scores_codex":[0.9993334,0.00007037965,0.000218865,0.00006822711,0.0001533497,0.0001557138],"domain_scores_gemma":[0.9996765,0.00005913843,0.0000461957,0.00003114171,0.00007419182,0.000112842],"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":[0.000308915,0.0005768276,0.03824997,0.00009781845,0.00005522056,0.0005225478,0.3873338,0.000001366791,0.0003420881,0.3771102,0.003843386,0.1915579],"study_design_scores_gemma":[0.0005619607,0.0007635033,0.03254852,0.00009879226,0.00003372673,0.0001379346,0.004629467,0.00001188237,0.0000369639,0.08794778,0.8730471,0.0001823747],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9720938,0.001331519,0.0001539892,0.002711412,0.0003220908,0.00003950906,0.000001269128,0.000005298161,0.02334112],"genre_scores_gemma":[0.9973207,0.0003362396,0.0004410145,0.0003779776,0.0001076683,5.81925e-7,7.532162e-8,0.000003695545,0.001412036],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8692037,"threshold_uncertainty_score":0.1996773,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1974199069","doi":"10.1111/j.1540-6245.2009.01347.x","title":"Enjoying the Unbeautiful: From Mendelssohn's Theory of “Mixed Sentiments” to Kant's Aesthetic Judgments of Reflection","year":2009,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophical Ethics and Theory","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Alberta","funders":"","keywords":"Sublime; Beauty; Pleasure; Aesthetics; Perfection; Irrational number; Philosophy; Perception; Epistemology; Aesthetic experience; Psychology","authors":[{"name":"Alexander Rueger","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04484212593195025,"gpt":0.2773397682710456,"spread":0.2324976423390953,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001090847,0.0001502375,0.0003539446,0.0001455607,0.0002045351,0.00007608485,0.0002186416,0.00006298116,0.000128804],"category_scores_gemma":[0.00006573621,0.0001001631,0.0001556927,0.00005074904,0.0003519165,0.0001290535,0.00004318032,0.0003218137,0.000005078082],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001632038,"about_ca_system_score_gemma":0.00003551785,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000007414678,"about_ca_topic_score_gemma":0.000006060306,"domain_scores_codex":[0.9984286,0.0001784627,0.0006641133,0.0001245521,0.0004194613,0.0001848019],"domain_scores_gemma":[0.9988225,0.000159879,0.0003509611,0.0001957086,0.0003566995,0.0001142663],"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":[0.0001318926,0.0002604302,0.000007634185,0.00001408122,0.00004830522,0.00001251546,0.007590979,0.00001913002,0.002969752,0.978239,0.0002370068,0.01046928],"study_design_scores_gemma":[0.0005119384,0.0009270068,0.0001125994,0.0002672062,0.0001242731,0.00003930318,0.001309341,0.00003626591,0.003525561,0.9733381,0.01968359,0.0001248562],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9590972,0.0008190792,0.0006222096,0.02101093,0.0006922815,0.0001603292,0.00003486195,0.00001024514,0.01755288],"genre_scores_gemma":[0.9978819,0.0001723388,0.0001783603,0.001323557,0.0001749899,9.141647e-7,0.000001611431,0.0000136346,0.0002526476],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03878477,"threshold_uncertainty_score":0.4084534,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2040741614","doi":"10.1111/j.1540-6245.2011.01494.x","title":"Transparent Representation: Photography and the Art of Casting","year":2012,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Lethbridge","funders":"","keywords":"Photography; Representation (politics); Art; Casting; Visual arts; Computer graphics (images); Art history; Computer science","authors":[{"name":"Peter Alward","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05757442438838997,"gpt":0.2901398810742862,"spread":0.2325654566858962,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003697374,0.00008104632,0.0002039274,0.00006797988,0.000177347,0.0000680095,0.00005624611,0.00002217645,0.00007487815],"category_scores_gemma":[0.00001656782,0.0000467713,0.0001265167,0.00003313949,0.0005500854,0.0001770821,0.00001068137,0.0001403004,8.051219e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000134855,"about_ca_system_score_gemma":0.000005173076,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000006974663,"about_ca_topic_score_gemma":0.00001047532,"domain_scores_codex":[0.9992945,0.00005244926,0.0003159894,0.00004836906,0.0001635961,0.0001251288],"domain_scores_gemma":[0.9994845,0.00008354885,0.0001530762,0.00006054215,0.000140125,0.00007818024],"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":[0.0004262542,0.0005602164,0.005658678,0.0002212288,0.000251615,0.00002122635,0.2283607,0.000005472315,0.001967443,0.7459241,0.01185524,0.004747873],"study_design_scores_gemma":[0.005210781,0.001077251,0.003473124,0.0005997546,0.0007361418,0.001159179,0.04438962,0.0001601044,0.00599886,0.02520557,0.9115238,0.0004658372],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9813465,0.004189602,0.0001127711,0.00187571,0.0004132939,0.0001105792,0.00001372368,0.000005177,0.01193267],"genre_scores_gemma":[0.9986354,0.0005256651,0.00008433728,0.0002780475,0.0002545023,0.00000151474,7.785183e-7,0.000005758634,0.0002140264],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8996685,"threshold_uncertainty_score":0.2026813,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1966350602","doi":"10.1111/j.1540-594x.2006.00225.x","title":"The Conflicted Character of Picture Perception","year":2006,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Character (mathematics); Perception; Art; Psychology; Aesthetics; Communication; Mathematics; Neuroscience; Geometry","authors":[{"name":"Boyd Millar","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01106158416910858,"gpt":0.2467497989481629,"spread":0.2356882147790543,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002271928,0.00008633258,0.0001735886,0.00007155369,0.0001671182,0.00006412689,0.0001288284,0.00004658031,0.00007615647],"category_scores_gemma":[0.00005971857,0.0000521221,0.0001220977,0.00008888028,0.0002845288,0.00008354286,0.00001795942,0.0001643059,0.00001070408],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000867175,"about_ca_system_score_gemma":0.00001638377,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001371593,"about_ca_topic_score_gemma":0.000001468921,"domain_scores_codex":[0.9990166,0.00007426694,0.0004120928,0.00008710387,0.0002773193,0.0001325737],"domain_scores_gemma":[0.9994211,0.00004219032,0.0002189203,0.0001103362,0.0001503398,0.0000571246],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00006845031,0.0002716265,0.0007278739,0.0000172724,0.000005128456,0.00004955238,0.0009560847,0.00003369878,0.9483748,0.02593386,0.003999664,0.01956197],"study_design_scores_gemma":[0.002004541,0.0009946403,0.04692686,0.0001862471,0.0002284565,0.002903114,0.0016293,0.002874832,0.02863932,0.01785723,0.8952812,0.0004742731],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9910229,0.00006824121,0.0004654212,0.006583261,0.0001089352,0.00003564756,0.000003904175,0.000005382086,0.00170634],"genre_scores_gemma":[0.9965993,0.0004705962,0.0001213528,0.0007886697,0.0001015707,4.77742e-7,5.29856e-7,0.000007610256,0.001909871],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9197355,"threshold_uncertainty_score":0.2125477,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2125872075","doi":"10.1111/0021-8529.00041","title":"Philosophical Disenfranchisement in Danto's \"The End of Art\"","year":2001,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophy, Ethics, and Existentialism","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Contemporary art; Hegelianism; Silence; Art methodology; Anthropology of art; Argument (complex analysis); Philosophy; Art history; Art; Aesthetics; Epistemology; Performance art","authors":[{"name":"Jane Forsey","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04104284635698492,"gpt":0.2728616034055439,"spread":0.231818757048559,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005049428,0.0001238841,0.0002942203,0.0001224548,0.0001483275,0.00008342269,0.0001688317,0.00004821867,0.0002720637],"category_scores_gemma":[0.00003898018,0.00008413511,0.0001335735,0.00002988886,0.0007799446,0.0001359006,0.00003632614,0.00035724,0.00001174973],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001314308,"about_ca_system_score_gemma":0.00003204609,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009129508,"about_ca_topic_score_gemma":0.00008190693,"domain_scores_codex":[0.99871,0.00006532203,0.0006008672,0.00009649691,0.0003392913,0.0001880155],"domain_scores_gemma":[0.9993182,0.00008387122,0.0001806272,0.0001427155,0.00018142,0.00009319541],"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":[0.000092104,0.000408914,0.000182153,0.00005410613,0.00003596999,0.000178001,0.01407346,0.00001162506,0.0001672182,0.9799714,0.003033378,0.001791642],"study_design_scores_gemma":[0.0008072026,0.0003964391,0.0002733362,0.0001926758,0.0000603741,0.0002249924,0.0009851195,0.00007650506,0.00004924625,0.4688328,0.5279633,0.0001379797],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6692663,0.00235991,0.00006569138,0.2018913,0.001700251,0.0001849594,0.00003216719,0.00001067868,0.1244888],"genre_scores_gemma":[0.9962,0.0007543621,0.00004063304,0.001264719,0.0008548192,0.000001323529,0.000001438621,0.00001282894,0.0008698453],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5249299,"threshold_uncertainty_score":0.343093,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3126115017","doi":"10.1093/jaac/kpaa006","title":"Kant on Form or Design","year":2021,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophy and Historical Thought","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"","keywords":"Philosophy; Computer science","authors":[{"name":"James O. Young","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08842194302941174,"gpt":0.2629972676286861,"spread":0.1745753245992743,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001703376,0.00008909788,0.0002009868,0.00005795017,0.0002142739,0.0001153062,0.00006774966,0.00002858707,0.000443317],"category_scores_gemma":[0.00005591687,0.00005946905,0.00008781382,0.00002144679,0.0001163893,0.0001108206,0.00001571442,0.0001755042,0.00002805602],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001964782,"about_ca_system_score_gemma":0.00005378299,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":3.967904e-7,"about_ca_topic_score_gemma":0.000004914397,"domain_scores_codex":[0.9992985,0.0000356547,0.0002715115,0.00007563538,0.0001869024,0.0001318308],"domain_scores_gemma":[0.999415,0.0001012903,0.00008068349,0.00008298067,0.0002127025,0.0001073159],"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":[0.000113894,0.0002617863,9.742271e-7,0.00002107015,0.00002206075,0.0007497778,0.00441479,0.000004065313,0.00009495513,0.9653546,0.0234183,0.005543684],"study_design_scores_gemma":[0.0003201651,0.0007418595,0.000003024126,0.00008331709,0.00003189875,0.0003426057,0.0003166165,0.00002265875,0.0005058777,0.1318869,0.8656549,0.0000901239],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07880184,0.007345347,0.004488745,0.08534162,0.007207901,0.0002914379,0.00005809543,0.00006944387,0.8163956],"genre_scores_gemma":[0.9662124,0.0008356942,0.001634385,0.003977721,0.001528574,0.000001397024,9.355474e-7,0.00002229797,0.0257866],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8874106,"threshold_uncertainty_score":0.485401,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4378768769","doi":"10.1093/jaac/kpad015","title":"The Aesthetics of Creative Activism: Introduction","year":2023,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"York University; University of South Carolina; Johns Hopkins University; Princeton University","keywords":"Aesthetics; Scholarship; Beauty; Power (physics); Criticism; Everyday Aesthetics; Action (physics); Typology; Politics; Art; Sociology; Political science; Literature; Anthropology; Law","authors":[{"name":"Nicholas Holm","is_ca":false},{"name":"Elspeth Tilley","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03196599685477661,"gpt":0.2923589739807162,"spread":0.2603929771259396,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006375257,0.00008730945,0.0001915496,0.0001071803,0.0003987983,0.0001035325,0.0001172485,0.00002412405,0.0001407844],"category_scores_gemma":[0.0001446156,0.00005298405,0.00007690919,0.00005759722,0.0008782711,0.0001132878,0.00004098527,0.0001922926,0.00002675094],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001257736,"about_ca_system_score_gemma":0.00004264993,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000004134999,"about_ca_topic_score_gemma":0.000008398046,"domain_scores_codex":[0.9990002,0.00008044257,0.000336477,0.00007649007,0.0003172944,0.0001891163],"domain_scores_gemma":[0.9989414,0.0001990143,0.0001654942,0.0001076758,0.0005136912,0.00007268977],"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":[0.00007976544,0.0000836623,0.00005963673,0.00002449631,0.00004804069,0.00002495309,0.007559073,0.000008560579,0.0002342766,0.9169626,0.04866473,0.02625023],"study_design_scores_gemma":[0.0003304026,0.0008842897,0.0003395236,0.00005988716,0.00004917889,0.00009898617,0.02540355,0.0002823165,0.0008756942,0.03954208,0.9320351,0.00009898432],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8005954,0.0013883,0.0009826443,0.07032857,0.0008458524,0.0002977006,0.00004035783,0.00004119928,0.12548],"genre_scores_gemma":[0.982047,0.001562243,0.00006261448,0.00004668233,0.0005559903,0.000001998077,0.000001312627,0.00001336589,0.01570883],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8833704,"threshold_uncertainty_score":0.3236026,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1824071703","doi":"10.1111/j.1540-6245.2012.01544.x","title":"Opera Singing and Fictional Truth","year":2013,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Opera; Singing; Art; Aesthetics; Literature; Acoustics; Physics","authors":[{"name":"Nina Penner","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01420425467564444,"gpt":0.2068478130685829,"spread":0.1926435583929385,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001256522,0.00006942225,0.0001585355,0.00008058309,0.0002328653,0.0001870313,0.00004114418,0.00002678138,0.001621195],"category_scores_gemma":[0.00002649668,0.00004941645,0.00005453132,0.00001233023,0.0002435734,0.0001838957,0.0000202797,0.0001333941,0.00001778398],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000004094824,"about_ca_system_score_gemma":0.00001060679,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005661541,"about_ca_topic_score_gemma":0.000006866641,"domain_scores_codex":[0.9994901,0.00002006117,0.0002174391,0.00006720162,0.00009615396,0.0001090663],"domain_scores_gemma":[0.9995739,0.00006939616,0.00006125611,0.000039646,0.0001646193,0.00009120935],"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":[0.00001277188,0.0001623484,0.0001926928,0.00002759375,0.00008259193,0.00003688684,0.007153002,0.000009713688,0.0003375939,0.9523596,0.0198534,0.01977187],"study_design_scores_gemma":[0.0006763849,0.0004967892,0.001412179,0.00009128779,0.0001767121,0.0004604814,0.002840832,0.001252672,0.00006570237,0.07620656,0.9160914,0.0002289792],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9726837,0.0004105495,0.00009524579,0.009971092,0.0003680898,0.00003177824,0.000002482723,0.000005324767,0.0164318],"genre_scores_gemma":[0.9950685,0.00009539846,0.0002468759,0.001627595,0.0003848573,9.816523e-7,5.713731e-7,0.000005399518,0.002569803],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.896238,"threshold_uncertainty_score":0.9992915,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1565226642","doi":"10.1111/jaac.12043","title":"Art from a Wittgensteinian Perspective: Constitutive Norms in Context","year":2014,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Wittgensteinian philosophy and applications","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Epistemology; Essentialism; Normative; Sociology; Perspective (graphical); Context (archaeology); Variety (cybernetics); Philosophy; Computer science","authors":[{"name":"Sonia Sedivy","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01722453811035382,"gpt":0.2367698625146193,"spread":0.2195453244042655,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002022535,0.0001390334,0.0003013114,0.0001274715,0.0001697159,0.0001412803,0.0001216222,0.00004467403,0.0002018396],"category_scores_gemma":[0.00005120138,0.0001129762,0.00008799745,0.00003208424,0.0006185311,0.0001924606,0.00002304872,0.0002544059,0.00008884876],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002614049,"about_ca_system_score_gemma":0.00004190409,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002918042,"about_ca_topic_score_gemma":0.0002517224,"domain_scores_codex":[0.9990646,0.00004670899,0.0004136687,0.0001431179,0.0001645291,0.0001673472],"domain_scores_gemma":[0.9991871,0.000111748,0.0001580862,0.0001301371,0.0002896108,0.000123305],"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":[0.00002648777,0.0001317829,0.00007036207,0.000005585728,0.00002060879,0.00002591071,0.01632968,0.000002284447,0.0001364525,0.9797711,0.00180143,0.001678331],"study_design_scores_gemma":[0.00107361,0.0003742558,0.0001860379,0.0001512266,0.0000494225,0.00009162274,0.01018822,0.00008968321,0.000162728,0.2922827,0.6951486,0.0002019046],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5823764,0.0008839975,0.0004911603,0.02746581,0.0005922082,0.0002214037,0.00008490434,0.00002157307,0.3878626],"genre_scores_gemma":[0.9964271,0.00005122661,0.0001927381,0.001495135,0.0005532841,0.000003228421,0.000002314593,0.00001255085,0.001262376],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6933472,"threshold_uncertainty_score":0.4607035,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4311809443","doi":"10.1093/jaac/kpac055","title":"Rethinking Veridicality: Motor Response, Empirical Evidence, and Dance Appreciation","year":2022,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Action Observation and Synchronization","field":"Psychology","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Dance; Psychology; Feeling; Perception; Flexibility (engineering); Cognitive psychology; Motor learning; Cognition; Movement (music); Social psychology; Aesthetics; Philosophy; Neuroscience; Art; Visual arts","authors":[{"name":"Ian Heckman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1083887367137948,"gpt":0.3609295064955633,"spread":0.2525407697817685,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001461479,0.00006609533,0.0001399519,0.0001081502,0.0002654363,0.00005091356,0.00007181399,0.00004719082,0.0003050214],"category_scores_gemma":[0.0003106378,0.00006368078,0.00003633857,0.0001192647,0.00006990413,0.0001530303,0.0000439743,0.0002938177,0.000004014664],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004995948,"about_ca_system_score_gemma":0.00004806468,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":9.937529e-7,"about_ca_topic_score_gemma":4.517297e-7,"domain_scores_codex":[0.998686,0.0004241699,0.0003707141,0.0001145235,0.0003007675,0.0001038223],"domain_scores_gemma":[0.9991997,0.0002821739,0.0002106574,0.00009319713,0.0001346177,0.00007958503],"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":[0.01293992,0.003110513,0.2390784,0.000275571,0.0003875115,0.001061144,0.1273267,0.0006835439,0.01417329,0.1536501,0.2645982,0.1827151],"study_design_scores_gemma":[0.001466851,0.001936941,0.1661436,0.0001120688,0.00006891983,0.001724389,0.002287252,0.002813785,0.00006295231,0.02273455,0.8003896,0.0002591304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9699774,0.0008641193,0.004259953,0.02380486,0.0005963476,0.00006914549,0.000004176726,0.0000104549,0.0004135623],"genre_scores_gemma":[0.9948281,0.0001799107,0.0006963612,0.00259676,0.0001029528,0.000004311051,0.000001261462,0.000009734018,0.001580602],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5357914,"threshold_uncertainty_score":0.3339771,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4226287161","doi":"10.1093/jaac/kpac016","title":"The Fictional Road Not Taken: A Weak Anti-realist Theory of Fiction","year":2022,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Philosophy and Theoretical Science","field":"Psychology","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Philosophy; Prima facie; Epistemology; Realism; Object (grammar); Modal; Literature; Linguistics; Art; Chemistry","authors":[{"name":"Peter Alward","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0235120555318533,"gpt":0.2847071481238422,"spread":0.2611950925919889,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001421352,0.00007185739,0.0001444999,0.00005550148,0.0004530401,0.00002833791,0.000214225,0.00002928305,0.0003570612],"category_scores_gemma":[0.00006499996,0.00004890019,0.00009968192,0.0001053263,0.0004939505,0.00005063244,0.00005648099,0.0002963164,0.000004297517],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001465262,"about_ca_system_score_gemma":0.00002670673,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002026262,"about_ca_topic_score_gemma":3.149248e-7,"domain_scores_codex":[0.9988039,0.0002378014,0.0003567296,0.0000967496,0.000342612,0.0001622474],"domain_scores_gemma":[0.9992603,0.0002437074,0.0001838893,0.0001324698,0.00009885033,0.0000807649],"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":[0.0001468851,0.0001581239,0.00004107923,0.000002327612,0.00001835669,0.0000215947,0.0004649223,0.00002725255,0.0004532064,0.9895952,0.002229861,0.006841161],"study_design_scores_gemma":[0.0007326578,0.001228406,0.006893672,0.00002349183,0.00005715109,0.001916304,0.002074277,0.0001797143,0.0002540004,0.7799293,0.2065778,0.0001332394],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7031125,0.001784568,0.002101227,0.03788869,0.003486029,0.0001706821,0.000092811,0.00001557895,0.2513479],"genre_scores_gemma":[0.9985248,0.00008388828,0.00005348047,0.0005123139,0.0001249552,0.00000311238,7.222571e-7,0.000006068013,0.0006906472],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2954123,"threshold_uncertainty_score":0.390957,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1588999745","doi":"10.1111/j.1540-6245.2012.01529.x","title":"Righteous Art Anger","year":2012,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Art Therapy and Mental Health","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"","keywords":"Anger; Art; Psychology; Social psychology","authors":[{"name":"Darren Hudson Hick","is_ca":false},{"name":"Craig Derksen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02713513164502142,"gpt":0.262374203847459,"spread":0.2352390722024376,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003077356,0.00009159136,0.0001693039,0.00006386851,0.00023427,0.00005712399,0.00005829336,0.00002710581,0.0009373978],"category_scores_gemma":[0.000004703893,0.00006544836,0.00007018771,0.00001003711,0.0001714047,0.0002655356,0.00001465395,0.0001488595,0.0001236824],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001431841,"about_ca_system_score_gemma":0.00001566667,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001382847,"about_ca_topic_score_gemma":0.000008704814,"domain_scores_codex":[0.9992434,0.00003054818,0.0002788214,0.00004750712,0.0001578935,0.00024183],"domain_scores_gemma":[0.9995158,0.00003083822,0.0000981513,0.00006662437,0.00008519834,0.0002033514],"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":[0.00009645665,0.0007409802,0.0004950782,0.00007474944,0.00004846154,0.00006369339,0.04831845,5.927254e-7,0.0002541489,0.7792857,0.1511988,0.01942286],"study_design_scores_gemma":[0.0002861416,0.0003622759,0.00007112896,0.00004688856,0.00002248343,0.0003583949,0.001116276,0.00000459879,0.0001684676,0.005678886,0.9917952,0.00008923281],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8430004,0.004583138,0.00009446724,0.00652181,0.002331119,0.0001116323,0.000013714,0.00001855039,0.1433252],"genre_scores_gemma":[0.9812229,0.0004662482,0.0002206114,0.002205522,0.001125347,8.199497e-7,0.000001222218,0.00001333669,0.01474397],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8405964,"threshold_uncertainty_score":0.9999759,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2965113134","doi":"10.1111/jaac.12654","title":"An Argument for the New Theory of Photography: Reply to Costello","year":2019,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Photography and Visual Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Argument (complex analysis); Costello syndrome; Photography; Art; Philosophy; Visual arts; Medicine","authors":[{"name":"Dominic McIver Lopes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02378436819013802,"gpt":0.2746929727319123,"spread":0.2509086045417743,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004565574,0.0001030238,0.0002099184,0.00009228475,0.0001337192,0.0001114824,0.0001738318,0.00002490296,0.0002271337],"category_scores_gemma":[0.00001462421,0.00006003662,0.0001867268,0.00003299106,0.0001225978,0.0001193905,0.00001403714,0.0001162085,0.000003395671],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003242727,"about_ca_system_score_gemma":0.00002397189,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000009889295,"about_ca_topic_score_gemma":0.00001382876,"domain_scores_codex":[0.9992676,0.00003258362,0.0003121179,0.00007875327,0.000167902,0.000141085],"domain_scores_gemma":[0.9992174,0.0001178348,0.0001380845,0.0001605722,0.0002376106,0.0001284956],"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":[0.0006305741,0.0004275879,0.0002251775,0.00009777518,0.0001814696,0.000005124421,0.06428093,0.00002473239,0.01014834,0.8755036,0.03730651,0.0111682],"study_design_scores_gemma":[0.0006390298,0.002782716,0.0001096873,0.0001200056,0.0001098538,0.00003207584,0.01133775,0.00002711012,0.005062228,0.03424299,0.9454086,0.0001279034],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9898903,0.001242471,0.0007700252,0.003697323,0.0007861608,0.0004996801,0.00004068605,0.000008568388,0.003064802],"genre_scores_gemma":[0.9946029,0.0001260251,0.0002176229,0.003434916,0.0002647331,0.000002802365,0.000001083604,0.00001208583,0.001337806],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9081022,"threshold_uncertainty_score":0.2486955,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2982387051","doi":"10.1111/jaac.12679","title":"Holocaust Humor and Our Aesthetic Sensibility of American Genocide","year":2019,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Jewish and Middle Eastern Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Dalhousie University","funders":"","keywords":"The Holocaust; Complicity; Witness; Sensibility; Genocide; Narrative; White (mutation); Literature; History; Art; Philosophy; Law; Theology; Political science","authors":[{"name":"Lissa Skitolsky","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01652510248977303,"gpt":0.2970636576553361,"spread":0.2805385551655631,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006717588,0.00009064167,0.0003394964,0.00006587467,0.0001189585,0.00003747736,0.00008379947,0.00003404471,0.000003046659],"category_scores_gemma":[0.00007342095,0.00007487626,0.00006974371,0.00008059327,0.0004485899,0.00008840721,0.00004332688,0.0001337247,0.000006675213],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001433749,"about_ca_system_score_gemma":0.00005845181,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00005197089,"about_ca_topic_score_gemma":0.0001018433,"domain_scores_codex":[0.9989892,0.00009863993,0.0003213527,0.0001103235,0.0002732218,0.0002073058],"domain_scores_gemma":[0.9992316,0.00004028639,0.0002222175,0.00009745121,0.0002608207,0.000147574],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"qualitative","study_design_scores_codex":[0.0002006063,0.0004923595,0.3806807,0.0002543479,0.0001484264,0.0002612612,0.0444427,0.00001260686,0.003040944,0.08539946,0.001599975,0.4834666],"study_design_scores_gemma":[0.005348382,0.007443974,0.15724,0.0009985905,0.0005586094,0.002288175,0.5138188,0.00009480537,0.001723847,0.09380393,0.215167,0.001513813],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9903041,0.001877037,0.00003973161,0.004714755,0.0001778764,0.00008194069,0.00000319159,0.000004475361,0.00279695],"genre_scores_gemma":[0.9972328,0.0009840518,0.0006965676,0.0002444651,0.00006646254,2.949832e-7,1.139114e-7,0.000007433704,0.0007678333],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4819528,"threshold_uncertainty_score":0.3053365,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4396641628","doi":"10.1093/jaac/kpae019","title":"Speaking of Godot: Fiction, Reference, and Indeterminate Identities","year":2024,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Samuel Beckett and Modernism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Indeterminate; Art; Literature; Philosophy; Mathematics; Pure mathematics","authors":[{"name":"Peter Alward","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04916954630306278,"gpt":0.275785814344666,"spread":0.2266162680416032,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002073576,0.00008574982,0.0001756638,0.0001685326,0.0001030766,0.0002680476,0.00005410265,0.00003216887,0.0001576603],"category_scores_gemma":[0.00001154745,0.00006624059,0.0000521655,0.00001329201,0.0002502778,0.0002681228,0.00002684764,0.0001574972,0.000003901288],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000005710423,"about_ca_system_score_gemma":0.00002173994,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000006229407,"about_ca_topic_score_gemma":0.00001732379,"domain_scores_codex":[0.9993312,0.00001712751,0.000318341,0.00007547152,0.0001551427,0.0001027618],"domain_scores_gemma":[0.9996195,0.00003924503,0.00007977879,0.00005286724,0.0001586938,0.00004985861],"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":[0.00004562334,0.0001109368,0.0002548505,0.0007688357,0.0001244933,0.0005022634,0.07316163,0.000005316898,0.001271137,0.8448395,0.0213141,0.05760128],"study_design_scores_gemma":[0.0003720519,0.000532079,0.0003582547,0.0008377146,0.0001615377,0.001105897,0.007610393,0.0005178368,0.0005262746,0.09226336,0.8955023,0.0002123265],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9613166,0.004735877,0.0001050679,0.0008063859,0.0007899332,0.00003469645,0.00001385115,0.00001230951,0.03218526],"genre_scores_gemma":[0.993959,0.001164319,0.0000818567,0.0001000576,0.0002545808,4.804073e-7,6.825624e-7,0.00001145628,0.004427603],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8741882,"threshold_uncertainty_score":0.2701213,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2171115201","doi":"10.1111/jaac.12026_3","title":"Leddy, Thomas. The Extraordinary in the Ordinary: The Aesthetics of Everyday Life. Peterborough, Ontario: Broadview Press, 2012, 275 pp., $32.95 paper.","year":2013,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Law in Society and Culture","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Art history; Everyday life; Sociology; Philosophy; Epistemology","authors":[{"name":"Kevin Melchionne","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01895726238616082,"gpt":0.2679291763672861,"spread":0.2489719139811253,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00219959,0.000211158,0.0003674582,0.000008819603,0.0008105408,0.0002887844,0.0009577043,0.0001730978,0.0002318029],"category_scores_gemma":[0.0001228906,0.00009804151,0.0002991627,0.0001881633,0.00130155,0.0005469756,0.00009712057,0.0008226667,0.000009013411],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000451239,"about_ca_system_score_gemma":0.0002582805,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002074138,"about_ca_topic_score_gemma":0.003251252,"domain_scores_codex":[0.997328,0.0006697644,0.0006423788,0.0001574874,0.000782659,0.0004196934],"domain_scores_gemma":[0.9984384,0.0003860338,0.0003487677,0.0003521445,0.0003335982,0.0001410214],"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":[0.00005182026,0.0007180396,0.001328111,0.00007423799,0.0001024865,0.00007918369,0.1483602,0.00005163504,0.0001699071,0.1166374,0.7217882,0.01063867],"study_design_scores_gemma":[0.000352816,0.0003000031,0.002357188,0.0001618617,0.0001035852,0.0001985467,0.01830636,0.00001368668,0.00001002971,0.02286998,0.9551702,0.0001557993],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5070032,0.1128676,0.00004353475,0.3114568,0.001382529,0.001461024,0.00001433577,0.00002517994,0.06574575],"genre_scores_gemma":[0.9356495,0.05152882,0.0004334003,0.005799019,0.000454807,0.00002684353,0.000001198403,0.00002597908,0.006080458],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4286462,"threshold_uncertainty_score":0.6234106,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4239337135","doi":"10.1111/j.1540-6245.2010.01441.x","title":"Introduction","year":2011,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Architecture, Modernity, and Design","field":"Engineering","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[{"name":"David Goldblatt","is_ca":false},{"name":"ROGER PADEN","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01806908857347515,"gpt":0.2120360773880865,"spread":0.1939669888146113,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001235297,0.00006417324,0.0001051975,0.00006895911,0.000034046,0.0000147813,0.00004736827,0.00003097328,0.00005075724],"category_scores_gemma":[0.00001133278,0.00005327163,0.00003691747,0.00002399463,0.00004060868,0.00007132195,0.000007085292,0.0001500608,0.00001100217],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00000616406,"about_ca_system_score_gemma":0.000005251268,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":2.819467e-7,"about_ca_topic_score_gemma":5.077976e-7,"domain_scores_codex":[0.9995975,0.00001118566,0.0001691133,0.00004003644,0.0000854896,0.00009659606],"domain_scores_gemma":[0.9997805,0.000008976975,0.00002415569,0.00006217325,0.00005258012,0.00007158372],"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":[0.0004224199,0.001076335,0.002571724,0.0007801015,0.0004792718,0.001142375,0.04344196,0.009402188,0.04333823,0.09035419,0.3793361,0.4276551],"study_design_scores_gemma":[0.001586863,0.001727689,0.004881458,0.0001448789,0.0002152826,0.00701319,0.0005932277,0.01141908,0.0345874,0.2326768,0.7043551,0.000799088],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8333097,0.001906399,0.1408959,0.001448866,0.001552353,0.00007195036,0.000002226945,0.00006663526,0.020746],"genre_scores_gemma":[0.9939393,0.000277094,0.005078505,0.00008258771,0.0004329651,3.02714e-7,1.730434e-7,0.00001314395,0.0001758737],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.426856,"threshold_uncertainty_score":0.2172354,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4360745466","doi":"10.1093/jaac/kpad020","title":"Nested Types and Musical Flexibility","year":2023,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Narrative Theory and Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Musical; Flexibility (engineering); Criticism; Art history; Art; History; Visual arts; Literature; Management; Economics","authors":[{"name":"Peter Alward","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03818615023927672,"gpt":0.2728945978178556,"spread":0.2347084475785789,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004326822,0.00007520465,0.000193304,0.0001050147,0.0001925773,0.00011333,0.00004910902,0.00002186579,0.0002418612],"category_scores_gemma":[0.00005238951,0.00005378733,0.00006331586,0.00004177637,0.0003442888,0.0001198934,0.0000256409,0.0001188563,0.00002248404],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000003550545,"about_ca_system_score_gemma":0.00001134327,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001245056,"about_ca_topic_score_gemma":0.00001136928,"domain_scores_codex":[0.999411,0.00005613735,0.000228281,0.00007836284,0.0001149849,0.0001112237],"domain_scores_gemma":[0.9995558,0.00008834279,0.00006506601,0.00006333459,0.0001445761,0.00008290655],"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":[0.00006418079,0.0001234674,0.0003069615,0.00005263308,0.00007315063,0.0001419514,0.02187239,0.00000995699,0.0005027542,0.9603695,0.00691117,0.009571929],"study_design_scores_gemma":[0.0007927075,0.000771317,0.001317893,0.0001302631,0.0002172273,0.0002096884,0.01149884,0.0009721919,0.0002200459,0.3154315,0.6681459,0.0002924115],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9893468,0.0001988195,0.00001862408,0.004364905,0.0001595002,0.00002401287,0.000005788045,0.00001374706,0.005867821],"genre_scores_gemma":[0.99483,0.0001389501,0.00004344785,0.0003120912,0.0002567926,4.015128e-7,0.000001070147,0.000006647538,0.004410659],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6612347,"threshold_uncertainty_score":0.2648211,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4387214888","doi":"10.1093/jaac/kpad044","title":"Nine Explananda in Search of an Explanans","year":2023,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Aesthetic Perception and Analysis","field":"Neuroscience","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Sketch; Ontology; Epistemology; Adjudication; Work of art; Computer science; Sociology; Philosophy; Aesthetics; Law; Algorithm; Political science","authors":[{"name":"David Davies","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04866177945638187,"gpt":0.3249428481375982,"spread":0.2762810686812163,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000497509,0.0000795153,0.0002354537,0.0003839564,0.00005140379,0.000028268,0.0001489067,0.00003854907,0.0001525118],"category_scores_gemma":[0.00008094719,0.00006421587,0.00006865792,0.0003527789,0.0001410389,0.0001400587,0.00002881913,0.0001630996,0.00001903808],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008375017,"about_ca_system_score_gemma":0.00003036069,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000004234506,"about_ca_topic_score_gemma":0.000007014519,"domain_scores_codex":[0.9988644,0.0001011786,0.0004015861,0.0001190686,0.000330191,0.0001835979],"domain_scores_gemma":[0.9995689,0.00003859612,0.00008410855,0.0001141537,0.000064532,0.0001297185],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","study_design_scores_codex":[0.0003260132,0.00165222,0.007589896,0.0001692841,0.00001373931,0.004198445,0.0153541,0.002540818,0.8239704,0.01857824,0.00936418,0.1162427],"study_design_scores_gemma":[0.02055557,0.01487716,0.07236536,0.00262391,0.0004269924,0.01546109,0.04641443,0.1430783,0.4006162,0.05006313,0.2302934,0.003224447],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9963694,0.0000275946,0.0001161904,0.002365559,0.00005704942,0.00002815261,0.000006815596,0.000007760446,0.001021479],"genre_scores_gemma":[0.9979116,0.0007541967,0.0001722271,0.0003365551,0.00002851778,5.990992e-7,9.928153e-7,0.000009162906,0.0007861782],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4233542,"threshold_uncertainty_score":0.2618647,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4406659073","doi":"10.1093/jaac/kpae049","title":"Comic objectification","year":2024,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Humor Studies and Applications","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Trinity College","funders":"","keywords":"Comics; Objectification; Art; Sociology; Psychology; Literature; Philosophy; Epistemology","authors":[{"name":"Zoe Walker","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01889117973138685,"gpt":0.33986390174064,"spread":0.3209727220092531,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001730664,0.00005162997,0.00009701243,0.00006269477,0.0000719698,0.0000541623,0.00005368593,0.0000272652,0.0001386249],"category_scores_gemma":[0.000007280436,0.00004101931,0.00006518859,0.00006085659,0.00006548183,0.00002104918,0.00001077631,0.000136366,0.0001325941],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000008743831,"about_ca_system_score_gemma":0.00001223101,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000001194181,"about_ca_topic_score_gemma":8.909395e-7,"domain_scores_codex":[0.9995339,0.00001670902,0.0002144327,0.00007418414,0.00007072254,0.00009008879],"domain_scores_gemma":[0.9997302,0.00005424903,0.00003766509,0.00008206852,0.00004609177,0.00004968917],"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":[0.00001042136,0.0001295949,0.00009897384,0.00002801016,0.00008191771,0.00009219845,0.004340789,0.000001923417,0.001276372,0.8562018,0.09613392,0.04160405],"study_design_scores_gemma":[0.0001416387,0.0001483239,0.001499182,0.00004892631,0.00005538903,0.0007562474,0.001323971,0.00007325952,0.00005745635,0.01282535,0.9830039,0.000066372],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8085424,0.01788392,0.004164129,0.05480868,0.002638711,0.0001724601,0.00001893501,0.00005185512,0.1117189],"genre_scores_gemma":[0.9957913,0.0003329629,0.000286537,0.0002424541,0.0001747618,0.000003331245,5.50159e-7,0.000009032105,0.003159076],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.88687,"threshold_uncertainty_score":0.1704274,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4293072206","doi":"10.1093/jaac/kpac026","title":"Why It’s OK to Love Bad Movies","year":2022,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Art; Aesthetics; Psychology; Psychoanalysis","authors":[{"name":"Dorian Bandy","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02450077992979084,"gpt":0.2364320892790392,"spread":0.2119313093492484,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004177244,0.00009241827,0.0003357599,0.0002117291,0.0001297746,0.00004180162,0.0001261435,0.00001924257,0.0004186431],"category_scores_gemma":[0.00009238059,0.00009478327,0.00009768034,0.0001015649,0.00004640419,0.00007240098,0.0001177264,0.000183615,0.00008334157],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003312714,"about_ca_system_score_gemma":0.00001316289,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005255348,"about_ca_topic_score_gemma":0.000005440372,"domain_scores_codex":[0.9991246,0.00001115688,0.0004894912,0.0001198704,0.00007250207,0.0001823125],"domain_scores_gemma":[0.9994991,0.00004373247,0.0001689674,0.0001023162,0.00005895443,0.000126951],"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":[0.00005429003,0.0002740379,0.003617586,0.00003695896,0.00007360922,0.0001661923,0.008920324,0.0001647215,0.0000970221,0.1210151,0.8628687,0.002711532],"study_design_scores_gemma":[0.0003648074,0.0004844806,0.0005595644,0.00001502233,0.00001004693,0.000193457,0.00164833,0.00004340482,0.00003957233,0.02088818,0.9756338,0.0001193335],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5180982,0.01329518,0.001840491,0.4068252,0.003052962,0.0002314808,0.0001496583,0.00001127735,0.05649552],"genre_scores_gemma":[0.9616187,0.001740923,0.001225376,0.02547317,0.0002744958,0.000005811815,0.000001185533,0.00002553862,0.009634746],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4435205,"threshold_uncertainty_score":0.4583848,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1535259955","doi":"10.1111/j.1540-6245.2010.01423_10.x","title":"Aesthetics and Painting by gaiger, jason","year":2010,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Painting; Art; Aesthetics; Visual arts; Art history","authors":[{"name":"David Davies","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01497838478501984,"gpt":0.2750627363187184,"spread":0.2600843515336985,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000795381,0.00009458973,0.0001671573,0.00003918666,0.0004414313,0.0002198474,0.0001023772,0.0001111114,0.00007556535],"category_scores_gemma":[0.0001568408,0.00007490812,0.00004280085,0.00006555696,0.0003498541,0.00013666,0.00003263973,0.0003778264,0.000002866165],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001338137,"about_ca_system_score_gemma":0.00006300588,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003301767,"about_ca_topic_score_gemma":0.00007340348,"domain_scores_codex":[0.999066,0.00004337066,0.0002892247,0.00009128531,0.0002757751,0.0002343788],"domain_scores_gemma":[0.9993116,0.00006446558,0.0001330823,0.00005530778,0.0002017784,0.0002337169],"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":[0.00002850072,0.0002541049,0.009816077,0.00003118887,0.00003893592,0.0001322376,0.01889722,0.000001822174,0.006754051,0.04363431,0.6165555,0.3038561],"study_design_scores_gemma":[0.0002089815,0.000101222,0.0001828819,0.00003709345,0.00001593921,0.0001312563,0.003246935,0.00002147374,0.0004041664,0.002795302,0.992735,0.00011973],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9506074,0.0007736056,0.00007707433,0.04205291,0.000568433,0.00007116085,0.000003174934,0.0000102741,0.005835962],"genre_scores_gemma":[0.9871073,0.001650776,0.001141362,0.0008185779,0.000274594,6.980513e-7,8.220115e-7,0.00001099264,0.008994866],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3761796,"threshold_uncertainty_score":0.3395177,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4237873927","doi":"10.1111/jaac.12638","title":"Issue Information","year":2019,"lang":"en","type":"paratext","venue":"Journal of Aesthetics and Art Criticism","topic":"Educational Robotics and Engineering","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"Bard College; Florida Atlantic University; McGill University; Uppsala Universitet; Universidad del Atlántico; University of Cincinnati; College of Charleston; Central Michigan University; State University of New York; University at Buffalo; University of Oklahoma; Northwestern University; Brown University","keywords":"Computer science","authors":[{"name":"Susan L. Feagin","is_ca":true},{"name":"David R. Davies","is_ca":true},{"name":"Julie Van Camp","is_ca":true},{"name":"María José Alcaráz León","is_ca":true},{"name":"Keren Gorodeisky","is_ca":true},{"name":"Theodore Gracyk","is_ca":true},{"name":"Matthew Strohl","is_ca":true},{"name":"Fred Moten","is_ca":true},{"name":"Paul C. Taylor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007561819811938799,"gpt":0.2413638721920757,"spread":0.2338020523801369,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001890981,0.0001168962,0.0002203848,0.0001942409,0.00003888419,0.0002686444,0.0003266936,0.00009213596,0.00006539359],"category_scores_gemma":[0.0000213636,0.0001014485,0.00006671817,0.00006672541,0.00001761309,0.000505975,0.00006648572,0.0002812533,0.001635898],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000217026,"about_ca_system_score_gemma":0.0001366399,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":4.856188e-7,"about_ca_topic_score_gemma":4.431889e-8,"domain_scores_codex":[0.9991583,0.00001055541,0.0003811059,0.00006358758,0.0002556654,0.0001308101],"domain_scores_gemma":[0.9991997,0.00004459393,0.0002026135,0.0001568283,0.0003025059,0.00009371099],"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":[0.000001756321,0.00003701953,0.00000214322,0.0002047198,0.0000246485,0.000005566493,0.0007175923,0.006932025,0.00001883335,0.04732804,0.935201,0.009526693],"study_design_scores_gemma":[0.0001095271,0.0001128924,0.00001444528,0.0001812972,0.000008051082,0.0001998636,0.00002595974,0.005025201,0.00002628154,0.0009372758,0.9932396,0.0001196011],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"methods","genre_gemma":"other","genre_scores_codex":[0.0007414864,0.004547838,0.8215419,0.02337666,0.0306901,0.0001590614,0.00001577242,0.00001335718,0.1189138],"genre_scores_gemma":[0.1342561,0.02478168,0.3226565,0.01490568,0.006761103,0.000009997466,0.0001017608,0.0001471133,0.4963801],"genre_candidate":"methods","genre_consensus":null,"teacher_disagreement_score":0.4988854,"threshold_uncertainty_score":0.9991415,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2143087668","doi":"10.1111/j.0021-8529.2004.00161.x","title":"Robert Stecker, <i>Interpretation and Construction: Art, Speech, and the Law</i>","year":2004,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Law in Society and Culture","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Interpretation (philosophy); Art; Law; Philosophy; Art history; Linguistics; Political science","authors":[{"name":"David Davies","is_ca":true},{"name":"Julie Van Camp","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006132932018271972,"gpt":0.2533086701577008,"spread":0.2471757381394288,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005137934,0.00006241204,0.000133362,0.000005547516,0.000475694,0.0001703349,0.000055558,0.00006494449,0.00001158074],"category_scores_gemma":[0.00003624333,0.00003993705,0.00005035516,0.00004066688,0.001493258,0.0001883896,0.0000166986,0.0001680691,0.00000166322],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001261206,"about_ca_system_score_gemma":0.00003230344,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00001616436,"about_ca_topic_score_gemma":0.00008523313,"domain_scores_codex":[0.9993855,0.00006436131,0.0001815,0.00006573087,0.0001969806,0.0001058948],"domain_scores_gemma":[0.9996002,0.00005714246,0.00008972291,0.00004097058,0.000125396,0.00008653015],"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":[0.00003217112,0.00002097,0.00004328732,0.000009421322,0.0000157335,0.00001369046,0.01657151,0.000004259145,0.00003072237,0.977421,0.001217482,0.00461974],"study_design_scores_gemma":[0.0020041,0.0001418248,0.00004402727,0.0001443463,0.00008864946,0.001111352,0.01667732,0.00002115149,0.0001307499,0.3936987,0.5858156,0.0001221947],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6447887,0.01331876,0.001292124,0.1992555,0.001323013,0.0003866556,0.000008028263,0.00003106772,0.1395962],"genre_scores_gemma":[0.9824484,0.008465152,0.003624136,0.003794786,0.0002767339,0.000001088034,3.592766e-7,0.000006499567,0.001382828],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5845981,"threshold_uncertainty_score":0.5501971,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2006624365","doi":"10.1111/j.1540-594x.2008.00290_1.x","title":"<i>The Performance of Reading: An Essay in the Philosophy of Literature</i>by kivy, peter","year":2008,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Ethics, Aesthetics, and Art","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Reading (process); Philosophy; Literature; Art; Epistemology; Linguistics","authors":[{"name":"David Davies","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02584832218030552,"gpt":0.2410368940685854,"spread":0.2151885718882799,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009838056,0.0001361474,0.0002782529,0.0000909963,0.0003415297,0.00009930193,0.0003124393,0.00005691595,0.00001278932],"category_scores_gemma":[0.00003155693,0.00007754293,0.0001101715,0.00003887476,0.00120853,0.0002709395,0.00002285062,0.0004523545,0.00000165175],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000006994025,"about_ca_system_score_gemma":0.0000445131,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000002837783,"about_ca_topic_score_gemma":0.00001450619,"domain_scores_codex":[0.9985771,0.0001242014,0.0006414173,0.00009454948,0.0003706367,0.0001921631],"domain_scores_gemma":[0.9988738,0.0001685859,0.0002850104,0.0002148112,0.0003949975,0.0000628156],"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":[0.0002086017,0.0009610573,0.002327118,0.000272339,0.00004868169,0.0001184718,0.2967036,0.0000177176,0.0008746387,0.6865432,0.009822696,0.002101869],"study_design_scores_gemma":[0.001879065,0.005361144,0.0007111896,0.001478244,0.0001190427,0.001735797,0.007807584,0.0003270442,0.003105658,0.08104222,0.8959132,0.0005197825],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9802975,0.002144274,0.000004031837,0.005749208,0.000288481,0.00007206127,0.00001500586,0.000003208261,0.01142625],"genre_scores_gemma":[0.9943502,0.003593409,0.00006735556,0.0007944624,0.0002722673,0.000001246038,0.000001911095,0.00001431972,0.000904853],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8860905,"threshold_uncertainty_score":0.445288,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4294237747","doi":"10.1093/jaac/kpac043","title":"The Art of Environmental Law, Governing with Aesthetics","year":2022,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Environmental Philosophy and Ethics","field":"Environmental Science","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Alberta","funders":"","keywords":"Aesthetics; Environmental law; Sociology; Environmental ethics; Law; Philosophy; Political science","authors":[{"name":"Jennifer Welchman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006946416257696005,"gpt":0.1978754397732622,"spread":0.1909290235155662,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005991847,0.0001260967,0.0001702929,0.00001668337,0.0005745751,0.00002765581,0.0002489397,0.00003225054,0.0003259403],"category_scores_gemma":[0.00000720171,0.00008789157,0.00007657267,0.00005140743,0.001046827,0.0001190577,0.0002590551,0.0004647093,0.00002837623],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008162554,"about_ca_system_score_gemma":0.000008223513,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00000222883,"about_ca_topic_score_gemma":0.000005277106,"domain_scores_codex":[0.9985203,0.00008938128,0.0003233385,0.0001220422,0.0007449269,0.0001999784],"domain_scores_gemma":[0.9993678,0.00009186489,0.0002557264,0.0001729734,0.000004263398,0.0001074048],"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":[0.004279308,0.01112063,0.1352182,0.0002720072,0.0007884457,0.003279515,0.02947232,0.08515985,0.145968,0.3998394,0.07821407,0.1063883],"study_design_scores_gemma":[0.0009449063,0.002743562,0.003239623,0.0000350579,0.00008764239,0.002012583,0.001868955,0.000251891,0.001446752,0.01639298,0.9706942,0.0002817955],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9706194,0.0005436643,0.0001214708,0.01077888,0.0001560559,0.0001176984,0.00003465622,0.000004787931,0.01762338],"genre_scores_gemma":[0.9972516,0.0004129188,0.0006170654,0.0008237846,0.00002462152,0.00000244481,0.000001437156,0.0000180889,0.0008480467],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8924802,"threshold_uncertainty_score":0.4419225,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2964989959","doi":"10.1111/jaac.12663","title":"LOPES, DOMINIC MCIVER. Being for Beauty: Aesthetic Agency and Value. Oxford University Press, 2018, 288 pp., $65.00 cloth.","year":2019,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Visual Culture and Art Theory","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Beauty; LOPES; Art history; Agency (philosophy); Art; Philosophy; Aesthetics; Physics; Epistemology","authors":[{"name":"Stephanie Ross","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01791540303814447,"gpt":0.2331359496841709,"spread":0.2152205466460264,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004306138,0.0002042695,0.0003784302,0.00007879619,0.0003913967,0.0001962517,0.0001772681,0.00007421695,0.0001111774],"category_scores_gemma":[0.00001785752,0.0001661098,0.0001675446,0.00002109496,0.0003052471,0.0004013765,0.00006987042,0.0002232962,0.000009506436],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002323147,"about_ca_system_score_gemma":0.00004619132,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000005704394,"about_ca_topic_score_gemma":0.000007286885,"domain_scores_codex":[0.9988628,0.00006734004,0.000364243,0.0001944637,0.0002012991,0.0003098234],"domain_scores_gemma":[0.9991947,0.00008009616,0.0001996868,0.0001457613,0.000201496,0.0001782523],"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":[0.0001720394,0.0001638946,0.0001033357,0.0001341828,0.00005266726,0.00005263188,0.009682466,0.000006461446,0.0001795589,0.9658155,0.01754518,0.006092061],"study_design_scores_gemma":[0.001284482,0.001016876,0.00004067698,0.0001954445,0.0001372788,0.0001787594,0.002267585,0.0001206742,0.00008412063,0.03230286,0.9621342,0.0002370832],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9361356,0.007395242,0.000243611,0.003545145,0.001275434,0.0005010852,0.00006072787,0.00003292916,0.05081019],"genre_scores_gemma":[0.9633184,0.005190953,0.0005782793,0.0008564137,0.0005097322,0.00000129809,0.000005285358,0.00004387261,0.02949573],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.944589,"threshold_uncertainty_score":0.677376,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}