{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":29,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":29,"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":"90cabb150659","filters":{"venue":"Journal of Cultural Economics"}},"results":[{"id":"W2998719201","doi":"10.1007/s10824-020-09379-z","title":"Hollywood studio filmmaking in the age of Netflix: a tale of two institutional logics","year":2020,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":104,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Studio; Filmmaking; Institutional logic; Movie theater; Hollywood; Heuristics; Film industry; Product (mathematics); Advertising; Marketing; Analytics; Production (economics); Service (business); Perspective (graphical); Computer science; Business; Multimedia; Sociology; Economics; Visual arts; Data science; Art; Telecommunications; Artificial intelligence; Microeconomics","authors":[{"name":"Allègre L. Hadida","is_ca":false},{"name":"Joseph Lampel","is_ca":false},{"name":"W. David Walls","is_ca":true},{"name":"Amit Joshi","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09370611315981026,"gpt":0.2676568694087127,"spread":0.1739507562489025,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004831333,0.0003613959,0.0002070207,0.001525665,0.006310272,0.01707439,0.001085909,0.002381349,0.0113869],"category_scores_gemma":[0.00696692,0.0003751575,0.0002922857,0.001043665,0.01950666,0.01507605,0.005755936,0.003598009,0.0006283114],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01066359,"about_ca_system_score_gemma":0.003083018,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01020078,"about_ca_topic_score_gemma":0.01280219,"domain_scores_codex":[0.9971064,0.001693326,0.00005036336,0.0002875361,0.0003159927,0.0005464418],"domain_scores_gemma":[0.9954367,0.002523169,0.0004360366,0.0003503457,0.0003516562,0.0009020859],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005973608,0.00004758132,0.001854523,0.00002505359,0.000006570616,0.0003366888,0.01401912,0.0006089076,0.0002188572,0.9702065,0.003318601,0.009297917],"study_design_scores_gemma":[0.0000633516,0.000109185,0.007809406,0.000432755,0.00003094975,0.0004346502,0.1054343,0.008155763,0.001598159,0.6926657,0.1831551,0.0001107349],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3695353,0.002815147,0.04500686,0.06180963,0.0002559476,0.000136722,0.0001688648,0.0001512797,0.5201204],"genre_scores_gemma":[0.9853667,0.000408626,0.004120942,0.0009438027,0.00004886392,0.00003546815,0.00002340705,0.00003819561,0.00901394],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01707439,"threshold_uncertainty_score":0.07737017,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1965181832","doi":"10.1007/s10824-014-9234-1","title":"Economics of motion pictures: the state of the art","year":2014,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":68,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Cultural economics; The arts; State (computer science); Motion (physics); Economics; Art; Social science; Visual arts; Political science; Sociology; Computer science; Computer vision","authors":[{"name":"Darlene C. Chisholm","is_ca":false},{"name":"Vı́ctor Fernández-Blanco","is_ca":false},{"name":"S. Abraham Ravid","is_ca":false},{"name":"W. David Walls","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02054225343124613,"gpt":0.2052743570053218,"spread":0.1847321035740757,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002219376,0.0006510821,0.00116105,0.00222956,0.0006096691,0.006204402,0.001037807,0.003088917,0.01595804],"category_scores_gemma":[0.01315568,0.0005616816,0.0004823522,0.003348308,0.00455731,0.008157421,0.0009976451,0.002566852,0.001054638],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002517215,"about_ca_system_score_gemma":0.001174491,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003938173,"about_ca_topic_score_gemma":0.00250959,"domain_scores_codex":[0.9993787,0.0002768033,0.00002561163,0.0001064072,0.0001533062,0.00005911039],"domain_scores_gemma":[0.9840152,0.01355758,0.0009008916,0.0005075744,0.0008069573,0.000211744],"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":[0.0003028641,0.0004016235,0.005952057,0.001875033,0.0001499212,0.000250228,0.0004780557,0.005155656,0.0004358596,0.6718027,0.01804487,0.2951511],"study_design_scores_gemma":[0.00006195723,0.00008353939,0.01512919,0.002425434,0.0001251752,0.0003380867,0.00149712,0.01057663,0.0006114249,0.8538472,0.1152369,0.00006728858],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.0750326,0.6697525,0.02395546,0.0902939,0.001199515,0.00007552646,0.0007093265,0.00005513843,0.138926],"genre_scores_gemma":[0.5683913,0.4089183,0.004682669,0.003291764,0.00581689,0.00006868403,0.0002677925,0.00005143352,0.008511232],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01595804,"threshold_uncertainty_score":0.05338496,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2899211191","doi":"10.1007/s10824-018-9334-4","title":"Cultural and economic value: a critical review","year":2018,"lang":"en","type":"review","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":67,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Blackberry (Canada)","funders":"","keywords":"Cultural economics; Value (mathematics); The arts; Order (exchange); Sociology; Economics; Positive economics; Social science; Political science; Law","authors":[{"name":"Francesco Angelini","is_ca":false},{"name":"Massimiliano Castellani","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.133129582160419,"gpt":0.3410853324119455,"spread":0.2079557502515265,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007058246,0.001053702,0.003043899,0.01268934,0.0008817838,0.006034889,0.001666495,0.00447269,0.008573983],"category_scores_gemma":[0.02610317,0.0006508305,0.001258384,0.01475911,0.003947335,0.006504195,0.002666296,0.003737282,0.0007944737],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005014113,"about_ca_system_score_gemma":0.01390976,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00544767,"about_ca_topic_score_gemma":0.01364214,"domain_scores_codex":[0.9978096,0.0006701876,0.0004188234,0.0002841876,0.0006838078,0.0001334381],"domain_scores_gemma":[0.9648395,0.02903103,0.00201901,0.0004271061,0.003161281,0.0005220847],"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":[0.0002197538,0.0001213309,0.00128978,0.1531455,0.001182985,0.0003149633,0.000705384,0.0003278975,0.0002101867,0.04198702,0.1280264,0.6724688],"study_design_scores_gemma":[0.00006088741,0.00005682729,0.003463189,0.2087468,0.001632441,0.0005054413,0.001021361,0.0001105577,0.0001113093,0.01900231,0.765226,0.00006284966],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.000049098,0.9974975,0.00002906051,0.001779419,0.0003238006,0.000003400032,0.00001737112,8.802647e-7,0.0002993938],"genre_scores_gemma":[0.001402774,0.9962322,0.00009955634,0.001556701,0.0005902826,0.00001032138,0.00001696961,0.000001455013,0.00008977437],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.01268934,"threshold_uncertainty_score":0.037328,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1977904994","doi":"10.1007/s10824-004-3587-9","title":"Convention on Cultural Diversity","year":2004,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"World Trade Organization Law","field":"Social Sciences","cited_by":51,"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":"Convention; Negotiation; Political science; Credibility; Cultural diversity; Mandate; Diversity (politics); Cultural policy; Liberalization; Law; Public administration; Law and economics; International trade; Economics","authors":[{"name":"Keith Acheson","is_ca":true},{"name":"Christopher Maule","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03309736718629192,"gpt":0.28175399011268,"spread":0.2486566229263881,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01156626,0.001131412,0.001755535,0.002440028,0.01438486,0.01205814,0.00317601,0.02261635,0.01097269],"category_scores_gemma":[0.02543764,0.0008671928,0.001658131,0.001879188,0.01717628,0.005566142,0.009412479,0.03230071,0.003611326],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005883293,"about_ca_system_score_gemma":0.01010385,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03288037,"about_ca_topic_score_gemma":0.04555435,"domain_scores_codex":[0.9877788,0.003068918,0.001303925,0.002076217,0.003635388,0.002136824],"domain_scores_gemma":[0.9923943,0.00257551,0.0003883026,0.002139569,0.001841159,0.0006612419],"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":[0.00001777693,0.00002069856,0.00009574622,0.00002662722,0.000007719143,0.00005303769,0.0008301703,0.00007779986,0.0002409678,0.9529477,0.04149063,0.004191122],"study_design_scores_gemma":[0.00007945953,0.00005353916,0.001276186,0.0003987003,0.00004521832,0.0001832095,0.0006764792,0.0002194467,0.0007957844,0.2941076,0.7020645,0.0000999752],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.006565704,0.004186766,0.006104968,0.05930008,0.008642357,0.000223381,0.0005534939,0.0001613389,0.914262],"genre_scores_gemma":[0.2603012,0.002664657,0.01008814,0.08812062,0.007337019,0.00174269,0.0005941076,0.0003781549,0.6287733],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03288037,"threshold_uncertainty_score":0.06537795,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2079463165","doi":"10.1007/s10824-012-9181-7","title":"Australian films at the Australian box office: performance, distribution, and subsidies","year":2012,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":41,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Box office; Publicity; Subsidy; Ceteris paribus; Corporation; Cultural economics; Distribution (mathematics); Government (linguistics); Advertising; Economics; Business; Marketing; Finance; The arts; Political science; Law; Market economy","authors":[{"name":"Jordi McKenzie","is_ca":false},{"name":"W. David Walls","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03767297609425659,"gpt":0.2395305314412697,"spread":0.2018575553470131,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001810665,0.0002435132,0.0002866119,0.001027883,0.001977925,0.004416118,0.0004459686,0.001321252,0.02507812],"category_scores_gemma":[0.01601497,0.0002690081,0.0001777467,0.002645639,0.001305435,0.002543558,0.001003999,0.001893008,0.001049951],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005880762,"about_ca_system_score_gemma":0.003109907,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1065575,"about_ca_topic_score_gemma":0.1596072,"domain_scores_codex":[0.998441,0.0004614274,0.00004222676,0.0000921207,0.0006082709,0.0003548795],"domain_scores_gemma":[0.9919806,0.003412124,0.001232991,0.0003432434,0.002151295,0.0008797822],"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":[0.0007976579,0.0005532212,0.08394101,0.0004549145,0.0001025522,0.0009326214,0.01523958,0.004729569,0.002318132,0.5093167,0.213514,0.1681],"study_design_scores_gemma":[0.00004942292,0.000291413,0.5413804,0.0005953712,0.0001574966,0.0003444206,0.01493036,0.007361614,0.001697438,0.07356904,0.3595178,0.0001050923],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4698782,0.008280858,0.001737443,0.03493819,0.0004251953,0.00008141993,0.00220033,0.0000694785,0.482389],"genre_scores_gemma":[0.9298509,0.002005695,0.0002359914,0.0004855121,0.0001551904,0.00001649261,0.000247018,0.00002502344,0.06697821],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1065575,"threshold_uncertainty_score":0.2118746,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2785470326","doi":"10.1007/s10824-018-9319-3","title":"Cultural participation in major Chinese cities","year":2018,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":36,"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":"Highbrow; Elitism; Cultural economics; Socioeconomic status; China; Sociology of Education; Economic growth; Political science; Sociology; Development economics; The arts; Social science; Economics; Politics","authors":[{"name":"Pascal Courty","is_ca":true},{"name":"Fenghua Zhang","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05254474969567919,"gpt":0.3408121991612741,"spread":0.288267449465595,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005210457,0.0002131451,0.0002462704,0.001588742,0.002762006,0.001691947,0.000600912,0.0003536229,0.003547897],"category_scores_gemma":[0.0008593673,0.0001555854,0.0002725576,0.003420007,0.001412002,0.0006420368,0.001978999,0.0004660551,0.0001100443],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003551594,"about_ca_system_score_gemma":0.004308254,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1862455,"about_ca_topic_score_gemma":0.3300839,"domain_scores_codex":[0.9993561,0.0001128637,0.00002881061,0.00006219823,0.00007348472,0.0003665053],"domain_scores_gemma":[0.9985805,0.0001482983,0.0002618683,0.00004127669,0.0001815158,0.0007865315],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0001406524,0.0001711245,0.965924,0.00004012899,0.00004756745,0.0003654082,0.02424408,0.0001636706,0.000390179,0.002884014,0.0004698535,0.005159428],"study_design_scores_gemma":[0.00000422497,0.00002398368,0.9716589,0.00001245885,0.00001529668,0.00003442285,0.02727279,0.0002121472,0.0000488372,0.000182062,0.0005293248,0.000005575263],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9986016,0.00005419328,0.000008289278,0.00007750468,0.000001562624,0.000003380832,0.00002569051,5.220218e-7,0.001227359],"genre_scores_gemma":[0.999746,0.00002500244,0.000003738109,0.000007115822,0.000001365692,0.000001719534,0.00001810051,2.285883e-7,0.0001967408],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1862455,"threshold_uncertainty_score":0.3703229,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1044682917","doi":"10.1007/s10824-018-9320-x","title":"The geography of music preferences","year":2018,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Social and Cultural Dynamics","field":"Social Sciences","cited_by":35,"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":"Politics; Variation (astronomy); Musical; Metropolitan area; Bivariate analysis; Proposition; Race (biology); Preference; Sociology; Geographic variation; Economic geography; Social science; Geography; Political science; Economics; Demography; Gender studies","authors":[{"name":"Charlotta Mellander","is_ca":false},{"name":"Richard Florida","is_ca":true},{"name":"Peter J. Rentfrow","is_ca":false},{"name":"Jeff Potter","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03247490690141862,"gpt":0.2843053345670306,"spread":0.2518304276656119,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001743986,0.0000613185,0.0001030878,0.0009485626,0.0004449055,0.0009249287,0.000112456,0.0001506052,0.005950987],"category_scores_gemma":[0.0015351,0.00006921662,0.00006997865,0.001140487,0.0007936743,0.0003874913,0.0005389795,0.0001718607,0.0003316537],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003533727,"about_ca_system_score_gemma":0.0001880653,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01002335,"about_ca_topic_score_gemma":0.02475968,"domain_scores_codex":[0.9998351,0.00005287928,0.000008582643,0.0000388214,0.00003111018,0.00003339705],"domain_scores_gemma":[0.9994699,0.0001323625,0.0001660261,0.00004088194,0.00007757511,0.0001132933],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0001057847,0.00004173823,0.9383575,0.00006187919,0.00006683,0.0002034336,0.005586039,0.0004858178,0.004826987,0.006049864,0.001109904,0.04310426],"study_design_scores_gemma":[0.000001923024,0.00001648784,0.9929931,0.000008692892,0.000004636121,0.00007428185,0.003756587,0.0001444208,0.0001005494,0.0008064134,0.002089323,0.000003635024],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9883089,0.0002112163,0.0003042562,0.0002293276,0.000003115199,0.000003560567,0.0001570511,0.000004063032,0.01077849],"genre_scores_gemma":[0.9994267,0.0001030695,0.00006561141,0.00001253511,0.000003618439,0.000001612718,0.00005158983,0.000001415027,0.0003338132],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01002335,"threshold_uncertainty_score":0.01993001,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2049269306","doi":"10.1007/s10824-012-9189-z","title":"Learning about movies: the impact of movie release types on the nationwide box office","year":2012,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Consumer Market Behavior and Pricing","field":"Business, Management and Accounting","cited_by":30,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Hollywood; Box office; Unobservable; Studio; Counterfactual thinking; Advertising; Sample (material); Marketing; Appeal; Business; Economics; Art; Visual arts; Political science; Psychology; Econometrics; Social psychology","authors":[{"name":"Xinlei Chen","is_ca":true},{"name":"Yuxin Chen","is_ca":false},{"name":"Charles B. Weinberg","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02516266871615041,"gpt":0.2610229513114066,"spread":0.2358602825952562,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003177823,0.0002484141,0.0004672173,0.0005472539,0.001968507,0.0046516,0.001571394,0.001691015,0.02756961],"category_scores_gemma":[0.0318561,0.0003067755,0.0005299879,0.0007843158,0.00112235,0.003173714,0.002095608,0.002906623,0.001988313],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002018122,"about_ca_system_score_gemma":0.00185584,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04849515,"about_ca_topic_score_gemma":0.1030296,"domain_scores_codex":[0.9980692,0.0008590487,0.00007642133,0.0002219639,0.0004000293,0.000373378],"domain_scores_gemma":[0.9602056,0.02260293,0.005756287,0.001308449,0.00257873,0.007548025],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.003034946,0.009528253,0.9114004,0.00006749506,0.0001788712,0.0003741007,0.01044947,0.0005746565,0.001247663,0.002017312,0.01260071,0.04852603],"study_design_scores_gemma":[0.00005857093,0.0002536283,0.9819869,0.0000358262,0.00006432494,0.00002801677,0.01340165,0.0005111455,0.0002046328,0.0008184643,0.002608131,0.00002877687],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9885317,0.0001275485,0.00003125959,0.001522481,0.00002498031,0.0000143194,0.0001849019,0.000005781964,0.009556952],"genre_scores_gemma":[0.9937049,0.000156057,0.00005948378,0.0003378401,0.00003848004,0.00001332003,0.0003558278,0.00001693972,0.005317166],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04849515,"threshold_uncertainty_score":0.09642571,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1506106331","doi":"10.1023/a:1026352903371","title":"Valuing the Canadian Broadcasting Corporation","year":2003,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Economic and Environmental Valuation","field":"Economics, Econometrics and Finance","cited_by":30,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Alberta","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Corporation; Contingent valuation; Willingness to pay; Valuation (finance); Preference; Government (linguistics); Public broadcasting; Cultural economics; Broadcasting (networking); Public opinion; Economics; Business; Advertising; Political science; Marketing; The arts; Accounting; Finance; Computer science; Law","authors":[{"name":"Adam Finn","is_ca":true},{"name":"Stuart McFadyen","is_ca":true},{"name":"Colin Hoskins","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.147077940682435,"gpt":0.2132313651639253,"spread":0.06615342448149031,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001839534,0.0003310037,0.0002313531,0.004977481,0.00526196,0.01120752,0.0007104453,0.001397121,0.007480096],"category_scores_gemma":[0.01788147,0.000142734,0.0001975045,0.008058282,0.002381603,0.002792812,0.000968291,0.001519366,0.000337566],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.1041576,"about_ca_system_score_gemma":0.06956768,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9807712,"about_ca_topic_score_gemma":0.9907559,"domain_scores_codex":[0.9974502,0.000252763,0.00004628811,0.0001110136,0.001590957,0.0005488718],"domain_scores_gemma":[0.9878821,0.001603661,0.0006287161,0.000250129,0.00817381,0.001461574],"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":[0.0002756646,0.0001021745,0.1015536,0.0002002847,0.0000997098,0.0004903173,0.007500334,0.008563666,0.0009355134,0.5804674,0.1348433,0.164968],"study_design_scores_gemma":[0.0000401807,0.00007942142,0.2910671,0.0006261024,0.0002373022,0.0002045966,0.03692888,0.01656924,0.001341061,0.05894981,0.593675,0.0002812899],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3180245,0.006717385,0.001171325,0.02724782,0.0002324316,0.00008120474,0.001765947,0.00004472038,0.6447147],"genre_scores_gemma":[0.969983,0.002192467,0.0003894567,0.0003644712,0.00005873264,0.000008849833,0.0002911538,0.00001256034,0.02669935],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8958424,"threshold_uncertainty_score":0.7557195,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1563835170","doi":"10.1023/a:1007652201187","title":"Win, Place or Show: Gauging the Economic Success of the Renoir and Barnes Art Exhibits","year":2000,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Economic and Environmental Valuation","field":"Economics, Econometrics and Finance","cited_by":25,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Canadian Heritage","funders":"","keywords":"Visitor pattern; Enthusiasm; Tourism; The arts; Skepticism; Product (mathematics); Marketing; Cultural economics; Economics; Business; Political science; Law; Computer science; Psychology; Social psychology","authors":[{"name":"Dick Stanley","is_ca":true},{"name":"Sandra Smeltzer","is_ca":true},{"name":"Luc Perron","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05061810691663846,"gpt":0.2150502581565984,"spread":0.1644321512399599,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00167089,0.0002764535,0.0002547554,0.001768426,0.001361415,0.003209243,0.0005791846,0.001092483,0.006184743],"category_scores_gemma":[0.01204525,0.0002428068,0.0001518422,0.00129324,0.0009351849,0.00251939,0.001329365,0.0007912657,0.00109543],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001149015,"about_ca_system_score_gemma":0.0004183368,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01949904,"about_ca_topic_score_gemma":0.04813119,"domain_scores_codex":[0.9992543,0.0002828228,0.00002472452,0.00007884505,0.0002506886,0.0001086305],"domain_scores_gemma":[0.9937384,0.002608607,0.001201886,0.0002412364,0.001025338,0.001184543],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001809131,0.0007041211,0.8898588,0.00008043236,0.0002220751,0.0004682966,0.009531565,0.004559458,0.001928861,0.01168786,0.008615027,0.07053442],"study_design_scores_gemma":[0.00002556295,0.0003981726,0.9598736,0.00003477698,0.0000573975,0.00009865527,0.01731825,0.01141196,0.0009922868,0.001465817,0.008273408,0.00005003254],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9766856,0.00008129736,0.0002543695,0.0002009481,0.00001793232,0.00002301047,0.0001968347,0.0000218267,0.0225182],"genre_scores_gemma":[0.9977647,0.00003724876,0.0002553973,0.00001444661,0.00001142042,0.000007869175,0.0001028163,0.000008328986,0.001797754],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01949904,"threshold_uncertainty_score":0.03877109,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1974208472","doi":"10.1007/s10824-005-1065-7","title":"Quarter Notes and Banknotes. The Economics of Music Composition in the Eighteenth and Nineteenth Centuries","year":2005,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":25,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Cultural economics; Quarter (Canadian coin); Composition (language); The arts; Economics; Agricultural economics; Art; History; Visual arts; Literature; Archaeology","authors":[{"name":"Peter Tschmuck","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.019557813510567,"gpt":0.1954814709283483,"spread":0.1759236574177813,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004424346,0.0001714631,0.0001124712,0.001201385,0.001671346,0.002467807,0.0002911548,0.0009534677,0.04399785],"category_scores_gemma":[0.003360861,0.0001549979,0.0001106308,0.002980827,0.001381285,0.001829811,0.0004316027,0.001127325,0.00273373],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001585231,"about_ca_system_score_gemma":0.0006799806,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01259498,"about_ca_topic_score_gemma":0.02277694,"domain_scores_codex":[0.9997641,0.00006914762,0.00001262261,0.00002871406,0.00008663836,0.00003871328],"domain_scores_gemma":[0.9984581,0.0009704753,0.0001811783,0.000087604,0.0002430756,0.00005951521],"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":[0.0003014777,0.00003133467,0.002724125,0.0001038717,0.00001650805,0.00009441924,0.001480762,0.000598911,0.0002120894,0.6237638,0.3103883,0.06028446],"study_design_scores_gemma":[0.00003682177,0.00003973379,0.01930058,0.0002406587,0.00001400369,0.00005443576,0.002015298,0.0003816454,0.0006228078,0.1534889,0.8237801,0.00002499606],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.06243144,0.0534004,0.004269422,0.07677203,0.004998189,0.00002733042,0.005898369,0.0001205675,0.7920822],"genre_scores_gemma":[0.6429914,0.01853238,0.000893184,0.003422023,0.003497384,0.0000379422,0.001069298,0.00007423871,0.3294821],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.04399785,"threshold_uncertainty_score":0.1471875,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2006931408","doi":"10.1007/s10824-007-9046-7","title":"The law of one price, noise and “irrational exuberance”: the auction market for Picasso prints","year":2007,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":25,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University; University of Toronto","funders":"","keywords":"PICASSO; Common value auction; Irrational number; Collectable; Art; Economics; Art history; Advertising; Visual arts; Business; Microeconomics; Mathematics","authors":[{"name":"James E. Pesando","is_ca":true},{"name":"Pauline Shum","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0244292172304377,"gpt":0.2231814603443557,"spread":0.198752243113918,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002838836,0.0002840125,0.000762376,0.0005850432,0.003213408,0.01038849,0.001148846,0.005676942,0.01162071],"category_scores_gemma":[0.01720512,0.0004303246,0.0005159833,0.0004429629,0.01426874,0.009346168,0.002237414,0.003981398,0.0006329185],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001864953,"about_ca_system_score_gemma":0.001373313,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003883597,"about_ca_topic_score_gemma":0.002927239,"domain_scores_codex":[0.9985743,0.0006600099,0.0000502783,0.0001857152,0.0003058042,0.0002240104],"domain_scores_gemma":[0.9916304,0.006027285,0.0007449337,0.0008126851,0.0004562647,0.0003283664],"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":[0.00004133002,0.00001869418,0.0002594159,0.00001254359,0.000006582118,0.00007706384,0.0004253678,0.0009790306,0.000118932,0.9944748,0.001676239,0.001909899],"study_design_scores_gemma":[0.00002162393,0.00001027554,0.000283279,0.00001544903,0.000006621039,0.00004590546,0.0004655415,0.004235775,0.00009649855,0.9909872,0.003812797,0.00001887044],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4103448,0.002578632,0.04567527,0.04146956,0.0004460912,0.00005797475,0.00009239412,0.0001436232,0.4991916],"genre_scores_gemma":[0.9884996,0.0001793198,0.0009835334,0.0006024321,0.0001718238,0.00001304326,0.000006064094,0.00002393184,0.009520319],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01162071,"threshold_uncertainty_score":0.0388751,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1553069513","doi":"10.1023/a:1015641715440","title":"Canadian versus American Art: What Pays Off and Why","year":2002,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":24,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Bishop's University","funders":"Ministerstvo Školství, Mládeže a Tělovýchovy","keywords":"Painting; Valuation (finance); Nationality; Hedonic regression; Market value; Beauty; Cultural economics; The arts; Value (mathematics); Economics; Art; Sociology; Aesthetics; Political science; Art history; Visual arts; Econometrics; Law; Mathematics; Immigration; Statistics","authors":[{"name":"Călin Vâlsan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02792376548192861,"gpt":0.1940100584174327,"spread":0.166086292935504,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002777836,0.0003497525,0.0007309142,0.003489922,0.0120981,0.01427787,0.001406544,0.004018331,0.02603643],"category_scores_gemma":[0.01326264,0.0002377046,0.0004477679,0.007137117,0.01531309,0.006114198,0.002080011,0.003026062,0.001069035],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.05646874,"about_ca_system_score_gemma":0.03867731,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9531845,"about_ca_topic_score_gemma":0.978283,"domain_scores_codex":[0.996099,0.0004427614,0.00006045841,0.0002962072,0.001594765,0.001506822],"domain_scores_gemma":[0.9926776,0.001665738,0.0003270499,0.0002238032,0.003480383,0.001625366],"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":[0.0003628426,0.0001240478,0.02569801,0.0002628757,0.00006858721,0.0002465256,0.01596821,0.0002286879,0.0003785357,0.7373903,0.1237422,0.09552916],"study_design_scores_gemma":[0.0001092276,0.00005506086,0.1367922,0.001410712,0.0003176288,0.0005074739,0.1432911,0.0007575144,0.0006985255,0.2012016,0.5146323,0.0002266266],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1592354,0.02481129,0.0009013888,0.151077,0.001089697,0.00002818749,0.000562017,0.00006211751,0.6622329],"genre_scores_gemma":[0.9597247,0.0053805,0.0003216593,0.01252356,0.0003694275,0.000009946438,0.000112115,0.00007726606,0.02148089],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.05646874,"threshold_uncertainty_score":0.4097113,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2944535301","doi":"10.1007/s10824-019-09353-4","title":"Ticket resale, bots, and the fair price ticketing curse","year":2019,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Auction Theory and Applications","field":"Decision Sciences","cited_by":24,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"University of Victoria","keywords":"Ticket; Curse; Profit (economics); Economics; Business; Winner's curse; Microeconomics; Industrial organization; Marketing; Commerce; Computer security; Computer science; Common value auction","authors":[{"name":"Pascal Courty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04537442805455188,"gpt":0.3367678096720857,"spread":0.2913933816175339,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003303182,0.0002824802,0.0005944252,0.0007396501,0.002003046,0.004162469,0.0006784468,0.002461263,0.0146942],"category_scores_gemma":[0.01906412,0.0002822342,0.0002902804,0.000765718,0.002954672,0.005352136,0.001408081,0.001910212,0.000752537],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001342308,"about_ca_system_score_gemma":0.001306897,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005916642,"about_ca_topic_score_gemma":0.007185072,"domain_scores_codex":[0.9990709,0.0004317043,0.0000338952,0.0001162884,0.0001525908,0.0001946058],"domain_scores_gemma":[0.9874908,0.007792471,0.002325167,0.0007985987,0.0007473998,0.0008455429],"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":[0.0006404131,0.0004288482,0.01895696,0.0001298584,0.00007771093,0.0005986866,0.001603952,0.01737553,0.001211813,0.8989183,0.01060739,0.04945057],"study_design_scores_gemma":[0.0001433725,0.0001691312,0.01082952,0.00009081321,0.00008618455,0.0006115437,0.003356851,0.1159005,0.0006124478,0.8495746,0.0185284,0.00009671017],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.753307,0.002478981,0.05174623,0.01174785,0.0003390571,0.00008260228,0.0001669118,0.0001875219,0.1799438],"genre_scores_gemma":[0.9908624,0.0001757745,0.001225238,0.0001774604,0.00004514293,0.00000832126,0.00001112141,0.00001137718,0.00748323],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0146942,"threshold_uncertainty_score":0.04915702,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2117936128","doi":"10.1007/s10824-010-9125-z","title":"Superstars and heavy tails in recorded entertainment: empirical analysis of the market for DVDs","year":2010,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Consumer Market Behavior and Pricing","field":"Business, Management and Accounting","cited_by":24,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Box office; Revenue; Advertising; Motion picture; Cultural economics; Entertainment; Economics; Sample (material); Distribution (mathematics); Empirical distribution function; Empirical research; Empirical evidence; Econometrics; Marketing; Business; The arts; Statistics; Mathematics; Computer science; Finance; Art","authors":[{"name":"W. David Walls","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02424949762329471,"gpt":0.2640478567532118,"spread":0.2397983591299171,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001615475,0.0003070918,0.0004959059,0.001467207,0.0006370804,0.002756921,0.001010071,0.001394325,0.01027219],"category_scores_gemma":[0.02076102,0.0003583588,0.0005623884,0.001867749,0.001278791,0.001741663,0.0009370374,0.002044254,0.001204998],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006149518,"about_ca_system_score_gemma":0.0003278693,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0125064,"about_ca_topic_score_gemma":0.01466063,"domain_scores_codex":[0.9994137,0.0002077604,0.0000439199,0.00007636601,0.0001431078,0.0001151176],"domain_scores_gemma":[0.944097,0.04329064,0.00744746,0.001876883,0.001063027,0.002224951],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001463564,0.000956444,0.9724064,0.00006416807,0.0002233064,0.0004361825,0.001660607,0.0016046,0.001368647,0.003057859,0.001256445,0.01550183],"study_design_scores_gemma":[0.00007042215,0.0002511208,0.9851446,0.00003163166,0.0001296277,0.0002670907,0.002400934,0.008617173,0.0004955026,0.001516285,0.001035953,0.00003968351],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9977199,0.0001744312,0.0001508861,0.00008463178,0.000004095038,0.000007660124,0.0001536392,0.000006266403,0.00169853],"genre_scores_gemma":[0.9984359,0.00009157068,0.00006381645,0.00003054842,0.00002600991,0.000003207489,0.0003783418,0.000006487382,0.0009640657],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0125064,"threshold_uncertainty_score":0.03436393,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2930090948","doi":"10.1007/s10824-019-09343-6","title":"Relationships between artistic movements and careers of modern artists: evidence from hedonic regressions with auction data","year":2019,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":17,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"RMIT University; Fonds de Recherche du Québec-Société et Culture; Trinity College Dublin","keywords":"Creativity; Cultural economics; Valuation (finance); Hedonic regression; Context (archaeology); Association (psychology); Movement (music); The arts; Regression analysis; Sociology; Economics; Art; Aesthetics; Visual arts; Psychology; Econometrics; History; Social psychology","authors":[{"name":"Douglas J. Hodgson","is_ca":true},{"name":"Christiane Hellmanzik","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1150820109975923,"gpt":0.2566359417789348,"spread":0.1415539307813425,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003023812,0.0002542269,0.0003911546,0.001491216,0.0004708114,0.001294377,0.0008558925,0.0006230479,0.007914286],"category_scores_gemma":[0.01263441,0.0003108279,0.0005539245,0.00215301,0.000517619,0.001019466,0.0007710434,0.0009880866,0.001488624],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003412542,"about_ca_system_score_gemma":0.0002596928,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01159204,"about_ca_topic_score_gemma":0.0161443,"domain_scores_codex":[0.9992574,0.0003249416,0.00007819972,0.00012476,0.0001104224,0.0001043558],"domain_scores_gemma":[0.9562944,0.02838957,0.01001585,0.002418483,0.001219013,0.00166268],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0005301985,0.0002606506,0.9874578,0.00003310084,0.000283931,0.0000675098,0.000289024,0.001636351,0.0003692706,0.0007681012,0.0007877483,0.007516342],"study_design_scores_gemma":[0.00003013989,0.0001019346,0.992952,0.00001058446,0.00006870004,0.00006318885,0.0003742409,0.004817954,0.0001830082,0.0005566769,0.0008271467,0.0000143285],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9974921,0.0001699013,0.000417205,0.00005498633,0.000005128958,0.000005269721,0.0006851831,0.000009384292,0.001160922],"genre_scores_gemma":[0.9965891,0.00008756176,0.0002196268,0.0000188424,0.00001331039,0.000004956342,0.001734906,0.000006375757,0.001325364],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01159204,"threshold_uncertainty_score":0.02647591,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1966846469","doi":"10.1007/s10824-012-9171-9","title":"Black notes and white noise: a hedonic approach to auction prices of classical music manuscripts","year":2012,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":9,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"University of Ottawa","keywords":"Classical music; Common value auction; Cultural economics; Symphony; Economics; Value (mathematics); Index (typography); Hedonic regression; Order (exchange); Art; Musical; Literature; Visual arts; Econometrics; Mathematics; The arts; Microeconomics; Computer science; Statistics","authors":[{"name":"Patrick Georges","is_ca":true},{"name":"Aylin Seçkin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05418124469480153,"gpt":0.2194669043793304,"spread":0.1652856596845289,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003096417,0.0007109661,0.0008445185,0.00114549,0.001068992,0.006552174,0.00240239,0.001786804,0.01397466],"category_scores_gemma":[0.02002565,0.0007429927,0.0009656317,0.0009004399,0.003182136,0.006670594,0.001764053,0.002635882,0.000466689],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001988724,"about_ca_system_score_gemma":0.0009538361,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003207599,"about_ca_topic_score_gemma":0.003709242,"domain_scores_codex":[0.9986986,0.0006957927,0.00005385016,0.0001246395,0.0002876626,0.0001395252],"domain_scores_gemma":[0.9942614,0.00409718,0.0003901837,0.0003887982,0.0005425214,0.0003199823],"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":[0.0001630131,0.0001288069,0.001180536,0.00006437949,0.00004859253,0.000203406,0.000500112,0.03196146,0.0007281852,0.9487871,0.0017434,0.01449109],"study_design_scores_gemma":[0.00004154678,0.00006369367,0.001898998,0.00003571521,0.00003893679,0.00007017291,0.000550634,0.2104197,0.0001766805,0.7847154,0.001940074,0.00004846978],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.4159063,0.002514315,0.4233484,0.005154761,0.000606436,0.0001509994,0.000201792,0.0001375982,0.1519794],"genre_scores_gemma":[0.9771416,0.0003392944,0.007436795,0.0001374768,0.0002968315,0.00002126207,0.00003318854,0.00004004127,0.0145536],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01397466,"threshold_uncertainty_score":0.04674989,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3142813899","doi":"10.1007/s10824-021-09410-x","title":"The China museum visit boom: Government or demand driven?","year":2021,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Diverse Aspects of Tourism Research","field":"Social Sciences","cited_by":8,"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":"Boom; Government (linguistics); China; Space (punctuation); Population growth; Quality (philosophy); Government expenditure; Population; Economics; Business; Agricultural economics; Economic growth; Geography; Public finance; Demography; Sociology; Engineering","authors":[{"name":"Fenghua Zhang","is_ca":false},{"name":"Pascal Courty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0258841554885005,"gpt":0.3138208364101365,"spread":0.287936680921636,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007246058,0.0001908266,0.0003988101,0.001495607,0.001008693,0.00396811,0.0007081345,0.001909193,0.02781186],"category_scores_gemma":[0.002421202,0.0002134809,0.0004443355,0.001798664,0.001706339,0.002548194,0.001019918,0.001669002,0.0009330724],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005042794,"about_ca_system_score_gemma":0.004941313,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1295482,"about_ca_topic_score_gemma":0.2543702,"domain_scores_codex":[0.9995401,0.00004312601,0.00001311131,0.00005137188,0.0000970548,0.0002552738],"domain_scores_gemma":[0.9978567,0.0003516026,0.000664575,0.00007619114,0.0003655891,0.0006853431],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0006617894,0.0006234716,0.6505863,0.0005087743,0.0002790617,0.00186187,0.00816437,0.002512607,0.002135396,0.1611975,0.1067606,0.06470829],"study_design_scores_gemma":[0.00008796336,0.0001381479,0.866935,0.0002763523,0.0001758479,0.000239509,0.03971628,0.008331259,0.0004447687,0.01680123,0.06673145,0.0001222001],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8046366,0.002740968,0.0005264557,0.06096846,0.0004205023,0.0001272122,0.002334246,0.00007445347,0.128171],"genre_scores_gemma":[0.9861456,0.0008252604,0.00004715648,0.001736236,0.0001574043,0.000013064,0.0002507128,0.00001660382,0.01080792],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1295482,"threshold_uncertainty_score":0.2575883,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3153778675","doi":"10.1007/s10824-021-09415-6","title":"Flocking to the crowd: Cultural entrepreneur mobility guided by homophily, market size, or amenities?","year":2021,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":8,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Homophily; Relocation; Cultural economics; Economic geography; Creative class; Competition (biology); Popularity; The arts; Marketing; Urban economics; Creativity; Economics; Advertising; Sociology; Business; Political science; Microeconomics; Social science","authors":[{"name":"Douglas S. Noonan","is_ca":false},{"name":"Shiri M. Breznitz","is_ca":true},{"name":"Sana Maqbool","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05488949725715804,"gpt":0.3090481938875002,"spread":0.2541586966303421,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001162944,0.0001866935,0.0006037237,0.001024477,0.001139127,0.002336871,0.0006992166,0.001504973,0.009747264],"category_scores_gemma":[0.009785576,0.0002882099,0.0002948216,0.0004943996,0.001686057,0.002445928,0.001859489,0.000721183,0.0007399367],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003018835,"about_ca_system_score_gemma":0.000341211,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003637824,"about_ca_topic_score_gemma":0.005520614,"domain_scores_codex":[0.99962,0.0001250624,0.00001086273,0.0001045538,0.00003043294,0.0001091952],"domain_scores_gemma":[0.9953731,0.002133384,0.0009756092,0.0003797677,0.0001705269,0.0009676885],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001860424,0.001456525,0.7198942,0.0003939668,0.0005897701,0.001739296,0.03409426,0.009726123,0.01598887,0.08488346,0.01312252,0.1162506],"study_design_scores_gemma":[0.0002618432,0.0005787237,0.6723254,0.0002842199,0.000404592,0.001045336,0.07820741,0.07931133,0.001601622,0.1576133,0.008138729,0.0002275042],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9923391,0.0001504765,0.001335611,0.0007283186,0.00002605389,0.00001135157,0.00004164535,0.00001080711,0.005356687],"genre_scores_gemma":[0.9990562,0.00004793431,0.0003168653,0.00007781012,0.00001269709,0.00000665475,0.0000173327,0.000005421751,0.0004590992],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.009747264,"threshold_uncertainty_score":0.03260785,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2307954217","doi":"10.1007/s10824-015-9265-2","title":"An economic perspective on rock concerts and climate change: Should carbon offsets compensating emissions be included in the ticket price?","year":2016,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Climate Change Policy and Economics","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université du Québec en Outaouais; Université du Québec à Montréal","funders":"","keywords":"Greenhouse gas; Ticket; Carbon footprint; Popularity; Carbon offset; Climate change; Carbon neutrality; Context (archaeology); Global warming; Perspective (graphical); Business; Natural resource economics; Environmental economics; Economics; Political science; Geography; Computer science; Ecology","authors":[{"name":"Marie Connolly","is_ca":true},{"name":"Jérôme Dupras","is_ca":true},{"name":"Charles Séguin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1794858282000239,"gpt":0.3401919084267114,"spread":0.1607060802266876,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001046301,0.0004978663,0.0005562492,0.0007530959,0.001405973,0.004924485,0.001248149,0.005532451,0.01891161],"category_scores_gemma":[0.00490528,0.0003118216,0.000529426,0.001284634,0.004187798,0.006349394,0.0008418081,0.005959735,0.0007119387],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001995286,"about_ca_system_score_gemma":0.001752287,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01519661,"about_ca_topic_score_gemma":0.01672711,"domain_scores_codex":[0.9993319,0.0002627207,0.0000271791,0.00009107995,0.0001586416,0.0001284213],"domain_scores_gemma":[0.9978598,0.001231447,0.0002439122,0.00008981597,0.0003637231,0.0002113106],"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":[0.00005727627,0.00005735443,0.0008635747,0.00004541265,0.00001886504,0.0001553601,0.0001549812,0.004033376,0.0001448024,0.9781792,0.008967971,0.007321857],"study_design_scores_gemma":[0.00004379834,0.00005556602,0.002857578,0.0001825025,0.00005085316,0.0001075548,0.001312378,0.007813879,0.0003207438,0.9047014,0.08249336,0.00006042527],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08533518,0.02486878,0.02831069,0.4145999,0.007223474,0.00003213558,0.0007875483,0.00005548963,0.4387868],"genre_scores_gemma":[0.953686,0.008522093,0.002239459,0.008685976,0.005083177,0.00002319666,0.00009906989,0.00003417553,0.02162673],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01891161,"threshold_uncertainty_score":0.06326562,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3182326240","doi":"10.1007/s10824-021-09425-4","title":"Some economics of movie exhibition: increasing returns and Imax revenue premium","year":2021,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"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":"Cultural economics; Exhibition; Economics; Revenue; The arts; Art; Visual arts; Finance","authors":[{"name":"Dapeng Liu","is_ca":false},{"name":"Pascal Courty","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02855956040035737,"gpt":0.2248014026619141,"spread":0.1962418422615567,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001210286,0.0004764764,0.0006725194,0.001225373,0.0005180289,0.003208273,0.0009672955,0.001677188,0.01420057],"category_scores_gemma":[0.01018305,0.0003819404,0.000624151,0.00115392,0.001625527,0.003609839,0.0008438882,0.00246878,0.0004868688],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001781525,"about_ca_system_score_gemma":0.0003270691,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004248898,"about_ca_topic_score_gemma":0.003897989,"domain_scores_codex":[0.9997142,0.0001135994,0.00001609016,0.00004869703,0.00003675347,0.00007066401],"domain_scores_gemma":[0.9891881,0.007077175,0.001997358,0.0004523277,0.0005830996,0.000701889],"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":[0.0007300431,0.0005777088,0.04880255,0.0004695678,0.0002322083,0.001159683,0.0007312004,0.03632716,0.00384991,0.8414418,0.01354112,0.05213717],"study_design_scores_gemma":[0.0002248498,0.0004965587,0.1840572,0.0002901734,0.0005642152,0.001240678,0.002614893,0.1706617,0.002077013,0.621317,0.01625364,0.0002020851],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8575261,0.01045609,0.01700835,0.0136781,0.0001546296,0.00009516755,0.001012269,0.0001470722,0.0999221],"genre_scores_gemma":[0.9911261,0.001534978,0.0004798942,0.0001748128,0.0003214079,0.000008100801,0.00006813604,0.0000164918,0.00627013],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01420057,"threshold_uncertainty_score":0.04750562,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2300127171","doi":"10.1007/s10824-016-9271-z","title":"Balancing the score: the financial impact of resource dependence on symphony orchestras","year":2016,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cultural Industries and Urban Development","field":"Social Sciences","cited_by":6,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"HEC Montréal","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Symphony; Cultural economics; Revenue; Incentive; The arts; Finance; Control (management); Economics; Government (linguistics); Business; Management; Political science; Art; Art history; Market economy; Law","authors":[{"name":"Tara McGrath","is_ca":true},{"name":"Renaud Legoux","is_ca":true},{"name":"Sylvain Sénécal","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04339017442664307,"gpt":0.2892104546610549,"spread":0.2458202802344118,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001468882,0.0002158696,0.0002758824,0.0007461847,0.001386152,0.002946053,0.0007296114,0.001250055,0.01887014],"category_scores_gemma":[0.0150145,0.0001382039,0.000221989,0.0009942618,0.001790324,0.001975506,0.002294033,0.001403075,0.0009302842],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001640212,"about_ca_system_score_gemma":0.0009957929,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01461993,"about_ca_topic_score_gemma":0.03137844,"domain_scores_codex":[0.9992045,0.000310922,0.00003095243,0.00005450296,0.0001579788,0.0002412582],"domain_scores_gemma":[0.9908568,0.003415979,0.00179453,0.0003403883,0.0008783825,0.002713853],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.002677925,0.001108083,0.86632,0.00007277578,0.0002147105,0.00132919,0.001816064,0.007183797,0.001681618,0.03018284,0.01267972,0.07473324],"study_design_scores_gemma":[0.0001165705,0.0005671513,0.9344252,0.00006887206,0.0001510869,0.0002580801,0.01510881,0.01090176,0.0006305502,0.03063968,0.007059464,0.00007279697],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9798476,0.0001785305,0.0002244513,0.002468916,0.00003392905,0.000006313059,0.000125859,0.000007579429,0.01710701],"genre_scores_gemma":[0.9988962,0.00003837914,0.00003090092,0.00005108766,0.00002095118,0.000001723031,0.00003640778,0.000002984955,0.0009212618],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01887014,"threshold_uncertainty_score":0.06312692,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3210184453","doi":"10.1007/s10824-023-09480-z","title":"The impact of social media activities on theater demand","year":2023,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Digital Marketing and Social Media","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Ticket; Advertising; nobody; Cultural economics; Social media; Context (archaeology); The arts; Consumption (sociology); Subject (documents); Business; Marketing; Sociology; Computer science; Political science; Social science; World Wide Web; History; Law","authors":[{"name":"Andrea Baldin","is_ca":false},{"name":"Trine Bille","is_ca":false},{"name":"Raghava Rao Mukkamala","is_ca":false},{"name":"Ravi Vatrapu","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03188931604434606,"gpt":0.3236359302997149,"spread":0.2917466142553689,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000677652,0.0002503022,0.000239905,0.0007586928,0.0006898998,0.002884353,0.0004510038,0.0009013372,0.03054884],"category_scores_gemma":[0.008026932,0.0001922612,0.0005729015,0.001148197,0.0005639268,0.001499408,0.001032321,0.001146229,0.002261766],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001570155,"about_ca_system_score_gemma":0.0006572463,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0185756,"about_ca_topic_score_gemma":0.02411173,"domain_scores_codex":[0.9993992,0.0002239909,0.00002218658,0.00004797712,0.00009227658,0.000214302],"domain_scores_gemma":[0.9875322,0.008556906,0.001263201,0.0002467191,0.001017028,0.001384034],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.01021709,0.004645501,0.9020023,0.0002870436,0.0003263438,0.001256087,0.003304149,0.0111143,0.007590037,0.008999237,0.00737042,0.04288744],"study_design_scores_gemma":[0.00008757621,0.000601742,0.9718213,0.00003542947,0.0001435333,0.0001233536,0.01116937,0.00800632,0.001394516,0.002007132,0.004569023,0.00004079883],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.978094,0.0001158034,0.00007846533,0.00060229,0.00002110108,0.00001039655,0.0006258183,0.000005878752,0.02044628],"genre_scores_gemma":[0.9969316,0.00006740868,0.00001234881,0.00002667857,0.00002441371,0.000004800198,0.0002012684,0.000004155334,0.002727482],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03054884,"threshold_uncertainty_score":0.102196,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1980498107","doi":"10.1007/s10824-006-9007-6","title":"The welfare and equity implications of competition in television broadcasting: the role of viewer tastes","year":2006,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Merger and Competition Analysis","field":"Economics, Econometrics and Finance","cited_by":5,"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":"Syracuse University","keywords":"Economic surplus; Distribution (mathematics); Advertising; Cultural economics; Welfare; Equity (law); Economics; Competition (biology); Consumer welfare; Quality (philosophy); Marketing; Business; Broadcasting (networking); The arts; Market economy; Computer science","authors":[{"name":"Yong Liu","is_ca":false},{"name":"Daniel S. Putler","is_ca":true},{"name":"Charles B. Weinberg","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02094340305860447,"gpt":0.2420382248699989,"spread":0.2210948218113944,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002225185,0.0003889793,0.0007514249,0.0008959963,0.0008652956,0.003738385,0.0006882561,0.002161963,0.01222814],"category_scores_gemma":[0.01083287,0.0003735883,0.0006078348,0.001099775,0.003316266,0.004019734,0.001149645,0.002286804,0.0002935606],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002505205,"about_ca_system_score_gemma":0.001201957,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009155527,"about_ca_topic_score_gemma":0.007509057,"domain_scores_codex":[0.9991336,0.0003853779,0.00002119744,0.00007343032,0.00009702829,0.0002893433],"domain_scores_gemma":[0.9821551,0.01425891,0.001493607,0.000441758,0.0007963535,0.0008542273],"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":[0.001293336,0.0008946402,0.06591655,0.0002931228,0.0002980631,0.001068232,0.001635373,0.040644,0.006649295,0.8253883,0.00743977,0.0484794],"study_design_scores_gemma":[0.0003725153,0.0004231816,0.0885766,0.0001284093,0.0005134366,0.0005007258,0.004184415,0.1066235,0.00222229,0.7918469,0.00450983,0.0000982515],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.939816,0.00179269,0.009749793,0.007644395,0.00005338938,0.00003878149,0.000290106,0.00002031987,0.04059442],"genre_scores_gemma":[0.9962764,0.0004494448,0.0002755228,0.0001582268,0.0001207165,0.000007403876,0.00003712311,0.000006037211,0.002669096],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01222814,"threshold_uncertainty_score":0.0409072,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1992725247","doi":"10.1007/s10824-014-9231-4","title":"Innovation, experience and artists’ age-valuation profiles: evidence from eighteenth-century rococo and neoclassical painters","year":2014,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Art History and Market Analysis","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"Université du Québec à Montréal; McGill University","funders":"McGill University","keywords":"Valuation (finance); Painting; The arts; Cultural economics; Earnings; Originality; Style (visual arts); Socioeconomic status; Economics; Art; Sociology; Visual arts; Demography; Social science; Accounting","authors":[{"name":"John W. Galbraith","is_ca":true},{"name":"Douglas J. Hodgson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04737889435889246,"gpt":0.2484787932874285,"spread":0.201099898928536,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001919741,0.0001463219,0.0002108256,0.001655128,0.001221819,0.002168594,0.0004775075,0.0004637046,0.00727144],"category_scores_gemma":[0.00872476,0.0001446842,0.000147616,0.001547661,0.001587502,0.00161916,0.001433381,0.0004766585,0.0006041898],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006753291,"about_ca_system_score_gemma":0.0003341645,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01151561,"about_ca_topic_score_gemma":0.02546339,"domain_scores_codex":[0.9996083,0.0001004171,0.00001771109,0.00006299462,0.0001074771,0.0001030921],"domain_scores_gemma":[0.9921998,0.004060628,0.001446978,0.0006128797,0.001107184,0.0005723639],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001475062,0.0005996844,0.790429,0.0001360736,0.00009644692,0.0004483656,0.1000648,0.0004965147,0.001657788,0.02020378,0.002585474,0.08180689],"study_design_scores_gemma":[0.00003891992,0.0001224054,0.9554503,0.00006654119,0.00002571588,0.0001551084,0.03206507,0.0004476335,0.0002947066,0.002751039,0.008550041,0.00003250901],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9909521,0.0002868325,0.00006073354,0.00005224146,0.000002287164,0.000005021859,0.00004404894,0.000001063022,0.00859565],"genre_scores_gemma":[0.997905,0.000181315,0.00005319804,0.00001279873,0.000006352806,0.000003340005,0.00005546258,0.000002041671,0.001780552],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01151561,"threshold_uncertainty_score":0.02432537,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4402679275","doi":"10.1007/s10824-024-09522-0","title":"Beyond the big screen: secondary channel releases and their impact on the theatrical market","year":2024,"lang":"en","type":"article","venue":"Journal of Cultural Economics","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":"Western University","funders":"","keywords":"Cultural economics; Channel (broadcasting); The arts; Economics; Business; Marketing; Advertising; Visual arts; Art; Telecommunications; Engineering","authors":[{"name":"Danielle Brennan","is_ca":true},{"name":"Kyle D. S. Maclean","is_ca":true},{"name":"Mercedes Sánchez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02885966672259413,"gpt":0.2299860177882496,"spread":0.2011263510656555,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001770257,0.0003286319,0.0002798388,0.001119934,0.002488103,0.01077992,0.000716849,0.001273664,0.05918164],"category_scores_gemma":[0.01731074,0.0001647051,0.0002764305,0.00121487,0.002603159,0.00536392,0.002658727,0.002047187,0.002566895],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001995733,"about_ca_system_score_gemma":0.00178157,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01447722,"about_ca_topic_score_gemma":0.02067889,"domain_scores_codex":[0.9987633,0.0004525214,0.00002662575,0.00009546748,0.0003838683,0.0002781222],"domain_scores_gemma":[0.9808384,0.01145482,0.001989165,0.000850987,0.001935927,0.00293072],"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":[0.007259984,0.003956286,0.1071822,0.0008587877,0.000206929,0.002486684,0.04891643,0.002563464,0.005904312,0.3301739,0.1733944,0.3170967],"study_design_scores_gemma":[0.0007071908,0.00219701,0.411759,0.001278769,0.000388114,0.0007517331,0.1440046,0.01144035,0.005070085,0.1118274,0.3102335,0.0003422142],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6118516,0.001353303,0.000910507,0.008064183,0.0003950556,0.00007426053,0.0005481652,0.0001121373,0.3766908],"genre_scores_gemma":[0.9769433,0.0004099894,0.0001577497,0.0006038881,0.0002750773,0.00001723912,0.00009381865,0.00006327953,0.02143568],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05918164,"threshold_uncertainty_score":0.1979823,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4398172561","doi":"10.1007/s10824-024-09510-4","title":"The countervailing effects of spatial competition in the performing arts: examining local versus traded market performance","year":2024,"lang":"en","type":"article","venue":"Journal of Cultural Economics","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":"Cultural economics; Competition (biology); The arts; Economics; Market competition; Economic geography; Business; Market economy; Political science","authors":[{"name":"Richard A. Briesch","is_ca":false},{"name":"Ernan Haruvy","is_ca":true},{"name":"Glenn B. Voss","is_ca":false},{"name":"Zannie Giraud Voss","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04617604469534982,"gpt":0.2790227770722735,"spread":0.2328467323769237,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001551878,0.0002603748,0.00044093,0.0007089988,0.0007230975,0.003670643,0.0007656129,0.001113122,0.01310515],"category_scores_gemma":[0.009220924,0.0001270887,0.0004050022,0.00113012,0.002392282,0.001672107,0.002030073,0.000736597,0.0009146704],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001223695,"about_ca_system_score_gemma":0.001026798,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01708455,"about_ca_topic_score_gemma":0.02911704,"domain_scores_codex":[0.9992083,0.0002885916,0.00003832411,0.0001133875,0.0001571037,0.0001943371],"domain_scores_gemma":[0.9899643,0.006012321,0.001583981,0.0005867685,0.0006307498,0.001221876],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.003808078,0.001796057,0.8855635,0.0002287469,0.0004670457,0.0008331122,0.005153354,0.01686721,0.01755638,0.03167082,0.001448278,0.03460738],"study_design_scores_gemma":[0.00005977139,0.0006290979,0.9767977,0.00002904143,0.0001196912,0.00006375399,0.009595527,0.005048702,0.001908864,0.004173655,0.00154353,0.00003059076],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9925655,0.00005415901,0.00006530991,0.000140089,0.000002770288,0.000002765257,0.00003724456,0.000002381492,0.007129762],"genre_scores_gemma":[0.9993005,0.00001669313,0.00001716027,0.00001054593,0.000002974036,0.000001057386,0.00001685276,0.000002131665,0.0006321123],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01708455,"threshold_uncertainty_score":0.04384112,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4414584229","doi":"10.1007/s10824-025-09559-9","title":"QR code-enabled tips to street performers at the Edinburgh Fringe Festival","year":2025,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Sexuality, Behavior, and Technology","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"European Commission; University of East Anglia; Trent University; Nottingham Trent University","keywords":"Payment; Code (set theory); Digital signage; Signage; The arts; Camera phone; Tourism; Cash","authors":[{"name":"Meg Elkins","is_ca":false},{"name":"Tim R. L. Fry","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03967921491767801,"gpt":0.3361434873094568,"spread":0.2964642723917788,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001430543,0.0002908832,0.0002336697,0.0009820482,0.001280145,0.001889658,0.0002564122,0.0005534764,0.01658673],"category_scores_gemma":[0.006849202,0.000169811,0.0001660961,0.0006025057,0.0007266229,0.0008954884,0.00152408,0.0006020594,0.002926182],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004887946,"about_ca_system_score_gemma":0.0002099337,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004657064,"about_ca_topic_score_gemma":0.01930556,"domain_scores_codex":[0.9992431,0.0003820078,0.00002405648,0.00005604753,0.0001219995,0.0001727332],"domain_scores_gemma":[0.9952158,0.002074105,0.000973231,0.0003127652,0.0006312973,0.0007928942],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.001531631,0.000801903,0.4635271,0.001139024,0.0001404748,0.003587586,0.3077864,0.0005465406,0.01230332,0.003219446,0.05497361,0.1504429],"study_design_scores_gemma":[0.00002291782,0.0006452809,0.7210949,0.0002745489,0.00003685985,0.000383651,0.2124013,0.0005596135,0.001389857,0.0007252787,0.06236745,0.00009835943],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9886177,0.00009773896,0.0003326595,0.0004600384,0.00004961798,0.00003626309,0.0005785727,0.00003853767,0.009788817],"genre_scores_gemma":[0.9836401,0.0001854003,0.0008739727,0.0001758726,0.00004705776,0.00005218092,0.0003348679,0.00003167364,0.01465896],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01658673,"threshold_uncertainty_score":0.05548811,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4377098261","doi":"10.1007/s10824-023-09477-8","title":"For those about to rock… is stability a determinant of rock bands success?","year":2023,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Sports Analytics and Performance","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Center for Interuniversity Research and Analysis on Organizations","funders":"","keywords":"Interpretation (philosophy); Stability (learning theory); Cultural economics; Cover (algebra); Psychology; Sociology; The arts; Visual arts; Computer science; Engineering; Linguistics; Art; Philosophy","authors":[{"name":"Étienne Farvaque","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.067766505748758,"gpt":0.2848547894631466,"spread":0.2170882837143886,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001419057,0.000146848,0.0003607549,0.0007410856,0.001194832,0.002925084,0.0004139579,0.001162948,0.01974314],"category_scores_gemma":[0.01831833,0.0002121571,0.000321527,0.0009954575,0.001855411,0.001906355,0.0006084246,0.002794124,0.001964656],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004355448,"about_ca_system_score_gemma":0.0009968997,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01675267,"about_ca_topic_score_gemma":0.02488665,"domain_scores_codex":[0.9995102,0.0001181862,0.00002150731,0.0000707809,0.00009044773,0.000188831],"domain_scores_gemma":[0.9873142,0.003568109,0.003748638,0.000359872,0.001529864,0.003479406],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0001442915,0.0001626952,0.959241,0.0000346398,0.0001108325,0.000117332,0.002089447,0.0001219229,0.000129865,0.003732818,0.0118169,0.02229829],"study_design_scores_gemma":[0.00002017794,0.0001072061,0.955633,0.000131181,0.0001407897,0.0001759932,0.01871965,0.0006124889,0.0001927876,0.01453476,0.009690582,0.00004136835],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.897744,0.002095446,0.0008829697,0.0821308,0.0006423707,0.00001740424,0.0004813971,0.00001308649,0.01599252],"genre_scores_gemma":[0.9892473,0.000777305,0.0002035229,0.003342328,0.0005002512,0.000009870753,0.0001589209,0.00001138299,0.00574922],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01974314,"threshold_uncertainty_score":0.06604737,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}