{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":79,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":79,"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":"c8834f081e2d","filters":{"venue":"Organised Sound"}},"results":[{"id":"W2028271033","doi":"10.1017/s1355771802001085","title":"Linking soundscape composition and acoustic ecology","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Noise Effects and Management","field":"Health Professions","cited_by":229,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Soundscape; Surprise; Context (archaeology); Composition (language); Active listening; Variety (cybernetics); Sociology; Visual arts; Studio; Aesthetics; Sound art; History; Computer science; Sound (geography); Acoustics; Communication; Literature; Art; Archaeology","authors":[{"name":"Hildegard Westerkamp","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03196963261345049,"gpt":0.3268133097305365,"spread":0.294843677117086,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009297184,0.0003747736,0.0003201047,0.002108982,0.001768327,0.005482282,0.0006470513,0.00141095,0.008813195],"category_scores_gemma":[0.003969396,0.0003005381,0.0001736401,0.001341506,0.006386199,0.003124563,0.003788589,0.0008476676,0.001007968],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001358672,"about_ca_system_score_gemma":0.001477071,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0089599,"about_ca_topic_score_gemma":0.01195677,"domain_scores_codex":[0.9989624,0.0004138116,0.00003273808,0.0001615074,0.0002565426,0.000173033],"domain_scores_gemma":[0.9984525,0.0006876705,0.0001992192,0.00007472173,0.0004145355,0.0001712933],"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":[0.0003904334,0.000394279,0.2103646,0.001396284,0.0001913989,0.001751468,0.06055929,0.005852646,0.02230957,0.2919959,0.006642874,0.3981512],"study_design_scores_gemma":[0.00003811507,0.0003627729,0.3997296,0.0008445629,0.0001435717,0.00231456,0.1365207,0.006204206,0.005568991,0.3138208,0.1342903,0.0001618343],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5804871,0.007611417,0.05862062,0.013868,0.0004497815,0.0001221532,0.0001673293,0.0002183762,0.3384552],"genre_scores_gemma":[0.9836349,0.001930305,0.005310063,0.0004614019,0.0001321955,0.00002620929,0.00003778993,0.00002579867,0.008441379],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0089599,"threshold_uncertainty_score":0.02948308,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2134079826","doi":"10.1017/s1355771802002030","title":"Mapping performer parameters to synthesis engines","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":155,"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":"Computer science; Performing arts; Interface (matter); Human–computer interaction; Work (physics); Multimedia; Software engineering; Visual arts; Operating system; Mechanical engineering","authors":[{"name":"Andy Hunt","is_ca":false},{"name":"Marcelo M. Wanderley","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02573031410718164,"gpt":0.2086408236053687,"spread":0.182910509498187,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001128143,0.001016887,0.000765619,0.001204927,0.0006478429,0.004056774,0.00133079,0.001028006,0.0204039],"category_scores_gemma":[0.004922562,0.0006925374,0.0004603013,0.0006402657,0.0009903876,0.003877205,0.001587338,0.0008120261,0.007291752],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005836452,"about_ca_system_score_gemma":0.0005278408,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008561772,"about_ca_topic_score_gemma":0.0009428675,"domain_scores_codex":[0.9991615,0.0001894627,0.00006649853,0.0002494255,0.0002548158,0.00007841415],"domain_scores_gemma":[0.9992981,0.0002845123,0.00006500856,0.0001935149,0.0001266621,0.00003221652],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"simulation_or_modeling","study_design_scores_codex":[0.0007856684,0.0001306854,0.003202063,0.0006779098,0.00008629303,0.0004024414,0.001568177,0.1181389,0.1135462,0.1664455,0.003957586,0.5910586],"study_design_scores_gemma":[0.0001780029,0.0004276723,0.003553526,0.0003320074,0.0002160112,0.000873109,0.001435068,0.3384376,0.2215239,0.2211885,0.211584,0.0002506317],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.03242797,0.0004306027,0.931927,0.0001275339,0.00009629748,0.0001343724,0.0001806045,0.003609744,0.03106583],"genre_scores_gemma":[0.6151084,0.001192383,0.3516018,0.0001512757,0.00008464373,0.0002144688,0.000582404,0.002221431,0.02884315],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0204039,"threshold_uncertainty_score":0.06825781,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2058002801","doi":"10.1017/s1355771802001024","title":"Genres and techniques of soundscape composition as developed at Simon Fraser University","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":138,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Soundscape; Computer science; Perspective (graphical); Sound (geography); Active listening; Representation (politics); Acoustics; Composition (language); Range (aeronautics); Cognitive science; Visual arts; Communication; Artificial intelligence; Art; Psychology; Engineering; Literature","authors":[{"name":"Barry Truax","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01444495618592699,"gpt":0.2075058266770982,"spread":0.1930608704911713,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001770371,0.000991122,0.0004336617,0.005470144,0.005121824,0.008677196,0.0007882062,0.001764172,0.01565393],"category_scores_gemma":[0.003182667,0.0002761316,0.0003340842,0.00380356,0.01023459,0.003585612,0.002373089,0.002217351,0.002319764],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004083679,"about_ca_system_score_gemma":0.001513831,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00664578,"about_ca_topic_score_gemma":0.009967507,"domain_scores_codex":[0.9986153,0.0006124057,0.00007914716,0.0001607967,0.0004029684,0.0001294006],"domain_scores_gemma":[0.9989362,0.0005189363,0.00006550021,0.0001656639,0.0001413066,0.00017228],"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":[0.00005857097,0.00001887999,0.0002747805,0.0002280029,0.000005993687,0.0002467871,0.02403126,0.0004010199,0.002032926,0.8383659,0.02013999,0.1141959],"study_design_scores_gemma":[0.00001154691,0.00005836872,0.001038728,0.0003239497,0.000006657426,0.0006795701,0.005135436,0.0005183553,0.00140638,0.06736986,0.9234178,0.00003344002],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02582179,0.0231244,0.06293511,0.009931032,0.002988639,0.0002202982,0.00018674,0.0008127725,0.8739792],"genre_scores_gemma":[0.5229589,0.02266681,0.06148556,0.001109317,0.001736161,0.0004370983,0.0001863948,0.0005808719,0.3888388],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01565393,"threshold_uncertainty_score":0.05236763,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2163015395","doi":"10.1017/s1355771802002042","title":"Mapping transparency through metaphor: towards more expressive musical instruments","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Tactile and Sensory Interactions","field":"Neuroscience","cited_by":119,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Natural Sciences and Engineering Research Council of Canada","keywords":"Transparency (behavior); Metaphor; Computer science; Human–computer interaction; Musical; Musical instrument; Cognitive science; Linguistics; Visual arts; Psychology; Art; Acoustics; Computer security; Philosophy","authors":[{"name":"Sidney Fels","is_ca":false},{"name":"Ashley Gadd","is_ca":false},{"name":"Axel Mulder","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08910184626338859,"gpt":0.2926827574476982,"spread":0.2035809111843096,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002237774,0.0007382449,0.000303536,0.001253363,0.0009209759,0.003605165,0.0006968696,0.0009788726,0.003524194],"category_scores_gemma":[0.00763724,0.0003542485,0.000546056,0.0004629287,0.006045149,0.007157179,0.003947274,0.001299414,0.000463885],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005416077,"about_ca_system_score_gemma":0.0005324404,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002807506,"about_ca_topic_score_gemma":0.0002607648,"domain_scores_codex":[0.9985873,0.0007184446,0.00006214979,0.0001578471,0.0003447431,0.0001295886],"domain_scores_gemma":[0.9976688,0.001336535,0.000336423,0.0002796294,0.000221315,0.0001571698],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"bench_or_experimental","study_design_scores_codex":[0.0001762388,0.0000966525,0.002634841,0.0006401224,0.00003854744,0.001120686,0.04547707,0.007858243,0.09160725,0.7604583,0.001171896,0.08872017],"study_design_scores_gemma":[0.0001316377,0.000690929,0.00659579,0.0004618941,0.00007482499,0.003507826,0.02664946,0.07152686,0.05817633,0.7473515,0.08459482,0.000238253],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.140377,0.0006378291,0.8042404,0.001255287,0.00009178022,0.0001345797,0.00005067416,0.0006484628,0.05256388],"genre_scores_gemma":[0.7853894,0.0002495031,0.2107642,0.0001428174,0.00001832233,0.0001619093,0.00002658133,0.0001036601,0.003143523],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.003605165,"threshold_uncertainty_score":0.01183456,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2120211473","doi":"10.1017/s1355771808000149","title":"Soundscape Composition as Global Music: Electroacoustic music as soundscape","year":2008,"lang":"en","type":"article","venue":"Organised Sound","topic":"Noise Effects and Management","field":"Health Professions","cited_by":102,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Soundscape; Electroacoustic music; Active listening; Composition (language); Computer science; Acoustics; Visual arts; Aesthetics; Sociology; Art; Communication; Sound (geography); Literature","authors":[{"name":"Barry Truax","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03702974483396973,"gpt":0.343695394673771,"spread":0.3066656498398013,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008914563,0.000569721,0.0003641494,0.001614892,0.001785228,0.007713828,0.0005025959,0.001611222,0.007910996],"category_scores_gemma":[0.00229715,0.0001058128,0.0002553609,0.001579957,0.007664076,0.003101768,0.002543064,0.00164848,0.0006605803],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001288057,"about_ca_system_score_gemma":0.001144534,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0015328,"about_ca_topic_score_gemma":0.003064537,"domain_scores_codex":[0.9990055,0.0004797284,0.00003925132,0.00007761401,0.000302169,0.00009580843],"domain_scores_gemma":[0.9983104,0.001113484,0.0001219219,0.0000922406,0.0002277514,0.0001341553],"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":[0.0001057319,0.0001064467,0.003890265,0.001169228,0.00003545463,0.0006473952,0.04417004,0.001302658,0.004099876,0.7481605,0.01352754,0.1827848],"study_design_scores_gemma":[0.00001765023,0.0002768921,0.01760678,0.002489162,0.00004886094,0.002079787,0.08520354,0.002160397,0.00227502,0.2242676,0.6634957,0.00007867927],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.09676713,0.07758373,0.06897315,0.03454278,0.005702864,0.0001433858,0.0001105069,0.0003010074,0.7158755],"genre_scores_gemma":[0.8990091,0.03023784,0.0105023,0.004456597,0.003006066,0.0001006388,0.00005039151,0.0001037865,0.05253323],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.007910996,"threshold_uncertainty_score":0.02646494,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2156366082","doi":"10.1017/s1355771811000380","title":"Sound, Listening and Place: The aesthetic dilemma","year":2012,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":76,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Soundscape; Active listening; Dilemma; Situated; Extension (predicate logic); Composition (language); Space (punctuation); Aesthetics; Work (physics); Computer science; The Imaginary; Sound (geography); Sociology; Epistemology; Acoustics; Art; Psychology; Communication; Engineering; Artificial intelligence; Philosophy; Literature","authors":[{"name":"Barry Truax","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01413705618970312,"gpt":0.2290427899565601,"spread":0.214905733766857,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006083986,0.0006764415,0.0006304982,0.001330556,0.007936522,0.01737064,0.002462132,0.008150206,0.008277652],"category_scores_gemma":[0.009206055,0.0003421222,0.0004050647,0.001243953,0.06864765,0.01830268,0.009607369,0.00749044,0.00167658],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002334748,"about_ca_system_score_gemma":0.003158801,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002113281,"about_ca_topic_score_gemma":0.003455088,"domain_scores_codex":[0.9951112,0.002939676,0.0001871684,0.000364524,0.001084274,0.0003131651],"domain_scores_gemma":[0.9946963,0.003638889,0.0001822148,0.0004965603,0.0004345644,0.0005514784],"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":[0.00003438384,0.00002105494,0.0002072716,0.0002135386,0.000007595211,0.0003712815,0.03335353,0.0001686252,0.0002770404,0.8982494,0.01493958,0.05215671],"study_design_scores_gemma":[0.00001762183,0.00005346425,0.0003642253,0.0004355838,0.00001008192,0.001271801,0.06614297,0.0002271014,0.000186852,0.701093,0.2301656,0.00003172465],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02385523,0.04031839,0.02836896,0.3152755,0.00896773,0.00003651283,0.00003606068,0.000227776,0.582914],"genre_scores_gemma":[0.8652064,0.01786029,0.01214527,0.02545558,0.008836647,0.0001271828,0.00002358214,0.0002808344,0.07006419],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01737064,"threshold_uncertainty_score":0.03217554,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2132184901","doi":"10.1017/s135577180200208x","title":"Control parameters for musical instruments: a foundation for new mappings of gesture to sound","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":63,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Musical; Piano; Computer science; Context (archaeology); Computer music; Metaphor; Control (management); Gesture; Human–computer interaction; Domain (mathematical analysis); Sound (geography); Speech recognition; Cognitive science; Acoustics; Visual arts; Art; Artificial intelligence; Psychology; Linguistics; History; Mathematics; Philosophy","authors":[{"name":"Daniel J. Levitin","is_ca":true},{"name":"Stephen McAdams","is_ca":false},{"name":"Robert Adams","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02853148540028311,"gpt":0.2440283570527023,"spread":0.2154968716524192,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002340332,0.0009916367,0.0008413526,0.001783106,0.00166035,0.005655286,0.002659811,0.002604892,0.01263062],"category_scores_gemma":[0.009654731,0.001058219,0.001444392,0.0008042453,0.0162583,0.019435,0.004345166,0.004977624,0.001952261],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001134784,"about_ca_system_score_gemma":0.001221269,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00123155,"about_ca_topic_score_gemma":0.000857075,"domain_scores_codex":[0.9982064,0.0004507451,0.0001563542,0.0006884241,0.0003501169,0.000147981],"domain_scores_gemma":[0.9967083,0.001390861,0.0002454916,0.001008929,0.0004348035,0.0002117104],"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":[0.00001555688,0.000009706543,0.0001626862,0.00005557277,0.000007130314,0.00007188127,0.0008287512,0.001773636,0.001186952,0.9810522,0.0003089572,0.01452702],"study_design_scores_gemma":[0.00001304447,0.00002703591,0.0002198139,0.00005536743,0.000006818624,0.00008126059,0.0002271885,0.01117831,0.0006482523,0.9770589,0.01045626,0.00002762101],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.01189804,0.0009518806,0.9393167,0.002211566,0.0002910171,0.00008610049,0.0001079336,0.0004326282,0.04470408],"genre_scores_gemma":[0.3373781,0.001409621,0.6493978,0.0006528272,0.0004102492,0.0003612221,0.0001992379,0.0005167645,0.009674244],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01263062,"threshold_uncertainty_score":0.04225361,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2046028088","doi":"10.1017/s1355771802001061","title":"Hildegard Westerkamp's <i>Kits Beach Soundwalk</i>: shifting perspectives in real world music","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Poetry Analysis and Criticism","field":"Arts and Humanities","cited_by":42,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"3v Geomatics (Canada)","funders":"","keywords":"Soundscape; Active listening; Fantasy; Pleasure; Distancing; Aesthetics; Visual arts; Sound (geography); Sociology; Media studies; History; Art; Psychology; Communication; Acoustics; Literature; Coronavirus disease 2019 (COVID-19)","authors":[{"name":"David Kolber","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06713697437453746,"gpt":0.2491640977268851,"spread":0.1820271233523477,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000728202,0.0003538857,0.0002197865,0.0005517948,0.004415409,0.006840968,0.0005407752,0.00149562,0.00982837],"category_scores_gemma":[0.001865145,0.0002666408,0.0001099017,0.0004810594,0.005996941,0.002963861,0.002887962,0.001857255,0.00148717],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001433105,"about_ca_system_score_gemma":0.0004801851,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004856929,"about_ca_topic_score_gemma":0.0112453,"domain_scores_codex":[0.99941,0.00032065,0.00001367545,0.00005853187,0.0001180828,0.00007903012],"domain_scores_gemma":[0.9994239,0.0003442879,0.00004078274,0.00003761381,0.00005383235,0.00009968707],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001746511,0.00006182414,0.001467076,0.0004307096,0.00003028157,0.003811435,0.5750797,0.0003627481,0.007632662,0.1150127,0.2077929,0.0881433],"study_design_scores_gemma":[0.000007619892,0.00003773737,0.003226558,0.0002932901,0.00001014706,0.001607318,0.1537594,0.0001421066,0.001699024,0.007010408,0.8321729,0.00003351087],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.303437,0.02400837,0.007172401,0.05766385,0.003262263,0.00008923213,0.0001070455,0.0003167288,0.6039431],"genre_scores_gemma":[0.7102938,0.005812186,0.001597684,0.003565469,0.0003146681,0.00004689089,0.00003882553,0.0003343796,0.2779962],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9951431,"threshold_uncertainty_score":0.03287911,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1986074787","doi":"10.1017/s1355771803001109","title":"In and out of the sound studio","year":2003,"lang":"en","type":"article","venue":"Organised Sound","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":40,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Concordia University","funders":"","keywords":"Studio; Sound (geography); Visual arts; Work (physics); Composition (language); Set (abstract data type); Focus (optics); Computer science; Multimedia; Sociology; Engineering; Acoustics; Art","authors":[{"name":"Andra McCartney","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05005120309945558,"gpt":0.2857303960753633,"spread":0.2356791929759077,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002146877,0.0005996639,0.000555883,0.001671112,0.021215,0.007604879,0.001764808,0.001388036,0.01964936],"category_scores_gemma":[0.004274365,0.0005579495,0.0005573332,0.00151328,0.007439012,0.002106901,0.005603898,0.00227613,0.001813952],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01025167,"about_ca_system_score_gemma":0.02402324,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.4604533,"about_ca_topic_score_gemma":0.7669436,"domain_scores_codex":[0.9964756,0.0008816369,0.0000662855,0.0004278784,0.001119018,0.001029567],"domain_scores_gemma":[0.9970735,0.0006151875,0.0001530104,0.0002361616,0.0005589947,0.001363169],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0003026734,0.0002172798,0.0143546,0.0002302273,0.00002245805,0.001628028,0.8309475,0.0003151718,0.01207618,0.01892267,0.01605819,0.1049251],"study_design_scores_gemma":[0.00002112137,0.0002662949,0.02935597,0.0001953425,0.00004602863,0.000782879,0.4958832,0.0002777382,0.003184568,0.00197692,0.4678947,0.000115264],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7455859,0.0009178285,0.007854783,0.003691164,0.0005639254,0.000277015,0.0003545713,0.0003287242,0.240426],"genre_scores_gemma":[0.8622333,0.0006931823,0.006020569,0.0005737549,0.00007010454,0.00005957212,0.0001967143,0.0002292479,0.1299236],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4604533,"threshold_uncertainty_score":0.9155463,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1996566165","doi":"10.1017/s1355771803001134","title":"Homoeroticism and electroacoustic music: absence and personal voice","year":2003,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":39,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Electroacoustic music; Context (archaeology); Human sexuality; Work (physics); Aesthetics; Visual arts; Art; Computer science; Sociology; History; Gender studies; Musical; Engineering","authors":[{"name":"Barry Truax","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01173801229573953,"gpt":0.2089611138830721,"spread":0.1972231015873326,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002470239,0.000232474,0.0003931634,0.001061133,0.003014782,0.007431052,0.0006046883,0.001717085,0.003201675],"category_scores_gemma":[0.006047757,0.0001770704,0.0002338471,0.0007191361,0.02236513,0.003529924,0.005109251,0.002399535,0.000210984],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007482012,"about_ca_system_score_gemma":0.0008298837,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008707519,"about_ca_topic_score_gemma":0.001746632,"domain_scores_codex":[0.9978498,0.001496993,0.00007209841,0.0001102542,0.0003037556,0.0001670443],"domain_scores_gemma":[0.994028,0.003928183,0.0008633344,0.0002777428,0.0002615098,0.0006412428],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001598522,0.0001398404,0.02556399,0.000232681,0.00002720961,0.002507417,0.5051939,0.00006542122,0.0009532999,0.43098,0.001149537,0.0330268],"study_design_scores_gemma":[0.0000395703,0.000318997,0.04651531,0.0008563021,0.00006086614,0.01516475,0.7626984,0.0004246178,0.0009906908,0.118256,0.05459334,0.00008114034],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7669727,0.01510831,0.003189734,0.01089853,0.0002935696,0.00001539426,0.00001988141,0.00001698236,0.2034848],"genre_scores_gemma":[0.9954422,0.001322007,0.0001507822,0.0002678274,0.0000587981,0.000004555877,0.000003689771,0.000004299868,0.002745986],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007431052,"threshold_uncertainty_score":0.01306403,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2120103442","doi":"10.1017/s1355771805000956","title":"Interactive Network Performance: a dream worth dreaming?","year":2005,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":36,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Victoria","funders":"McGill University","keywords":"MIDI; Computer science; Visualization; Software; Controller (irrigation); Human–computer interaction; Multimedia; Artificial intelligence; Operating system","authors":[{"name":"Ajay Kapur","is_ca":true},{"name":"Ge Wang","is_ca":false},{"name":"Philip Davidson","is_ca":false},{"name":"Perry R. Cook","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007777733980144676,"gpt":0.2187315590341644,"spread":0.2109538250540197,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02184646,0.0009124259,0.001041043,0.001421059,0.006548937,0.01903916,0.003881415,0.00497468,0.01326231],"category_scores_gemma":[0.04330886,0.0004296846,0.000633215,0.001416141,0.05382854,0.04884563,0.01030718,0.008426728,0.004117122],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003903101,"about_ca_system_score_gemma":0.004356631,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004557126,"about_ca_topic_score_gemma":0.003326811,"domain_scores_codex":[0.9874982,0.007876859,0.0002767334,0.001143413,0.002335614,0.0008690534],"domain_scores_gemma":[0.9522237,0.0298166,0.001672225,0.006701698,0.005929451,0.00365642],"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":[0.0001591835,0.00005650587,0.002027884,0.0006264256,0.00003632518,0.0001250825,0.009944228,0.0005740871,0.0002260194,0.8553422,0.02787178,0.1030102],"study_design_scores_gemma":[0.00002558096,0.000141715,0.001167545,0.002140781,0.00002655797,0.0004604642,0.03359431,0.001177789,0.0003377288,0.5707073,0.3901127,0.0001075179],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.0217017,0.08713035,0.03981555,0.5233447,0.01027489,0.00007507354,0.0002298837,0.0005685741,0.3168592],"genre_scores_gemma":[0.7893962,0.08529992,0.027067,0.03883418,0.01388037,0.0004208465,0.0003718795,0.0007470898,0.0439826],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02184646,"threshold_uncertainty_score":0.1155365,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1993105008","doi":"10.1017/s1355771809990094","title":"Timbre Spatialisation: The medium is the space","year":2009,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":33,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Timbre; Computer science; Musical; Space (punctuation); Electroacoustic music; Human–computer interaction; Visual arts; Art","authors":[{"name":"Robert Normandeau","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01357370047765339,"gpt":0.2296194423940583,"spread":0.2160457419164049,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00105146,0.0004984116,0.0003272955,0.0007699937,0.00182223,0.007298258,0.0008397456,0.001191286,0.00988453],"category_scores_gemma":[0.00288479,0.000150184,0.0003251651,0.000741496,0.008946635,0.007620298,0.003117924,0.002653887,0.002201923],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001126201,"about_ca_system_score_gemma":0.0008682192,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001143237,"about_ca_topic_score_gemma":0.0009415694,"domain_scores_codex":[0.9989741,0.0003852326,0.00003195892,0.0001560909,0.000338929,0.0001137952],"domain_scores_gemma":[0.9990558,0.0004288639,0.00007617453,0.0001653963,0.0001888955,0.00008477322],"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":[0.0001023506,0.00001343634,0.0003007414,0.0002389103,0.00001331585,0.0001794001,0.01664058,0.0002671652,0.004013887,0.9034513,0.009929275,0.06484961],"study_design_scores_gemma":[0.00002039709,0.000104973,0.00134511,0.0004354408,0.00002101498,0.0007213416,0.01260995,0.0005796662,0.003463026,0.1759286,0.8047276,0.0000428263],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0307512,0.01855577,0.1266353,0.02098398,0.006911931,0.00007306172,0.0001539413,0.0005213019,0.7954136],"genre_scores_gemma":[0.8128796,0.01033974,0.02235155,0.00447566,0.003336509,0.000154565,0.0001077031,0.0006330098,0.1457217],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.00988453,"threshold_uncertainty_score":0.03306705,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2010218626","doi":"10.1017/s1355771809000284","title":"Instrumental Listening: sonic gesture as design principle","year":2009,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":31,"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":"Gesture; Computer science; Active listening; Perception; A priori and a posteriori; Control (management); Point (geometry); Human–computer interaction; Artificial intelligence; Communication; Psychology; Mathematics; Epistemology","authors":[{"name":"Doug Van Nort","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01569089723246852,"gpt":0.2522580509621226,"spread":0.2365671537296541,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005992056,0.0009468853,0.0005932941,0.001180698,0.001883477,0.007000234,0.002026417,0.00325456,0.0082528],"category_scores_gemma":[0.005603953,0.0006657528,0.0009261845,0.0005559964,0.02587629,0.007731908,0.004932925,0.003278374,0.001470886],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001782546,"about_ca_system_score_gemma":0.001404275,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004909571,"about_ca_topic_score_gemma":0.0004161254,"domain_scores_codex":[0.9942556,0.003348073,0.0002626979,0.0006555869,0.001190202,0.0002879222],"domain_scores_gemma":[0.9974439,0.001630015,0.0001178634,0.0004847586,0.0002147453,0.0001087134],"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":[0.0000138016,0.00001074788,0.0000494262,0.00009641227,0.000005016786,0.0000360728,0.001553136,0.0006750635,0.0008609542,0.9864096,0.0006000739,0.009689685],"study_design_scores_gemma":[0.00005267897,0.0001188862,0.0001057959,0.0001980962,0.00001854357,0.0002211945,0.0009136376,0.003415853,0.002119937,0.9202636,0.07254723,0.00002449482],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.009267429,0.002149736,0.6926867,0.00632445,0.000400695,0.0001906985,0.00005209147,0.0005572957,0.2883709],"genre_scores_gemma":[0.5975883,0.002478273,0.3393748,0.002476886,0.0004511968,0.001434771,0.00009310764,0.0005382075,0.05556444],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0082528,"threshold_uncertainty_score":0.03168941,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2103448123","doi":"10.1017/s1355771806001427","title":"In what form can ‘live electronic music’ live on?","year":2006,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":26,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Repertoire; Electronic music; MOZART; Presentation (obstetrics); Key (lock); Visual arts; History; Art history; Art; Computer science; Literature; Medicine","authors":[{"name":"Simon Emmerson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007687237639309951,"gpt":0.2086313678282276,"spread":0.2009441301889177,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003017786,0.0006206405,0.0005476849,0.001556525,0.006271043,0.01442047,0.00148577,0.003707598,0.02886974],"category_scores_gemma":[0.01239516,0.0003455453,0.0004668852,0.001664949,0.02289845,0.02367789,0.007453913,0.003327174,0.009834596],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002413612,"about_ca_system_score_gemma":0.001157805,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002134785,"about_ca_topic_score_gemma":0.003955567,"domain_scores_codex":[0.9965999,0.001263043,0.0001012864,0.0004198039,0.001111124,0.0005048049],"domain_scores_gemma":[0.9976329,0.0008770218,0.0002426393,0.000560211,0.0003376715,0.0003496229],"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":[0.00009721373,0.00006004473,0.001493963,0.0002917762,0.00002476751,0.0003007714,0.04694285,0.0001610271,0.0008274506,0.7719117,0.04006208,0.1378263],"study_design_scores_gemma":[0.00002115776,0.00008664207,0.00180335,0.000501503,0.00001368536,0.0003716628,0.03918559,0.0001203033,0.0005589998,0.2422583,0.7150383,0.0000405064],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03201427,0.008641751,0.01180509,0.05957986,0.002478944,0.00005522698,0.0001287556,0.0002241517,0.8850719],"genre_scores_gemma":[0.8433798,0.008591325,0.007955899,0.01661704,0.003844712,0.0001475023,0.0002240558,0.000455179,0.1187846],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.02886974,"threshold_uncertainty_score":0.09657896,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2468231046","doi":"10.1017/s135577181600008x","title":"Ethical Questions about Working with Soundscapes","year":2016,"lang":"en","type":"article","venue":"Organised Sound","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":25,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Soundscape; Fidelity; Aesthetics; Sound (geography); Sociology; Expression (computer science); Ideology; Epistemology; Computer science; Acoustics; Art; Philosophy; Law; Political science; Telecommunications","authors":[{"name":"Andra McCartney","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08910086654353801,"gpt":0.2329302667801874,"spread":0.1438294002366494,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.09007873,0.0006503289,0.0006356848,0.001205663,0.01887631,0.01869498,0.003073845,0.01377393,0.005456772],"category_scores_gemma":[0.09736368,0.0005297809,0.0006889022,0.00109538,0.102959,0.0157038,0.01327685,0.01157811,0.001837611],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004100815,"about_ca_system_score_gemma":0.007669408,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002698778,"about_ca_topic_score_gemma":0.003241972,"domain_scores_codex":[0.8566833,0.1168339,0.003061235,0.004893963,0.01348593,0.005041755],"domain_scores_gemma":[0.8827246,0.08447534,0.004855117,0.01025229,0.008557434,0.009135166],"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":[0.00002258341,0.00003823778,0.0007997493,0.00009496144,0.000008600789,0.0004102504,0.3031487,0.0001107656,0.0004865013,0.6733006,0.01124122,0.01033791],"study_design_scores_gemma":[0.00002609688,0.00004716774,0.0007938732,0.0007318397,0.00000928988,0.0007642952,0.2894491,0.000261467,0.0005792236,0.3861663,0.321107,0.00006441381],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.09320265,0.00534331,0.03919797,0.5133961,0.003250488,0.000227297,0.00006073729,0.0001113725,0.3452101],"genre_scores_gemma":[0.9131702,0.001779172,0.01018625,0.04370002,0.001084393,0.000323918,0.00003136131,0.00012032,0.02960424],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.09007873,"threshold_uncertainty_score":0.4763876,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2033624246","doi":"10.1017/s1355771804000299","title":"Atoms and errors: towards a history and aesthetics of microsound","year":2004,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":24,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Composition (language); Context (archaeology); Gesture; Aesthetics; Computer science; Emphasis (telecommunications); Visual arts; History; Art; Literature; Artificial intelligence; Archaeology; Telecommunications","authors":[{"name":"Phil Thomson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01402202592981628,"gpt":0.2150038788205726,"spread":0.2009818528907564,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003582515,0.0006062716,0.0003856529,0.002985728,0.003359616,0.007199287,0.001718571,0.002840701,0.009917531],"category_scores_gemma":[0.009941068,0.0004365832,0.0003287516,0.001927269,0.02912984,0.01066501,0.004075638,0.003671634,0.001290555],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002109491,"about_ca_system_score_gemma":0.001229789,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001926752,"about_ca_topic_score_gemma":0.00224525,"domain_scores_codex":[0.9970142,0.001483363,0.0001199723,0.0003628163,0.0008279141,0.0001918173],"domain_scores_gemma":[0.9938189,0.004452171,0.0002475119,0.0007328354,0.0005611553,0.0001873642],"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":[0.00004278501,0.000006577169,0.0002392139,0.0001032725,0.000005392969,0.0001398991,0.01328615,0.0005462096,0.0003738281,0.9446828,0.005117654,0.03545623],"study_design_scores_gemma":[0.00001149167,0.00004085143,0.0003641066,0.0002723987,0.000008421674,0.0003966978,0.005640644,0.002068357,0.0007589299,0.5292602,0.4611467,0.00003117945],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.03421542,0.04319194,0.3898706,0.04569023,0.005019119,0.00008429661,0.0001537055,0.0009234567,0.4808513],"genre_scores_gemma":[0.7614842,0.02155677,0.08861785,0.003616737,0.005508531,0.0002030719,0.0001059832,0.001459054,0.1174477],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.009917531,"threshold_uncertainty_score":0.03317744,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2163504643","doi":"10.1017/s1355771801001078","title":"Generative processes and the electronic arts","year":2001,"lang":"en","type":"article","venue":"Organised Sound","topic":"Art, Technology, and Culture","field":"Arts and Humanities","cited_by":23,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Egg Farmers of Canada","keywords":"Computer science; Programmer; Generative grammar; Multimedia; Process (computing); Human–computer interaction; Programming language; Artificial intelligence","authors":[{"name":"Alan Dorin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01605164348167046,"gpt":0.2156597881232697,"spread":0.1996081446415993,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.002311946,0.0005133751,0.0002528879,0.002270697,0.003054627,0.009005032,0.0007906005,0.001926454,0.01445712],"category_scores_gemma":[0.005013378,0.0002277595,0.0004942359,0.001910966,0.02752091,0.005760031,0.004853867,0.002378359,0.001317038],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003094107,"about_ca_system_score_gemma":0.001962615,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001857101,"about_ca_topic_score_gemma":0.001542298,"domain_scores_codex":[0.9978905,0.001018712,0.0000713729,0.0002203385,0.0005462945,0.000252788],"domain_scores_gemma":[0.9968119,0.002171699,0.0002437457,0.0004309195,0.0001887826,0.0001529637],"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":[0.000002912535,0.000003355816,0.00005757343,0.00001641439,0.000001163916,0.00003236286,0.001532576,0.00019475,0.00003392378,0.9936014,0.0003614086,0.004162204],"study_design_scores_gemma":[0.00001066226,0.00001061073,0.0001908096,0.00009932774,0.000003098203,0.0001765141,0.001450322,0.0003716576,0.0001897006,0.8997818,0.09770918,0.000006341912],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01981764,0.00876132,0.04794816,0.007824732,0.000380537,0.00005890685,0.0000418453,0.0001242771,0.9150426],"genre_scores_gemma":[0.8749649,0.007901204,0.01873034,0.001712021,0.0005818846,0.0001725309,0.00006840785,0.0001383421,0.09573034],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9969454,"threshold_uncertainty_score":0.04836392,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2102584739","doi":"10.1017/s1355771810000117","title":"Syntax as Sign: The use of ecological models within a semiotic approach to electroacoustic composition","year":2010,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":22,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Semiotics; Composition (language); Syntax; Sign (mathematics); Computer science; Social ecological model; Ecological psychology; Field (mathematics); Ecology; Linguistics; Artificial intelligence; Psychology; Philosophy; Biology; Mathematics; Cognitive psychology","authors":[{"name":"Adam Basanta","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03475719807076486,"gpt":0.2328100257012279,"spread":0.1980528276304631,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004325727,0.0006863513,0.0004749041,0.002036656,0.002798438,0.008915529,0.0009931671,0.001726128,0.003640133],"category_scores_gemma":[0.008444768,0.0003047673,0.0005886893,0.001153046,0.02823994,0.01375778,0.005878095,0.00260182,0.0005560348],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001514482,"about_ca_system_score_gemma":0.00124842,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007596753,"about_ca_topic_score_gemma":0.0008348332,"domain_scores_codex":[0.9952576,0.003507854,0.0001561447,0.0002859942,0.0006349641,0.0001574306],"domain_scores_gemma":[0.9946886,0.003618072,0.0003898478,0.0007014567,0.0003745952,0.0002273458],"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":[0.00001254134,0.000005381048,0.0001581129,0.00004346572,0.000003272375,0.00006890533,0.01476425,0.000364992,0.0004948135,0.977935,0.0003173151,0.005832047],"study_design_scores_gemma":[0.00002187505,0.00005678553,0.0002938664,0.0001754085,0.00001690566,0.0004404701,0.01240201,0.003656258,0.001193905,0.9023561,0.07934771,0.00003862913],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.08518977,0.002880034,0.5778658,0.01179119,0.0007602496,0.00008513685,0.00006800083,0.0003697301,0.3209901],"genre_scores_gemma":[0.9374496,0.001207933,0.05004632,0.0004592955,0.0001852933,0.00009714124,0.00004192053,0.0001431373,0.01036947],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.008915529,"threshold_uncertainty_score":0.02287692,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2322255606","doi":"10.1017/s1355771813000411","title":"Sonification of Emotion: Strategies and results from the intersection with music","year":2014,"lang":"en","type":"article","venue":"Organised Sound","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":20,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Sonification; Musical; Computer science; Arousal; Valence (chemistry); Affective computing; Human–computer interaction; Space (punctuation); Cognition; Intersection (aeronautics); Emotional valence; Cognitive psychology; Speech recognition; Psychology; Social psychology","authors":[{"name":"R. Michael Winters","is_ca":true},{"name":"Marcelo M. Wanderley","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03805375011525691,"gpt":0.2437407908421155,"spread":0.2056870407268586,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001485478,0.0004261165,0.0003768051,0.0003425122,0.0003396049,0.002196089,0.0005430955,0.0003923831,0.00395917],"category_scores_gemma":[0.009498687,0.0002431654,0.0004838466,0.0002747565,0.001404077,0.001300758,0.00128897,0.0005445869,0.0004315445],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004685107,"about_ca_system_score_gemma":0.0002860048,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009439772,"about_ca_topic_score_gemma":0.0006412373,"domain_scores_codex":[0.9991882,0.0004335371,0.00003827816,0.0001193655,0.0001670798,0.0000535089],"domain_scores_gemma":[0.9964377,0.002805074,0.0001248643,0.0002675125,0.0002626408,0.0001022662],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"bench_or_experimental","study_design_scores_codex":[0.00378698,0.000991088,0.04366229,0.001517122,0.0003048884,0.0004667739,0.01500073,0.04470088,0.1887121,0.1179117,0.001233434,0.5817121],"study_design_scores_gemma":[0.0005748128,0.00658543,0.1408395,0.0006117555,0.0008656694,0.001959754,0.0161119,0.3973849,0.1995843,0.2020664,0.03306158,0.0003539761],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7963639,0.001295187,0.1589207,0.0004919456,0.00006174803,0.0001769343,0.00009779014,0.0002607516,0.04233101],"genre_scores_gemma":[0.9656587,0.0004879405,0.03133589,0.00005769477,0.00001776803,0.00007599184,0.00007165325,0.00008927253,0.00220511],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00395917,"threshold_uncertainty_score":0.01324475,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2080940693","doi":"10.1017/s1355771800005021","title":"The aesthetics of computer music: a questionable concept reconsidered","year":2000,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":20,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Aesthetics; Beauty; Meaning (existential); Subject (documents); Suspect; Term (time); Computer music; Point (geometry); Everyday Aesthetics; Computer science; Literature; Art; Musical; Philosophy; Epistemology; Psychology; Mathematics","authors":[{"name":"Barry Truax","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01406230282202296,"gpt":0.2187269294648189,"spread":0.2046646266427959,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007774792,0.0008146841,0.0007226046,0.002064396,0.00707027,0.01896619,0.003620906,0.01040606,0.005807039],"category_scores_gemma":[0.01382149,0.0003503205,0.0007056036,0.002617946,0.0769359,0.02070547,0.00757419,0.01434993,0.001681084],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004189499,"about_ca_system_score_gemma":0.002457295,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002387415,"about_ca_topic_score_gemma":0.001476616,"domain_scores_codex":[0.9920338,0.004343987,0.0002800601,0.001016655,0.001933804,0.0003917792],"domain_scores_gemma":[0.9906319,0.005646175,0.0004441478,0.001076797,0.001499214,0.0007017088],"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":[0.00001672443,0.000009454116,0.00008438932,0.0000569219,0.000003743477,0.00004962,0.01142742,0.00007665774,0.0001140191,0.972001,0.008753341,0.007406647],"study_design_scores_gemma":[0.00002149436,0.00003762095,0.0003186447,0.0002924014,0.000006377796,0.0004269235,0.01879137,0.0007396212,0.0001777138,0.7320488,0.2471083,0.00003076993],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.02149228,0.02974576,0.0449333,0.5835265,0.008771367,0.00003644066,0.00006706132,0.0002268994,0.3112004],"genre_scores_gemma":[0.8764214,0.01024271,0.0144671,0.05680287,0.01450951,0.0001346086,0.0000483543,0.000574218,0.02679913],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01896619,"threshold_uncertainty_score":0.04111749,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2140882385","doi":"10.1017/s1355771806001452","title":"Noise/music and representation systems","year":2006,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":19,"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":"Representation (politics); Noise (video); Meaning (existential); Musical; Computer science; Programming; Phenomenon; Aesthetics; Musicality; Visual arts; Epistemology; Music history; Artificial intelligence; Art; Philosophy; Political science; Law","authors":[{"name":"Doug Van Nort","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01509249141472182,"gpt":0.2229465758852906,"spread":0.2078540844705688,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001196025,0.0005210633,0.0004521936,0.001395868,0.00216129,0.008561151,0.0009198902,0.002019712,0.01061819],"category_scores_gemma":[0.002721254,0.0001955346,0.0003992755,0.001172647,0.01349857,0.00724722,0.003043205,0.00177413,0.001457845],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002446709,"about_ca_system_score_gemma":0.0008142277,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002180736,"about_ca_topic_score_gemma":0.001045823,"domain_scores_codex":[0.9982622,0.0007260049,0.00009118338,0.0003412887,0.0003804717,0.0001988362],"domain_scores_gemma":[0.9990834,0.0003770817,0.0001045986,0.0001790961,0.0001729214,0.00008288806],"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":[0.000006840136,0.000003004889,0.00006820696,0.00001953102,0.000002538777,0.00002583095,0.0007140077,0.0002049821,0.0002125436,0.9932549,0.0007140434,0.004773558],"study_design_scores_gemma":[0.00001185548,0.00001843167,0.0002902973,0.00004969343,0.000005669361,0.0001494321,0.0009093164,0.001515832,0.0003301201,0.9402159,0.05649052,0.00001303223],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.06540812,0.01916499,0.1294937,0.01742396,0.001071099,0.00007455608,0.0001771977,0.0004372729,0.7667492],"genre_scores_gemma":[0.9262528,0.004473426,0.02043655,0.001295118,0.0007285399,0.0000799115,0.0001655791,0.0001266669,0.04644131],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01061819,"threshold_uncertainty_score":0.03552133,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2066584470","doi":"10.1017/s1355771813000393","title":"Interactive Sonification for Data Exploration: How listening modes and display purposes define design guidelines","year":2014,"lang":"en","type":"article","venue":"Organised Sound","topic":"Tactile and Sensory Interactions","field":"Neuroscience","cited_by":18,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Sonification; Active listening; Auditory display; Human–computer interaction; Computer science; Focus (optics); Sound (geography); Sound design; Normative; Loudspeaker; Acoustics; Psychology; Communication","authors":[{"name":"Florian Grond","is_ca":true},{"name":"Thomas Hermann","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2838073502139792,"gpt":0.3690879088376742,"spread":0.08528055862369505,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01199248,0.001176587,0.0005557278,0.002702434,0.001417939,0.008535445,0.002187744,0.002497077,0.003179617],"category_scores_gemma":[0.03644871,0.001132121,0.0005705743,0.001169631,0.009780786,0.009476117,0.004332602,0.002025429,0.001198785],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001450074,"about_ca_system_score_gemma":0.002359712,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002164725,"about_ca_topic_score_gemma":0.0026064,"domain_scores_codex":[0.9886132,0.007691617,0.0008583794,0.0007708624,0.001656717,0.0004090559],"domain_scores_gemma":[0.9782236,0.01487068,0.00101129,0.001794749,0.003386704,0.0007130225],"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":[0.0002151644,0.0001165134,0.003230628,0.00143963,0.00005068723,0.0008577004,0.1340629,0.00415469,0.01861484,0.6437492,0.005353773,0.1881543],"study_design_scores_gemma":[0.0001333886,0.0003004903,0.003848165,0.002462424,0.0001395661,0.001863216,0.03924114,0.02559524,0.01496801,0.6629165,0.2482976,0.0002343667],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.038974,0.001592632,0.9107217,0.003881896,0.0001285202,0.0004188494,0.00009780162,0.0009181939,0.04326641],"genre_scores_gemma":[0.3045703,0.001151618,0.6850284,0.0005506891,0.0000359641,0.0009661908,0.0001594848,0.0005686696,0.006968722],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01199248,"threshold_uncertainty_score":0.06342298,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2150265780","doi":"10.1017/s1355771810000300","title":"Spatial Sound Synthesis in Computer-Aided Composition","year":2010,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":15,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University; Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Computer science; Rendering (computer graphics); Computer music; Sound (geography); Composition (language); Computation; Musical; Computer-aided; Musical composition; Computer graphics (images); Human–computer interaction; Acoustics; Programming language; Visual arts; Art","authors":[{"name":"Marlon Schumacher","is_ca":true},{"name":"Jean Bresson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009411536841864814,"gpt":0.2185807013443402,"spread":0.2091691645024754,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001128092,0.0005272037,0.0005800494,0.0005923389,0.0007719076,0.002709655,0.0008761933,0.000757464,0.006092132],"category_scores_gemma":[0.001546534,0.0003444335,0.0004617599,0.0006596014,0.003301234,0.00184669,0.00201057,0.0009841298,0.001128086],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0008125314,"about_ca_system_score_gemma":0.0008109076,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001078184,"about_ca_topic_score_gemma":0.001133437,"domain_scores_codex":[0.9989284,0.0002377166,0.00006111464,0.0001951858,0.0005033831,0.00007427567],"domain_scores_gemma":[0.999403,0.0003113824,0.00003933047,0.0001414625,0.00007913054,0.0000257667],"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":[0.0002141222,0.00004780753,0.0004002585,0.0005567696,0.00004498826,0.0002088107,0.0009525855,0.07713,0.05015593,0.6500548,0.001735731,0.2184983],"study_design_scores_gemma":[0.0000947746,0.0002287991,0.0004526258,0.0002233537,0.0001046312,0.000389996,0.0003553026,0.3348054,0.09939992,0.3887725,0.1750835,0.00008917534],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.009075562,0.001169752,0.9694825,0.0001370336,0.00007801116,0.00004347763,0.00001756959,0.001347692,0.01864834],"genre_scores_gemma":[0.4664435,0.002101473,0.5115709,0.0001813757,0.0001462188,0.0001536429,0.0000921025,0.0005225617,0.01878827],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.006092132,"threshold_uncertainty_score":0.0203802,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2045078073","doi":"10.1017/s1355771811000094","title":"Real-time Composition as Performance Ecosystem","year":2011,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":14,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"Natural Sciences and Engineering Research Council of Canada","keywords":"Composition (language); Computer science; Musical; Ecosystem; Extension (predicate logic); Control (management); Human–computer interaction; Artificial intelligence; Ecology; Programming language; Art; Visual arts; Biology","authors":[{"name":"Arne Eigenfeldt","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01466351123071533,"gpt":0.205526465606823,"spread":0.1908629543761076,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001404822,0.0004002263,0.0003471111,0.001092618,0.002145618,0.006907658,0.001122042,0.001407641,0.007535089],"category_scores_gemma":[0.001840557,0.0002743186,0.0003699007,0.0007047001,0.007242278,0.01274648,0.006128303,0.001300901,0.001466146],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001591071,"about_ca_system_score_gemma":0.001320781,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009820921,"about_ca_topic_score_gemma":0.0009703684,"domain_scores_codex":[0.9987771,0.0003439304,0.00006308177,0.0002669808,0.0003608124,0.0001881184],"domain_scores_gemma":[0.9990149,0.0002210374,0.0001316264,0.000183736,0.0001811318,0.0002676673],"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":[0.00003428538,0.00002792362,0.0007500563,0.00007512802,0.000009412902,0.0002291077,0.003492368,0.001541811,0.00244834,0.9647007,0.001825214,0.02486563],"study_design_scores_gemma":[0.00003170178,0.00008389076,0.001700984,0.0001176305,0.00002468464,0.0006326356,0.004607302,0.009203929,0.001410267,0.6837087,0.2984253,0.0000531031],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.12717,0.004451287,0.2613176,0.01226507,0.001105471,0.0001401684,0.0001121196,0.001018008,0.5924202],"genre_scores_gemma":[0.867988,0.00210842,0.05851049,0.0008705732,0.0004956764,0.0001576879,0.0001677583,0.0002598359,0.06944152],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.007535089,"threshold_uncertainty_score":0.0252074,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2082995703","doi":"10.1017/s1355771811000458","title":"The Ecology of Listening while Looking in the Cinema: Reflective audioviewing in Gus Van Sant's<i>Elephant</i>","year":2012,"lang":"en","type":"article","venue":"Organised Sound","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Soundscape; Film director; Movie theater; Argument (complex analysis); Active listening; Context (archaeology); Composition (language); Visual arts; Aesthetics; Representation (politics); Dialectic; Sociology; Art; Epistemology; Sound (geography); Literature; Acoustics; History; Communication; Philosophy; Medicine; Archaeology","authors":[{"name":"Randolph Jordan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03171465145614775,"gpt":0.2507210639957667,"spread":0.219006412539619,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001419536,0.0003096829,0.0002336506,0.000732806,0.006418985,0.006800076,0.0008363521,0.001474992,0.003246288],"category_scores_gemma":[0.00284667,0.000283585,0.0002618661,0.0004224908,0.01676893,0.003786425,0.005118163,0.002376146,0.0003441325],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002041251,"about_ca_system_score_gemma":0.0009272361,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005839045,"about_ca_topic_score_gemma":0.008901866,"domain_scores_codex":[0.9985996,0.0009648313,0.00001993657,0.0001321935,0.0001407319,0.0001427692],"domain_scores_gemma":[0.9991301,0.0005490814,0.00007429096,0.00005461722,0.00005441175,0.0001375179],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005442549,0.00002612026,0.001193288,0.000101688,0.00000688085,0.00175941,0.9123253,0.0001417042,0.003721324,0.0645237,0.002358613,0.01378749],"study_design_scores_gemma":[0.00002453795,0.0001181542,0.006389581,0.000478394,0.00002789066,0.00218215,0.6943174,0.0005302632,0.004021855,0.02290672,0.2689469,0.00005611995],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7109438,0.002378746,0.01301881,0.01091613,0.0004409389,0.0000716696,0.00003748469,0.000129665,0.2620627],"genre_scores_gemma":[0.982969,0.0005530294,0.001731331,0.000535903,0.00006721945,0.00002559624,0.00001493141,0.00007410616,0.01402883],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006800076,"threshold_uncertainty_score":0.01481038,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3048362613","doi":"10.1017/s135577182000014x","title":"Experiences of Time and Timelessness in Electroacoustic Music","year":2020,"lang":"en","type":"article","venue":"Organised Sound","topic":"Neuroscience and Music Perception","field":"Neuroscience","cited_by":14,"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":"Electroacoustic music; Perception; Musical; Time perception; Active listening; Context (archaeology); Cognitive psychology; Psychology; Aesthetics; Cognitive science; Repetition (rhetorical device); Duration (music); Computer science; Music psychology; Communication; Art; History; Visual arts; Linguistics; Literature; Philosophy; Neuroscience","authors":[{"name":"Jason Noble","is_ca":true},{"name":"Tanor Bonin","is_ca":true},{"name":"Stephen McAdams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03007421157227059,"gpt":0.2447634481597736,"spread":0.214689236587503,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008816436,0.0001719987,0.0002536814,0.0005499827,0.0005662693,0.001310858,0.0002773751,0.0004273564,0.001405912],"category_scores_gemma":[0.004633213,0.0001888882,0.0001101287,0.0002662542,0.003733031,0.001114352,0.001857367,0.0007594357,0.00009215914],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002161169,"about_ca_system_score_gemma":0.0001426178,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006230352,"about_ca_topic_score_gemma":0.0008981003,"domain_scores_codex":[0.9993942,0.0002170304,0.00003521786,0.00009255779,0.0002040709,0.0000568988],"domain_scores_gemma":[0.9985221,0.0005979664,0.0003997031,0.0001455473,0.0001289001,0.0002057373],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.001412359,0.0002637496,0.08389777,0.0003088588,0.00009952214,0.001676372,0.5808571,0.0003853906,0.2756665,0.01118016,0.0006092818,0.04364299],"study_design_scores_gemma":[0.00006139861,0.001719854,0.6610647,0.0001254198,0.00006309559,0.004732014,0.2923114,0.0009196175,0.01355466,0.008484483,0.01674445,0.0002188668],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9963847,0.0001050526,0.0006933133,0.00004212902,0.000008754619,0.000003595898,0.000006035138,0.000003899813,0.00275243],"genre_scores_gemma":[0.9991686,0.00006634786,0.0002110746,0.00002975271,0.000004806242,0.00000313909,0.000008361269,0.000003014023,0.0005049899],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.001405912,"threshold_uncertainty_score":0.004703283,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2084574168","doi":"10.1017/s1355771811000513","title":"Composing for a Networked, Pulse-Based, Laptop Orchestra","year":2012,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":12,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"McMaster University","funders":"","keywords":"Laptop; Computer science; Coding (social sciences); Code (set theory); Citizen journalism; Multimedia; World Wide Web; Sociology; Operating system; Programming language","authors":[{"name":"David Ogborn","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02943321800441119,"gpt":0.25935423949856,"spread":0.2299210214941488,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008541421,0.0003526007,0.0002105377,0.0004721527,0.002761772,0.002782941,0.0008358291,0.0004893549,0.01515814],"category_scores_gemma":[0.001654932,0.0001699312,0.0003105148,0.0004447931,0.002112448,0.001870818,0.002896771,0.0008454034,0.002627287],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005928905,"about_ca_system_score_gemma":0.0009017767,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002467266,"about_ca_topic_score_gemma":0.008452469,"domain_scores_codex":[0.9995648,0.0001022115,0.00001683856,0.00008620155,0.0001629964,0.00006694702],"domain_scores_gemma":[0.9995893,0.0001191976,0.0000174852,0.00009952961,0.00005614265,0.0001183678],"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":[0.0004890328,0.0002968778,0.007083926,0.0005081642,0.0000743081,0.002373153,0.08189685,0.01619691,0.1461803,0.2051374,0.01573409,0.524029],"study_design_scores_gemma":[0.000150523,0.001332778,0.01491832,0.0005085957,0.0001952891,0.003451447,0.09832112,0.07890423,0.07777968,0.1033652,0.6208736,0.0001992062],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.3585934,0.0002554969,0.4323217,0.001153851,0.0002624982,0.0003315915,0.0001839194,0.002087569,0.20481],"genre_scores_gemma":[0.6800863,0.0002482597,0.2586004,0.0002000769,0.00008281831,0.0001451405,0.0002026528,0.0004838756,0.05995036],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01515814,"threshold_uncertainty_score":0.05070907,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2133008666","doi":"10.1017/s1355771814000041","title":"Appropriation, Culture and Meaning in Electroacoustic Music: A composer's perspective","year":2014,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":11,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Acadia University","funders":"","keywords":"Appropriation; Electroacoustic music; Immediacy; Aesthetics; Meaning (existential); Perspective (graphical); Sociology; Art; Visual arts; Linguistics; Musical; Philosophy; Epistemology","authors":[{"name":"Steven Naylor","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007760511535704866,"gpt":0.2130255086743116,"spread":0.2052649971386067,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004631307,0.0005923626,0.0006251739,0.002410199,0.008577007,0.01448878,0.001065014,0.003681822,0.002702388],"category_scores_gemma":[0.003585963,0.0003243202,0.0003290545,0.002023373,0.03727613,0.01136221,0.006123617,0.004013414,0.0003147781],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003072601,"about_ca_system_score_gemma":0.00137596,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003462459,"about_ca_topic_score_gemma":0.003562211,"domain_scores_codex":[0.9962598,0.002530331,0.0001239267,0.0002638691,0.000504086,0.0003181676],"domain_scores_gemma":[0.9972407,0.002154386,0.0001303328,0.0001844332,0.0001558881,0.0001344149],"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":[0.00002352309,0.00002270965,0.0008165273,0.0001242185,0.000009696327,0.0007466936,0.4609053,0.0002008092,0.0008764987,0.520612,0.001105162,0.01455689],"study_design_scores_gemma":[0.00001439554,0.00009346251,0.003075517,0.0005436765,0.00002470551,0.0021659,0.6027659,0.0005764448,0.001422566,0.1468061,0.2424505,0.0000607381],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3330905,0.04011421,0.02640844,0.04877415,0.0009309012,0.0000659605,0.00004724142,0.00008712808,0.5504814],"genre_scores_gemma":[0.9773472,0.008184888,0.001875566,0.001414718,0.0003315062,0.00002397295,0.0000108373,0.00005454898,0.01075685],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01448878,"threshold_uncertainty_score":0.02449298,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2110089655","doi":"10.1017/s1355771814000491","title":"Paradigm Shifts and Electroacoustic Music: Some personal reflections","year":2015,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Electroacoustic music; Soundscape; Psychoacoustics; Context (archaeology); Active listening; Sound (geography); Perception; Computer science; Acoustics; Range (aeronautics); Composition (language); Communication; Art; Sociology; History; Psychology; Engineering; Literature","authors":[{"name":"Barry Truax","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04227658946251941,"gpt":0.2670444631033139,"spread":0.2247678736407945,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004939551,0.0006462498,0.0005277958,0.001389712,0.005446343,0.008575211,0.001264091,0.007155037,0.003743992],"category_scores_gemma":[0.007259743,0.0002610564,0.0004067508,0.002404461,0.01650253,0.01337808,0.004180538,0.01164062,0.0009478028],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002675477,"about_ca_system_score_gemma":0.001558435,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00193108,"about_ca_topic_score_gemma":0.004618277,"domain_scores_codex":[0.9981939,0.0009204043,0.000070278,0.0002369486,0.000401463,0.00017696],"domain_scores_gemma":[0.9917049,0.006520319,0.0002634527,0.0001997206,0.0007854635,0.0005261994],"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":[0.00009059522,0.0002083015,0.001551036,0.0005549508,0.00002577545,0.001521243,0.06930591,0.0004769543,0.0007673875,0.5286667,0.3091263,0.087705],"study_design_scores_gemma":[0.00001208834,0.0000637359,0.0006707026,0.0006620405,0.00000653639,0.001247021,0.0401214,0.0002277178,0.0002166959,0.1085661,0.8481712,0.00003470439],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.008063178,0.1676981,0.003315248,0.7337615,0.02132462,0.00001703568,0.00003702096,0.00004999544,0.0657332],"genre_scores_gemma":[0.2348853,0.2461796,0.004357436,0.3821817,0.07500484,0.0001216095,0.0000491343,0.0001785958,0.05704179],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.008575211,"threshold_uncertainty_score":0.02612317,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2105250032","doi":"10.1017/s1355771814000065","title":"In-Between Soundscapes of Vancouver: The newcomer's acoustic experience of a city with a sensory repertoire of another place","year":2014,"lang":"en","type":"article","venue":"Organised Sound","topic":"Noise Effects and Management","field":"Health Professions","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Soundscape; Performative utterance; Ethnography; Sociology; Aesthetics; Field (mathematics); Visual arts; Sound (geography); Acoustics; Art; Anthropology","authors":[{"name":"Özgün Eylül İşcen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02711550996105028,"gpt":0.3277419743336976,"spread":0.3006264643726473,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008820632,0.0005755326,0.0004602916,0.001024652,0.01461559,0.009089305,0.001176564,0.001452898,0.004172786],"category_scores_gemma":[0.003303019,0.0004638903,0.0002569146,0.001732465,0.007784576,0.001776528,0.006642041,0.003350446,0.0006103916],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005208248,"about_ca_system_score_gemma":0.005106197,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.4218453,"about_ca_topic_score_gemma":0.7146242,"domain_scores_codex":[0.9989228,0.0004426358,0.00002110535,0.0001180465,0.0002974106,0.0001980231],"domain_scores_gemma":[0.9983986,0.0005545209,0.00009459427,0.0001015584,0.0002542832,0.0005963208],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001621413,0.00005763721,0.009574097,0.0002032742,0.00002543028,0.002224321,0.9507885,0.00008696745,0.003331911,0.002125175,0.003611308,0.02780923],"study_design_scores_gemma":[0.00001209256,0.0001101795,0.03224961,0.000142194,0.0000297442,0.000952812,0.9102899,0.0001085366,0.0005297128,0.0007199099,0.05477607,0.00007930259],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.936132,0.00173792,0.001493506,0.00294531,0.0002403909,0.00007141984,0.0001548514,0.00005579949,0.05716877],"genre_scores_gemma":[0.9840984,0.0009540108,0.0006218968,0.0002872071,0.00003552419,0.00004214509,0.00007505554,0.0000376473,0.0138482],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5781547,"threshold_uncertainty_score":0.8387797,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3134378956","doi":"10.1017/s1355771821000054","title":"<i>Ambiguous Devices</i>: Improvisation, agency, touch and feedthrough in distributed music performance","year":2021,"lang":"en","type":"article","venue":"Organised Sound","topic":"Innovative Human-Technology Interaction","field":"Computer Science","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Queen's University Belfast; Queen's University; Bournemouth University; University of Michigan","keywords":"Improvisation; Agency (philosophy); Ambiguity; Computer science; Musical; Human–computer interaction; Cognitive science; Adaptation (eye); Aesthetics; Epistemology; Psychology; Visual arts; Art","authors":[{"name":"Paul Stapleton","is_ca":false},{"name":"Tom Davis","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01715584256025291,"gpt":0.2377190503606796,"spread":0.2205632078004267,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002915944,0.0004481733,0.0003467874,0.0008866248,0.004720596,0.01071092,0.0009708335,0.001678331,0.004093453],"category_scores_gemma":[0.005936152,0.000402704,0.0003427387,0.0007189918,0.01518779,0.006698836,0.008155909,0.001627204,0.0006694436],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001292791,"about_ca_system_score_gemma":0.0007875079,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001200698,"about_ca_topic_score_gemma":0.001324745,"domain_scores_codex":[0.9962746,0.002157104,0.0001398929,0.0004505923,0.0006805073,0.0002973305],"domain_scores_gemma":[0.9975021,0.001537236,0.0002535183,0.0003991621,0.00009817263,0.0002097473],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0003149895,0.00009761391,0.00608559,0.0003428694,0.00003294933,0.002208475,0.4370764,0.004422611,0.02364952,0.4203608,0.001913001,0.1034952],"study_design_scores_gemma":[0.00008867859,0.0006692053,0.01297926,0.00106873,0.000113209,0.006243566,0.2890839,0.02336842,0.0323775,0.2982901,0.3354366,0.0002808471],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.556329,0.001400346,0.2975325,0.002910664,0.0001442495,0.0001561933,0.00005022624,0.000811932,0.1406649],"genre_scores_gemma":[0.9789289,0.0001814384,0.0148294,0.0000819953,0.00002381525,0.00005894882,0.00001258586,0.00009091567,0.0057921],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01071092,"threshold_uncertainty_score":0.01542121,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2913602221","doi":"10.1017/s1355771811000549","title":"Syneme: Live","year":2012,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Calgary","funders":"","keywords":"Liveness; Computer science; Music technology; The Internet; Realisation; Narrative; Rendering (computer graphics); Studio; Successor cardinal; Multimedia; Telecommunications; Visual arts; World Wide Web; Art; Music education; Artificial intelligence; Literature","authors":[{"name":"Kenneth Fields","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01523519056068043,"gpt":0.2311212295073302,"spread":0.2158860389466498,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001046101,0.0008358518,0.0004635968,0.00199973,0.002945682,0.006575917,0.001992464,0.002153319,0.5333354],"category_scores_gemma":[0.004327736,0.0003091369,0.0003343681,0.001773511,0.001766546,0.005538675,0.00447653,0.00181192,0.1755279],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002827965,"about_ca_system_score_gemma":0.001921167,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01152158,"about_ca_topic_score_gemma":0.03592627,"domain_scores_codex":[0.9988447,0.0001538525,0.00004866002,0.0001762932,0.0006186587,0.0001576684],"domain_scores_gemma":[0.9980162,0.000364109,0.00008986732,0.0004430454,0.0007127947,0.0003739743],"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":[0.0001804712,0.00001630396,0.0001683505,0.0003755053,0.000004486351,0.0001578924,0.0009638242,0.00005834786,0.001310795,0.04518599,0.8438712,0.1077067],"study_design_scores_gemma":[0.000005432201,0.000008651318,0.0001363182,0.00004523186,9.841115e-7,0.00008237943,0.0001770011,0.00003001267,0.0001900658,0.000923392,0.9983954,0.000005237142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.001167205,0.001143851,0.005708966,0.002755,0.005050677,0.0001486892,0.005835069,0.005139814,0.9730507],"genre_scores_gemma":[0.02353572,0.001339137,0.005852632,0.001917581,0.002050816,0.0002050015,0.005668389,0.00589418,0.9535365],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5333354,"threshold_uncertainty_score":0.6656404,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2008795438","doi":"10.1017/s1355771809990215","title":"Towards a Phenomenology of the Acoustic Image","year":2010,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Phenomenology (philosophy); Meaning (existential); Computer science; Aesthetics; Component (thermodynamics); Cognitive science; Epistemology; Psychology; Philosophy; Physics","authors":[{"name":"Michael Filimowicz","is_ca":true},{"name":"Jack Stockholm","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007990357293324533,"gpt":0.2220544099538985,"spread":0.214064052660574,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004225418,0.0004947909,0.0003932064,0.001680585,0.003485601,0.009615372,0.001645706,0.002778833,0.004516271],"category_scores_gemma":[0.005759678,0.0004470087,0.0006498196,0.001097138,0.04258645,0.01710409,0.004949482,0.005154672,0.0006083084],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001891149,"about_ca_system_score_gemma":0.001810391,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001701821,"about_ca_topic_score_gemma":0.001200173,"domain_scores_codex":[0.9978132,0.001413992,0.00006146808,0.0001683118,0.0003406193,0.0002023021],"domain_scores_gemma":[0.9966406,0.002181081,0.0002172077,0.0003649262,0.0003141601,0.0002821237],"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":[0.0000137617,0.000008181733,0.0001080617,0.0000537761,0.000001550203,0.0001151444,0.03810018,0.0001507077,0.0003546902,0.9580321,0.0006079614,0.002453765],"study_design_scores_gemma":[0.00002686614,0.00004410544,0.0002667929,0.0001854114,0.000005930614,0.0003486236,0.05672657,0.001074536,0.0005399002,0.8392956,0.1014513,0.00003447261],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.07552619,0.005095285,0.4841602,0.03387545,0.001572562,0.0002415501,0.0001673817,0.0002532648,0.3991081],"genre_scores_gemma":[0.9281327,0.002461846,0.04738052,0.002196303,0.0004712408,0.0002642944,0.00007669785,0.0001936461,0.01882277],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.009615372,"threshold_uncertainty_score":0.02234644,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3211098282","doi":"10.1017/s1355771821000248","title":"Soundscapes of Resistance: Amplifying social justice activism and aural counterpublics through field recording-based sound practices","year":2021,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music History and Culture","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":"Concordia University","funders":"","keywords":"Soundscape; Appropriation; Sociology; Resistance (ecology); Visual arts; Field (mathematics); Media studies; Power (physics); Aesthetics; Art; Sound (geography); Acoustics","authors":[{"name":"Nimalan Yoganathan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05770803550149645,"gpt":0.2880938663016295,"spread":0.230385830800133,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00648238,0.0007475053,0.0002429614,0.002276233,0.006865124,0.009516708,0.001354753,0.002102762,0.01083865],"category_scores_gemma":[0.01119418,0.000367963,0.00037609,0.0009282977,0.01554821,0.005370823,0.008379919,0.002404247,0.001474088],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001458419,"about_ca_system_score_gemma":0.001446169,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001370072,"about_ca_topic_score_gemma":0.004158064,"domain_scores_codex":[0.9945887,0.003703556,0.00009735541,0.0004021623,0.0007770698,0.0004311944],"domain_scores_gemma":[0.9901081,0.00745245,0.000522949,0.000985437,0.000538826,0.000392214],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0002087801,0.0002018526,0.004521767,0.000680498,0.00003093598,0.00114616,0.7416388,0.0004150552,0.01291666,0.07236625,0.0093453,0.1565279],"study_design_scores_gemma":[0.00006928725,0.0003908878,0.004024945,0.001187984,0.00005591529,0.001178632,0.6324237,0.0007705613,0.006597236,0.02457987,0.3286505,0.00007060599],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5716851,0.004737763,0.05496467,0.01902066,0.00136791,0.0004611734,0.0001415377,0.0007856615,0.3468354],"genre_scores_gemma":[0.9614393,0.001180594,0.0136821,0.001335298,0.000285481,0.0002136755,0.00004164113,0.000223216,0.0215987],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01083865,"threshold_uncertainty_score":0.03625894,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2108848067","doi":"10.1017/s1355771813000447","title":"Peircing Fritz and Snow: An aesthetic field for sonified data","year":2014,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Dialectic; Computer science; Field (mathematics); Argument (complex analysis); Space (punctuation); Connection (principal bundle); Set (abstract data type); Transformation (genetics); Epistemology; Mathematics","authors":[{"name":"Michael Filimowicz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0351489182722065,"gpt":0.273000202330774,"spread":0.2378512840585675,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007571345,0.0006489284,0.0004266251,0.002149569,0.0046286,0.01148074,0.00110555,0.002480689,0.006505703],"category_scores_gemma":[0.01421844,0.0003697799,0.000602078,0.001874161,0.04547176,0.01657996,0.006274926,0.004733261,0.0007899805],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003337779,"about_ca_system_score_gemma":0.001680246,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001910072,"about_ca_topic_score_gemma":0.001933696,"domain_scores_codex":[0.9924477,0.005151616,0.000183849,0.0004796845,0.001426636,0.0003104318],"domain_scores_gemma":[0.9927335,0.005437067,0.0002204538,0.0009332757,0.0004438974,0.0002317517],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"design_other","study_design_scores_codex":[0.00001593868,0.000003164618,0.00006089971,0.00003364122,0.000002391838,0.00006357675,0.01791533,0.0001209499,0.0001845986,0.9733337,0.002182554,0.006083369],"study_design_scores_gemma":[0.00001242967,0.00001791218,0.0001019846,0.0001211674,0.000004176343,0.0002537631,0.01608437,0.0006850241,0.0003809962,0.8249891,0.1573304,0.00001874022],"study_design_candidate":"design_other","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0523698,0.01132887,0.3579351,0.08495994,0.00379379,0.0001029255,0.000154951,0.000363121,0.4889916],"genre_scores_gemma":[0.9015054,0.003542581,0.04329627,0.003765493,0.001380759,0.0001784376,0.000091799,0.0004363885,0.04580294],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01148074,"threshold_uncertainty_score":0.04004157,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2069045210","doi":"10.1017/s1355771813000022","title":"Tradition and Transformation: Addressing the gap between electroacoustic music and the middle and secondary school curriculum","year":2013,"lang":"en","type":"article","venue":"Organised Sound","topic":"Diverse Music Education Insights","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":"Mount Allison University","funders":"","keywords":"Electroacoustic music; Curriculum; Music education; Music technology; Pedagogy; Sociology; Information and Communications Technology; Musical; Visual arts; Mathematics education; Computer science; Psychology; Art; World Wide Web","authors":[{"name":"Jeffrey Martin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0864012718315211,"gpt":0.2255625071220313,"spread":0.1391612352905102,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00373506,0.00018483,0.000393581,0.001663562,0.007248974,0.008571243,0.001509556,0.001604938,0.005137459],"category_scores_gemma":[0.005222231,0.0001711182,0.0001916696,0.00158947,0.01486741,0.005885525,0.01212112,0.004845012,0.0003184929],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005744478,"about_ca_system_score_gemma":0.0106709,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006110476,"about_ca_topic_score_gemma":0.01687557,"domain_scores_codex":[0.9971541,0.001290005,0.0001124278,0.00035804,0.0005471485,0.0005381799],"domain_scores_gemma":[0.9963136,0.001608646,0.0003466939,0.0001940364,0.0002498726,0.001287141],"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":[0.00006529516,0.0003146419,0.009631104,0.0002272372,0.000007068332,0.0006271124,0.4957211,0.00007481816,0.001050763,0.395988,0.002015735,0.09427708],"study_design_scores_gemma":[0.00004091805,0.000331117,0.03429199,0.001094402,0.0000149353,0.0005122305,0.5844596,0.0003595598,0.001048767,0.1305337,0.2472819,0.00003104689],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7254547,0.005701377,0.005124073,0.03664412,0.0004125503,0.00006654187,0.00002281662,0.00005143331,0.2265224],"genre_scores_gemma":[0.9921883,0.0007041172,0.0009080043,0.001194132,0.00007042031,0.00002601452,0.000008677883,0.00001303246,0.004887416],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.008571243,"threshold_uncertainty_score":0.04167926,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4296208940","doi":"10.1017/s135577182200036x","title":"Experiencing Sound Installations: A conceptual framework","year":2022,"lang":"en","type":"article","venue":"Organised Sound","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":true},"ca_institutions":"Université de Montréal; McGill University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Sound (geography); Visitor pattern; Taxonomy (biology); Conceptual framework; Documentation; Computer science; Modalities; Sociology; Acoustics; Ecology","authors":[{"name":"Valérian Fraisse","is_ca":true},{"name":"Nicola Giannini","is_ca":true},{"name":"Catherine Guastavino","is_ca":true},{"name":"Guillaume Boutard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06485297098292321,"gpt":0.2951962294914515,"spread":0.2303432585085283,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005898023,0.001325533,0.0007114045,0.007994496,0.01175633,0.01842696,0.003830764,0.004669478,0.007836323],"category_scores_gemma":[0.005903027,0.0007135607,0.001011324,0.008298769,0.04239783,0.01328065,0.005966363,0.003999131,0.001047391],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02867217,"about_ca_system_score_gemma":0.02336719,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.3432035,"about_ca_topic_score_gemma":0.3154011,"domain_scores_codex":[0.9947444,0.002545361,0.0002562236,0.0005733121,0.001064041,0.0008166643],"domain_scores_gemma":[0.9946582,0.00208775,0.000433614,0.0004210246,0.001408816,0.0009906673],"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":[0.00001956126,0.0000362539,0.002549681,0.0004430526,0.000009979992,0.0005947846,0.209054,0.001280368,0.0005491172,0.7525429,0.00596278,0.02695756],"study_design_scores_gemma":[0.00002828463,0.00005886248,0.007503209,0.002609054,0.00003928554,0.001198306,0.3653206,0.004014138,0.0003342702,0.1830068,0.4357389,0.0001482936],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1164157,0.01832102,0.2733627,0.03912612,0.0007590911,0.001644709,0.001941991,0.0012434,0.5471853],"genre_scores_gemma":[0.8564628,0.007135828,0.1063763,0.001315091,0.0001447759,0.00107825,0.0006938989,0.0002096482,0.02658335],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.3432035,"threshold_uncertainty_score":0.6824116,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2096816767","doi":"10.1017/s1355771802001073","title":"Alien intimacies: hearing science fiction narratives in Hildegard Westerkamp's <i>Cricket Voice</i> (or ‘I don't like the country, the crickets make me nervous’)","year":2002,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Soundscape; Cricket; Alien; Narrative; Sound (geography); Singing; Active listening; Visual arts; History; Aesthetics; Art; Sociology; Psychology; Acoustics; Literature; Communication","authors":[{"name":"Andra McCartney","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02641006086616312,"gpt":0.2477108144428848,"spread":0.2213007535767217,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002736729,0.0008695459,0.0006213905,0.001486943,0.01290128,0.008407056,0.001092413,0.003772733,0.003701273],"category_scores_gemma":[0.007982411,0.0005319724,0.0003656479,0.001007596,0.01885427,0.00601248,0.008799165,0.004153566,0.0006039554],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00315387,"about_ca_system_score_gemma":0.0009295018,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009578135,"about_ca_topic_score_gemma":0.01840772,"domain_scores_codex":[0.9971584,0.001768379,0.00007146609,0.0002258836,0.0004121589,0.0003638301],"domain_scores_gemma":[0.9951577,0.003803246,0.0004138012,0.0001145718,0.0001663406,0.0003444052],"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":[0.0000214494,0.000009086035,0.0002289261,0.0000247725,0.00000255248,0.0007096002,0.9952149,0.00001141467,0.0004329582,0.001885926,0.0004112881,0.001047086],"study_design_scores_gemma":[0.000008454619,0.00003626827,0.001230573,0.00008718212,0.000008242662,0.0006188308,0.967272,0.00005019031,0.0004920069,0.0008815576,0.02929655,0.0000180239],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.9539173,0.001391393,0.001153462,0.004417306,0.0001734207,0.0000415736,0.00003487831,0.00002600443,0.03884475],"genre_scores_gemma":[0.9869272,0.0008952568,0.0004061604,0.001215091,0.00007948095,0.00003684116,0.00003253336,0.00005511232,0.01035225],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.01290128,"threshold_uncertainty_score":0.02288306,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2124498611","doi":"10.1017/s1355771810000154","title":"Real-Time Timbral Organisation: Selecting samples based upon similarity","year":2010,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Similarity (geometry); Computer science; Artificial intelligence","authors":[{"name":"Arne Eigenfeldt","is_ca":true},{"name":"Philippe Pasquier","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01526865664479416,"gpt":0.2374094122368942,"spread":0.2221407555921001,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004193784,0.0006397268,0.0008906225,0.004685724,0.0005632852,0.002811061,0.001080482,0.0007702443,0.003098532],"category_scores_gemma":[0.02331437,0.0002877772,0.0004034165,0.002894007,0.0009111219,0.002430357,0.001460645,0.0004557692,0.001882491],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005345201,"about_ca_system_score_gemma":0.000434138,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009213976,"about_ca_topic_score_gemma":0.00104053,"domain_scores_codex":[0.996384,0.0009803879,0.0002296567,0.0005459168,0.001655954,0.0002040828],"domain_scores_gemma":[0.985773,0.006458294,0.001401267,0.001946917,0.003841128,0.0005793435],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"bench_or_experimental","study_design_scores_codex":[0.00533327,0.0002955206,0.01345781,0.0004972187,0.0001724046,0.0001479615,0.001856057,0.006091014,0.07791164,0.003492802,0.001493699,0.8892506],"study_design_scores_gemma":[0.0008062951,0.0076223,0.2139013,0.0002217544,0.00071546,0.003510733,0.00582744,0.452011,0.2712473,0.01645667,0.02683032,0.0008494435],"study_design_candidate":"bench_or_experimental","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.3543043,0.0009031989,0.6329442,0.0001777955,0.0002507897,0.000459944,0.0002941913,0.003600707,0.007064976],"genre_scores_gemma":[0.6888565,0.0002734814,0.3056072,0.00004637713,0.0001200352,0.0002306582,0.0003706303,0.0003440015,0.004151095],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.004685724,"threshold_uncertainty_score":0.02217913,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2095930034","doi":"10.1017/s1355771810000129","title":"‘Nature’ as an Organising Principle: Approaches to chance and the natural in the work of John Cage, David Tudor and Alvin Lucier","year":2010,"lang":"en","type":"article","venue":"Organised Sound","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":7,"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":"John Cage; Natural (archaeology); Work (physics); Cage; Performance art; Art history; Art; History; Mathematics; Engineering; Archaeology; Combinatorics","authors":[{"name":"Matthew R. Rogalsky","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03607663028037342,"gpt":0.2434994547223767,"spread":0.2074228244420033,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002521951,0.0002950359,0.000297082,0.001276581,0.008129729,0.006797677,0.0009660173,0.001535925,0.002243201],"category_scores_gemma":[0.003350392,0.0002072328,0.0002611634,0.0009949356,0.0424755,0.003901042,0.003325018,0.002123283,0.000273948],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00457787,"about_ca_system_score_gemma":0.002379503,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01666487,"about_ca_topic_score_gemma":0.04036365,"domain_scores_codex":[0.9972326,0.001842335,0.00005108864,0.0002248383,0.0004288894,0.0002201403],"domain_scores_gemma":[0.996703,0.002430168,0.0001843034,0.0001366018,0.0001660529,0.0003798784],"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":[0.00003707233,0.00001456798,0.0004148138,0.00008540792,0.000005148306,0.0001783226,0.08545404,0.0002206962,0.0002552476,0.8866261,0.01350771,0.01320087],"study_design_scores_gemma":[0.00002048375,0.00005553186,0.001960633,0.0003719346,0.000007660922,0.0004299479,0.0661538,0.0004054949,0.0004548809,0.2142971,0.7157993,0.00004319669],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1123795,0.08879352,0.04366521,0.1089002,0.002590149,0.00009089855,0.00005763164,0.000119913,0.6434029],"genre_scores_gemma":[0.9214882,0.01401638,0.008501322,0.005278836,0.001224843,0.0001105933,0.00002367916,0.0001266458,0.04922957],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01666487,"threshold_uncertainty_score":0.03321499,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2122701949","doi":"10.1017/s1355771809990112","title":"Which Aural Skills are Necessary for Composing, Performing and Understanding Electroacoustic Music, and to what Extent are they Teachable by Traditional Aural Training?","year":2009,"lang":"en","type":"article","venue":"Organised Sound","topic":"Hearing Loss and Rehabilitation","field":"Neuroscience","cited_by":7,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Perception; Medical education; Sample (material); Psychology; Training (meteorology); Applied psychology; Medicine","authors":[{"name":"Eldad Tsabary","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06461680847761303,"gpt":0.2706144450289505,"spread":0.2059976365513375,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00182747,0.0001370298,0.0002527782,0.0007865439,0.0003106638,0.0006903819,0.0002130411,0.0003310908,0.001678574],"category_scores_gemma":[0.0133328,0.0001770231,0.0001719269,0.000245865,0.0008832802,0.0007894897,0.0005142213,0.0003359838,0.0002454305],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004424127,"about_ca_system_score_gemma":0.00126271,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001243377,"about_ca_topic_score_gemma":0.002812541,"domain_scores_codex":[0.9986233,0.0004581534,0.0001297314,0.0001337351,0.0004657039,0.0001893861],"domain_scores_gemma":[0.989467,0.006010455,0.00261437,0.0003618937,0.0008291857,0.0007170853],"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":[0.0005230535,0.001438399,0.3688681,0.002047792,0.00006747009,0.0007562387,0.04697156,0.0003824414,0.03725889,0.0009299208,0.0004860972,0.5402701],"study_design_scores_gemma":[0.00003076599,0.0009574214,0.9489155,0.0002728154,0.00005240673,0.001269126,0.04066459,0.000337215,0.0036102,0.0007493992,0.003112171,0.00002840855],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.995186,0.0003955862,0.001165872,0.0001646011,0.000008550527,0.00003149737,0.00001298848,0.000007332552,0.00302763],"genre_scores_gemma":[0.9974988,0.000586556,0.00148233,0.00004740697,0.000009555281,0.00003098481,0.00001419076,0.000001647355,0.0003286048],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00182747,"threshold_uncertainty_score":0.009664655,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1973770488","doi":"10.1017/s1355771809000120","title":"<i>The Icebreaker</i>: Soundscape works as everyday sound art","year":2009,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Soundscape; Sound (geography); Sound art; Notice; Musical; Variety (cybernetics); Acoustics; John Cage; Focus (optics); Visual arts; Computer science; Aesthetics; Art; Performance art; Law","authors":[{"name":"Owen Chapman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007616659676523675,"gpt":0.2245966643580969,"spread":0.2169800046815732,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009201535,0.0004572531,0.0002295098,0.001169704,0.004657192,0.01303755,0.000724477,0.002426464,0.006276724],"category_scores_gemma":[0.001245382,0.0001886202,0.0003083554,0.001452742,0.01646877,0.005573013,0.003997429,0.002349215,0.0007957511],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001855999,"about_ca_system_score_gemma":0.0008491683,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003196742,"about_ca_topic_score_gemma":0.00453668,"domain_scores_codex":[0.9990978,0.0005035192,0.00002802614,0.00009631713,0.0001568396,0.0001175504],"domain_scores_gemma":[0.9992548,0.0004315226,0.00006485551,0.00008658456,0.00006136757,0.0001009783],"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":[0.00006057645,0.00005029067,0.001645747,0.0003583991,0.00001232101,0.0008886668,0.2651595,0.0002710613,0.002467681,0.6793396,0.0155997,0.03414655],"study_design_scores_gemma":[0.00001433048,0.000102716,0.005490522,0.0007754195,0.00001855036,0.002308266,0.1954185,0.0006255539,0.002037739,0.08692736,0.706234,0.00004708517],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1338778,0.02080039,0.02369079,0.02031007,0.001659979,0.0001265972,0.0001353826,0.0001905975,0.7992084],"genre_scores_gemma":[0.9400792,0.005878513,0.004344623,0.002026708,0.0007832726,0.0001015903,0.0000514856,0.0001183482,0.04661629],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01303755,"threshold_uncertainty_score":0.02099776,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2280738674","doi":"10.1017/s1355771815000059","title":"Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations","year":2015,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Computer science; Sound design; Visitor pattern; Musical; Context (archaeology); Perspective (graphical); Set (abstract data type); Adaptation (eye); Agency (philosophy); Space (punctuation); Human–computer interaction; Musical instrument; Presentation (obstetrics); Scale (ratio); Sound (geography); Visual arts; Acoustics; Artificial intelligence; Art; Sociology","authors":[{"name":"Adam Basanta","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0218603051397818,"gpt":0.2701098862051318,"spread":0.24824958106535,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00378896,0.00066928,0.0003648614,0.001376668,0.004620687,0.007580405,0.001341051,0.001483564,0.005376999],"category_scores_gemma":[0.00845271,0.0004490613,0.0006033602,0.0009521832,0.02451997,0.007064788,0.008716405,0.002210796,0.0006089401],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001825778,"about_ca_system_score_gemma":0.0009695436,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001530854,"about_ca_topic_score_gemma":0.003164774,"domain_scores_codex":[0.995777,0.002861095,0.0001102916,0.0003762774,0.0005538547,0.0003214018],"domain_scores_gemma":[0.996487,0.002160039,0.0002021371,0.0007024985,0.0002022322,0.0002460559],"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":[0.0001075819,0.00004652818,0.001234974,0.0001758607,0.00001416952,0.0006681194,0.3221985,0.001420764,0.004433168,0.62622,0.001090169,0.04239026],"study_design_scores_gemma":[0.0001118117,0.0003746855,0.005819109,0.0006336995,0.00007725055,0.002587771,0.3054023,0.01152653,0.00645167,0.4162137,0.2506479,0.0001536894],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.3744272,0.001538865,0.312283,0.004360684,0.0002593051,0.0001801652,0.00004577482,0.0005879686,0.306317],"genre_scores_gemma":[0.9547647,0.0002260474,0.03513758,0.0000909474,0.0000331774,0.00007679573,0.00001685005,0.0001434101,0.009510612],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007580405,"threshold_uncertainty_score":0.02003819,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2768424499","doi":"10.1017/s1355771817000553","title":"Animating the Object: Marcelle Deschênes and acousmatic education in Quebec","year":2017,"lang":"en","type":"article","venue":"Organised Sound","topic":"French Literature and Poetry","field":"Arts and Humanities","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":"Active listening; Scholarship; Curriculum; Argument (complex analysis); Interpretation (philosophy); Typology; Object (grammar); Sociology; Principal (computer security); Perspective (graphical); Visual arts; Pedagogy; Art; Philosophy; Medicine; Computer science; Political science; Anthropology; Linguistics; Communication; Law","authors":[{"name":"Patrick Valiquet","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01397174091488047,"gpt":0.2344411753810258,"spread":0.2204694344661453,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001232315,0.0003194432,0.0002376299,0.0009839793,0.01746669,0.005202515,0.001079608,0.001656121,0.01064296],"category_scores_gemma":[0.002352492,0.000198856,0.0001703241,0.001232984,0.01538874,0.001719962,0.001884691,0.002177733,0.0005254922],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.07240661,"about_ca_system_score_gemma":0.03916036,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9769449,"about_ca_topic_score_gemma":0.989175,"domain_scores_codex":[0.9988043,0.0004106923,0.00001670134,0.0001469024,0.0003164279,0.0003048914],"domain_scores_gemma":[0.9988949,0.000421105,0.00007091382,0.00005374499,0.0003403192,0.0002190002],"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":[0.00007625096,0.00007432105,0.005614517,0.0001244648,0.00001315726,0.002277011,0.2864666,0.0006438982,0.001070939,0.5828412,0.04570359,0.07509398],"study_design_scores_gemma":[0.00001151801,0.00002747362,0.009404755,0.0002247874,0.000008014953,0.000357268,0.07919254,0.0003480623,0.0004362524,0.009936589,0.9000098,0.00004289022],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3083042,0.02203617,0.002767067,0.07087366,0.001016009,0.00006086166,0.0001923942,0.0001038076,0.5946458],"genre_scores_gemma":[0.8797656,0.003192958,0.0007800845,0.001928307,0.0001021627,0.0000146223,0.00002940296,0.00004193719,0.1141448],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.07240661,"threshold_uncertainty_score":0.5253492,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1998828584","doi":"10.1017/s1355771814000260","title":"Generative Music for Live Performance: Experiences with real-time notation","year":2014,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Notation; Generative grammar; Electroacoustic music; Musical notation; Computer science; Musical; Generative model; Musical composition; Linguistics; Visual arts; Art; Artificial intelligence; Philosophy","authors":[{"name":"Arne Eigenfeldt","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01255243043642984,"gpt":0.2176381012871441,"spread":0.2050856708507142,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004106313,0.0009251751,0.0004838638,0.0007951342,0.003618583,0.006768616,0.002421484,0.002347365,0.009555711],"category_scores_gemma":[0.007295339,0.0003060475,0.00066424,0.0006855829,0.008207282,0.00487331,0.005834885,0.003302564,0.002029564],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001190192,"about_ca_system_score_gemma":0.0005316267,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008163836,"about_ca_topic_score_gemma":0.001593245,"domain_scores_codex":[0.9966808,0.002114401,0.00006990356,0.0002440372,0.0006044767,0.0002863431],"domain_scores_gemma":[0.996538,0.002462699,0.00007424528,0.0003239374,0.0001800584,0.0004209849],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0002717263,0.0007674287,0.001605155,0.000671557,0.00004186353,0.004042079,0.5507573,0.002021053,0.01718036,0.1993263,0.0325272,0.1907879],"study_design_scores_gemma":[0.0001312821,0.0008299761,0.002274359,0.0004316594,0.00004121605,0.006613931,0.1223886,0.006211688,0.009817771,0.04847491,0.8025888,0.0001958149],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.3922793,0.008462368,0.2354686,0.01026134,0.001998901,0.0003106256,0.0001391886,0.002562359,0.3485174],"genre_scores_gemma":[0.875584,0.003087951,0.04444292,0.001332102,0.0004843933,0.0001339028,0.0001153767,0.0007193539,0.07409994],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.009555711,"threshold_uncertainty_score":0.03196698,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1989820023","doi":"10.1017/s1355771804000044","title":"Theories market: open for trading","year":2004,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Context (archaeology); Orchestration; Field (mathematics); Computer science; Situated; Realm; Relevance (law); Interpretation (philosophy); Semiotics; Musical; Epistemology; Sociology; Artificial intelligence; Visual arts; Art; Political science; Philosophy","authors":[{"name":"Rosemary Mountain","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02016051615906357,"gpt":0.2624654031299244,"spread":0.2423048869708608,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004977197,0.0005873887,0.0009201128,0.001286391,0.004955779,0.01968195,0.002243697,0.009860121,0.09558607],"category_scores_gemma":[0.01983232,0.0004941162,0.0009526192,0.001200041,0.009980233,0.02607754,0.006694947,0.007260798,0.01445032],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00457763,"about_ca_system_score_gemma":0.004699391,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002584578,"about_ca_topic_score_gemma":0.002040014,"domain_scores_codex":[0.996218,0.001115195,0.00013257,0.0007284712,0.00134812,0.0004575761],"domain_scores_gemma":[0.9947407,0.001970108,0.0003736951,0.001425532,0.0008287275,0.0006613004],"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":[0.00001445055,0.000009110108,0.00008891527,0.00001220284,0.00000401683,0.00005401884,0.0001981694,0.0001379644,0.0000497876,0.986471,0.008006085,0.004954345],"study_design_scores_gemma":[0.00001673432,0.00001164573,0.00008582966,0.00005072113,0.000004497568,0.0000828911,0.0003937481,0.0009070114,0.00008161052,0.8837602,0.1145947,0.0000103023],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.007661534,0.002630308,0.03125629,0.0500078,0.0009892877,0.00009399922,0.0002349471,0.0003230744,0.9068027],"genre_scores_gemma":[0.6044571,0.003190894,0.01338181,0.0144032,0.00222582,0.0003896971,0.0004258456,0.0006802982,0.3608452],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.09558607,"threshold_uncertainty_score":0.3197672,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4292600954","doi":"10.1017/s135577182200022x","title":"The Modular Journey: Uncovering analogue aesthetics in digital landscapes","year":2022,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Creativity; Modular design; Popularity; Legitimacy; Realm; Aesthetics; Perspective (graphical); Computer science; Phenomenon; Sociology; Soundscape; Epistemology; Sound (geography); Psychology; Political science; Artificial intelligence; Social psychology; Art; Politics; Law","authors":[{"name":"Andreas Kitzmann","is_ca":true},{"name":"Claes Thorén","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.009854352231077003,"gpt":0.2092140642108249,"spread":0.1993597119797479,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003537937,0.0005085558,0.0003863226,0.003108658,0.004575219,0.008811671,0.0009615321,0.001352008,0.006373555],"category_scores_gemma":[0.00688178,0.0003196144,0.0004077451,0.00216625,0.02440325,0.01034114,0.009002569,0.001564365,0.0003901904],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001727143,"about_ca_system_score_gemma":0.0009737622,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001112601,"about_ca_topic_score_gemma":0.002572963,"domain_scores_codex":[0.9973276,0.001714269,0.00006046466,0.0003083523,0.000359966,0.0002293104],"domain_scores_gemma":[0.9963633,0.002521165,0.0002533856,0.000526368,0.0001190579,0.0002168354],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00006515528,0.00002424401,0.00330945,0.0001849177,0.00001109262,0.0007667828,0.7486923,0.0002710906,0.001701216,0.2200567,0.0007912468,0.02412574],"study_design_scores_gemma":[0.00002629491,0.00009561687,0.006248608,0.0004266951,0.00002578431,0.001561029,0.7348897,0.001388936,0.001008728,0.1313278,0.1229649,0.00003590437],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7679684,0.001958234,0.04159096,0.003424624,0.0001318538,0.0000891338,0.00006719733,0.0001177655,0.1846519],"genre_scores_gemma":[0.9926001,0.0002341946,0.00328183,0.0000749496,0.00001943515,0.0000226077,0.00001408229,0.00004341193,0.003709491],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.008811671,"threshold_uncertainty_score":0.02132165,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2734390522","doi":"10.1017/s1355771817000115","title":"<i>A Day in Algonquin Park</i>: William W. H. Gunn and the circadian audio portrait","year":2017,"lang":"en","type":"article","venue":"Organised Sound","topic":"Noise Effects and Management","field":"Health Professions","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Queen's University","funders":"Cornell Lab of Ornithology","keywords":"Soundscape; Portrait; Sensibility; Composition (language); Politics; Aesthetics; Literature; Argument (complex analysis); Wilderness; Sociology; History; Art; Visual arts; Sound (geography); Acoustics; Law; Ecology","authors":[{"name":"Laura Cameron","is_ca":true},{"name":"Matt Rogalsky","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02690587399154594,"gpt":0.356529872607092,"spread":0.3296239986155461,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003765374,0.000240472,0.00009724042,0.0004148248,0.007313453,0.002830202,0.0003913969,0.0005269048,0.00422352],"category_scores_gemma":[0.0005759913,0.000119666,0.00008190214,0.0004011799,0.003462846,0.001016319,0.001405638,0.001341669,0.0004493904],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00391976,"about_ca_system_score_gemma":0.00178278,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1848849,"about_ca_topic_score_gemma":0.4813563,"domain_scores_codex":[0.9997004,0.00008914569,0.000004834568,0.00004350738,0.0001019605,0.00006009065],"domain_scores_gemma":[0.9998343,0.00003638141,0.00001396904,0.000008635246,0.00005007876,0.00005668518],"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":[0.0001323946,0.0000537482,0.00745868,0.0002967226,0.000015587,0.002903399,0.3111868,0.0004330707,0.005239218,0.1210329,0.4262759,0.1249716],"study_design_scores_gemma":[0.00000290621,0.00001439975,0.004658952,0.00009596954,0.000003297096,0.0005618638,0.05361099,0.00007619493,0.0004070559,0.001674374,0.9388762,0.00001794845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2587466,0.04008777,0.004905489,0.07341004,0.01169931,0.00007886846,0.0001995609,0.0002627921,0.6106096],"genre_scores_gemma":[0.8545872,0.006733534,0.00226535,0.005070759,0.001069946,0.00002163811,0.00005172104,0.0002535656,0.1299464],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8151151,"threshold_uncertainty_score":0.3676174,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2148612047","doi":"10.1017/s1355771804000512","title":"Marketing strategies for electroacoustics and computer music","year":2004,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Computer science; Composition (language); Computer music; Salient; Task (project management); Multimedia; Function (biology); Palette (painting); Visual arts; Human–computer interaction; Aesthetics; Artificial intelligence; Art; Musical; Engineering; Literature","authors":[{"name":"Rosemary Mountain","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01386855064730512,"gpt":0.2222081259179796,"spread":0.2083395752706745,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002773119,0.0005992302,0.000250873,0.002342425,0.003065089,0.009067839,0.0005275448,0.002884704,0.02190527],"category_scores_gemma":[0.005303585,0.0001771607,0.0003137319,0.001470725,0.00425498,0.006766703,0.00228521,0.001582469,0.001664759],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002805779,"about_ca_system_score_gemma":0.001281689,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001450907,"about_ca_topic_score_gemma":0.002855332,"domain_scores_codex":[0.9981484,0.0007811305,0.00005035439,0.0001617391,0.0007053663,0.0001529891],"domain_scores_gemma":[0.9973029,0.001625732,0.0003210291,0.0001088474,0.00040926,0.0002323296],"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":[0.000129781,0.0001610539,0.001930699,0.0004263507,0.00002053261,0.0008081985,0.02398617,0.0003035167,0.004502081,0.7603065,0.01515848,0.1922666],"study_design_scores_gemma":[0.00004684789,0.0001770143,0.005444221,0.0006577047,0.0000281166,0.0008138257,0.02689984,0.0009029207,0.001437017,0.1407486,0.8227922,0.00005178991],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0704119,0.0129599,0.01232411,0.04643436,0.001059178,0.0002823803,0.00003119195,0.0001243467,0.8563728],"genre_scores_gemma":[0.7822181,0.007064062,0.0127891,0.01033773,0.001572429,0.0002288817,0.00004283197,0.0001368877,0.1856099],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02190527,"threshold_uncertainty_score":0.07328045,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2331458826","doi":"10.1017/s1355771815000382","title":"Genre and Capital in Avant-garde Electronica","year":2016,"lang":"en","type":"article","venue":"Organised Sound","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":4,"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":"Ideology; Electronic music; Computer science; Scope (computer science); Musical; Aesthetics; Electronic dance music; Sociology; Convergence (economics); Popular music; Visual arts; Art; Dance; Political science; Politics; Law","authors":[{"name":"Eliot Britton","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.007032027097318537,"gpt":0.2066280355907983,"spread":0.1995960084934798,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003120297,0.0003678521,0.0003053131,0.004293733,0.005910677,0.01583735,0.0008134123,0.001154227,0.008292661],"category_scores_gemma":[0.007433159,0.0002215695,0.0002282206,0.002695651,0.02417618,0.007420632,0.00780538,0.001475464,0.0005327219],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004023672,"about_ca_system_score_gemma":0.001042537,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002426876,"about_ca_topic_score_gemma":0.003002183,"domain_scores_codex":[0.9975554,0.001419934,0.00008313086,0.000220404,0.0004828043,0.0002383249],"domain_scores_gemma":[0.9957799,0.002975114,0.0002880148,0.0003881462,0.0002065317,0.0003623076],"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":[0.00003288202,0.00001667087,0.0008497798,0.0000494451,0.000003971008,0.0003473205,0.09759664,0.0001012356,0.0004618485,0.8842733,0.0007386977,0.01552827],"study_design_scores_gemma":[0.00003547845,0.00008352131,0.0057857,0.0005137702,0.00001819744,0.001140463,0.1277923,0.0009272551,0.001239506,0.4970776,0.3653536,0.0000325517],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1916597,0.003237555,0.01748747,0.003627168,0.0002877178,0.00006877787,0.00004213909,0.00006120633,0.7835282],"genre_scores_gemma":[0.9772695,0.0006859656,0.003006923,0.0002520304,0.00007429754,0.0000328954,0.0000211619,0.00003942181,0.01861778],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01583735,"threshold_uncertainty_score":0.02919394,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}