{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":112,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":112,"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":"bb237608bf59","filters":{"venue":"Performance Matters"}},"results":[{"id":"W3128093508","doi":"10.7202/1075797ar","title":"On the Record: Sissieretta Jones and Black Feminist Recording Praxes","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Race, History, and American Society","field":"Social Sciences","cited_by":20,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Queen's University","funders":"","keywords":"Newspaper; German; Art history; Order (exchange); History; Performing arts; Performance art; Superstar; Art; Visual arts; Sociology; Media studies","authors":[{"name":"Kristin Moriah","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01694261218934007,"gpt":0.2607414245213338,"spread":0.2437988123319937,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002286641,0.0004482041,0.0002992038,0.001560646,0.01954255,0.007491372,0.0008504129,0.001926415,0.03106443],"category_scores_gemma":[0.00548733,0.0002529508,0.000117893,0.001652911,0.006770116,0.005151763,0.003549951,0.004469797,0.004911182],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003828462,"about_ca_system_score_gemma":0.002768234,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03477068,"about_ca_topic_score_gemma":0.07704402,"domain_scores_codex":[0.9982894,0.0006624142,0.00004069541,0.0002205485,0.0005191337,0.0002677864],"domain_scores_gemma":[0.9970535,0.001425602,0.0002309423,0.0001589163,0.0005647722,0.0005661827],"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":[0.00004204836,0.00002661501,0.0007748262,0.00008154662,0.000004123796,0.0002809857,0.05792573,0.00001548263,0.0003334847,0.1661195,0.7376834,0.0367122],"study_design_scores_gemma":[0.000001915193,0.000005454884,0.0005643453,0.0001241657,0.000001919571,0.00009127353,0.02195106,0.00001394316,0.0001332818,0.002027723,0.9750772,0.000007668389],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02900831,0.01654128,0.0008500894,0.2972018,0.01442494,0.00003105562,0.0002555279,0.0001070835,0.6415799],"genre_scores_gemma":[0.2054402,0.01309555,0.0008829507,0.04301738,0.009914722,0.0001060382,0.0001581735,0.0003988452,0.7269861],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.03477068,"threshold_uncertainty_score":0.1039208,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4281987234","doi":"10.7202/1089680ar","title":"“I’m A Stripper, Ho\": The Sonics of Cardi B’s Ratchet, Diasporic Feminism","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":12,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Gender studies; Craft; Vernacular; Narrative; Sociology; Feminism; Musical; Storytelling; Politics; Framing (construction); Aesthetics; Visual arts; Art; Literature; History; Law; Political science","authors":[{"name":"Karen Jaime","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01660065576089257,"gpt":0.1693495154282076,"spread":0.1527488596673151,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001213974,0.000317075,0.0001459143,0.0005285857,0.008090856,0.005396497,0.0005453231,0.001109519,0.007053952],"category_scores_gemma":[0.001443093,0.000235824,0.0001317175,0.0002900729,0.01128242,0.001824619,0.003991916,0.002366585,0.001059984],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001810937,"about_ca_system_score_gemma":0.00100471,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0170654,"about_ca_topic_score_gemma":0.03215169,"domain_scores_codex":[0.9990842,0.0005314176,0.000009816347,0.00007832946,0.0001287364,0.0001675562],"domain_scores_gemma":[0.9995067,0.0002019101,0.00002814767,0.00004719151,0.00005341836,0.0001627322],"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":[0.0002554775,0.00003887941,0.004456582,0.0001518052,0.00001142731,0.001219384,0.6883368,0.0001460585,0.006529035,0.2155608,0.0413097,0.04198407],"study_design_scores_gemma":[0.00001096556,0.0001000367,0.005895886,0.0002511245,0.00001042831,0.0009761027,0.4937361,0.000275276,0.001666026,0.006275136,0.4907601,0.00004275669],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4351562,0.003915171,0.006586648,0.02761046,0.001465775,0.00004320428,0.00005544873,0.0001598171,0.5250072],"genre_scores_gemma":[0.931077,0.0009024151,0.001019388,0.002309745,0.00013446,0.00002668109,0.00001553902,0.0001249719,0.0643898],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0170654,"threshold_uncertainty_score":0.03393215,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385497980","doi":"10.7202/1102397ar","title":"The Participatory Creative Music Hub: Process Over Product","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Music Education Insights","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Creativity; Music industry; Product (mathematics); Resource (disambiguation); Sociology; Public relations; Scope (computer science); Citizen journalism; Process (computing); Creative brief; Creative industries; Community building; Knowledge management; Music education; Visual arts; Computer science; Pedagogy; Political science; World Wide Web; Psychology; Social psychology; Art","authors":[{"name":"Louise Campbell","is_ca":false},{"name":"Terri Hron","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09437903575279498,"gpt":0.2816375782106071,"spread":0.1872585424578121,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02906149,0.0007941062,0.0004332879,0.00235272,0.01276618,0.01497208,0.002101718,0.002128598,0.01089893],"category_scores_gemma":[0.02507294,0.0005753954,0.0004926959,0.003680493,0.01741581,0.009084702,0.01388047,0.002597173,0.001629635],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01561255,"about_ca_system_score_gemma":0.0471754,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04504052,"about_ca_topic_score_gemma":0.07760764,"domain_scores_codex":[0.976347,0.01411838,0.0004046418,0.002391266,0.004907938,0.00183079],"domain_scores_gemma":[0.9802658,0.009716053,0.00110675,0.002650903,0.003354949,0.002905535],"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":[0.0002713718,0.0004262416,0.007137598,0.0007841566,0.00002931237,0.001225813,0.328151,0.001141282,0.005015562,0.394005,0.02108953,0.2407231],"study_design_scores_gemma":[0.0001571044,0.0003258445,0.005481377,0.0007676315,0.00005200367,0.0006308135,0.207804,0.003123488,0.005744804,0.1525849,0.6232044,0.0001235705],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1886591,0.001548089,0.3193892,0.02155994,0.000676524,0.004622748,0.0004781602,0.001055808,0.4620104],"genre_scores_gemma":[0.8486617,0.0007931785,0.08543921,0.001096165,0.00009187252,0.001629803,0.000189584,0.0004139047,0.06168454],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.04504052,"threshold_uncertainty_score":0.1536937,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490984","doi":"10.7202/1102392ar","title":"Weaving an Artistic Research Methodology","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Weaving; Generative grammar; Relation (database); Theme (computing); Sociology; Aesthetics; Process (computing); Epistemology; Visual arts; Computer science; Art; Engineering; Artificial intelligence; Philosophy; World Wide Web; Mechanical engineering","authors":[{"name":"Jane Frances Dunlop","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.5642584754152336,"gpt":0.4645695629716833,"spread":0.09968891244355027,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0520924,0.001406312,0.000885859,0.004973385,0.01113235,0.01951258,0.003761434,0.002580632,0.0104226],"category_scores_gemma":[0.04293473,0.0007812257,0.001269212,0.003928294,0.04459751,0.01208256,0.01425186,0.006775253,0.002280517],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00577772,"about_ca_system_score_gemma":0.00660927,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001112874,"about_ca_topic_score_gemma":0.00150148,"domain_scores_codex":[0.941905,0.04538877,0.001433337,0.004234661,0.005805383,0.001232876],"domain_scores_gemma":[0.9497896,0.032882,0.002023187,0.01081745,0.003108274,0.001379581],"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":[0.00004050498,0.00008983802,0.0009396389,0.0004538661,0.00002630722,0.0003169148,0.1897302,0.0007785524,0.001429994,0.7432168,0.005312255,0.05766512],"study_design_scores_gemma":[0.0000413622,0.0001508298,0.0009620333,0.001831566,0.00004694041,0.001042692,0.1284832,0.002539892,0.004393958,0.4027719,0.4576576,0.0000781275],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"methods","genre_gemma":"methods","genre_scores_codex":[0.05734736,0.003229291,0.589999,0.02747194,0.002296461,0.002382252,0.0002726603,0.0004948454,0.3165062],"genre_scores_gemma":[0.6524354,0.002212577,0.2873277,0.00384567,0.0007902358,0.00329052,0.0001959102,0.0006089731,0.0492931],"genre_candidate":"methods","genre_consensus":"methods","teacher_disagreement_score":0.0520924,"threshold_uncertainty_score":0.2754943,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490703","doi":"10.7202/1102395ar","title":"Practice-Based Research: Working in Crip Time","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Posthumanist Ethics and Activism","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Scholarship; Embodied cognition; Sociology; Engaged scholarship; Aesthetics; Queer; Objectivity (philosophy); Disability studies; Temporality; Epistemology; Gender studies; Art; Political science; Law; Philosophy","authors":[{"name":"Heather P. May","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2594580496703481,"gpt":0.4294623330505742,"spread":0.1700042833802261,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.1183422,0.001043791,0.001222524,0.004177233,0.02280038,0.03641557,0.005532014,0.007562579,0.00680186],"category_scores_gemma":[0.1128434,0.0009446856,0.0009173327,0.003027905,0.1351905,0.03974896,0.04181526,0.01358143,0.002296226],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01145202,"about_ca_system_score_gemma":0.02875218,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002639637,"about_ca_topic_score_gemma":0.002837798,"domain_scores_codex":[0.827296,0.1476775,0.002734097,0.007293846,0.01096665,0.004031857],"domain_scores_gemma":[0.8533794,0.0938451,0.008989616,0.02419193,0.008578344,0.01101563],"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":[0.00002498411,0.0001144349,0.0008530543,0.0002800697,0.000020023,0.0004101857,0.5814223,0.0002186719,0.0002847301,0.3725686,0.005598227,0.0382047],"study_design_scores_gemma":[0.00004279154,0.000168108,0.0004688037,0.001867116,0.00001799622,0.0006060242,0.4952964,0.0004113222,0.0007665884,0.2416589,0.2586452,0.00005074977],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1143354,0.01220375,0.1676544,0.2803155,0.004123866,0.0008400892,0.00006605567,0.0005146138,0.4199463],"genre_scores_gemma":[0.9285998,0.004507379,0.03062971,0.01370128,0.0006186235,0.0009061777,0.00003807387,0.000228591,0.02077041],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1183422,"threshold_uncertainty_score":0.6258608,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385491044","doi":"10.7202/1102399ar","title":"Creative Process and Co-Research with the Early Years through Flight","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Participatory Visual Research Methods","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Mount Saint Vincent University; MacEwan University","funders":"","keywords":"Agency (philosophy); Creativity; Process (computing); Psychology; Meaning (existential); Co-creation; Pedagogy; Sociology; Social psychology; Knowledge management; Computer science; Psychotherapist; Social science","authors":[{"name":"Robyn Ayles","is_ca":true},{"name":"Heather Fitzsimmons Frey","is_ca":true},{"name":"Jamie Leach","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.5405994944146939,"gpt":0.6404356575444978,"spread":0.09983616312980392,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02460301,0.0008318701,0.0004938024,0.001951019,0.01157487,0.009589735,0.002606932,0.002165849,0.005709918],"category_scores_gemma":[0.02093257,0.0005930738,0.0008357721,0.001175887,0.03299991,0.00664109,0.01600157,0.003886112,0.0008632225],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006726811,"about_ca_system_score_gemma":0.01329116,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01610675,"about_ca_topic_score_gemma":0.03748771,"domain_scores_codex":[0.9786648,0.01620463,0.0003503005,0.001416708,0.001646901,0.001716602],"domain_scores_gemma":[0.9780724,0.01323883,0.0012549,0.002728566,0.001506301,0.003199022],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005490226,0.0001003852,0.00298938,0.0001270801,0.00001176264,0.0008707751,0.91526,0.0001971943,0.00142503,0.0504128,0.001527984,0.02702268],"study_design_scores_gemma":[0.00004536859,0.0001960586,0.004165371,0.0005001574,0.00002517952,0.001469685,0.7964808,0.0003319527,0.001915185,0.02832791,0.1664828,0.00005955854],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7291559,0.00240043,0.09168778,0.0131645,0.0003957165,0.001573156,0.0002233181,0.0002537112,0.1611454],"genre_scores_gemma":[0.9576444,0.000546416,0.02605567,0.0006178739,0.00003226692,0.0005729094,0.00005299327,0.00005642998,0.01442099],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02460301,"threshold_uncertainty_score":0.1301147,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3128002388","doi":"10.7202/1075801ar","title":"Sounding a Crip Aesthetic: Transforming the Sonic in Samuel Beckett’s Not I","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Samuel Beckett and Modernism","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Performing arts; Articulation (sociology); Interpretation (philosophy); Aesthetics; The arts; Art; Sign (mathematics); Visual arts; Linguistics; Philosophy; Political science; Politics; Law","authors":[{"name":"Megan Johnson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07328547114937815,"gpt":0.246311257153413,"spread":0.1730257860040348,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001162461,0.0005936994,0.0001874527,0.0009546853,0.007201731,0.005338205,0.0005095789,0.00112785,0.004997536],"category_scores_gemma":[0.002201304,0.0001647327,0.0001788316,0.0005357946,0.0129159,0.002067173,0.004745035,0.002270003,0.0007435955],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001885318,"about_ca_system_score_gemma":0.001357738,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003972276,"about_ca_topic_score_gemma":0.01191475,"domain_scores_codex":[0.9988127,0.0005884101,0.0000198404,0.00009688488,0.0002923531,0.0001898541],"domain_scores_gemma":[0.9994761,0.0002567027,0.00004896454,0.00004222384,0.00005372177,0.0001223051],"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":[0.000133943,0.00004462734,0.001549225,0.0002671611,0.00001250698,0.001940152,0.4986219,0.0003482032,0.005668632,0.3880542,0.03824607,0.06511339],"study_design_scores_gemma":[0.000008346396,0.0001166398,0.002066941,0.000369773,0.00001080757,0.001457953,0.1927084,0.0002539254,0.002636838,0.01268443,0.7876363,0.00004962985],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2805485,0.004494836,0.02165137,0.0244017,0.003677308,0.00006394648,0.00007464538,0.0003947061,0.6646929],"genre_scores_gemma":[0.9133683,0.001424192,0.004700939,0.001426466,0.0005872048,0.00004535199,0.0000357661,0.0002544182,0.07815742],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.007201731,"threshold_uncertainty_score":0.01671839,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385491040","doi":"10.7202/1102410ar","title":"The Triadic Contours of Ethics in Practice-Based and Interdisciplinary Research","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Situational ethics; Sociology; The arts; Triad (sociology); Ethical code; Research ethics; Psychology; Engineering ethics; Social psychology; Visual arts; Social science; Art; Engineering","authors":[{"name":"Pil Hansen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1991144228680359,"gpt":0.4503863118720799,"spread":0.251271889004044,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["metaresearch"],"consensus_categories":[],"category_scores_codex":[0.1210855,0.001201266,0.001530319,0.006058383,0.02369659,0.03962281,0.003356897,0.009769334,0.005970694],"category_scores_gemma":[0.09005664,0.001380669,0.001023577,0.005398432,0.1791319,0.04259173,0.02953922,0.02274155,0.001202326],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01523093,"about_ca_system_score_gemma":0.01690397,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003674146,"about_ca_topic_score_gemma":0.003989232,"domain_scores_codex":[0.7935374,0.1794814,0.004314223,0.005767593,0.01351945,0.003379978],"domain_scores_gemma":[0.8729944,0.0941653,0.006627495,0.01131117,0.008134523,0.006767079],"domain_codex":null,"domain_gemma":"methods","domain_candidate":"methods","domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.000006930771,0.00001096331,0.0001472893,0.00004661109,0.000003765339,0.00003897747,0.03346045,0.00006346475,0.00005759595,0.9618832,0.001093797,0.003186775],"study_design_scores_gemma":[0.00002157061,0.00003950964,0.0002952003,0.0003910537,0.000006324931,0.0001800365,0.04078958,0.0004398287,0.0001286562,0.8882985,0.06937934,0.00003055783],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"methods","genre_scores_codex":[0.03116026,0.01905674,0.3111063,0.2802012,0.004686029,0.0007857851,0.00006235644,0.0002797702,0.3526616],"genre_scores_gemma":[0.8505884,0.006843416,0.1084123,0.01798552,0.002239907,0.002671637,0.00005318634,0.000272763,0.01093282],"genre_candidate":"methods","genre_consensus":null,"teacher_disagreement_score":0.8789145,"threshold_uncertainty_score":0.6403688,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3127871825","doi":"10.7202/1075798ar","title":"Corporeal Sounding: Listening to Bomba Dance, Listening to puertorriqueñxs","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Active listening; Dance; Improvisation; Movement (music); Visual arts; Art; History; Aesthetics; Sociology; Communication","authors":[{"name":"Jade Power-Sotomayor","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02247953651363481,"gpt":0.2162193874543301,"spread":0.1937398509406953,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005656646,0.0003500675,0.0001746491,0.0005817871,0.006158359,0.002871657,0.0004926301,0.00102818,0.003685951],"category_scores_gemma":[0.001134851,0.0001222887,0.0001603615,0.0004192578,0.005134888,0.001495573,0.002002246,0.001685163,0.0002579368],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001982956,"about_ca_system_score_gemma":0.000883056,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04863156,"about_ca_topic_score_gemma":0.1054428,"domain_scores_codex":[0.9996773,0.0001788549,0.000004783245,0.00003521651,0.00004156534,0.00006224208],"domain_scores_gemma":[0.9998122,0.0000954537,0.00001615629,0.00001384262,0.00003100145,0.0000313846],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004061107,0.00001958814,0.001844064,0.0001574091,0.000009259453,0.001115839,0.9390828,0.00003658918,0.00229408,0.02833478,0.004998296,0.02206663],"study_design_scores_gemma":[0.000005456159,0.00002912426,0.01201954,0.0002208054,0.00001521404,0.0006340828,0.8767828,0.00008905305,0.0005232163,0.002116009,0.1075501,0.00001459243],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6903631,0.00989599,0.001560465,0.01568303,0.0005812017,0.00006709752,0.00008912099,0.00004112568,0.2817189],"genre_scores_gemma":[0.9743397,0.003104566,0.0005433865,0.001776778,0.0001227314,0.00003242173,0.00002391502,0.00003468093,0.02002171],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04863156,"threshold_uncertainty_score":0.09669697,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3126500605","doi":"10.7202/1075795ar","title":"Sound Acts, Part 1: Calling Back Performance Studies","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Musicology and Musical Analysis","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"Society for Theatre Research","keywords":"Sound (geography); Acoustics; Computer science; Physics","authors":[{"name":"Caitlin Marshall","is_ca":false},{"name":"Patricia Herrera","is_ca":false},{"name":"Marci R. McMahon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09324619662116027,"gpt":0.2574700566589727,"spread":0.1642238600378124,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003410748,0.0008965714,0.0005740044,0.003273639,0.004864923,0.009964317,0.001682021,0.003694553,0.02242826],"category_scores_gemma":[0.01034058,0.0002879496,0.0004728076,0.003111556,0.01670177,0.007571295,0.004359281,0.003855712,0.002804588],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002022137,"about_ca_system_score_gemma":0.002329678,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004523991,"about_ca_topic_score_gemma":0.006824824,"domain_scores_codex":[0.9966701,0.001637364,0.0001679717,0.0003443442,0.0008025981,0.0003776334],"domain_scores_gemma":[0.9913461,0.006157421,0.0005108122,0.00077557,0.0006033797,0.0006067048],"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":[0.0002193185,0.0004423053,0.006025798,0.001104945,0.00003242219,0.0003405458,0.1009364,0.0003319663,0.001954373,0.711099,0.03874908,0.1387639],"study_design_scores_gemma":[0.00004713177,0.000460399,0.08009265,0.002919426,0.00007905667,0.0006363408,0.2853139,0.0007254299,0.003400287,0.1835669,0.4426557,0.0001028424],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1115855,0.02895665,0.008237585,0.03254682,0.003105893,0.00013413,0.0002273571,0.000101697,0.8151044],"genre_scores_gemma":[0.8638641,0.0156772,0.002723749,0.005043109,0.003827197,0.0002173001,0.0002740494,0.0002039257,0.1081695],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02242826,"threshold_uncertainty_score":0.07503003,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385491266","doi":"10.7202/1102383ar","title":"Introduction: The Performative Force of Practice-Based Research","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Qualitative Research Methods and Ethics","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Carleton University; Simon Fraser University","funders":"","keywords":"Performative utterance; Sociology; Epistemology; Aesthetics; Art; Philosophy","authors":[{"name":"Peter Dickinson","is_ca":true},{"name":"Ellen Waterman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.3664286924875588,"gpt":0.5710811133627518,"spread":0.204652420875193,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.01070854,0.000668629,0.0006116311,0.001551771,0.00727492,0.01991824,0.001946987,0.008003468,0.02372802],"category_scores_gemma":[0.02156916,0.0005061967,0.0006232778,0.002287367,0.01879197,0.0130409,0.007789229,0.01295677,0.01058606],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005117008,"about_ca_system_score_gemma":0.007166856,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002611363,"about_ca_topic_score_gemma":0.003285701,"domain_scores_codex":[0.9830146,0.008127225,0.0007092068,0.002481173,0.004802664,0.0008651314],"domain_scores_gemma":[0.9739532,0.01687054,0.001231075,0.002182734,0.003431103,0.00233133],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00003064772,0.00003544771,0.0004909635,0.0009311831,0.000006678376,0.0001100377,0.01948615,0.00009372257,0.000312433,0.1876149,0.716692,0.07419578],"study_design_scores_gemma":[0.000003283353,0.00001857255,0.000307615,0.0008935794,0.000001864193,0.0001784298,0.003576565,0.00006718541,0.00005592189,0.01728773,0.9775972,0.00001197326],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"editorial","genre_scores_codex":[0.003268306,0.05926311,0.01394427,0.6129829,0.07646347,0.0001670867,0.0003994633,0.0005347128,0.2329767],"genre_scores_gemma":[0.171212,0.07051384,0.02031164,0.3234584,0.09151259,0.0009182888,0.0008068663,0.001256863,0.3200097],"genre_candidate":"editorial","genre_consensus":null,"teacher_disagreement_score":0.9927251,"threshold_uncertainty_score":0.07937813,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4378174463","doi":"10.7202/1099881ar","title":"Awe of What a Body Can Be: Disability Justice, the Syllabus, and Academic Labour","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Disability Education and Employment","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Syllabus; Oppression; Economic Justice; Queer; Sociology; Disability studies; Pedagogy; Gender studies; Political science; Politics; Law","authors":[{"name":"Jess Dorrance","is_ca":false},{"name":"Julia Havard","is_ca":false},{"name":"Caleb Luna","is_ca":false},{"name":"Olivia K. Young","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04063577838364277,"gpt":0.3499717923803655,"spread":0.3093360139967227,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.004052782,0.0002517502,0.0002700507,0.001160086,0.01690212,0.01505893,0.0007838282,0.001711761,0.00717032],"category_scores_gemma":[0.01403678,0.0001719189,0.0001955428,0.0006270661,0.04813866,0.006701054,0.01284519,0.004463966,0.001009199],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004764305,"about_ca_system_score_gemma":0.009158694,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02332669,"about_ca_topic_score_gemma":0.0350834,"domain_scores_codex":[0.9936755,0.003751919,0.000145855,0.0002075905,0.001072105,0.001146996],"domain_scores_gemma":[0.9933949,0.002887706,0.0005501649,0.0003572851,0.0007264584,0.002083491],"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":[0.00006060996,0.0001074449,0.005893946,0.0001039648,0.000005562595,0.000483121,0.3226253,0.0001409748,0.001080717,0.5867823,0.01211902,0.07059707],"study_design_scores_gemma":[0.00001404074,0.00006824461,0.00895012,0.000657886,0.00001304117,0.0004315455,0.4736644,0.0002875322,0.001441504,0.1795122,0.3348874,0.00007197916],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3318269,0.004147042,0.01230673,0.1130139,0.00159732,0.00005746747,0.00006674587,0.000117103,0.5368668],"genre_scores_gemma":[0.9738091,0.00064222,0.001762758,0.003099395,0.0001816591,0.0000292437,0.00001843278,0.00005510038,0.02040195],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9830979,"threshold_uncertainty_score":0.04638183,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4281964017","doi":"10.7202/1089679ar","title":"Listening to Country: Immersive Audio Production and Deep Listening with First Nations Women in Prison","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Archaeology and Rock Art Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"Medical Research Council; National Health and Medical Research Council; Lowitja Institute; Griffith University; Australian Institute of Aboriginal and Torres Strait Islander Studies","keywords":"Active listening; Prison; The arts; Indigenous; Soundscape; Work (physics); Visual arts; Sociology; Psychology; Public relations; Media studies; Pedagogy; Engineering; Political science; Art; Criminology; Communication; Acoustics; Sound (geography); Ecology","authors":[{"name":"Sarah Woodland","is_ca":false},{"name":"Leah Barclay","is_ca":false},{"name":"Vicki Saunders","is_ca":false},{"name":"Bianca Beetson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006634032944309159,"gpt":0.2372337716604368,"spread":0.2305997387161276,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002117604,0.0008265214,0.0004082636,0.0005815416,0.003693702,0.003009904,0.001089028,0.001120145,0.004885828],"category_scores_gemma":[0.004638058,0.0003492644,0.0004714428,0.0003043845,0.004082137,0.001349128,0.005509269,0.001384574,0.0005676235],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005609927,"about_ca_system_score_gemma":0.0006532273,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002003066,"about_ca_topic_score_gemma":0.006357817,"domain_scores_codex":[0.9984393,0.0009964686,0.00003515811,0.0001381244,0.0001268279,0.0002641505],"domain_scores_gemma":[0.9980111,0.00128798,0.00009558809,0.0001478736,0.0001132713,0.0003443359],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0004888003,0.0005897463,0.004808733,0.0004792382,0.00002815997,0.003095604,0.9211639,0.0003161184,0.0302371,0.001291731,0.002538675,0.0349622],"study_design_scores_gemma":[0.0001086478,0.002738673,0.02564293,0.0004930366,0.00008530518,0.003268496,0.9086356,0.0009346305,0.01051895,0.002112359,0.0452881,0.0001732461],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9868619,0.0001665008,0.002847153,0.0007945008,0.00009268834,0.0001489499,0.00009997714,0.0001064381,0.008881802],"genre_scores_gemma":[0.9856281,0.0002372231,0.00696564,0.0003355034,0.0000664808,0.0002405304,0.00006064927,0.00009916357,0.006366624],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.004885828,"threshold_uncertainty_score":0.01634473,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4206215598","doi":"10.7202/1085312ar","title":"Dis/locating Preferential Memory within Settler Colonial Landscapes: A Forward-Looking Backward Glance at Memoration’s Per/formation","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Memory, Trauma, and Commemoration","field":"Psychology","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"NSCAD University","funders":"","keywords":"Forgetting; Indigenous; Colonialism; Scholarship; Narrative; Vernacular; Sovereignty; Sociology; Aesthetics; Mythology; Collective memory; Everyday life; Dialectic; History; The Imaginary; Literature; Art; Law; Political science; Psychology; Psychoanalysis; Epistemology; Philosophy; Politics; Archaeology","authors":[{"name":"Leah Decter","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01867355828898235,"gpt":0.2622795999197882,"spread":0.2436060416308059,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001924936,0.0004008032,0.0002317553,0.000852769,0.007976048,0.007069898,0.0009127111,0.001331325,0.006377409],"category_scores_gemma":[0.004180592,0.0001651662,0.0001914408,0.0005729634,0.0265863,0.005339826,0.005836886,0.002977571,0.0004295376],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002079533,"about_ca_system_score_gemma":0.001384814,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006655898,"about_ca_topic_score_gemma":0.01514527,"domain_scores_codex":[0.9988639,0.0006437876,0.00002842828,0.0001294138,0.0001278916,0.0002065179],"domain_scores_gemma":[0.9988312,0.000615928,0.0001400029,0.000201649,0.0001070181,0.0001041498],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00005008184,0.00001817822,0.001285737,0.0001126747,0.000006048577,0.0008212266,0.8188352,0.00007611665,0.002136228,0.1541927,0.002900158,0.01956556],"study_design_scores_gemma":[0.000009406855,0.00008362455,0.004330498,0.000285947,0.0000180248,0.001347625,0.8144595,0.0001959745,0.00212274,0.0219083,0.1552095,0.00002874736],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.641109,0.003584715,0.0139383,0.02039431,0.0005863531,0.00004429141,0.00005327844,0.0001486804,0.320141],"genre_scores_gemma":[0.9855196,0.0004321634,0.0007920658,0.0003966132,0.00007495035,0.00001063458,0.000009681611,0.0000441748,0.01272016],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.007976048,"threshold_uncertainty_score":0.02133453,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385491241","doi":"10.7202/1102398ar","title":"“That’s Not Art, It’s Just Consultation!”: Performing Innovation in Socially Responsive Creative Technologies Research","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Crafts, Textile, and Design","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Regina; York University","funders":"","keywords":"Creative industries; The arts; Value (mathematics); Emerging technologies; Sociology; Field (mathematics); Creative work; Creative brief; Work (physics); Engineering ethics; Creativity; Political science; Engineering; Computer science","authors":[{"name":"Rebecca Caines","is_ca":true},{"name":"Brandon Watson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2686387857853997,"gpt":0.3687565549913478,"spread":0.1001177692059481,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.04321614,0.0008944179,0.0006385807,0.002706246,0.01970022,0.02307301,0.002087902,0.008012589,0.004235506],"category_scores_gemma":[0.02348412,0.0005878631,0.000874899,0.002662644,0.1143728,0.02163794,0.01613479,0.006577438,0.001091445],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005677847,"about_ca_system_score_gemma":0.009113267,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002542359,"about_ca_topic_score_gemma":0.002657137,"domain_scores_codex":[0.905134,0.0850358,0.0009080734,0.002388764,0.004010372,0.002523],"domain_scores_gemma":[0.9688803,0.02490295,0.001167993,0.002587439,0.001126534,0.001334696],"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":[0.0000342704,0.00005170434,0.0007989531,0.0002866119,0.00001471223,0.0003948656,0.3329903,0.0002375729,0.0004950109,0.6280503,0.004696958,0.0319487],"study_design_scores_gemma":[0.00004046791,0.0001729663,0.0009886035,0.001550936,0.00003816898,0.001403781,0.3886314,0.0007851031,0.00194562,0.395668,0.2086893,0.00008558139],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1397077,0.01582484,0.1496517,0.2075913,0.003028002,0.000454026,0.00004452142,0.0004167084,0.4832811],"genre_scores_gemma":[0.9617518,0.003182854,0.01725437,0.007567072,0.0005119605,0.0003450887,0.00001764582,0.0001351777,0.00923407],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9802998,"threshold_uncertainty_score":0.2285515,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4206724273","doi":"10.7202/1085309ar","title":"Moving Together to Reclaim and Resist: Podcast and Podcast Transcript","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Radio, Podcasts, and Digital Media","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Alberta; University of Toronto; University of British Columbia; York University; Concordia University; Simon Fraser University; University of Regina; Trent University","funders":"York University","keywords":"Resist; Computer science; History; Chemistry","authors":[{"name":"Jenn Cole","is_ca":true},{"name":"Melissa Poll","is_ca":false},{"name":"Alana Gerecke","is_ca":true},{"name":"Elan Marchinko","is_ca":true},{"name":"Jill Carter","is_ca":true},{"name":"Julie Burelle","is_ca":false},{"name":"Kelsey Blair","is_ca":true},{"name":"Ken Wilson","is_ca":true},{"name":"Kimberly Skye Richards","is_ca":true},{"name":"Virginie Magnat","is_ca":true},{"name":"Selena Couture","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01708214290702316,"gpt":0.2478791609816674,"spread":0.2307970180746442,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001229124,0.0003129223,0.0002645194,0.0009048287,0.005252713,0.004777357,0.0004927442,0.001279418,0.01996735],"category_scores_gemma":[0.007982385,0.0001637543,0.000197503,0.0007833723,0.002267266,0.001636058,0.002833929,0.002900699,0.003285223],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001496904,"about_ca_system_score_gemma":0.001752271,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007864747,"about_ca_topic_score_gemma":0.02313179,"domain_scores_codex":[0.9992477,0.0003579931,0.0000221393,0.00005305759,0.0001855648,0.0001335073],"domain_scores_gemma":[0.9962755,0.002123537,0.0001334418,0.0003389932,0.0004370813,0.0006914183],"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":[0.0006155655,0.0002670565,0.004380447,0.0004530942,0.00001971847,0.001563987,0.468205,0.0003634838,0.005059739,0.0487683,0.3542737,0.1160299],"study_design_scores_gemma":[0.00004207692,0.00007925544,0.01313852,0.000273231,0.00001802635,0.0005269227,0.2705766,0.0005908169,0.001414829,0.004389329,0.7088969,0.00005351814],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.4024957,0.001181814,0.02376038,0.02352863,0.01118582,0.0005022598,0.005042918,0.002313581,0.5299888],"genre_scores_gemma":[0.7894542,0.000642057,0.005391336,0.00183599,0.001222919,0.0003026134,0.001647168,0.001105604,0.1983981],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01996735,"threshold_uncertainty_score":0.06679744,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3126297620","doi":"10.7202/1075796ar","title":"Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Voice; Active listening; Context (archaeology); Gesture; Colonialism; Space (punctuation); Acoustics; Visual arts; Sociology; Aesthetics; History; Linguistics; Art; Computer science; Speech recognition; Communication; Artificial intelligence","authors":[{"name":"Iris Sandjette Blake","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04623209993928053,"gpt":0.2183099618928013,"spread":0.1720778619535207,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00156933,0.0006432342,0.0003562378,0.001661693,0.02022562,0.005336362,0.00138183,0.001767467,0.007385284],"category_scores_gemma":[0.003484168,0.0002315111,0.0002469918,0.001412838,0.0161748,0.001261441,0.003428542,0.002375663,0.0004349388],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.02144706,"about_ca_system_score_gemma":0.0132005,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.8905008,"about_ca_topic_score_gemma":0.9784437,"domain_scores_codex":[0.9984103,0.0004127511,0.00002231522,0.0002250819,0.000476838,0.0004526916],"domain_scores_gemma":[0.9986421,0.0006455627,0.00006909519,0.0001096259,0.0002729863,0.0002606332],"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":[0.0001156428,0.00003093367,0.004989006,0.0001316924,0.00001624974,0.00189962,0.8873663,0.0004235616,0.006354528,0.04506634,0.009554116,0.04405196],"study_design_scores_gemma":[0.000008709625,0.00005099669,0.03020684,0.0002689504,0.00002450376,0.0009278132,0.6582254,0.0003990094,0.001771656,0.001814659,0.3061826,0.0001188172],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7399022,0.001541928,0.002595399,0.004103513,0.0002017485,0.00005430354,0.0001543221,0.00009550366,0.2513511],"genre_scores_gemma":[0.969303,0.0003823411,0.0009412396,0.000332597,0.00002565993,0.00001436344,0.00004179783,0.00006545358,0.02889361],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8905008,"threshold_uncertainty_score":0.220288,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490636","doi":"10.7202/1102390ar","title":"Reflecting on Bodily Listening in Place: An Intercultural and Intersensory Research-Creation Project","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Carleton University; Concordia University","funders":"","keywords":"Active listening; Improvisation; Psychology; Perception; Process (computing); Aesthetics; Visual arts; Communication; Computer science; Art","authors":[{"name":"Paula Bath","is_ca":true},{"name":"Tiphaine Girault","is_ca":false},{"name":"Ellen Waterman","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.4070287909610668,"gpt":0.4077056660545483,"spread":0.0006768750934815215,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.04458807,0.001390739,0.0008153267,0.002822001,0.02364863,0.01337126,0.004034275,0.003942131,0.004094162],"category_scores_gemma":[0.03299912,0.0008576742,0.001279078,0.001527278,0.05090612,0.01465642,0.03918913,0.009103076,0.0008750641],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004208892,"about_ca_system_score_gemma":0.008637483,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001615227,"about_ca_topic_score_gemma":0.00275656,"domain_scores_codex":[0.9547593,0.03712714,0.0006125847,0.001960181,0.003040771,0.002499943],"domain_scores_gemma":[0.9634473,0.02278026,0.001405576,0.003710723,0.001834378,0.006821717],"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":[0.00006474584,0.0003639799,0.0008592179,0.0001196145,0.00001069199,0.0007482352,0.9327644,0.0002479288,0.001817613,0.03656053,0.0009103069,0.0255327],"study_design_scores_gemma":[0.00005017751,0.0003676596,0.0007742653,0.0002699976,0.0000217448,0.0008771872,0.90238,0.0005540783,0.003452668,0.01560752,0.07558557,0.00005904287],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8271132,0.001503176,0.07301621,0.02228219,0.0008063561,0.0009736878,0.00005415604,0.0003115874,0.07393955],"genre_scores_gemma":[0.9589828,0.000999501,0.02610943,0.001236726,0.0001288163,0.0006185755,0.00003227174,0.0001871961,0.01170466],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04458807,"threshold_uncertainty_score":0.2358071,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4378174631","doi":"10.7202/1099878ar","title":"The Unwieldy Otherwise: Rethinking the Roots of Performance Studies in and through the Black Freedom Struggle","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Syllabus; Politics; Aesthetics; Theatre studies; Sociology; Performance studies; Resistance (ecology); Field (mathematics); Gender studies; Visual arts; Political science; Pedagogy; Art; Drama; Law; Anthropology","authors":[{"name":"Leon J. Hilton","is_ca":false},{"name":"Mariahdessa Ekere Tallie","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06103754323278439,"gpt":0.2764579213475484,"spread":0.2154203781147641,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008374615,0.0007380128,0.0003771894,0.001741481,0.02143841,0.01368459,0.001493228,0.002184065,0.006238427],"category_scores_gemma":[0.01037604,0.0003044321,0.0002060978,0.0006285791,0.05348199,0.007811461,0.0130603,0.006164997,0.000689152],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01031841,"about_ca_system_score_gemma":0.006639522,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01614786,"about_ca_topic_score_gemma":0.02742612,"domain_scores_codex":[0.9936897,0.004682883,0.00006763564,0.0003833386,0.0004777264,0.000698715],"domain_scores_gemma":[0.9938908,0.003997324,0.0003015879,0.0003817617,0.0004362047,0.0009924013],"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":[0.00003287918,0.00003067765,0.000714123,0.0000762335,0.000003013193,0.0002518172,0.7316583,0.0001142981,0.0006993826,0.2495693,0.003585262,0.01326475],"study_design_scores_gemma":[0.000008502613,0.00005310582,0.001456614,0.0005040559,0.000008224637,0.0002036877,0.5446982,0.0004161631,0.001485273,0.04869613,0.4024406,0.0000293481],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.571197,0.004451924,0.01447076,0.06799281,0.001805162,0.0001008517,0.0000724514,0.0001714394,0.3397376],"genre_scores_gemma":[0.9777539,0.0006746905,0.001416376,0.001204452,0.0001859707,0.00005338384,0.00001828449,0.0001099157,0.01858292],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.02143841,"threshold_uncertainty_score":0.0748657,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3126961957","doi":"10.7202/1075803ar","title":"Mourning the Nightingale’s Song: The Audibility of Networked Performances in Protests and Funerals of the Arab Revolutions","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"Northwestern University","keywords":"Embodied cognition; Praxis; Politics; Temporality; Soundscape; Sociology; Salient; Aesthetics; Active listening; Media studies; History; Sound (geography); Acoustics; Communication; Art; Political science; Computer science; Law","authors":[{"name":"Shayna Silverstein","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05868915630869585,"gpt":0.2099538044913988,"spread":0.151264648182703,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001329303,0.0004659996,0.0002177752,0.001207135,0.004909304,0.006748138,0.0005104194,0.001227039,0.005555863],"category_scores_gemma":[0.0042273,0.0002175951,0.0002045828,0.0006687428,0.009384767,0.00307442,0.005504216,0.001561606,0.0005823416],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001528856,"about_ca_system_score_gemma":0.0005271306,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002914242,"about_ca_topic_score_gemma":0.007962782,"domain_scores_codex":[0.9989719,0.0005167833,0.0000228069,0.0001154389,0.0002068996,0.0001661277],"domain_scores_gemma":[0.9987727,0.0007045266,0.0001834483,0.0001008752,0.0001096772,0.000128824],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000208303,0.00004556049,0.006325243,0.0003042899,0.0000313418,0.002017821,0.9191142,0.0002589978,0.00591499,0.02863377,0.004063123,0.03308246],"study_design_scores_gemma":[0.0000139396,0.0001101462,0.02974079,0.0004788592,0.00002912894,0.001026521,0.8225985,0.0002233377,0.002111968,0.005523412,0.1380897,0.00005384996],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8243764,0.002416205,0.002899993,0.003849623,0.0004991826,0.00003739181,0.0001203507,0.00007601901,0.1657248],"genre_scores_gemma":[0.9894135,0.0004446106,0.0004177401,0.0003109818,0.0001486684,0.00001746628,0.00003023249,0.00004629965,0.009170518],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006748138,"threshold_uncertainty_score":0.01858622,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4394622300","doi":"10.7202/1110550ar","title":"Performing Everyday Things: Ecosomatic Threads of Butoh, Phenomenology, and Zen","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Geographies of human-animal interactions","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Phenomenology (philosophy); Art; Philosophy; Epistemology","authors":[{"name":"Sondra Fraleigh","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01678944823791564,"gpt":0.2882215271423039,"spread":0.2714320789043883,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002241239,0.0004371708,0.0003645456,0.0009845749,0.005737812,0.008092441,0.0006559676,0.001462437,0.002270204],"category_scores_gemma":[0.003205866,0.0001880463,0.0002418087,0.001278538,0.05245592,0.0111487,0.005977171,0.00257055,0.0002420008],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002542134,"about_ca_system_score_gemma":0.001556557,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002791762,"about_ca_topic_score_gemma":0.002866743,"domain_scores_codex":[0.9972014,0.002049759,0.00007432625,0.0001940734,0.0002307372,0.0002496635],"domain_scores_gemma":[0.9982266,0.001179989,0.0001303785,0.0002149375,0.00009540297,0.0001526191],"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":[0.0000222767,0.00001279838,0.0004948304,0.0001151038,0.000003834291,0.0002267331,0.2959239,0.00012034,0.0003037157,0.6946255,0.00166888,0.006482056],"study_design_scores_gemma":[0.00001062906,0.00004395262,0.001955662,0.000589841,0.00001005864,0.0004718716,0.4426982,0.0003413334,0.0004177859,0.3082665,0.2451661,0.00002805153],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.239229,0.02109393,0.04289963,0.06578543,0.002094919,0.0001086956,0.0001187813,0.000124343,0.6285452],"genre_scores_gemma":[0.9863735,0.002373026,0.00161212,0.001052733,0.0001842716,0.00006053508,0.00001975768,0.00003657477,0.008287518],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.008092441,"threshold_uncertainty_score":0.0184446,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4378194028","doi":"10.7202/1099886ar","title":"Pandemic Pedagogy: Snapshots from a Year of COVID-Impacted Teaching in Three Artifacts","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Educational Environments and Student Outcomes","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Coronavirus disease 2019 (COVID-19); Pandemic; Grief; The arts; 2019-20 coronavirus outbreak; Pedagogy; Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2); Sociology; Psychology; Mathematics education; Visual arts; Art; Medicine","authors":[{"name":"Sharon L. Green","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05149800372313283,"gpt":0.3791829049867548,"spread":0.327684901263622,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002140885,0.0005292905,0.0005273133,0.00176997,0.01045307,0.005068306,0.001600406,0.001926829,0.003330856],"category_scores_gemma":[0.005466563,0.0004557373,0.000429071,0.002150542,0.006508076,0.002415702,0.009688636,0.003592256,0.0006707892],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00368841,"about_ca_system_score_gemma":0.00274728,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01191674,"about_ca_topic_score_gemma":0.05626149,"domain_scores_codex":[0.9976835,0.001074882,0.00007987436,0.0001819421,0.0004018509,0.0005778508],"domain_scores_gemma":[0.9965012,0.001184603,0.0003427727,0.0003263234,0.0003426056,0.001302505],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001531181,0.0003733639,0.0209186,0.0001945794,0.00002478442,0.004538412,0.9262397,0.0004851121,0.001859152,0.005943288,0.006996275,0.03227349],"study_design_scores_gemma":[0.00001199168,0.0002576576,0.03500078,0.0002659658,0.0000152899,0.0009670114,0.8427222,0.0002086796,0.001441697,0.00178393,0.1172517,0.00007325956],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9774185,0.0004085928,0.002176722,0.001416192,0.0001153822,0.00009188749,0.0003720024,0.00008883883,0.017912],"genre_scores_gemma":[0.9916928,0.0003942411,0.001784579,0.0002977302,0.00004195576,0.00008177084,0.0003291872,0.00007969614,0.005298028],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01191674,"threshold_uncertainty_score":0.02676141,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4378194150","doi":"10.7202/1099888ar","title":"Pedagogies of Praxis: Exercises in Embodying Social Justice for Performance Studies Seminars","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Praxis; Embodied cognition; Social justice; Sociology; Identity (music); Economic Justice; Field (mathematics); Pedagogy; TRACE (psycholinguistics); Inclusion (mineral); Epistemology; Engineering ethics; Social science; Aesthetics; Political science; Law; Engineering","authors":[{"name":"Serap Erincin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09737203912696642,"gpt":0.3310970821250797,"spread":0.2337250429981133,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006902076,0.001347435,0.0006091229,0.001247575,0.002486093,0.005875292,0.002772883,0.002605711,0.008673633],"category_scores_gemma":[0.01714791,0.0003870267,0.0006640412,0.0005526625,0.009844886,0.005391831,0.01093675,0.005683476,0.002666512],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001385159,"about_ca_system_score_gemma":0.001746675,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001762544,"about_ca_topic_score_gemma":0.0003022896,"domain_scores_codex":[0.9946768,0.003407848,0.0001824949,0.000543622,0.0007241839,0.000465122],"domain_scores_gemma":[0.9916965,0.005505986,0.0004595361,0.0008198444,0.0003402811,0.001177952],"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":[0.0002661785,0.003713966,0.002421475,0.001842939,0.00003070717,0.001316639,0.3595336,0.004019736,0.02417545,0.2556378,0.02892696,0.3181146],"study_design_scores_gemma":[0.0002592166,0.00173748,0.005520357,0.003096075,0.000038443,0.002610715,0.1370382,0.006388245,0.01623457,0.2418429,0.5850751,0.0001586772],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.337421,0.002496376,0.3243921,0.02625814,0.002144346,0.002323677,0.0001878083,0.003487416,0.3012892],"genre_scores_gemma":[0.7515339,0.002355753,0.1980108,0.002234303,0.0006222361,0.002445426,0.0001703474,0.0004411696,0.04218616],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.008673633,"threshold_uncertainty_score":0.03650212,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385483267","doi":"10.7202/1102400ar","title":"Jamaican Sound Systems and Knowledge Systems: Practice-Based Research (PBR) in Popular Culture","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Grassroots; Session (web analytics); Situated; Scope (computer science); Tacit knowledge; Value (mathematics); Embodied cognition; Sociology; Public relations; Harassment; Visual arts; Knowledge management; Computer science; Psychology; Political science; Social psychology; Art; World Wide Web; Law; Artificial intelligence","authors":[{"name":"Julian Henriques","is_ca":false},{"name":"Brian D’Aquino","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.130145740320317,"gpt":0.319773069755472,"spread":0.189627329435155,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.01794426,0.0003205057,0.0004389384,0.001882396,0.01368525,0.01592657,0.001702867,0.002265123,0.003782768],"category_scores_gemma":[0.01891301,0.0004174618,0.0001469604,0.003881387,0.04836465,0.007993582,0.00767809,0.00374199,0.0002104915],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01652145,"about_ca_system_score_gemma":0.01998173,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04062306,"about_ca_topic_score_gemma":0.09948403,"domain_scores_codex":[0.9865673,0.01034275,0.0003083235,0.000843545,0.001118181,0.0008198236],"domain_scores_gemma":[0.957906,0.03573609,0.00148269,0.00211713,0.001483926,0.001274225],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000377097,0.0003686855,0.01144036,0.0007257096,0.00001880487,0.0006057952,0.8407881,0.0002741199,0.0005431691,0.08674055,0.002069874,0.05638702],"study_design_scores_gemma":[0.0000253766,0.0001315675,0.008905052,0.0008196101,0.00001127492,0.0001294645,0.950386,0.000324054,0.0003518196,0.01446183,0.02443837,0.00001546202],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.711549,0.007524186,0.007280315,0.0479836,0.0002006703,0.0006174149,0.00009728996,0.00003785132,0.2247097],"genre_scores_gemma":[0.9917791,0.002151838,0.001872389,0.001100632,0.00003773807,0.0001258455,0.00001430415,0.00000659159,0.002911499],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9863148,"threshold_uncertainty_score":0.1198721,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490881","doi":"10.7202/1102387ar","title":"Practice-Based Pedagogies for Counter-Memorial Performance: Teaching to Address and Shift “Plantation Energy”","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Embodied cognition; Sociology; Liberal arts education; Dialogic; Dance; Critical practice; Class (philosophy); Pedagogy; The arts; Critical pedagogy; Power (physics); Visual arts; Higher education; Social science; Epistemology; Political science; Law; Art","authors":[{"name":"Dasha A. Chapman","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03700229562051603,"gpt":0.342023993428572,"spread":0.305021697808056,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003179115,0.0009322349,0.0003696612,0.0008963319,0.005915944,0.005588592,0.003031799,0.001944265,0.006255065],"category_scores_gemma":[0.003667134,0.0003187599,0.0005044126,0.0004527468,0.01141724,0.0040489,0.01018316,0.004508832,0.001604626],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003112143,"about_ca_system_score_gemma":0.005724492,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002529951,"about_ca_topic_score_gemma":0.008228938,"domain_scores_codex":[0.9968565,0.001750625,0.00007401947,0.0004021965,0.000455525,0.0004611716],"domain_scores_gemma":[0.9978787,0.000839834,0.0001820371,0.0002225924,0.0001621027,0.0007147861],"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":[0.0001005407,0.001858409,0.003818002,0.001165905,0.0000251577,0.0008616436,0.5104788,0.001789925,0.008714759,0.1741626,0.04288117,0.2541431],"study_design_scores_gemma":[0.00006045714,0.0006345622,0.003531959,0.001181032,0.00002491587,0.001095022,0.3083571,0.00207843,0.006173356,0.06262849,0.6141565,0.00007816486],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4526314,0.003480071,0.1439998,0.04638787,0.001909726,0.00120676,0.00009671413,0.001078974,0.3492087],"genre_scores_gemma":[0.8458984,0.003207923,0.08764588,0.004167087,0.0002551879,0.0008306711,0.0001008613,0.0002466744,0.05764734],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006255065,"threshold_uncertainty_score":0.02258027,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4281778501","doi":"10.7202/1089682ar","title":"Embodied Collective Choreographies: Listening to Arena Nightclub’s Jotería Sonic Memories","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Latin American and Latino Studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Active listening; Queer; Embodied cognition; Nightlife; Sociology; Visual arts; Aesthetics; Media studies; History; Art; Gender studies; Communication; Epistemology","authors":[{"name":"Eddy Francisco Álvarez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01344571545874455,"gpt":0.2657090902510446,"spread":0.2522633747923,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001065125,0.0006067696,0.0004106927,0.001620646,0.0107288,0.006308347,0.0009569046,0.001024221,0.004176868],"category_scores_gemma":[0.002981024,0.0003027061,0.0002930385,0.001033716,0.012123,0.002983585,0.006355068,0.001915855,0.0004194915],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003553713,"about_ca_system_score_gemma":0.001432149,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03020586,"about_ca_topic_score_gemma":0.0861799,"domain_scores_codex":[0.999029,0.0005408686,0.00002109919,0.00008687779,0.0001124763,0.0002096609],"domain_scores_gemma":[0.9988501,0.0005772771,0.0001472587,0.00008173799,0.000103485,0.0002401435],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00002856859,0.00001161095,0.001159967,0.00006021065,0.000007373895,0.0006846189,0.9860512,0.00003287722,0.0005937867,0.005131137,0.00242981,0.003808869],"study_design_scores_gemma":[0.000003335377,0.00001553917,0.00225701,0.00009247259,0.000006936251,0.0002571566,0.952391,0.00002634627,0.0002292563,0.0005845891,0.04412375,0.00001250206],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8698815,0.003486795,0.002067348,0.006878992,0.0003327708,0.00005082816,0.0002171252,0.000170641,0.116914],"genre_scores_gemma":[0.9890476,0.000854477,0.0003244161,0.0002905268,0.00006948446,0.00002837081,0.00004904509,0.00006177482,0.00927435],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03020586,"threshold_uncertainty_score":0.06006014,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3127199342","doi":"10.7202/1075802ar","title":"Interview with Micha Espinosa and Garrett Johnson","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Psychoanalysis; State (computer science); Sociology; Art history; Art; Psychology","authors":[{"name":"Patricia Ybarra","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06388232516051524,"gpt":0.2019703064183545,"spread":0.1380879812578393,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004831668,0.0007215449,0.001124317,0.001961215,0.02334661,0.005468707,0.001487298,0.009423742,0.01912275],"category_scores_gemma":[0.02238401,0.0009566306,0.0003996226,0.001807114,0.005600991,0.004955027,0.005749401,0.01617151,0.005565373],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007242233,"about_ca_system_score_gemma":0.008447931,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0498694,"about_ca_topic_score_gemma":0.08288413,"domain_scores_codex":[0.996128,0.001968033,0.0001397099,0.0003520953,0.000606173,0.000805855],"domain_scores_gemma":[0.9904791,0.004617535,0.0005368826,0.0001782673,0.002113073,0.002075135],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"qualitative","study_design_scores_codex":[0.00008717654,0.0001643608,0.002354433,0.0001917124,0.000008794088,0.002730096,0.3628788,0.00005907059,0.001268007,0.008730371,0.6098664,0.01166069],"study_design_scores_gemma":[0.000008561497,0.00003178656,0.001624476,0.0002430722,0.000004430004,0.0004988763,0.5735404,0.00004752657,0.0001549218,0.001007436,0.4228047,0.00003381326],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.05490367,0.007313707,0.001376265,0.8626773,0.008091861,0.0007454056,0.0006591005,0.0001405543,0.06409213],"genre_scores_gemma":[0.2271197,0.006498698,0.001982312,0.4994457,0.002230584,0.003017049,0.0002666957,0.0002197707,0.2592195],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.0498694,"threshold_uncertainty_score":0.09915829,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4281718209","doi":"10.7202/1089675ar","title":"\"Revolutions in Sound\": Keynote Duet","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Sound (geography); Acoustics; Speech recognition; Computer science; Physics","authors":[{"name":"Christine Bacareza Balance","is_ca":false},{"name":"Alexandra T. Vazquez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0735469445608715,"gpt":0.209550500884886,"spread":0.1360035563240145,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006242155,0.001418619,0.001672851,0.001905251,0.01531894,0.02259413,0.002704234,0.02898392,0.02318598],"category_scores_gemma":[0.01526941,0.0005105578,0.001350688,0.002071415,0.01170129,0.01956505,0.01039171,0.03415692,0.004664932],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01064987,"about_ca_system_score_gemma":0.005300919,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009228185,"about_ca_topic_score_gemma":0.01767023,"domain_scores_codex":[0.9945394,0.002094917,0.0002589964,0.001109413,0.001055887,0.0009412548],"domain_scores_gemma":[0.9933936,0.004948993,0.000170271,0.0003052266,0.0004568324,0.0007250587],"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":[0.00003315352,0.00002813193,0.00003934394,0.0001383936,0.00000625521,0.00008039048,0.00183795,0.00003837921,0.00009801728,0.247905,0.7418453,0.007949696],"study_design_scores_gemma":[0.00001595712,0.00001275984,0.0002658902,0.0005202968,0.000006998041,0.00005750037,0.00197574,0.000060101,0.0001072846,0.03533053,0.9616204,0.00002659552],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.000886565,0.06702102,0.0006040764,0.6656928,0.1937018,0.00004010039,0.00008280051,0.00003741919,0.07193336],"genre_scores_gemma":[0.05099759,0.02788496,0.0004506025,0.4499853,0.2152662,0.00027873,0.0000761237,0.0002795305,0.2547812],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.02898392,"threshold_uncertainty_score":0.0775649,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3126155221","doi":"10.7202/1075804ar","title":"Listening Backward: Sonic Intimacies and Cross-Racial, Queer Resonance","year":2021,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Queer; Active listening; Performative utterance; Historiography; Politics; Documentation; Gender studies; Sociology; Silence; Aesthetics; Visual arts; History; Art; Political science; Computer science; Law","authors":[{"name":"Katelyn Hale Wood","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04972763103071724,"gpt":0.243596959688987,"spread":0.1938693286582697,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004736407,0.0005223411,0.000374443,0.002206742,0.01783517,0.01132608,0.001034121,0.001669644,0.007407767],"category_scores_gemma":[0.009291028,0.0002866633,0.0002183624,0.001260441,0.02974512,0.005626387,0.007681179,0.003519124,0.0005501799],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00273122,"about_ca_system_score_gemma":0.00190079,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01487008,"about_ca_topic_score_gemma":0.03254035,"domain_scores_codex":[0.99664,0.002387843,0.00005591218,0.0002224501,0.0003400574,0.0003537216],"domain_scores_gemma":[0.9966034,0.002284545,0.0003259774,0.0002758509,0.0002387311,0.0002715587],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0000175385,0.000008634386,0.0005547289,0.00002292673,0.000003184363,0.0001657633,0.9742921,0.00001816373,0.0004594601,0.01996671,0.0004692201,0.004021644],"study_design_scores_gemma":[0.000003354082,0.0000219132,0.001134992,0.0001322897,0.000007769968,0.0002367129,0.9551326,0.00004480938,0.000507962,0.003242029,0.03952166,0.00001384662],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8048277,0.002434356,0.005028779,0.0104762,0.0003645226,0.0000408178,0.0000526373,0.00007460501,0.1767004],"genre_scores_gemma":[0.9847839,0.0007707436,0.000599949,0.0006192335,0.00009656588,0.00002061166,0.00001753327,0.00005773762,0.01303354],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01783517,"threshold_uncertainty_score":0.02956706,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385491209","doi":"10.7202/1102402ar","title":"Speak-to-Write from Multiple Perspectives, as Method","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Augmented Reality Applications","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Feeling; Writing process; Set (abstract data type); Computer science; Process (computing); Consciousness; Professional writing; Mathematics education; Psychology; Programming language; Social psychology","authors":[{"name":"Nina Sun Eidsheim","is_ca":false},{"name":"Juliette Bellocq","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01694540678203217,"gpt":0.2901296754711641,"spread":0.2731842686891319,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.03836607,0.001667141,0.0009938404,0.002397825,0.006173724,0.02176178,0.002614042,0.003167958,0.0213471],"category_scores_gemma":[0.07684287,0.0008077355,0.001065396,0.001479179,0.02027311,0.01257068,0.01344,0.007743151,0.00964372],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002812447,"about_ca_system_score_gemma":0.006574326,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005887289,"about_ca_topic_score_gemma":0.001254884,"domain_scores_codex":[0.9179241,0.065596,0.001744409,0.004384546,0.009275156,0.001075671],"domain_scores_gemma":[0.9376026,0.0412426,0.00222993,0.008736729,0.006341323,0.003846739],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0003331354,0.0003447313,0.00194148,0.001890062,0.00007243635,0.0008162651,0.3688309,0.0008584283,0.006449585,0.3179921,0.06805182,0.2324191],"study_design_scores_gemma":[0.0001659444,0.0002300375,0.0007031416,0.001967229,0.00006344524,0.001267519,0.1033763,0.002329629,0.005813369,0.1672325,0.7167082,0.0001425863],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"methods","genre_gemma":"methods","genre_scores_codex":[0.03070976,0.002936275,0.7055457,0.03518227,0.005274158,0.002291575,0.0004520929,0.002235868,0.2153723],"genre_scores_gemma":[0.3355311,0.003511247,0.5066028,0.01127597,0.001875197,0.006018455,0.0006234786,0.002959984,0.1316018],"genre_candidate":"methods","genre_consensus":"methods","teacher_disagreement_score":0.03836607,"threshold_uncertainty_score":0.2029015,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4378194445","doi":"10.7202/1099885ar","title":"Pedagogies of Negation","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Philosophy, Ethics, and Existentialism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Debility; Negation; Sociology; Politics; Class (philosophy); Pedagogy; Psychology; Mathematics education; Epistemology; Political science; Linguistics; Medicine; Law","authors":[{"name":"Michelle C. Velasquez-Potts","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08847927440631452,"gpt":0.284317836322888,"spread":0.1958385619165735,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006408862,0.000656472,0.0005548264,0.001342013,0.004882039,0.007684488,0.001318169,0.002761965,0.00966954],"category_scores_gemma":[0.01330936,0.0003524362,0.00055617,0.0008895488,0.02841895,0.0164788,0.005960563,0.005550364,0.001906796],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004682538,"about_ca_system_score_gemma":0.002823407,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001325074,"about_ca_topic_score_gemma":0.001040736,"domain_scores_codex":[0.9915736,0.005976553,0.000275742,0.0007241553,0.001067825,0.0003819771],"domain_scores_gemma":[0.9934721,0.004703554,0.0003194625,0.0006166587,0.0006592215,0.0002290996],"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":[0.000003825952,0.000003449719,0.00006239916,0.00002455748,9.682265e-7,0.00003093159,0.004357429,0.00003553081,0.00006112564,0.9910126,0.001192497,0.003214635],"study_design_scores_gemma":[0.00001003812,0.00001149018,0.00008233808,0.0001229748,0.000002951377,0.0001524544,0.003840055,0.0003678906,0.0002341816,0.866645,0.1285235,0.000007085788],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01940101,0.00893357,0.0940854,0.05174778,0.002030119,0.00006704297,0.00009949963,0.0002626749,0.8233728],"genre_scores_gemma":[0.9242425,0.00455603,0.01835812,0.005152668,0.001242017,0.0002212202,0.00009040126,0.0002596929,0.04587738],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.00966954,"threshold_uncertainty_score":0.03397435,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490863","doi":"10.7202/1102394ar","title":"recurrence (in two parts)","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":true,"about_ca":false},"ca_institutions":"Queen's University","funders":"Killam Trusts; Social Sciences and Humanities Research Council of Canada; University of British Columbia; Queen's University","keywords":"Weaving; Embodied cognition; Visual arts; Aesthetics; White (mutation); History; Sociology; Art; Literature; Epistemology; Philosophy; Engineering","authors":[{"name":"Julia Ulehla","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1171956261079962,"gpt":0.2643488055593435,"spread":0.1471531794513473,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001363644,0.0004554756,0.0003885651,0.001008082,0.004450315,0.005837005,0.001038493,0.002218253,0.06337699],"category_scores_gemma":[0.008310649,0.000266177,0.0005117747,0.0009655021,0.003759005,0.003494668,0.007024173,0.003537511,0.02488912],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002437951,"about_ca_system_score_gemma":0.002116346,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002768661,"about_ca_topic_score_gemma":0.004013492,"domain_scores_codex":[0.9980835,0.000361436,0.0001010858,0.0004513116,0.0006538649,0.0003487266],"domain_scores_gemma":[0.9976464,0.0004355917,0.0001712126,0.0006356747,0.000662902,0.0004482103],"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":[0.0001129508,0.000102342,0.002981999,0.0002532013,0.00001665106,0.001108525,0.02873422,0.0001271445,0.001957081,0.3440773,0.4706775,0.1498511],"study_design_scores_gemma":[0.000003091885,0.00001680964,0.0008407907,0.00008479599,0.000004117482,0.0004189439,0.003128342,0.00004913389,0.0003261891,0.006483763,0.9886343,0.000009635241],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.03068358,0.008242754,0.006736005,0.04759,0.04870637,0.0002017694,0.0004538994,0.0005315906,0.856854],"genre_scores_gemma":[0.1509808,0.001781915,0.001560166,0.008969468,0.005549517,0.0001940066,0.0002283201,0.0003672118,0.8303686],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.06337699,"threshold_uncertainty_score":0.2120172,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490668","doi":"10.7202/1102386ar","title":"SJS-Who? Performance Ethnography and a Practice-Based Pedagogy","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Performative utterance; Ethnography; Reciprocity (cultural anthropology); Accountability; Sociology; Pedagogy; Reflection (computer programming); Critical reflection; Performativity; Psychology; Aesthetics; Art; Computer science; Political science; Anthropology; Gender studies","authors":[{"name":"Oona Hatton","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04555991534911683,"gpt":0.2896866637810367,"spread":0.2441267484319199,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01539464,0.0004217755,0.0003783086,0.001509253,0.003498516,0.006700521,0.0006823647,0.001245837,0.003502],"category_scores_gemma":[0.0200934,0.0002383062,0.0003023196,0.001348053,0.007847818,0.007873659,0.002961506,0.001856273,0.0008627159],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00196824,"about_ca_system_score_gemma":0.002281929,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002469176,"about_ca_topic_score_gemma":0.004522106,"domain_scores_codex":[0.9820799,0.01485002,0.0005082948,0.0008036217,0.001122398,0.0006357261],"domain_scores_gemma":[0.9859695,0.008761185,0.001138116,0.001744226,0.001603025,0.0007838823],"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":[0.00004899132,0.0001246002,0.009431994,0.0002520175,0.00002065467,0.0005697213,0.7854346,0.0002288605,0.001901176,0.1084409,0.009062004,0.08448446],"study_design_scores_gemma":[0.00001304014,0.0001109192,0.005528228,0.0006656796,0.00001501802,0.0006810412,0.7829548,0.00100244,0.002024044,0.02888692,0.1780806,0.00003736609],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6135255,0.003243805,0.06283789,0.05397054,0.00150757,0.0005961038,0.0004256677,0.0003926944,0.2635002],"genre_scores_gemma":[0.9710353,0.001138555,0.008686942,0.001137946,0.0001531036,0.0001698839,0.00008791876,0.00007924118,0.01751105],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01539464,"threshold_uncertainty_score":0.08141565,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385498195","doi":"10.7202/1102396ar","title":"Researching Spontaneous Doing: Random Dance as Decolonial Praxis in Dancing Grandmothers","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Dance; Embodied cognition; Praxis; Aesthetics; Visual arts; Choreography; Sociology; Narrative; Psychology; Art; Literature; Epistemology; Philosophy","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.01822912519063825,"gpt":0.3121232863943866,"spread":0.2938941612037484,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003051036,0.0003568735,0.00034355,0.001028834,0.003759667,0.006315403,0.0009326906,0.001109113,0.002383762],"category_scores_gemma":[0.007268006,0.0003052517,0.000210396,0.0007604695,0.0193804,0.004867459,0.004702474,0.002359874,0.0002502693],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001770339,"about_ca_system_score_gemma":0.001248379,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003391008,"about_ca_topic_score_gemma":0.007716617,"domain_scores_codex":[0.997501,0.001612165,0.00004230811,0.0003380947,0.0003247353,0.0001816685],"domain_scores_gemma":[0.9968913,0.002207816,0.000292146,0.000257869,0.0001727003,0.0001782623],"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":[0.00001955667,0.00004670046,0.003414008,0.0001343327,0.00001362253,0.0002739333,0.9385154,0.0000829008,0.001405883,0.04071736,0.0009267256,0.01444954],"study_design_scores_gemma":[0.00001632859,0.0001179747,0.02187564,0.0003770698,0.00002403806,0.0006352673,0.8758296,0.0003090623,0.001369453,0.02946349,0.06994604,0.00003593835],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8783271,0.003057457,0.005939837,0.00445151,0.0001348967,0.00005562217,0.00003800384,0.00003047181,0.1079651],"genre_scores_gemma":[0.990798,0.0008556457,0.001103113,0.0003306798,0.00002897997,0.00003279132,0.00001773366,0.00003093209,0.006802047],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.006315403,"threshold_uncertainty_score":0.01613563,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385498264","doi":"10.7202/1102408ar","title":"Listening Otherwise: Relationalities of the Othered","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Music History and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"The Scarborough Hospital; University of Toronto","funders":"","keywords":"Active listening; Performative utterance; Scholarship; Field (mathematics); Musical; Sociology; Aesthetics; Appreciative listening; Psychology; Visual arts; Art; Political science; Communication","authors":[{"name":"Mark V. Campbell","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02504792912114608,"gpt":0.1927155570472164,"spread":0.1676676279260703,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005556814,0.0006363643,0.0005047746,0.002127638,0.01291191,0.0141647,0.001670101,0.002464164,0.009892999],"category_scores_gemma":[0.01234816,0.0002619615,0.0005439682,0.00118777,0.0385905,0.01157466,0.01423723,0.005384,0.0009972778],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002048688,"about_ca_system_score_gemma":0.00161792,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004046947,"about_ca_topic_score_gemma":0.005483743,"domain_scores_codex":[0.9916283,0.005701176,0.0001360942,0.0007636686,0.0008563211,0.0009145475],"domain_scores_gemma":[0.9955105,0.002228022,0.0003946281,0.0005412953,0.0003585986,0.0009670364],"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":[0.00005265964,0.0000265142,0.0007827702,0.00007038847,0.00001541733,0.0006312017,0.6615616,0.00008990785,0.00109021,0.3243752,0.002185177,0.009118937],"study_design_scores_gemma":[0.00001720879,0.0000607747,0.001165554,0.0002500154,0.00002258341,0.0009529123,0.7384691,0.000291993,0.0005853333,0.07719634,0.1809429,0.0000453823],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1699563,0.002134975,0.01851996,0.0133758,0.0008921398,0.00006060125,0.00005723921,0.0001301187,0.7948729],"genre_scores_gemma":[0.9745646,0.0005362646,0.001004255,0.0008696078,0.0001454648,0.00002377928,0.00002291234,0.00009192157,0.02274121],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0141647,"threshold_uncertainty_score":0.03309536,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490630","doi":"10.7202/1102404ar","title":"What Can Music Learning Do? Audiovision as Research-Creation in Undergraduate Music Studies","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"MacEwan University","funders":"","keywords":"Musicology; Diversity (politics); Sociology; Visual arts; Music education; Aesthetics; Epistemology; Pedagogy; Art; Philosophy; Anthropology","authors":[{"name":"Michael B. MacDonald","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2401621993730201,"gpt":0.3375312102688245,"spread":0.09736901089580444,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01544286,0.0004701304,0.0006520303,0.001621475,0.00741903,0.02390421,0.001492758,0.003748557,0.006221419],"category_scores_gemma":[0.03216888,0.000226575,0.0003976376,0.001155102,0.0286721,0.01619928,0.01046193,0.006076955,0.002072719],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005212087,"about_ca_system_score_gemma":0.008290434,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001781262,"about_ca_topic_score_gemma":0.003817091,"domain_scores_codex":[0.9891446,0.006922395,0.0002845503,0.0007104819,0.001723491,0.001214531],"domain_scores_gemma":[0.9754892,0.01155654,0.001358711,0.001507371,0.001514116,0.008574183],"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":[0.0001414052,0.0005805918,0.006068941,0.0006434547,0.00001487168,0.0002573525,0.2702561,0.0001682146,0.001169702,0.3350303,0.03290188,0.3527671],"study_design_scores_gemma":[0.00005511188,0.0004665992,0.006364496,0.001459722,0.00002322711,0.0003783214,0.2859296,0.0004667907,0.001631963,0.2558513,0.4472684,0.0001046066],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.1541818,0.02611796,0.01086372,0.5323003,0.004630574,0.0001591302,0.00006893866,0.0004500334,0.2712275],"genre_scores_gemma":[0.9417077,0.007578854,0.005408138,0.01651306,0.001353891,0.00009046801,0.00003705643,0.0001294149,0.02718144],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02390421,"threshold_uncertainty_score":0.08167064,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4205680409","doi":"10.7202/1085317ar","title":"Dancing With Land: An Asynchronous Artist Panel","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Dance; Articulation (sociology); The arts; Visual arts; Politics; Performing arts; Sociology; Opera; Art; Art history; Political science; Law","authors":[{"name":"Alana Gerecke","is_ca":true},{"name":"Michelle L. Olson","is_ca":false},{"name":"Julie Lebel","is_ca":false},{"name":"Olivia C. Davies","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02343468900884981,"gpt":0.2445936904588398,"spread":0.22115900144999,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006751894,0.0006009358,0.0004263942,0.001674881,0.01597431,0.006862306,0.00134673,0.003099087,0.04670914],"category_scores_gemma":[0.01086169,0.0003844564,0.0003061686,0.001549142,0.002048374,0.00288541,0.008620856,0.005878413,0.007478053],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002204361,"about_ca_system_score_gemma":0.003123133,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003838534,"about_ca_topic_score_gemma":0.02626359,"domain_scores_codex":[0.9967579,0.001571744,0.00008781621,0.0003535131,0.000617239,0.0006117653],"domain_scores_gemma":[0.9871798,0.005008578,0.0002957335,0.0004837469,0.001121649,0.005910455],"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":[0.000577501,0.001028307,0.009861304,0.0005030011,0.00002672024,0.003438348,0.2444453,0.0003162421,0.008052524,0.01011464,0.5700737,0.1515624],"study_design_scores_gemma":[0.00004708994,0.0001233014,0.004680865,0.0001433877,0.000005981125,0.0001773005,0.1039262,0.0002516156,0.0004710656,0.001449656,0.8886845,0.00003909608],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.31087,0.002842538,0.006784741,0.09715531,0.02467414,0.00263636,0.001737704,0.000770356,0.5525288],"genre_scores_gemma":[0.535379,0.001788576,0.004650581,0.01260389,0.009297783,0.001838892,0.001172043,0.0006657309,0.4326035],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.04670914,"threshold_uncertainty_score":0.1562577,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7130350954","doi":"10.7202/1123393ar","title":"Carbon Movements","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Dramaturgy; Meaning (existential); Feeling; Performing arts; Choreography; Openness to experience; Sign language","authors":[{"name":"Connor Yuzwenko-Martin","is_ca":false},{"name":"Ainsley Hillyard","is_ca":false},{"name":"Pil Hansen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0119213460397575,"gpt":0.213666849460648,"spread":0.2017455034208905,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005405719,0.0007643481,0.0002287353,0.001488913,0.004879535,0.005872212,0.0009000059,0.00229616,0.1834764],"category_scores_gemma":[0.002989551,0.0002056441,0.0003248896,0.001124785,0.00265719,0.003551196,0.004523391,0.00200233,0.04331746],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003741059,"about_ca_system_score_gemma":0.00246509,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01898387,"about_ca_topic_score_gemma":0.04682903,"domain_scores_codex":[0.9986646,0.0002421499,0.00005612074,0.000287905,0.0004957778,0.000253514],"domain_scores_gemma":[0.9993807,0.0001188931,0.00004366553,0.0001212636,0.000173602,0.0001618283],"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":[0.00007810112,0.00002633894,0.0005857181,0.000180411,0.000003750878,0.0003531505,0.005349613,0.000200118,0.0007205103,0.3392634,0.523392,0.1298469],"study_design_scores_gemma":[0.00000129076,0.000004882054,0.0001914307,0.00005877164,5.138659e-7,0.00005637672,0.0006821389,0.00002028103,0.00009021725,0.001321032,0.99757,0.000003080218],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.003067658,0.001424396,0.001659229,0.006214324,0.003877416,0.00004289106,0.0003060652,0.000361568,0.9830465],"genre_scores_gemma":[0.03591181,0.001398917,0.001497186,0.001752885,0.0003348859,0.00008427444,0.0002915094,0.000401929,0.9583266],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1834764,"threshold_uncertainty_score":0.6137898,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490849","doi":"10.7202/1102388ar","title":"Letters to a Pine","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Artistic and Creative Research","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Focus (optics); Tree (set theory); Computer science; Visual arts; Epistemology; Art; Philosophy","authors":[{"name":"Annette Arlander","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04457279286325755,"gpt":0.272218181973133,"spread":0.2276453891098755,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001320616,0.0005428414,0.0003510833,0.0007068059,0.00683943,0.00461196,0.0004867804,0.001739477,0.08959024],"category_scores_gemma":[0.01218726,0.0001784797,0.0002131762,0.0005654468,0.001273335,0.001823267,0.00183111,0.003212159,0.03169971],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001945643,"about_ca_system_score_gemma":0.002196344,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00510448,"about_ca_topic_score_gemma":0.01183746,"domain_scores_codex":[0.9986427,0.0003120393,0.00005689572,0.0002202305,0.0005390981,0.0002290952],"domain_scores_gemma":[0.9932202,0.001610771,0.0004012093,0.0002436988,0.002502744,0.002021254],"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":[0.00006939504,0.00002059619,0.0001928699,0.00002446686,0.000001477464,0.0004506846,0.001525518,0.00002694187,0.0005046803,0.003839286,0.9813083,0.01203573],"study_design_scores_gemma":[0.000003692719,0.00002868704,0.0006865409,0.00004206435,9.546573e-7,0.0002044996,0.003047059,0.00004345922,0.0002419708,0.0008275994,0.9948656,0.000008034395],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.02896001,0.004346351,0.003134198,0.2973696,0.157525,0.0002132723,0.001232476,0.001006762,0.5062122],"genre_scores_gemma":[0.07820466,0.001300369,0.001593543,0.02506811,0.01320544,0.00008819459,0.0004053219,0.0004671457,0.8796672],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.08959024,"threshold_uncertainty_score":0.2997093,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404298094","doi":"10.7202/1114537ar","title":"Rehearsals of Release","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Posthumanist Ethics and Activism","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[{"name":"Benjamin Ross Nicholson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02489992704737003,"gpt":0.3156687010140424,"spread":0.2907687739666723,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00377121,0.0008812635,0.0003270177,0.0006541122,0.002960308,0.003182918,0.001968613,0.002314537,0.02723248],"category_scores_gemma":[0.02067758,0.0003193101,0.000616807,0.0003002271,0.008075017,0.004575285,0.00615003,0.004479232,0.00691363],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001773708,"about_ca_system_score_gemma":0.001833945,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002648064,"about_ca_topic_score_gemma":0.004208011,"domain_scores_codex":[0.9956037,0.002007824,0.000254795,0.0004615339,0.001010045,0.0006621857],"domain_scores_gemma":[0.9944125,0.00155155,0.0005296523,0.001993502,0.001035192,0.0004776011],"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":[0.0009941951,0.0003551393,0.002607488,0.0005327064,0.00003974962,0.003092555,0.2280769,0.001650291,0.01861035,0.5063229,0.07360011,0.1641176],"study_design_scores_gemma":[0.0001062214,0.0008464398,0.004661283,0.0007873169,0.00004873864,0.002279686,0.1040396,0.00374486,0.01448898,0.07780059,0.7909267,0.0002696012],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2516005,0.002218588,0.1038353,0.01710229,0.005263475,0.0008429788,0.0005017694,0.004395819,0.6142393],"genre_scores_gemma":[0.8083425,0.000588708,0.01860287,0.001655833,0.0006445826,0.0002716879,0.0002927082,0.001078736,0.1685224],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.02723248,"threshold_uncertainty_score":0.09110177,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4394598614","doi":"10.7202/1110557ar","title":"Directing Ōta Shōgo’s Elements: From Form to Body","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Art, Technology, and Culture","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Chemistry","authors":[{"name":"Peter Lichtenfels","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01580536139830477,"gpt":0.2314947795743402,"spread":0.2156894181760354,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001131804,0.0005338697,0.0002433718,0.000718585,0.008521703,0.008246192,0.0004226604,0.001001871,0.004319827],"category_scores_gemma":[0.002891548,0.0002456925,0.0002132764,0.0005720963,0.01756156,0.00373119,0.004830398,0.002065066,0.0006324334],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0042998,"about_ca_system_score_gemma":0.002194784,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02836634,"about_ca_topic_score_gemma":0.05148467,"domain_scores_codex":[0.9988172,0.0006479582,0.00002875731,0.0001087324,0.0001702378,0.0002270109],"domain_scores_gemma":[0.9991437,0.0003457374,0.00007937566,0.0001080694,0.0001121341,0.0002110343],"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":[0.0001000045,0.00002477293,0.002459808,0.0001538139,0.000006773989,0.0006892167,0.8077388,0.0002013936,0.003114009,0.1450227,0.007400128,0.03308856],"study_design_scores_gemma":[0.00001117515,0.0000581919,0.006543175,0.0004242667,0.00002004573,0.0009506636,0.6046416,0.0003755638,0.002485695,0.0123248,0.3721194,0.0000455165],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.36538,0.002069374,0.01913142,0.009532725,0.0006206263,0.00009139261,0.00007889987,0.0002224956,0.602873],"genre_scores_gemma":[0.9725533,0.0004047355,0.001728514,0.0002973848,0.00002517289,0.00002457077,0.00001326639,0.000124809,0.0248283],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.02836634,"threshold_uncertainty_score":0.05640244,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4394599005","doi":"10.7202/1110548ar","title":"Introduction","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"","field":"","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[{"name":"Gretchen Jude","is_ca":false},{"name":"Lynette Hunter","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006745248112620087,"gpt":0.2254687350607913,"spread":0.2187234869481712,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.003159084,0.0008068625,0.0005032466,0.001516296,0.002731343,0.009080213,0.001830851,0.004362461,0.577092],"category_scores_gemma":[0.01250483,0.0003399758,0.0007675992,0.001313823,0.001457933,0.003309782,0.002954915,0.004515971,0.4585871],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002898518,"about_ca_system_score_gemma":0.005887754,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0050239,"about_ca_topic_score_gemma":0.006486195,"domain_scores_codex":[0.9966387,0.0004444113,0.00009021842,0.0005473013,0.001753028,0.0005263982],"domain_scores_gemma":[0.9919208,0.00110503,0.0002929324,0.001058433,0.003896683,0.00172608],"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":[0.00001669689,0.0000168374,0.0001362281,0.00005005991,0.000001304948,0.00002012483,0.00005498655,0.00001966687,0.0001362017,0.02484795,0.9417456,0.03295423],"study_design_scores_gemma":[0.000003308408,0.000005767876,0.0002654171,0.0000399062,9.572141e-7,0.00001809341,0.00006905057,0.00001584174,0.00006986585,0.002694039,0.9968141,0.000003592497],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0006087134,0.00135364,0.001839944,0.06328043,0.02361537,0.0001232374,0.002349644,0.0008363746,0.9059928],"genre_scores_gemma":[0.004614852,0.0007638839,0.0007906413,0.02474063,0.005286631,0.0001008697,0.001281976,0.0002228852,0.9621977],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.422908,"threshold_uncertainty_score":0.6032269,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490618","doi":"10.7202/1102415ar","title":"Love: A Research Practice","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Gender, Feminism, and Media","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Psychology; Engineering ethics; Engineering","authors":[{"name":"Megan V. Nicely","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1373748138046063,"gpt":0.4398409513938972,"spread":0.302466137589291,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.1442863,0.001095438,0.003282727,0.005730589,0.02287639,0.03179228,0.006713564,0.01649548,0.01800986],"category_scores_gemma":[0.1377484,0.0009804612,0.001095765,0.004925752,0.09441645,0.04872844,0.02023839,0.0249229,0.004052523],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01050364,"about_ca_system_score_gemma":0.02070208,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003025457,"about_ca_topic_score_gemma":0.004091725,"domain_scores_codex":[0.9005563,0.08132973,0.002629352,0.007157282,0.006666535,0.00166083],"domain_scores_gemma":[0.7808016,0.1721256,0.003879582,0.02020897,0.01419988,0.008784361],"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":[0.00004691265,0.00009416698,0.001032906,0.0004799102,0.00002581241,0.000128786,0.02535718,0.0000649913,0.0001208002,0.8737,0.05307722,0.0458713],"study_design_scores_gemma":[0.00005017244,0.0001014575,0.000625703,0.003164806,0.00003078816,0.0003068128,0.06299247,0.0002165713,0.0002591418,0.6677878,0.2644228,0.00004152466],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"commentary","genre_gemma":"other","genre_scores_codex":[0.004779339,0.04181512,0.01547442,0.8360837,0.007477435,0.0001936189,0.00009512753,0.00007151033,0.09400981],"genre_scores_gemma":[0.5040624,0.07106102,0.03187562,0.3046447,0.02267102,0.002369847,0.0002067609,0.0005181513,0.06259041],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.9771236,"threshold_uncertainty_score":0.7630682,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4385490768","doi":"10.7202/1102409ar","title":"Practice-Based Research in Three Personal Turns","year":2023,"lang":"en","type":"article","venue":"Performance Matters","topic":"Reflective Practices in Education","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Embodied cognition; Personal account; Personal life; Personally identifiable information; Psychology; Sociology; Epistemology; Political science; Art; Philosophy; Law","authors":[{"name":"Sherrie Tucker","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2075534504170561,"gpt":0.4939759242291928,"spread":0.2864224738121367,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.07992346,0.001094878,0.001024497,0.002398259,0.0219002,0.02609678,0.002963139,0.007654747,0.004738408],"category_scores_gemma":[0.1000305,0.001172758,0.001214132,0.00195004,0.05912613,0.01710835,0.03185291,0.02291448,0.001167843],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01084458,"about_ca_system_score_gemma":0.009428279,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001701071,"about_ca_topic_score_gemma":0.003088624,"domain_scores_codex":[0.846013,0.1290284,0.00204976,0.0037306,0.01356105,0.005617163],"domain_scores_gemma":[0.8903189,0.07119196,0.004375919,0.009817948,0.009003537,0.01529171],"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":[0.0001582033,0.0002260924,0.001285352,0.000252723,0.00005143774,0.0009442844,0.6169341,0.0003980747,0.001206562,0.3307985,0.01321507,0.03452965],"study_design_scores_gemma":[0.00006983911,0.0002756785,0.001412505,0.000827998,0.00002977027,0.0007264547,0.4561992,0.0009681537,0.001056925,0.2448835,0.293448,0.0001018721],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2010055,0.0122791,0.1564329,0.26926,0.01745419,0.001517577,0.00009609617,0.001041556,0.340913],"genre_scores_gemma":[0.9260701,0.002090043,0.0295373,0.01585366,0.001609739,0.0009606635,0.00005707174,0.000320925,0.02350056],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.07992346,"threshold_uncertainty_score":0.4226807,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7130389764","doi":"10.7202/1123400ar","title":"Tracking Deaf Aesthetics in Deaf Spaces","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Hearing Impairment and Communication","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Canadian Association for the Study of the Liver; University of Alberta","funders":"","keywords":"Dramaturgy; Meaning (existential); Reading (process); Scripting language; Ethnography; Feeling; Dance; Set (abstract data type)","authors":[{"name":"Joanne Weber","is_ca":true},{"name":"Thurga Kanagasekarampillai","is_ca":false},{"name":"Connor Yuzwenko-Martin","is_ca":false},{"name":"Chris Dodd","is_ca":false},{"name":"Crystal Jones","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02383472943926953,"gpt":0.3221761956045905,"spread":0.298341466165321,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002445498,0.0002379574,0.0001762411,0.002569203,0.005207599,0.005654549,0.0006480486,0.0005524518,0.005489199],"category_scores_gemma":[0.006810866,0.0002278579,0.0001803479,0.001321299,0.006196099,0.002061814,0.007454241,0.001032836,0.0004281829],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.006028197,"about_ca_system_score_gemma":0.003401196,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04713906,"about_ca_topic_score_gemma":0.1432119,"domain_scores_codex":[0.9980491,0.0006642789,0.00007039786,0.0002640384,0.0005803748,0.0003717489],"domain_scores_gemma":[0.997675,0.0007895454,0.0003739684,0.0002487542,0.0005792352,0.0003336071],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001007703,0.00005661742,0.04445776,0.0002027057,0.00001169082,0.000859948,0.8270029,0.0005478014,0.005746732,0.02345855,0.003302641,0.09425184],"study_design_scores_gemma":[0.000004720734,0.00005928561,0.05822678,0.0001830963,0.00001103897,0.0005321471,0.8702255,0.0003466329,0.002409548,0.002367923,0.06559002,0.00004334058],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9415172,0.0003587447,0.002790552,0.0003368491,0.00004737854,0.00006486844,0.0001668649,0.00003961831,0.05467792],"genre_scores_gemma":[0.9899928,0.0001854371,0.001568767,0.00004628732,0.000005586627,0.00002840412,0.00004408855,0.00001939721,0.008109233],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.04713906,"threshold_uncertainty_score":0.09372932,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4394599168","doi":"10.7202/1110551ar","title":"Anatomy of Conflict","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Anatomy; Medicine","authors":[{"name":"Naoko Maeshiba","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02123246076448151,"gpt":0.2525799962098592,"spread":0.2313475354453777,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005236815,0.0004603476,0.0003861439,0.001605524,0.009362142,0.01139653,0.001829464,0.003687347,0.01826352],"category_scores_gemma":[0.01077656,0.0003680021,0.0004378746,0.001576386,0.04529258,0.0110707,0.01037577,0.005212678,0.002052528],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005476594,"about_ca_system_score_gemma":0.004392387,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003283061,"about_ca_topic_score_gemma":0.00199804,"domain_scores_codex":[0.9930679,0.003918375,0.0001843226,0.0008505778,0.001007628,0.0009711402],"domain_scores_gemma":[0.9965705,0.001634576,0.0004081926,0.000441437,0.0004220897,0.0005231723],"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":[0.000006411693,0.00000469912,0.0001544021,0.0000220523,0.000002912129,0.0001603535,0.018645,0.00006675437,0.00005638905,0.9719824,0.003978806,0.004919822],"study_design_scores_gemma":[0.00001402654,0.00001965862,0.0005062711,0.0002103095,0.000006480597,0.000620752,0.03359273,0.0003789256,0.0001322735,0.6462482,0.3182538,0.00001670135],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01828743,0.00479793,0.02764234,0.03965472,0.000946096,0.00008057884,0.0000758114,0.0000795426,0.9084356],"genre_scores_gemma":[0.9296647,0.002213512,0.004467265,0.004350666,0.0005175858,0.0001912112,0.00006283098,0.0001073766,0.0584249],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01826352,"threshold_uncertainty_score":0.06109756,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7130419722","doi":"10.7202/1123394ar","title":"Through My Lens","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Power (physics); Lens (geology); Representation (politics); Citizen journalism; Through-the-lens metering; Reflection (computer programming)","authors":[{"name":"James M. Long","is_ca":true},{"name":"Amy Amantea","is_ca":false},{"name":"Nico Dicecco","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02373786090755954,"gpt":0.2331647015881818,"spread":0.2094268406806223,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00224566,0.001052338,0.0004100587,0.001537949,0.01021265,0.01883746,0.001439059,0.003935448,0.1361324],"category_scores_gemma":[0.01018509,0.0005068702,0.0006811409,0.0009966438,0.009110533,0.01419704,0.01241958,0.006648261,0.04885822],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004667716,"about_ca_system_score_gemma":0.004391334,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004867907,"about_ca_topic_score_gemma":0.008018861,"domain_scores_codex":[0.9961711,0.001384547,0.0001249204,0.0006454097,0.001063969,0.000610043],"domain_scores_gemma":[0.9967139,0.0007081772,0.0002660957,0.0004825516,0.0007248906,0.001104349],"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":[0.00007610601,0.00003798427,0.000796986,0.0002611845,0.00001548141,0.001020208,0.05998747,0.00009716863,0.001439289,0.2655499,0.5824526,0.08826572],"study_design_scores_gemma":[0.000003089479,0.000008056425,0.00007899255,0.0001110658,0.000001862596,0.0002431587,0.008621767,0.00001981654,0.0001220232,0.004735814,0.9860464,0.00000806645],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.005721548,0.003607014,0.01153097,0.04860947,0.005699309,0.0001118769,0.0003223238,0.0009973942,0.9234001],"genre_scores_gemma":[0.1142564,0.003499223,0.008550684,0.01439268,0.002890253,0.0001998825,0.0003150176,0.001454205,0.8544417],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1361324,"threshold_uncertainty_score":0.4554082,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7130374405","doi":"10.7202/1123390ar","title":"Dramaturgies of Accessibility","year":2025,"lang":"en","type":"article","venue":"Performance Matters","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"University of Calgary","funders":"","keywords":"Dramaturgy; Normative; Perspective (graphical); Position (finance); Disabled people; Foundation (evidence)","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.01404948299052737,"gpt":0.242804093719482,"spread":0.2287546107289546,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001883789,0.0006737143,0.0004272106,0.001062782,0.004233065,0.007890533,0.001231912,0.002025361,0.01825011],"category_scores_gemma":[0.01080017,0.0001940528,0.0003616635,0.0007136681,0.009842232,0.006353725,0.005638117,0.005860045,0.001991864],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00184326,"about_ca_system_score_gemma":0.001117448,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001375794,"about_ca_topic_score_gemma":0.002088008,"domain_scores_codex":[0.9965194,0.001824001,0.0001589967,0.0002781605,0.0008621972,0.0003572715],"domain_scores_gemma":[0.995881,0.002759208,0.0002395167,0.0002535307,0.000486624,0.0003801663],"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":[0.00007372931,0.00002904578,0.0002825635,0.0005990941,0.00001189455,0.0003738924,0.04113273,0.0002095144,0.0004754984,0.4910298,0.4141847,0.05159741],"study_design_scores_gemma":[0.000003949944,0.00001879212,0.0002275883,0.0003683033,0.000004550496,0.0003047525,0.006846927,0.00005736426,0.0001808356,0.01215583,0.9798183,0.00001278574],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01746378,0.05239562,0.01652245,0.1724093,0.2083803,0.00007516759,0.0001894095,0.0004848201,0.5320792],"genre_scores_gemma":[0.5031709,0.04741117,0.004111387,0.03242574,0.1263723,0.0002101556,0.0002776022,0.0008737021,0.2851471],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01825011,"threshold_uncertainty_score":0.06105268,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4205847434","doi":"10.7202/1085311ar","title":"Moving with Whatcom Falls Park: A Score for Unsettling in Place","year":2022,"lang":"en","type":"article","venue":"Performance Matters","topic":"Participatory Visual Research Methods","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"York University","funders":"","keywords":"Tribe; Embodied cognition; White (mutation); Metaphor; History; Homeland; Dove; Sociology; Rumor; Mainstream; Studio; Media studies; Geography; Aesthetics; Anthropology; Visual arts; Art; Politics; Law; Political science","authors":[{"name":"Elan Marchinko","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.3484234522129954,"gpt":0.5285072609533406,"spread":0.1800838087403451,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002722106,0.001262393,0.0006026349,0.0009896018,0.0318732,0.0163076,0.002482494,0.005960767,0.05361544],"category_scores_gemma":[0.006599828,0.000333548,0.0005604174,0.001054828,0.008720114,0.008114471,0.01815653,0.01173641,0.007899601],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00920029,"about_ca_system_score_gemma":0.01478691,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0638269,"about_ca_topic_score_gemma":0.2568105,"domain_scores_codex":[0.9966102,0.0009348603,0.00008693151,0.0002677309,0.0009879471,0.001112182],"domain_scores_gemma":[0.9923148,0.0002932559,0.0001567835,0.0001717818,0.000998196,0.006065319],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003595303,0.0001507212,0.001524479,0.0001529295,0.000006418983,0.0005407798,0.03939287,0.00003705093,0.0002768765,0.005959975,0.9025725,0.04934945],"study_design_scores_gemma":[0.00001074132,0.000063211,0.001977653,0.0003622029,0.000006103197,0.0001632105,0.2484226,0.00004180998,0.0001691432,0.001263181,0.7474919,0.00002828937],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.08346723,0.005144423,0.002078828,0.4430826,0.05295549,0.0004085047,0.0005561811,0.001064146,0.4112427],"genre_scores_gemma":[0.4044243,0.00666994,0.004786441,0.0717548,0.005601699,0.0005589791,0.001115556,0.001311756,0.5037764],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0638269,"threshold_uncertainty_score":0.1793615,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4394604018","doi":"10.7202/1110553ar","title":"]MA[ – The Space between the Interval","year":2024,"lang":"en","type":"article","venue":"Performance Matters","topic":"Diverse Musicological Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Interval (graph theory); Space (punctuation); Computer science; Mathematics; Combinatorics; Operating system","authors":[{"name":"Dylan Bolles","is_ca":false},{"name":"Keith Evans","is_ca":false},{"name":"Suki O'Kane","is_ca":false},{"name":"Edward Schocker","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08140315865980728,"gpt":0.2321625191997047,"spread":0.1507593605398974,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001423566,0.0004797788,0.0002103078,0.0007881213,0.006952764,0.005586562,0.0008562062,0.001304142,0.02012533],"category_scores_gemma":[0.003578075,0.0002374083,0.0002734491,0.0006718762,0.01266268,0.006069509,0.004739895,0.002976513,0.003051744],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001824186,"about_ca_system_score_gemma":0.001575329,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008394369,"about_ca_topic_score_gemma":0.01221192,"domain_scores_codex":[0.9984342,0.0007314658,0.00005375423,0.0002806564,0.0002597463,0.0002401326],"domain_scores_gemma":[0.9992144,0.000178129,0.00008909735,0.0001964162,0.0001430735,0.0001788704],"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":[0.0001537139,0.00002477062,0.001362259,0.00009209724,0.00001470403,0.0004642789,0.1610619,0.0001171008,0.003334595,0.7420138,0.04526084,0.04609998],"study_design_scores_gemma":[0.00001399186,0.0000756403,0.002708588,0.0001547166,0.00001089938,0.0003629183,0.05381631,0.0001311456,0.0008985472,0.02953464,0.9122493,0.000043426],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.06608769,0.002217395,0.01176528,0.01882922,0.001687735,0.00008024116,0.0001672894,0.0002855947,0.8988796],"genre_scores_gemma":[0.8667471,0.000537817,0.004271051,0.001636805,0.0002495532,0.00009609058,0.0001220657,0.000287127,0.1260525],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.02012533,"threshold_uncertainty_score":0.06732595,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}