{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":10,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":10,"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":"d5a872c88340","filters":{"venue":"Restoration and Eighteenth-Century Theatre Research"}},"results":[{"id":"W2952749804","doi":"10.5325/rectr.31.2.0019","title":"Anecdotes and Restoration Actresses: The Cases of Elizabeth Barry and Anne Bracegirdle","year":2016,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Narrative; Agency (philosophy); Inclusion (mineral); Competition (biology); Sociology; Aesthetics; Literature; Art; Media studies; Gender studies; Social science","authors":[{"name":"Diana Solomon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06398953709568325,"gpt":0.3016262899312305,"spread":0.2376367528355472,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005458986,0.0001443144,0.000194564,0.00011563,0.00115815,0.0001554165,0.0000913468,0.00005881252,0.0001788037],"category_scores_gemma":[0.0001141181,0.00007064325,0.00002926308,0.00008927591,0.001068405,0.0003925106,0.00009576524,0.0001479766,0.00001291826],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003859037,"about_ca_system_score_gemma":0.00003547092,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002020874,"about_ca_topic_score_gemma":0.0008378635,"domain_scores_codex":[0.9986006,0.0002866666,0.0002291453,0.000235062,0.000392457,0.0002560634],"domain_scores_gemma":[0.9988067,0.0005567262,0.00006862605,0.0001919345,0.0002689668,0.0001070622],"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":[0.0007544572,0.0004465179,0.008059314,0.0005129075,0.0002242572,0.00002731263,0.09846054,6.738106e-7,0.01219773,0.4460858,0.2517999,0.1814306],"study_design_scores_gemma":[0.0003841501,0.0003480101,0.000939312,0.0001127861,0.00002275225,0.000008364515,0.009703664,0.00001315642,0.000316429,0.0009546992,0.9870579,0.0001388316],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7978514,0.1346906,0.00002488679,0.01629942,0.0004943642,0.0008744641,0.0001062636,0.00009147122,0.04956716],"genre_scores_gemma":[0.9727388,0.02557861,0.00001332133,0.00003866293,0.0003905393,0.00002234997,0.000008600103,0.00001230817,0.001196816],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.735258,"threshold_uncertainty_score":0.8907667,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4210735265","doi":"10.5325/rectr.30.1-2.0157","title":"Women and Shakespeare in the Eighteenth Century","year":2015,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Literature: history, themes, analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Art; History","authors":[{"name":"Tiffany Potter","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08996201138226737,"gpt":0.2984932064940599,"spread":0.2085311951117925,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002464247,0.0002498925,0.0002991659,0.0005667761,0.0007174416,0.000908817,0.0003622785,0.000119865,0.0004917323],"category_scores_gemma":[0.00005947312,0.0001653879,0.00006097792,0.0003268181,0.0006178674,0.0005976629,0.0001304182,0.0006417574,0.00008813264],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000354957,"about_ca_system_score_gemma":0.0001353357,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003114009,"about_ca_topic_score_gemma":0.0006100945,"domain_scores_codex":[0.9963996,0.001005688,0.0003693195,0.0004898744,0.001078426,0.0006570324],"domain_scores_gemma":[0.9985901,0.0002104572,0.00007861958,0.0005065784,0.0003038706,0.0003103631],"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":[0.0006397527,0.0007736246,0.004438241,0.0002250931,0.0001730232,0.0001205653,0.441389,0.000005941621,0.0001027659,0.2701843,0.2503935,0.03155416],"study_design_scores_gemma":[0.0007565308,0.0001952113,0.0003094017,0.0000439757,0.00001585043,0.000008217089,0.04114962,0.0001728097,0.000004883617,0.001027418,0.9561063,0.0002097718],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5996631,0.1351441,0.000006824441,0.005483981,0.001024063,0.001404309,0.0001142717,0.0001386872,0.2570206],"genre_scores_gemma":[0.9852923,0.01198793,0.00002187352,0.000296986,0.0008675482,0.00008922432,0.0001014405,0.00003206542,0.001310617],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7057128,"threshold_uncertainty_score":0.8763744,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4408164460","doi":"10.5325/rectr.36.0057","title":"The Cambridge Edition of the Works of Anne Finch, Countess of Winchilsea. Vol. 1, Early Manuscript Books","year":2024,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Scottish History and National Identity","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Finch; Art; Classics; History; Art history; Biology; Zoology","authors":[{"name":"Diana Solomon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03930449252369546,"gpt":0.2780931432074779,"spread":0.2387886506837824,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001248434,0.0001057703,0.0001601619,0.0001917291,0.0006659809,0.0001991096,0.00027181,0.00006593066,0.000135797],"category_scores_gemma":[0.00005410167,0.00006511517,0.0001103864,0.0001927907,0.001126766,0.0004260248,0.00008553846,0.0003375121,0.000009057269],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007327645,"about_ca_system_score_gemma":0.000151127,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005078469,"about_ca_topic_score_gemma":0.0004603126,"domain_scores_codex":[0.9979663,0.0003492542,0.0003841001,0.0001925579,0.0009071039,0.0002006917],"domain_scores_gemma":[0.9984626,0.0004127359,0.0001151848,0.000287023,0.0006733261,0.00004910434],"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":[0.0003076729,0.0002363121,0.0007865155,0.000531148,0.0001436867,0.000003951557,0.005546602,0.000006879072,0.001952858,0.7088737,0.2668263,0.01478432],"study_design_scores_gemma":[0.0003697528,0.0002128941,0.00380115,0.0007372106,0.00005008663,0.000002447805,0.002048106,0.0003389068,0.002656088,0.002185553,0.9874641,0.0001337013],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7476512,0.1224476,0.00003823901,0.001907131,0.005988491,0.001194915,0.0004287559,0.00006038731,0.1202833],"genre_scores_gemma":[0.9927138,0.003872531,0.00000356552,0.00001560909,0.0005821154,0.00001871258,0.000026235,0.00001299565,0.002754448],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7206377,"threshold_uncertainty_score":0.5122254,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389453982","doi":"10.5325/rectr.35.0101","title":"Fashionable Friends","year":2023,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Fashion and Cultural Textiles","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Antique; Art; Visual arts; Period (music); Musical; Aesthetics; Art history","authors":[{"name":"Emmanuela Wroth","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1260749448663459,"gpt":0.3372608554311132,"spread":0.2111859105647673,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006877169,0.0001350472,0.0001381344,0.0003217464,0.001157212,0.0005055403,0.000164218,0.00006839267,0.003113977],"category_scores_gemma":[0.00001924614,0.00009827067,0.00005585224,0.0002955302,0.0003291163,0.0003940447,0.0001064775,0.0002847236,0.002306411],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004803415,"about_ca_system_score_gemma":0.0000444992,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.000068029,"about_ca_topic_score_gemma":0.0001730702,"domain_scores_codex":[0.9981899,0.0002143775,0.0001982452,0.0002996235,0.000623705,0.0004741205],"domain_scores_gemma":[0.9992558,0.0001211568,0.00002941184,0.0002184363,0.0002045396,0.0001706595],"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":[0.00003831106,0.00008914449,0.000168787,0.00006377651,0.00003379365,0.0000209041,0.01995981,0.000003913538,0.0006443356,0.6845344,0.26035,0.03409284],"study_design_scores_gemma":[0.0002631247,0.00008764829,0.0003254678,0.00003495275,0.000005374244,0.000002434506,0.0252792,0.000318618,0.00005966221,0.0008868363,0.972596,0.0001406113],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3871458,0.001410786,0.000002047712,0.004227451,0.0007995342,0.0003958404,0.00004360043,0.0004632593,0.6055116],"genre_scores_gemma":[0.9721702,0.00731517,0.00000987835,0.00009855069,0.0006319787,0.00004560949,0.0001577071,0.00002106798,0.01954984],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7122461,"threshold_uncertainty_score":0.9984704,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7118160936","doi":"10.5325/rectr.37.0070","title":"L’imperatrice della Luna: L’Avventuriero (The Rover)","year":2025,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Early Modern Spanish Literature","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Identity (music); Brother; Sister; Revelation; Power (physics); Quality (philosophy); Witch","authors":[{"name":"Ros Ballaster","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03372143341775148,"gpt":0.3020220166422939,"spread":0.2683005832245425,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.001018475,0.0002279263,0.0002154801,0.0003159418,0.001811603,0.001489336,0.0003900757,0.0001365982,0.0004893517],"category_scores_gemma":[0.00006136936,0.0001527182,0.00009389174,0.0003381593,0.0005120215,0.0004692985,0.0002026743,0.0008107424,0.0001404411],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001283715,"about_ca_system_score_gemma":0.0001933348,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002313799,"about_ca_topic_score_gemma":0.0003012726,"domain_scores_codex":[0.9973897,0.0005358605,0.0003335195,0.0004579521,0.0007272493,0.0005556869],"domain_scores_gemma":[0.9983061,0.0004978399,0.00005816944,0.0005555616,0.0004482046,0.0001341493],"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":[0.0001356044,0.0001493959,0.0003958718,0.0000945729,0.00007983659,0.00001153833,0.007269701,0.000005587963,0.0003302798,0.7199678,0.2547541,0.01680565],"study_design_scores_gemma":[0.000441595,0.00008108941,0.0001205883,0.00007599143,0.00002685917,0.000003370215,0.002438789,0.0003146226,0.000143418,0.002265309,0.9939283,0.0001600608],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0791206,0.06854631,0.0001293623,0.02081222,0.002289493,0.001693433,0.0001012347,0.0002531202,0.8270542],"genre_scores_gemma":[0.9761388,0.008781357,0.0000346611,0.00100722,0.0009772829,0.00007010203,0.00006848518,0.00003018496,0.01289196],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8970181,"threshold_uncertainty_score":0.9995472,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W7118178914","doi":"10.5325/rectr.37.0054","title":"The Broadview Anthology of Restoration and Eighteenth-Century Drama, Second Edition","year":2025,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Literature: history, themes, analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Estate; Quarter (Canadian coin); Subject (documents); Painting; Drama; Happening","authors":[{"name":"Laura Runge-Gordon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02747413126785935,"gpt":0.296205544328295,"spread":0.2687314130604357,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001848829,0.0003001758,0.0004386216,0.0007152925,0.002094235,0.0006395786,0.0003298343,0.0002187826,0.0005737679],"category_scores_gemma":[0.000101302,0.0002182957,0.000131924,0.0004032629,0.0015627,0.0006722941,0.0001726219,0.0006377805,0.00003014912],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002146942,"about_ca_system_score_gemma":0.0002019741,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001628321,"about_ca_topic_score_gemma":0.0009284285,"domain_scores_codex":[0.9963096,0.001111615,0.0007099477,0.0005882842,0.0007402718,0.0005403041],"domain_scores_gemma":[0.997662,0.0005875388,0.0002363826,0.0006525756,0.00070463,0.0001568445],"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":[0.0005607831,0.0004011476,0.0008058061,0.0006305061,0.0003405903,0.00001438264,0.01080181,0.000002916255,0.001928017,0.6810527,0.2478801,0.05558113],"study_design_scores_gemma":[0.000652882,0.0001929256,0.000471916,0.0001723645,0.00009102686,0.000005009564,0.003234787,0.0002243337,0.0002580307,0.001777223,0.9927072,0.0002123306],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"empirical","genre_scores_codex":[0.1963925,0.540953,0.0002283681,0.0098759,0.005696697,0.002903502,0.0003553227,0.0002620452,0.2433326],"genre_scores_gemma":[0.905056,0.0890535,0.00005751054,0.0002108295,0.0009595449,0.00009401558,0.0002841377,0.00003696962,0.004247504],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.744827,"threshold_uncertainty_score":0.9992049,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4312184772","doi":"10.5325/rectr.34.0060","title":"Wycherley’s The Gentleman Dancing Master: Aristocratic Order and Its Imitation","year":2022,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","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":false,"about_ca":false},"ca_institutions":"Dawson College","funders":"","keywords":"Symbol (formal); Betrayal; Dance; Sophistication; Social order; Order (exchange); Harmony (color); Art; Imitation; Ideology; Meaning (existential); Aesthetics; Literature; Visual arts; Philosophy; Psychology; Law; Social psychology; Epistemology; Political science","authors":[{"name":"David Gelineau","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08982724942650501,"gpt":0.2993258460065164,"spread":0.2094985965800114,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001240272,0.0001531318,0.0001576213,0.0001895959,0.003828971,0.0003195733,0.0001520288,0.00002785246,0.0009231345],"category_scores_gemma":[0.00001777858,0.0001082969,0.00003413913,0.0001724016,0.0002104203,0.000331659,0.0002369196,0.0004587187,0.00003938959],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00009703403,"about_ca_system_score_gemma":0.00006982888,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001473401,"about_ca_topic_score_gemma":0.0005539681,"domain_scores_codex":[0.9979885,0.0004503573,0.0002478351,0.0002848127,0.0006068732,0.0004216791],"domain_scores_gemma":[0.9992729,0.0001935063,0.00006384179,0.0002006334,0.0001766203,0.00009253871],"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":[0.0008780066,0.0006068619,0.004268322,0.0007116348,0.0003787064,0.00003760839,0.3535178,0.0002539864,0.002351155,0.3504892,0.1162834,0.1702233],"study_design_scores_gemma":[0.0004762633,0.0003251863,0.0004938582,0.00002685206,0.0000283944,0.00001175798,0.04269262,0.001837889,0.0000437473,0.0007038046,0.9531664,0.0001932045],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8381103,0.04466224,0.00002093888,0.01031442,0.001188579,0.001409578,0.0000786029,0.0001093744,0.1041059],"genre_scores_gemma":[0.9919211,0.005183375,0.00001292846,0.0001844098,0.0004966933,0.0001612871,0.00004406127,0.00002138345,0.001974717],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8368831,"threshold_uncertainty_score":0.9999902,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4312184752","doi":"10.5325/rectr.34.0036","title":"George Anne Bellamy as Self-Fashioned Sentimental Heroine","year":2022,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Ottawa","funders":"","keywords":"Femininity; Public sphere; Legitimacy; Wife; Memoir; Publicity; Sociology; Gender studies; Aesthetics; Psychoanalysis; Psychology; Art; Law; Art history; Political science; Politics","authors":[{"name":"Jessica Banner","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03678103104064665,"gpt":0.2864166450367799,"spread":0.2496356139961332,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006413141,0.0001799619,0.0002089708,0.0001972105,0.004389959,0.0001972738,0.0001822871,0.00003693672,0.006396354],"category_scores_gemma":[0.000009408271,0.0001462047,0.00008250709,0.0001927193,0.0002438007,0.0002300691,0.0003122274,0.0004680567,0.0003897762],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002923307,"about_ca_system_score_gemma":0.00005940336,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002007277,"about_ca_topic_score_gemma":0.0001802472,"domain_scores_codex":[0.9975207,0.0004207436,0.0002572727,0.0003782388,0.000957428,0.0004655432],"domain_scores_gemma":[0.9993236,0.0000772708,0.0000530031,0.0002143479,0.000160627,0.0001711365],"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":[0.000397513,0.001612049,0.0006893235,0.0001052298,0.0002531174,0.00008728424,0.08130291,0.000006421592,0.001317218,0.3481333,0.553216,0.01287963],"study_design_scores_gemma":[0.0004861346,0.0003932771,0.000041822,0.0000083042,0.00001802524,0.0000108302,0.01683852,0.00008132378,0.00004339284,0.0003940731,0.9815035,0.0001807898],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1937759,0.0220359,0.000003478043,0.006878302,0.001691782,0.001013499,0.00009839301,0.0003344517,0.7741683],"genre_scores_gemma":[0.9753533,0.002664297,0.00003093564,0.0001837908,0.0009558207,0.0001315936,0.0001654469,0.00003020435,0.02048459],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7815774,"threshold_uncertainty_score":0.9969062,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4389453896","doi":"10.5325/rectr.35.0001","title":"Enchanting the Isle and the Lake: Set Design and Restoration Shakespeare Adaptations","year":2023,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of the Fraser Valley","funders":"","keywords":"Tempest; Natural (archaeology); Adaptation (eye); Dream; Aesthetics; Set (abstract data type); Art; Sociology; Environmental ethics; Literature; History; Philosophy; Archaeology; Computer science; Biology","authors":[{"name":"Emily Seitz","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1356497010878082,"gpt":0.3191994259899651,"spread":0.1835497249021569,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001729198,0.0001313739,0.0001484114,0.0001183723,0.003927075,0.0005014523,0.0001059585,0.00004702268,0.0001019353],"category_scores_gemma":[0.0001033795,0.00006730699,0.00003218515,0.0002306577,0.0009594411,0.0002618087,0.0001186915,0.0002958225,0.00005858281],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002613258,"about_ca_system_score_gemma":0.00003469007,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00009991111,"about_ca_topic_score_gemma":0.001484741,"domain_scores_codex":[0.9981794,0.0006669217,0.0002002216,0.000221081,0.0004409224,0.000291452],"domain_scores_gemma":[0.9988065,0.0007003738,0.00004872256,0.0001692442,0.0002023406,0.00007276166],"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":[0.0002478659,0.00004160249,0.000260086,0.00006924282,0.00008415955,0.000006731379,0.2312814,0.00002328297,0.0001350292,0.5390329,0.2044332,0.0243845],"study_design_scores_gemma":[0.0004775918,0.00008090787,0.0003709435,0.00003245899,0.00002300373,0.000003032209,0.03469671,0.001967702,0.000006571723,0.002069163,0.9601638,0.0001080744],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3002786,0.1486445,0.001144933,0.1868126,0.00340122,0.009467548,0.0002796587,0.001159983,0.348811],"genre_scores_gemma":[0.9776104,0.01788972,0.00002996294,0.0001074153,0.0006260677,0.000123592,0.00005308081,0.00001660071,0.00354315],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7557306,"threshold_uncertainty_score":0.9973696,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4312184826","doi":"10.5325/rectr.34.0124","title":"English Theatrical Anecdotes, 1660–1800","year":2022,"lang":"en","type":"article","venue":"Restoration and Eighteenth-Century Theatre Research","topic":"Philippine History and Culture","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Simon Fraser University","funders":"","keywords":"Anecdote; Subject (documents); Joke; Exposition (narrative); Literature; Insider; Gossip; Period (music); Art; History; Aesthetics; Philosophy; Law; Epistemology; Computer science","authors":[{"name":"Diana Solomon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05307259615147492,"gpt":0.347425429059631,"spread":0.2943528329081561,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00274302,0.0001334967,0.0001702209,0.0002444237,0.004736977,0.0001681756,0.0003987674,0.0001148858,0.002230285],"category_scores_gemma":[0.0001419773,0.0001226146,0.00007503368,0.0009901942,0.0004405919,0.0003130584,0.0002183147,0.0008783287,0.00005081787],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005515224,"about_ca_system_score_gemma":0.000399439,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0004140062,"about_ca_topic_score_gemma":0.000171882,"domain_scores_codex":[0.9949833,0.002219181,0.0002168096,0.000416644,0.00157515,0.0005889008],"domain_scores_gemma":[0.9988722,0.0002186248,0.00004965948,0.0002855699,0.0002461892,0.0003277106],"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":[0.0004980472,0.001088121,0.003411319,0.00006101031,0.00006636499,0.0001087935,0.1168065,0.00005188317,0.0008945612,0.3167956,0.4646989,0.09551898],"study_design_scores_gemma":[0.0003171968,0.0001373426,0.000188486,0.000006210171,0.000007653206,0.00000363137,0.01743454,0.00003667945,0.00001267356,0.0007562159,0.9809502,0.0001491896],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1714686,0.04113243,0.00002233083,0.008900058,0.002327059,0.001456075,0.00009362655,0.0004315052,0.7741683],"genre_scores_gemma":[0.9891438,0.006972573,0.00003509298,0.0001495553,0.001130712,0.0001010477,0.00006573315,0.00001784743,0.002383601],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8176752,"threshold_uncertainty_score":0.9986818,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}