{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":11,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":11,"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":"7887b88cab16","filters":{"venue":"Signa Revista de la Asociación Española de Semiótica"}},"results":[{"id":"W1577030539","doi":"10.5944/signa.vol8.1999.32923","title":"Inventario kinésico del Quijote: corpus completo y bases para su estudio","year":2022,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Health, Education, and Physical Culture","field":"Psychology","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of New Brunswick","funders":"","keywords":"Humanities; Psychology; Art","authors":[{"name":"Fernando Poyatos","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02513811337300301,"gpt":0.3367236346031546,"spread":0.3115855212301516,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007844807,0.001628756,0.001894528,0.01253559,0.002231166,0.005054034,0.001263231,0.0009936738,0.01032944],"category_scores_gemma":[0.0186343,0.0005952638,0.000979438,0.01542578,0.003543111,0.003921762,0.00312005,0.003391105,0.003642111],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003769149,"about_ca_system_score_gemma":0.007448905,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01432631,"about_ca_topic_score_gemma":0.02072663,"domain_scores_codex":[0.9958267,0.001565191,0.001154187,0.0003885211,0.0008644398,0.0002009531],"domain_scores_gemma":[0.9807957,0.01372567,0.0009968847,0.001509454,0.002778266,0.0001940459],"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":[0.001159092,0.0006332308,0.03769266,0.01539631,0.0002571975,0.0006969831,0.04690062,0.001047532,0.005707184,0.09840389,0.1160287,0.6760765],"study_design_scores_gemma":[0.0001172133,0.0002212589,0.13435,0.008460679,0.0003020206,0.002030218,0.02458656,0.0006058936,0.00425473,0.01643036,0.8084602,0.000180822],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2184882,0.1808854,0.1194783,0.01449434,0.009260205,0.01036314,0.1749818,0.001299823,0.2707488],"genre_scores_gemma":[0.4785559,0.1314042,0.1120149,0.002965381,0.002223182,0.04013077,0.1701752,0.002852745,0.05967774],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01432631,"threshold_uncertainty_score":0.04148781,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4206303391","doi":"10.5944/signa.vol31.2022.29411","title":"MORFOLOGÍA Y SIGNIFICADO DE LA CAMA EN MARCEL PRÉVOST. DEL LECHO CONYUGAL AL CAMASTRO DEL ADULTERIO","year":2022,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Spanish Literature and Culture Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Universidad de Valladolid; McGill University","keywords":"Humanities; Art; Bourgeoisie; Politics; Political science","authors":[{"name":"Jordi Luengo López","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.004773273479056877,"gpt":0.2430137999468443,"spread":0.2382405264677875,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006952705,0.0002681917,0.0001423862,0.0006753494,0.003687134,0.003056751,0.0002922904,0.0006847966,0.00483699],"category_scores_gemma":[0.002137005,0.0001329118,0.0001182627,0.0004942017,0.009432417,0.001712008,0.002501952,0.001205864,0.000464111],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001558278,"about_ca_system_score_gemma":0.001156781,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003721935,"about_ca_topic_score_gemma":0.01007088,"domain_scores_codex":[0.9994919,0.0002452142,0.000009710859,0.00006681094,0.000112498,0.00007377257],"domain_scores_gemma":[0.9990863,0.0003822763,0.0001949688,0.00008252501,0.0001303365,0.0001236479],"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":[0.0002067104,0.00002504534,0.01045809,0.000323514,0.000007464001,0.003206126,0.7482494,0.0001149734,0.005492392,0.1898649,0.006800032,0.03525129],"study_design_scores_gemma":[0.00001451385,0.0002352182,0.03691012,0.000667654,0.00002890115,0.004740364,0.3949283,0.0003996916,0.005055699,0.01673202,0.5402392,0.0000482204],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6841784,0.003587346,0.002926394,0.004649868,0.0002595435,0.00003064153,0.00008399164,0.00006529359,0.3042186],"genre_scores_gemma":[0.9720633,0.0004338772,0.0003814798,0.0001086407,0.00005050168,0.000008849236,0.00001256643,0.00002207461,0.02691871],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.00483699,"threshold_uncertainty_score":0.01618129,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2955600342","doi":"10.5944/signa.vol28.2019.25129","title":"Naturaleza y función de la literatura en la poética explícita de Carlos Pujol","year":2019,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Comparative Literary Analysis and Criticism","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":"Novelis (Canada)","funders":"","keywords":"Philosophy; Humanities; Poetics; Art; Poetry; Linguistics","authors":[{"name":"Teresa Vallès Botey","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.005054241298186788,"gpt":0.2598687672934198,"spread":0.254814525995233,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003269118,0.0005434124,0.000347879,0.001906971,0.01212998,0.00986911,0.00067872,0.002321344,0.003612061],"category_scores_gemma":[0.009273996,0.0002972505,0.0002119464,0.002040681,0.01711696,0.004926487,0.0023508,0.004491115,0.0006351137],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009429567,"about_ca_system_score_gemma":0.009383459,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01647238,"about_ca_topic_score_gemma":0.02420555,"domain_scores_codex":[0.9967487,0.002073645,0.00005464909,0.0003248493,0.0005815605,0.0002166528],"domain_scores_gemma":[0.9952164,0.003324242,0.0003162709,0.0001785653,0.0006617129,0.0003027737],"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":[0.00009198723,0.00003186375,0.001072567,0.0001600626,0.000005883486,0.0005696489,0.2788511,0.0002200749,0.0006456944,0.6733115,0.02724088,0.01779876],"study_design_scores_gemma":[0.00001660179,0.00003623309,0.001729365,0.0007308347,0.00001402423,0.0005367669,0.05695783,0.0004284988,0.001305934,0.03335924,0.9048291,0.00005561272],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2406363,0.02295992,0.01538699,0.09569166,0.001935529,0.0001378122,0.000279563,0.0002443849,0.6227279],"genre_scores_gemma":[0.9394251,0.005042871,0.002850001,0.003293755,0.0004827688,0.000105071,0.00005037479,0.0001874632,0.04856269],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.01647238,"threshold_uncertainty_score":0.06841654,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2151169119","doi":"10.5944/signa.vol23.2014.11754","title":"La ironía en la obra de Juan Rulfo","year":2014,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Comparative Literary Analysis and Criticism","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":"Bombardier (Canada)","funders":"","keywords":"Irony; Humanities; Narrative; Art; Philosophy; Literature","authors":[{"name":"Pol Popovic Karic","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006877212590558898,"gpt":0.2630134946650656,"spread":0.2561362820745067,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001248414,0.0004032204,0.000262815,0.0005849018,0.006365329,0.003092003,0.000364978,0.001192771,0.003147174],"category_scores_gemma":[0.003178787,0.0001312399,0.0001580395,0.0004964456,0.007310172,0.00146815,0.001723968,0.001257687,0.0002930122],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003170271,"about_ca_system_score_gemma":0.001529891,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0225582,"about_ca_topic_score_gemma":0.04719621,"domain_scores_codex":[0.9993306,0.0003243966,0.000008896263,0.00008604093,0.0001161568,0.0001339111],"domain_scores_gemma":[0.9993462,0.0003788957,0.0000728384,0.0000595243,0.00009502129,0.00004749653],"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":[0.0002366722,0.0000228027,0.006546579,0.0002304693,0.00001252854,0.003547391,0.6075596,0.000639097,0.002205078,0.3319598,0.01308894,0.03395114],"study_design_scores_gemma":[0.00001114148,0.00005433716,0.008900481,0.0005983321,0.00002383808,0.001623077,0.261183,0.0005868335,0.002494525,0.02306024,0.7014238,0.00004053497],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5527894,0.00282099,0.004617378,0.008770248,0.0006971726,0.00003235523,0.00008257646,0.0001144418,0.4300754],"genre_scores_gemma":[0.965375,0.0005039424,0.0005249701,0.0002103336,0.00004850285,0.00001078026,0.00001937308,0.00004692717,0.03326016],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0225582,"threshold_uncertainty_score":0.04485375,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4316689666","doi":"10.5944/signa.vol32.2023.32701","title":"ESCRIBIR EL DESEO. METAFICCIÓN Y NARRACIÓN INESTABLE EN EL CINE DE FRANÇOIS OZON","year":2023,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Comics and Graphic Narratives","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"Université Laval","keywords":"Art; Humanities","authors":[{"name":"Teresa Sorolla Romero","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01153388903651474,"gpt":0.2892441009896103,"spread":0.2777102119530956,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001386356,0.0006595773,0.0001805544,0.0006887059,0.004439302,0.005884697,0.0004198271,0.001418471,0.005789387],"category_scores_gemma":[0.003047904,0.0001605703,0.000164722,0.0004089442,0.007436316,0.004374824,0.002451113,0.001863255,0.0006319484],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00491513,"about_ca_system_score_gemma":0.001404177,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02971684,"about_ca_topic_score_gemma":0.03909021,"domain_scores_codex":[0.9987356,0.0007456437,0.00002387911,0.0001507995,0.0001806718,0.0001632783],"domain_scores_gemma":[0.9989304,0.0004627961,0.000129817,0.00005342158,0.0002524792,0.0001711246],"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":[0.0002668203,0.00003083536,0.004142161,0.0004028001,0.0000137495,0.001451555,0.4785285,0.0002463222,0.004097071,0.4034192,0.06898505,0.038416],"study_design_scores_gemma":[0.00001225445,0.00005860483,0.00543951,0.0006101081,0.00001559314,0.0009162792,0.124261,0.0003057693,0.001073023,0.009023575,0.8582447,0.00003952232],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3053808,0.02732256,0.009336703,0.0548992,0.004453173,0.00007718123,0.0003657546,0.0001606434,0.598004],"genre_scores_gemma":[0.9236253,0.004066189,0.0008864514,0.002012695,0.000499178,0.00003623462,0.00006674852,0.0001004758,0.06870663],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02971684,"threshold_uncertainty_score":0.05908775,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4316663552","doi":"10.5944/signa.vol32.2023.36119","title":"PRESENTACIÓN: LA NOVELA DE LA ARTISTA","year":2023,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Spanish Literature and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"University of Toronto; Ohio State University; Ohio State University Press","keywords":"Humanities; Art","authors":[{"name":"Ioana Gruia","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.008175154322822413,"gpt":0.2775370894017991,"spread":0.2693619350789767,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001977816,0.0006450333,0.0004132216,0.001193038,0.008050666,0.01491745,0.0008147458,0.001799302,0.0194348],"category_scores_gemma":[0.003925659,0.000182701,0.0004374793,0.001439569,0.01161974,0.003961544,0.003229278,0.003638601,0.004386981],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005547059,"about_ca_system_score_gemma":0.003950029,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007885685,"about_ca_topic_score_gemma":0.01394316,"domain_scores_codex":[0.998044,0.0009501642,0.000044038,0.0002317611,0.0005302768,0.0001997574],"domain_scores_gemma":[0.9984634,0.0005641465,0.0001267473,0.000230195,0.0004001998,0.0002153255],"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":[0.000091386,0.00003544827,0.0007762937,0.0002767709,0.00001572432,0.0008540949,0.06223096,0.0002200787,0.0009490844,0.7592296,0.1434782,0.03184232],"study_design_scores_gemma":[0.000007221268,0.00001957833,0.0004444302,0.0002092236,0.000006104252,0.0004008432,0.01255901,0.0001062763,0.0003467211,0.01848061,0.9674086,0.00001136267],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02057699,0.01766517,0.003377971,0.03214237,0.006388656,0.00002521332,0.0001468685,0.0001089375,0.9195679],"genre_scores_gemma":[0.4893595,0.01106513,0.001779502,0.005033585,0.005342676,0.00006419798,0.0001386011,0.000290995,0.4869257],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.0194348,"threshold_uncertainty_score":0.06501591,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4212966874","doi":"10.5944/signa.vol6.1997.33035","title":"Felipe Benítez Reyes: Humo. (Barcelona: Planeta, 1995)","year":2022,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Spanish Culture and 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":"Novelis (Canada)","funders":"","keywords":"Humanities; Art","authors":[{"name":"Felipe Benítez Reyes","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.00780565779367051,"gpt":0.2381707710299885,"spread":0.230365113236318,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005834962,0.001655295,0.0008398396,0.002713511,0.001965402,0.003787881,0.001307155,0.0022829,0.1863536],"category_scores_gemma":[0.0007502568,0.0004504111,0.000337804,0.004348446,0.000752404,0.003641237,0.002620413,0.001761406,0.06857284],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00194044,"about_ca_system_score_gemma":0.001046231,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03135716,"about_ca_topic_score_gemma":0.08703253,"domain_scores_codex":[0.9997031,0.000093301,0.00001908854,0.00004851877,0.00007643578,0.00005958214],"domain_scores_gemma":[0.9996876,0.00009797198,0.00002477016,0.00003451554,0.0001050586,0.00005006139],"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":[0.00007063155,0.00002853264,0.0004741343,0.0004376014,0.0000107231,0.0001214393,0.0007881078,0.00008699395,0.0001560465,0.01433341,0.8066847,0.1768078],"study_design_scores_gemma":[0.00001232667,0.000007981669,0.002284715,0.0003914257,0.000006254192,0.0001572548,0.001055584,0.00005637132,0.0001063918,0.002250786,0.9936643,0.000006724053],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002248333,0.4538501,0.001451375,0.0185629,0.009737185,0.00004649439,0.002410421,0.0006686496,0.5110245],"genre_scores_gemma":[0.02480381,0.08604655,0.001479367,0.002984588,0.001761581,0.00009416856,0.001617816,0.0007236213,0.8804885],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1863536,"threshold_uncertainty_score":0.623415,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2959250682","doi":"10.5944/signa.vol23.2014.11729","title":"Jules Verne y la ciencia en la prensa española del siglo XIX","year":2014,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Historical and Literary Analyses","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":"Novelis (Canada)","funders":"Universidad de Zaragoza","keywords":"Humanities; Art; Newspaper; Political science","authors":[{"name":"María-Pilar Tresaco Belío","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.006815271644166699,"gpt":0.2376418775310091,"spread":0.2308266058868424,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007425988,0.0003983746,0.0002304184,0.0004786487,0.003123595,0.007082633,0.0003302821,0.001231304,0.01122468],"category_scores_gemma":[0.002012836,0.0001164325,0.0001383506,0.0006662507,0.003726108,0.002447238,0.001672953,0.00235419,0.001964877],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00276643,"about_ca_system_score_gemma":0.001614732,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009559377,"about_ca_topic_score_gemma":0.01394811,"domain_scores_codex":[0.9994043,0.0001952917,0.00001191346,0.0001227146,0.0001680209,0.00009782903],"domain_scores_gemma":[0.9994568,0.00017809,0.00006508992,0.00004167603,0.0001685171,0.0000899399],"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":[0.0001922587,0.00005757198,0.002821165,0.0004187394,0.00001903762,0.00161593,0.07134555,0.0002694435,0.002182423,0.6212621,0.2043515,0.09546433],"study_design_scores_gemma":[0.000003281415,0.00001176477,0.001205345,0.000175032,0.000002395555,0.0001340572,0.006602657,0.00003665038,0.0002232907,0.003739988,0.9878594,0.000006170806],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08083417,0.06505701,0.001439511,0.04683761,0.007951947,0.0000216405,0.0001690349,0.00008584995,0.7976032],"genre_scores_gemma":[0.4635227,0.02441247,0.0005936829,0.004327841,0.003202316,0.00002475725,0.0001546403,0.0001747932,0.5035868],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01122468,"threshold_uncertainty_score":0.03755033,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4210797524","doi":"10.5944/signa.vol7.1998.32915","title":"paralenguaje en el Quijote: inventario completo y bases para su estudio","year":2022,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Health, Education, and Physical Culture","field":"Psychology","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 New Brunswick","funders":"","keywords":"Humanities; Psychology; Art","authors":[{"name":"Fernando Poyatos","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02098397042191948,"gpt":0.3616634643971506,"spread":0.3406794939752312,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01460578,0.0005575808,0.0006863811,0.002271236,0.001446833,0.003762474,0.001131816,0.000717701,0.00219311],"category_scores_gemma":[0.032706,0.0004990619,0.001260973,0.002051781,0.002760905,0.004707566,0.003175632,0.002167495,0.0004074609],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002251611,"about_ca_system_score_gemma":0.004552009,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009537568,"about_ca_topic_score_gemma":0.01756807,"domain_scores_codex":[0.9950742,0.002528811,0.0006108637,0.0003554823,0.001127339,0.0003032506],"domain_scores_gemma":[0.978757,0.01114136,0.003094156,0.002175251,0.004043456,0.0007887982],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002622648,0.0006593697,0.7439296,0.0006734544,0.0002737436,0.0002036545,0.09385274,0.0004975208,0.001162873,0.01696047,0.00365161,0.1378727],"study_design_scores_gemma":[0.00008824396,0.0004054401,0.7910742,0.001161846,0.0003854338,0.0008612761,0.1366522,0.00238768,0.001694539,0.02058146,0.04452938,0.0001783121],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9516393,0.002565512,0.01195525,0.002033166,0.0002570509,0.0008508862,0.0008440299,0.00008456953,0.02977031],"genre_scores_gemma":[0.9841261,0.001666415,0.008532159,0.0002888521,0.00004031763,0.0009387135,0.0004862268,0.00004870573,0.00387255],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01460578,"threshold_uncertainty_score":0.07724363,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4390933136","doi":"10.5944/signa.vol33.2024.36609","title":"LA METÁFORA DEL HAMBRE EN LA POESÍA DE ANNE CARSON: UNA POÉTICA DE LA INCORRECCIÓN","year":2024,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Literary and Cultural Studies","field":"Social Sciences","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":"Humanities; Poetics; Poetry; Art; Philosophy; Literature","authors":[{"name":"María Elena Higueruelo Illana","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.00612974909252386,"gpt":0.3130178707885849,"spread":0.3068881216960611,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002176344,0.000436134,0.0002716916,0.001246298,0.01323712,0.006451176,0.0008219695,0.001436297,0.005042485],"category_scores_gemma":[0.005066674,0.0002444637,0.0001847559,0.001160043,0.01751724,0.003558811,0.002637429,0.002937995,0.0004068375],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0176284,"about_ca_system_score_gemma":0.0150014,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.4346383,"about_ca_topic_score_gemma":0.7115255,"domain_scores_codex":[0.9981364,0.0008546322,0.00003246521,0.0001739481,0.0005264087,0.0002761694],"domain_scores_gemma":[0.9972323,0.00117785,0.0002071425,0.000178182,0.0008419267,0.0003627381],"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":[0.00009364972,0.00001820481,0.004234722,0.0001608577,0.00001263535,0.00079537,0.5435695,0.0002414284,0.00141771,0.4075702,0.01787171,0.02401407],"study_design_scores_gemma":[0.000007797593,0.00004223939,0.0102494,0.0004633309,0.00002574906,0.000780368,0.3898387,0.0003749657,0.001494619,0.0229872,0.5736384,0.00009721932],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3202575,0.007809621,0.007108347,0.04685223,0.0009241491,0.00007992556,0.0001526302,0.00008732083,0.6167282],"genre_scores_gemma":[0.9274779,0.001697902,0.001300554,0.001358484,0.00004817743,0.0000208454,0.0000225757,0.00006008623,0.06801342],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.4346383,"threshold_uncertainty_score":0.8642169,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4316663521","doi":"10.5944/signa.vol32.2023.36123","title":"CUANDO LAS MUJERES TOMARON EL PINCEL. LECTORAS, EDITORAS Y AUTORAS EN LA CHINA PRE-MODERNA","year":2023,"lang":"es","type":"article","venue":"Signa Revista de la Asociación Española de Semiótica","topic":"Cultural and Social Studies in Latin America","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"","funders":"McGill University","keywords":"Humanities; Art","authors":[{"name":"Alicia Relinque Eleta","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.008598939917318832,"gpt":0.2893219426865343,"spread":0.2807230027692155,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001852913,0.0005243993,0.0002436704,0.001343576,0.00428208,0.0037525,0.0004692933,0.0008555419,0.01149278],"category_scores_gemma":[0.001826756,0.0001730999,0.0001871095,0.001845784,0.002996948,0.001929915,0.001113358,0.001439906,0.001493095],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003417932,"about_ca_system_score_gemma":0.006072823,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01745963,"about_ca_topic_score_gemma":0.05421581,"domain_scores_codex":[0.9993881,0.0001830803,0.00003116001,0.00008263343,0.0002013771,0.0001135816],"domain_scores_gemma":[0.998897,0.0002676666,0.0001490445,0.00009102972,0.0003864908,0.0002086752],"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":[0.0001901267,0.00005385303,0.0176988,0.001473833,0.00004689697,0.001512451,0.09114192,0.0002637328,0.003148745,0.1116289,0.5577583,0.2150825],"study_design_scores_gemma":[0.000005844533,0.00001744324,0.01055202,0.0002227569,0.00001151456,0.0001248354,0.006858949,0.00008663452,0.0003659126,0.001142976,0.9806004,0.00001069596],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.169004,0.2325262,0.00203833,0.1703078,0.0367603,0.0001077854,0.0008791621,0.0003278569,0.3880487],"genre_scores_gemma":[0.4672371,0.04133375,0.001017914,0.009355936,0.0106555,0.00005362491,0.0002154712,0.0001178252,0.4700129],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01745963,"threshold_uncertainty_score":0.0384472,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}