{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":6,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":6,"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":"f100c3130b3c","filters":{"venue":"Studies in Theatre and Performance"}},"results":[{"id":"W3120278197","doi":"10.1080/14682761.2020.1862998","title":"Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics","year":2021,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":true},"ca_institutions":"Institute for Christian Studies; University of Toronto","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Precarity; Vulnerability (computing); Injustice; Politics; Sociology; Audience reception; Social injustice; Media studies; Gender studies; Political science; Psychology; Social psychology","authors":[{"name":"Kathleen Gallagher","is_ca":true},{"name":"Christine Balt","is_ca":true},{"name":"Lindsay Valve","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1319886275301386,"gpt":0.3803135616645344,"spread":0.2483249341343958,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004822401,0.000167071,0.0003449813,0.0001588376,0.0005707087,0.00004427288,0.00008662514,0.00004067991,0.00003966001],"category_scores_gemma":[0.00002948757,0.0001330503,0.00003574156,0.000112684,0.0009780207,0.0003415841,0.0002098034,0.0001969811,0.000001820758],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004755973,"about_ca_system_score_gemma":0.00007989904,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003546066,"about_ca_topic_score_gemma":0.02244534,"domain_scores_codex":[0.9987114,0.00009829544,0.000330258,0.0003217776,0.0001793519,0.0003588898],"domain_scores_gemma":[0.9990965,0.0002687987,0.00004138979,0.0001919574,0.0003591563,0.00004218906],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0002896062,0.0001793271,0.2001806,0.002125212,0.0001043955,0.00000753374,0.6810538,0.00007537146,0.0001421587,0.02774659,0.000855982,0.08723941],"study_design_scores_gemma":[0.003051452,0.005255016,0.02099293,0.001641625,0.00007481735,0.00003673123,0.7971921,0.001394425,0.003752762,0.02201936,0.1436425,0.0009462316],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9524124,0.01869315,4.111128e-7,0.0002709175,0.0002150792,0.0002304132,0.00011662,0.000009771336,0.02805124],"genre_scores_gemma":[0.9889147,0.009966896,0.0001229532,0.00008064121,0.0003582686,0.00008169213,0.00002331394,0.00001146359,0.000440075],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1791876,"threshold_uncertainty_score":0.9953925,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4413442413","doi":"10.1080/14682761.2025.2546215","title":"Feeling together: the affective project of co-presence and the limits of the audience community","year":2025,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto; Queen's University","funders":"Social Sciences and Humanities Research Council of Canada; Federation for the Humanities and Social Sciences","keywords":"Feeling; Psychology; Aesthetics; Social psychology; Sociology; Art","authors":[{"name":"Kelsey Jacobson","is_ca":true},{"name":"Bethany Schaufler-Biback","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06101984615800165,"gpt":0.3240653915479779,"spread":0.2630455453899762,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":["sts"],"category_scores_codex":[0.001111228,0.0001537372,0.0003388899,0.00005280289,0.001557836,0.00002124985,0.0003470936,0.00002394955,0.00000375969],"category_scores_gemma":[0.00007835557,0.00006175961,0.00005849034,0.0001492806,0.004865288,0.000127552,0.000334193,0.0003445239,3.834633e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001253334,"about_ca_system_score_gemma":0.00003146688,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0008090678,"about_ca_topic_score_gemma":0.00399237,"domain_scores_codex":[0.9990054,0.0003002429,0.0002678627,0.0001157455,0.0001300093,0.0001806977],"domain_scores_gemma":[0.9980007,0.001425848,0.0001239693,0.0003415762,0.0001016701,0.000006208259],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.000530851,0.0000615631,0.1022999,0.0009510748,0.0003692861,2.022272e-7,0.8292549,0.00004021934,0.00002687746,0.02674165,0.001147322,0.03857618],"study_design_scores_gemma":[0.003202672,0.0007178239,0.07856074,0.003254161,0.0003369457,0.000009389534,0.8669471,0.0009560475,0.003705736,0.01058512,0.03127224,0.0004520947],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9180527,0.01396621,4.924108e-7,0.0009004896,0.0003126002,0.0004463917,0.00001494079,0.000008086935,0.06629808],"genre_scores_gemma":[0.9840992,0.01504825,0.000003685533,0.0001726238,0.0000635278,0.00005831932,2.731511e-7,0.000004373517,0.000549714],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.06604652,"threshold_uncertainty_score":0.999742,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1656769169","doi":"","title":"[Rezension zu] Ovadija, Mladen: Dramaturgy of sound in the avant-garde and postdramatic theatre. - Montreal [u.a.]: Mcgill-Queen's Univ. Press, 2013. ISBN 0-7735-4173-X ; 978-0-7735-4173-3","year":2014,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Balkan and Eastern European Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Dramaturgy; Art; Art history; Humanities; Visual arts","authors":[{"name":"David Roesner","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0297877378190659,"gpt":0.2268998702020563,"spread":0.1971121323829904,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.0009713217,0.0003736244,0.0008829886,0.0002143425,0.0003157301,0.00005179211,0.0003104213,0.0001030653,0.00001997712],"category_scores_gemma":[0.0000633275,0.0002823548,0.00008344248,0.0001313138,0.0005157131,0.0002892496,0.0003314212,0.0003337236,0.00004167049],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004155845,"about_ca_system_score_gemma":0.000008134119,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0011709,"about_ca_topic_score_gemma":0.000760335,"domain_scores_codex":[0.9979184,0.000114392,0.0008281052,0.0005320372,0.0001026137,0.0005044625],"domain_scores_gemma":[0.99878,0.0002900103,0.0003202628,0.0004920983,0.00004142061,0.00007619398],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.00118826,0.0008071162,0.7450808,0.003787731,0.001125484,0.00007513891,0.07869522,0.0006132114,0.00002610753,0.02690685,0.01329651,0.1283976],"study_design_scores_gemma":[0.007415451,0.001937527,0.7114332,0.001730133,0.0001814388,0.0001537323,0.01480085,0.01020706,0.0000854766,0.0347728,0.2151534,0.002128877],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8681995,0.02748949,0.000008572586,0.001406696,0.0004613086,0.0004500449,0.0001016703,0.00003102788,0.1018517],"genre_scores_gemma":[0.952548,0.04596706,0.00007033091,0.0003996872,0.0001275591,0.00002141011,0.000006285664,0.00003216227,0.0008275549],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2018569,"threshold_uncertainty_score":0.9999629,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3155582738","doi":"10.1080/14682761.2021.1913322","title":"The pleasure in moving: drawing the space through flamenco bodies","year":2021,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Diversity and Impact of Dance","field":"Psychology","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":true,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"Ontario Trillium Foundation; York University","keywords":"Performative utterance; Parallels; Ethnography; Pleasure; TRACE (psycholinguistics); Space (punctuation); Aesthetics; Field (mathematics); Tracing; Art; Sociology; Visual arts; Anthropology; Philosophy; Linguistics; Computer science; Psychology","authors":[{"name":"Miriana Lausic","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05861434343760027,"gpt":0.3370018494038152,"spread":0.2783875059662149,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003954823,0.0001202004,0.0001720693,0.00001999152,0.0005585474,0.00003739917,0.0001787391,0.00004224683,0.00002918914],"category_scores_gemma":[0.00004503794,0.00006897979,0.00003159525,0.0001580411,0.0003937704,0.0001808634,0.0001956344,0.0002691064,0.00003023722],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003115315,"about_ca_system_score_gemma":0.00002215929,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001092343,"about_ca_topic_score_gemma":0.0009417278,"domain_scores_codex":[0.9991317,0.000104886,0.000143437,0.0001895295,0.0001159049,0.0003144855],"domain_scores_gemma":[0.9993063,0.0003377934,0.00004049616,0.0002694009,0.00003186928,0.00001416945],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0002438911,0.00008611303,0.6948791,0.0001143256,0.000257384,0.00008668358,0.2219301,0.00006442035,0.00002706897,0.005558818,0.02671613,0.05003596],"study_design_scores_gemma":[0.001328684,0.0002415275,0.450398,0.0004210363,0.00004000528,0.00006069129,0.310744,0.0000724229,0.0003666928,0.003552304,0.2324136,0.0003610952],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.835769,0.0570799,0.000001600056,0.005304113,0.0009355342,0.00009849411,0.000003259015,0.00001303826,0.1007951],"genre_scores_gemma":[0.9718895,0.02489865,0.0000282001,0.0004373491,0.0001112915,0.00001374936,5.878198e-7,0.000005512246,0.002615143],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.2444812,"threshold_uncertainty_score":0.4295952,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4392551269","doi":"10.1080/14682761.2024.2325305","title":"‘Me and the Sky’: smashing the glass ceiling in <i>Come from Away</i> , neoliberal feminism, and climate change","year":2024,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","topic":"Ecocriticism and Environmental 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":"Feminism; Glass ceiling; Climate change; Sky; Gender studies; Neoliberalism (international relations); Sociology; Art; Political science; Geography; Meteorology; Oceanography; Political economy; Geology; Law","authors":[{"name":"Evelyn O’Malley","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03058482757020508,"gpt":0.2468457285874678,"spread":0.2162609010172627,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002748734,0.000136738,0.0001851176,0.00003286589,0.0003871206,0.00020588,0.00006657268,0.00002716203,0.00001425894],"category_scores_gemma":[0.000002078795,0.00007036935,0.00001980599,0.00003085733,0.0007037919,0.0003050288,0.0001810414,0.0002461757,0.000002915447],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001116327,"about_ca_system_score_gemma":0.000001777032,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001682578,"about_ca_topic_score_gemma":0.0009618164,"domain_scores_codex":[0.9993436,0.00003758933,0.0001580125,0.0001857207,0.00006536877,0.0002096985],"domain_scores_gemma":[0.9996091,0.000259454,0.00001592188,0.00009558823,0.000003442667,0.00001648062],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001325629,0.00001741652,0.04749841,0.0005198776,0.00007233882,0.00002410562,0.8743291,0.000002725047,0.000006324244,0.04576128,0.0002079128,0.03142792],"study_design_scores_gemma":[0.006564531,0.0005699567,0.1290247,0.007783055,0.0003835546,0.0001071826,0.4608784,0.01878427,0.00009506791,0.04919841,0.3248253,0.00178561],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9057482,0.07690771,4.825283e-8,0.001713006,0.0004186831,0.0001491709,0.00005167559,0.00001558239,0.0149959],"genre_scores_gemma":[0.9563472,0.04185527,0.000006874801,0.000986964,0.0005364427,0.00004865323,0.000005125746,0.00001016939,0.0002033599],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4134507,"threshold_uncertainty_score":0.2977458,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4416562560","doi":"10.1080/14682761.2025.2594256","title":"The theatre of Louise Lowe","year":2025,"lang":"en","type":"article","venue":"Studies in Theatre and Performance","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":"Concordia University","funders":"","keywords":"Performance art; Volume (thermodynamics); Theatre studies; Term (time)","authors":[{"name":"Emer O’Toole","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02731846339080316,"gpt":0.2784063231377553,"spread":0.2510878597469521,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003233691,0.0001803073,0.0003155023,0.0001022773,0.0008428353,0.00003320346,0.0001841227,0.00002884399,0.0000276632],"category_scores_gemma":[0.000008863532,0.0001012214,0.00005804489,0.0001094114,0.001325992,0.0001491632,0.0001626369,0.0001533726,0.000008703717],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002059574,"about_ca_system_score_gemma":0.00002629252,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008792822,"about_ca_topic_score_gemma":0.001906216,"domain_scores_codex":[0.999067,0.00003150937,0.0003355325,0.000171555,0.0001104311,0.0002839633],"domain_scores_gemma":[0.9993123,0.0002804863,0.00006376153,0.0002463697,0.00008143632,0.00001562595],"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":[0.0006535609,0.0001175541,0.0759047,0.001113673,0.000607118,0.00000388729,0.1061698,0.00002383352,0.000009838027,0.09791699,0.01647815,0.7010009],"study_design_scores_gemma":[0.0008035498,0.0004755234,0.00354286,0.0007820999,0.00008454318,0.000002326155,0.05818092,0.0001499451,0.0002913345,0.008601784,0.9267915,0.0002935334],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4682783,0.04456657,4.453472e-7,0.001219131,0.001065393,0.0001820318,0.00001121582,0.00002657233,0.4846503],"genre_scores_gemma":[0.9486615,0.04541566,0.000006270755,0.0001407833,0.000204919,0.00003740068,9.825209e-7,0.000007085924,0.005525418],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9103134,"threshold_uncertainty_score":0.6482493,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}