{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":5,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":5,"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":"27b974ea69d1","filters":{"venue":"The Turkish Online Journal of Design Art and Communication"}},"results":[{"id":"W1974016598","doi":"10.7456/10304100/002","title":"LOCALITY TRANSMISSION OF GLOBAL LUXURY BRANDS: CHANEL NO:5 PERFUME COMMERCIAL AND INTERCULTURALITY","year":2013,"lang":"en","type":"article","venue":"The Turkish Online Journal of Design Art and Communication","topic":"Diverse Cultural and Social 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":"Stantec (Canada)","funders":"","keywords":"Passion; Phenomenon; Context (archaeology); Meaning (existential); Advertising; Value (mathematics); Product (mathematics); The Imaginary; Aesthetics; Art; Sociology; Psychology; Business; Social psychology; History; Epistemology; Mathematics","authors":[{"name":"Işıl Zeybek","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05678618509697559,"gpt":0.2587132087089786,"spread":0.201927023612003,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000360683,0.0000933632,0.0002257324,0.00000931427,0.0003899373,0.00008705457,0.0002150866,0.00003143535,0.0001329835],"category_scores_gemma":[0.00002218901,0.00004924545,0.00006850078,0.00002461414,0.000454674,0.0003093418,0.00007502131,0.0001622503,0.000005015195],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001816052,"about_ca_system_score_gemma":0.00001199453,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003163903,"about_ca_topic_score_gemma":0.0001612045,"domain_scores_codex":[0.9991738,0.0002477852,0.0003165897,0.00004986966,0.0001325549,0.00007936868],"domain_scores_gemma":[0.99911,0.00008627823,0.0002337372,0.0001024,0.0004222692,0.00004527072],"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":[0.001477508,0.001597494,0.004260854,0.00028078,0.0009370446,0.000002460689,0.3039021,0.00001575717,0.001977275,0.04669781,0.1266658,0.512185],"study_design_scores_gemma":[0.006584778,0.002281214,0.275124,0.001568477,0.001031595,0.0001688928,0.1472173,0.002274246,0.0003180643,0.06718091,0.4950927,0.001157852],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9762599,0.003955187,0.0001864228,0.0150067,0.000124319,0.0002402681,0.00002292488,0.00001211044,0.004192204],"genre_scores_gemma":[0.9957438,0.003152219,0.0002792007,0.0002764912,0.0001377115,0.000001601968,0.000007199392,0.000002672154,0.0003990998],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5110272,"threshold_uncertainty_score":0.2999122,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2115350406","doi":"10.7456/10204100/003","title":"DİJİTAL İMAJ: “KENDİ”NİN SİMÜLASYONU MU OLMAYANA ERGİ Mİ?","year":2012,"lang":"tr","type":"article","venue":"The Turkish Online Journal of Design Art and Communication","topic":"Diverse Cultural and Social 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":"Stantec (Canada)","funders":"","keywords":"Identity (music); Reflexive pronoun; Clothing; Avatar; Aesthetics; Style (visual arts); Human being; Media studies; Consciousness; Sociology; Art; Psychology; Internet privacy; Visual arts; Computer science; Literature; Political science; Law; Humanity","authors":[{"name":"Zeynep GÜNGÖR","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.08490602086262286,"gpt":0.2733827472561985,"spread":0.1884767263935756,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.001112578,0.0002985214,0.000480067,0.00007632752,0.001883567,0.0003767079,0.0007316892,0.0001075815,0.0004196825],"category_scores_gemma":[0.00007045028,0.0001860772,0.0002460211,0.00009375352,0.0006970827,0.0009042223,0.0003334117,0.0006788595,0.00009674914],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00006945786,"about_ca_system_score_gemma":0.00004547913,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001152047,"about_ca_topic_score_gemma":0.0001955726,"domain_scores_codex":[0.9979016,0.0005130658,0.0006955214,0.0001081372,0.0003972557,0.0003844066],"domain_scores_gemma":[0.9979373,0.0003226702,0.000800247,0.0003240589,0.0004445706,0.0001712075],"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":[0.001211214,0.003657475,0.004702464,0.0001560788,0.003105439,0.00001478558,0.2992939,0.00003625124,0.000490027,0.1527956,0.4771382,0.05739863],"study_design_scores_gemma":[0.00162737,0.0005591906,0.01937555,0.0005053796,0.001077182,0.0001220899,0.06159442,0.0001508986,0.00007547778,0.004724432,0.9095963,0.0005917231],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7850047,0.1277021,0.00012351,0.03202436,0.002465888,0.0007400534,0.00015098,0.0000771846,0.05171119],"genre_scores_gemma":[0.9568997,0.03049063,0.0004637274,0.0005277373,0.001849586,0.000004284296,0.00002955936,0.00002489533,0.009709909],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4324581,"threshold_uncertainty_score":0.9994159,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2774179117","doi":"10.7456/10801100/009","title":"SPACE AS AN INTERFACE OF CONCEPT ACTION SUBJECT","year":2017,"lang":"en","type":"article","venue":"The Turkish Online Journal of Design Art and Communication","topic":"Scientific Research and Philosophical Inquiry","field":"Computer Science","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Stantec (Canada)","funders":"","keywords":"Subject (documents); Action (physics); Space (punctuation); Interface (matter); Computer science; World Wide Web; Physics; Operating system","authors":[{"name":"Osman Arayıcı","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1716233372902103,"gpt":0.4150007388535243,"spread":0.243377401563314,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00183993,0.00006675151,0.0001398794,0.00006129814,0.0003820056,0.0002998539,0.002476102,0.00003693934,0.000009701423],"category_scores_gemma":[0.0002871279,0.00004275997,0.00004687564,0.00008232143,0.000392,0.001062495,0.0003187851,0.0003079764,0.000003748613],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0000139313,"about_ca_system_score_gemma":0.00008242284,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002059893,"about_ca_topic_score_gemma":0.000008861753,"domain_scores_codex":[0.9987496,0.0004954828,0.0002657104,0.00008891801,0.0002973994,0.000102869],"domain_scores_gemma":[0.9975381,0.0002788917,0.0005530494,0.001227238,0.0003089813,0.00009375712],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.001802981,0.002469559,0.0008752127,0.00006927237,0.0004131864,0.00002447479,0.02382651,0.001740081,0.1942257,0.1332753,0.03138082,0.6098969],"study_design_scores_gemma":[0.002653929,0.004247481,0.01867002,0.0005429271,0.00008432265,0.0006246979,0.001588517,0.1413205,0.2117361,0.6061817,0.0118606,0.0004891205],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5113499,0.002201169,0.4338191,0.05067961,0.0004296797,0.0002657974,0.000003209009,0.00002224055,0.001229357],"genre_scores_gemma":[0.9839122,0.0006255732,0.01512942,0.00007228996,0.00008071664,6.998312e-7,0.000001381611,0.000003309723,0.000174372],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6094078,"threshold_uncertainty_score":0.4601254,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4411800623","doi":"10.7456/tojdac.1674146","title":"BEYOND THE LENS: A BIBLIOMETRIC JOURNEY THROUGH ARCHITECTURAL PHOTOGRAPHY RESEARCH","year":2025,"lang":"en","type":"article","venue":"The Turkish Online Journal of Design Art and Communication","topic":"3D Surveying and Cultural Heritage","field":"Earth and Planetary 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":"Photography; Lens (geology); Through-the-lens metering; Visual arts; Art; Optics; Physics","authors":[{"name":"Fazıl Akdağ","is_ca":false},{"name":"Fatma Betül Künyeli","is_ca":false},{"name":"Murat Çağlar Baydoğan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1290001232025569,"gpt":0.3466990165033694,"spread":0.2176988933008125,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004567937,0.0001007004,0.0001657996,0.001544947,0.0008881632,0.0002289323,0.0009582898,0.00004618818,0.00006983693],"category_scores_gemma":[0.0002368402,0.00004606339,0.00009042733,0.00964949,0.0003603218,0.0003005872,0.00005155713,0.0008736879,0.000009338771],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000004955285,"about_ca_system_score_gemma":0.00007075152,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0002206796,"about_ca_topic_score_gemma":0.0004355017,"domain_scores_codex":[0.9971729,0.001778404,0.0003590106,0.00008417937,0.0003960835,0.0002094353],"domain_scores_gemma":[0.9970608,0.002009463,0.0001862184,0.0003941492,0.0003088191,0.00004051361],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"design_other","study_design_gemma":"observational","study_design_scores_codex":[0.001331445,0.0003632634,0.08405631,0.00007040268,0.0006186008,0.00001282583,0.01192175,0.002342438,0.001407545,0.001449203,0.1396084,0.7568178],"study_design_scores_gemma":[0.0010442,0.0007554567,0.8401465,0.0003228722,0.0001234315,0.0003649342,0.005866656,0.004461437,0.0002589985,0.08127777,0.06512415,0.0002536146],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.900824,0.05933063,0.001089589,0.02818233,0.0002370077,0.0003674666,0.00001796281,0.00002130268,0.009929785],"genre_scores_gemma":[0.9847189,0.01107444,0.002827634,0.0009000208,0.00007831233,9.565615e-7,0.00001680083,0.000002585435,0.0003803981],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7565643,"threshold_uncertainty_score":0.6831123,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4283169670","doi":"10.7456/11203100/016","title":"TRADITIONAL PAPER CUTTING ART AND ITS REFLECTIONS ON CONTEMPORARY ART: THE EXAMPLE OF CHRISTINE KIM","year":2022,"lang":"en","type":"article","venue":"The Turkish Online Journal of Design Art and Communication","topic":"Diverse Cultural and Social Studies","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":"Contemporary art; Style (visual arts); Context (archaeology); Chinese art; Field (mathematics); Portrait; China; Art methodology; Visual arts; Aesthetics; Sociology; Art; History; Art history; Performance art; Archaeology","authors":[{"name":"NESLİHAN DİLŞAD DİNÇ","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.2778254868882967,"gpt":0.2986364503013522,"spread":0.02081096341305544,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0006020979,0.00007127529,0.0001425335,0.00002725526,0.00156349,0.00005088036,0.0001889872,0.00001091437,0.0002505615],"category_scores_gemma":[0.00003260003,0.00003955412,0.00005369963,0.00003927573,0.0001971387,0.0001580593,0.0000847335,0.0002811064,0.000003647116],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001613355,"about_ca_system_score_gemma":0.00002498025,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00002791995,"about_ca_topic_score_gemma":0.00005904475,"domain_scores_codex":[0.999139,0.0003096557,0.000261002,0.00004862043,0.0001813792,0.00006033874],"domain_scores_gemma":[0.9990746,0.0003677577,0.0002950025,0.000100883,0.0001410216,0.00002066854],"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":[0.000501899,0.0008247782,0.00006063915,0.0000230135,0.0004825823,0.000003340224,0.1147053,0.000176951,0.001132764,0.3954588,0.4816893,0.004940686],"study_design_scores_gemma":[0.0004370189,0.000411022,0.001019816,0.00004947335,0.00006503164,0.00003744293,0.01941408,0.000116366,0.00002364339,0.008891294,0.9694541,0.00008072326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5370205,0.02675291,0.00009718356,0.1501651,0.0009025384,0.001151901,0.0003721637,0.0000715673,0.2834662],"genre_scores_gemma":[0.9925046,0.001301915,0.00008312127,0.0008262596,0.0002159992,0.000008341464,0.00003441154,0.00000531991,0.005020007],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.4877648,"threshold_uncertainty_score":0.9997363,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}