{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":9,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":9,"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":"55c3cebb591e","filters":{"venue":"TheatreForum"}},"results":[{"id":"W232530643","doi":"","title":"Benedict Andrews and Barrie Kosky: Two Innovative Australian Directors","year":2010,"lang":"en","type":"article","venue":"TheatreForum","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Impossibility; Possession (linguistics); Object (grammar); Suspect; Aesthetics; Product (mathematics); Reading (process); Visual arts; Art; Sociology; History; Law; Philosophy; Linguistics; Political science","authors":[{"name":"Alison Croggon","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01630998458074347,"gpt":0.2456520570165122,"spread":0.2293420724357688,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001682147,0.0002008963,0.0002230821,0.00009910809,0.0005988327,0.00009827485,0.0001163746,0.00004196829,0.001833805],"category_scores_gemma":[0.000006921773,0.0001353439,0.00004107906,0.00006820047,0.0004769231,0.0002777951,0.00007784066,0.0002833497,0.00008801385],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000009509242,"about_ca_system_score_gemma":0.00002099506,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0006642384,"about_ca_topic_score_gemma":0.008897998,"domain_scores_codex":[0.999098,0.00001630369,0.0001888706,0.0002003444,0.0001196672,0.0003767847],"domain_scores_gemma":[0.9995601,0.00003204481,0.00005208628,0.0001990053,0.00007599221,0.00008077159],"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":[0.0001838692,0.00013734,0.07341336,0.00008409732,0.0003670631,0.00001560124,0.1013521,0.000001187141,0.00449797,0.587851,0.04101896,0.1910774],"study_design_scores_gemma":[0.0005790126,0.0001735439,0.004832725,0.00002409767,0.00003009038,0.000007306065,0.004939053,0.000006730686,0.002311677,0.004647604,0.9821422,0.0003059441],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7318392,0.00008463035,8.272646e-7,0.002151736,0.001049835,0.0001199605,0.00008311153,0.0001156402,0.2645551],"genre_scores_gemma":[0.9868985,0.00004203295,0.00004146096,0.0003175657,0.001241489,0.00001514326,0.00001663246,0.00002135048,0.01140585],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9411232,"threshold_uncertainty_score":0.9990786,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W880507441","doi":"","title":"El Henry: Herbert Siguenza's Epic Chicano Version of Shakespeare's 1 Henry IV","year":2014,"lang":"en","type":"article","venue":"TheatreForum","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Parallels; Visual arts; Quarter (Canadian coin); Art history; Art; History; Engineering; Operations management","authors":[{"name":"Laura Zingle","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01066349673560499,"gpt":0.2013522011374613,"spread":0.1906887044018563,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003150686,0.0002270634,0.0003474067,0.0001401468,0.0003816326,0.00003105193,0.0002918061,0.00007738823,0.00393119],"category_scores_gemma":[0.000006182639,0.0001728015,0.0001598843,0.000040494,0.00037173,0.0002151025,0.00007434724,0.0001768696,0.0006250843],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007832704,"about_ca_system_score_gemma":0.00004345485,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005655141,"about_ca_topic_score_gemma":0.000421432,"domain_scores_codex":[0.9986373,0.00006658474,0.0003420815,0.0002569238,0.0002556226,0.000441442],"domain_scores_gemma":[0.999189,0.00003875193,0.0001275453,0.0004767575,0.00005960455,0.0001083325],"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":[0.001315499,0.001095436,0.008836051,0.0009737557,0.0003405747,0.00001626003,0.1450775,0.00007776307,0.009982076,0.5147961,0.1891134,0.1283756],"study_design_scores_gemma":[0.0007480569,0.0003464725,0.0006418448,0.00008501842,0.00004134845,0.000002950884,0.001480682,0.0001000553,0.0006968848,0.001747803,0.993846,0.0002629125],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4383508,0.0002700172,0.00002361665,0.000523357,0.001672842,0.000183824,0.00004590179,0.0001505888,0.5587791],"genre_scores_gemma":[0.9783334,0.00002339259,0.00002950734,0.0006619696,0.0009944877,0.00001374436,0.00003145135,0.00004066362,0.01987139],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8047326,"threshold_uncertainty_score":0.9969794,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W339873244","doi":"","title":"Number Eleven Theatre's the Prague Visitor: A Journey into a Canadian Company's Creative Process","year":2004,"lang":"en","type":"article","venue":"TheatreForum","topic":"Historical and Modern Theater Studies","field":"Psychology","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Visitor pattern; Performing arts; Meaning (existential); Process (computing); Function (biology); Plan (archaeology); Aesthetics; Visual arts; Sociology; Engineering; Art; History; Computer science; Epistemology; Philosophy","authors":[{"name":"Virginie Magnat","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0187147765311269,"gpt":0.3037106308116476,"spread":0.2849958542805207,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002533323,0.0003206723,0.0003672625,0.00008808735,0.000905465,0.00004574613,0.0005331758,0.0001378826,0.000563668],"category_scores_gemma":[0.000009670193,0.0001840343,0.0001444489,0.0002782006,0.0002359994,0.0001016826,0.00006773666,0.0003920627,0.00163294],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006163217,"about_ca_system_score_gemma":0.0002496478,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2597358,"about_ca_topic_score_gemma":0.1391807,"domain_scores_codex":[0.9980068,0.0001441362,0.0002967662,0.0004131135,0.0002543624,0.0008848056],"domain_scores_gemma":[0.9989037,0.00004806702,0.00008545875,0.000534051,0.0000894267,0.0003392795],"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":[0.001270146,0.00178527,0.04675679,0.0001290167,0.003012686,0.0007846655,0.6595005,0.0003071164,0.0003765791,0.08959172,0.12006,0.07642554],"study_design_scores_gemma":[0.006056102,0.001095803,0.03288272,0.0002655957,0.0004684587,0.0007273817,0.05272309,0.00002677777,0.001125624,0.2359848,0.6666183,0.002025391],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2581074,0.001006395,0.0008615169,0.0379617,0.002331731,0.0009294545,0.00006623739,0.000256518,0.6984791],"genre_scores_gemma":[0.9906983,0.00001232496,0.00008739812,0.0014434,0.0004759179,0.0001778812,0.000008207097,0.00004849257,0.007048068],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7325909,"threshold_uncertainty_score":0.9991444,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W163918359","doi":"","title":"Imag/ing Theatre in Wajdi Mouawad's Seuls","year":2009,"lang":"en","type":"article","venue":"TheatreForum","topic":"Middle East Politics and Society","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Drama; Politics; Art; The arts; Compromise; Dream; Performing arts; Fantasy; Literature; Aesthetics; History; Humanities; Visual arts; Sociology; Psychology; Political science; Law","authors":[{"name":"Virginia Preston","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01270839890356004,"gpt":0.3048266619682617,"spread":0.2921182630647017,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007406384,0.0001299389,0.0001904169,0.00005876056,0.000394737,0.00007219145,0.0002881046,0.0001244304,0.0002008209],"category_scores_gemma":[0.00002777297,0.000110979,0.0001198458,0.0002679886,0.0001398766,0.0001806509,0.00003138607,0.0001914844,0.00009979354],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002053904,"about_ca_system_score_gemma":0.000169619,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002123136,"about_ca_topic_score_gemma":0.002019699,"domain_scores_codex":[0.9983295,0.0001314325,0.0002105438,0.0002157448,0.0003109775,0.0008017744],"domain_scores_gemma":[0.9994757,0.0000595156,0.00004212195,0.0002263713,0.00002910027,0.0001672051],"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":[0.0000238085,0.0002962743,0.01996083,0.00001536948,0.00002123427,0.00003117924,0.07873595,0.00004585862,0.0008844333,0.8180127,0.002887933,0.07908446],"study_design_scores_gemma":[0.002116852,0.0002887178,0.02714133,0.0002537445,0.00004222542,0.000008888203,0.08749886,0.000644577,0.001067195,0.5214024,0.3581834,0.00135187],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2707331,0.0002888398,0.00007503418,0.01583228,0.0002495228,0.0002332056,0.000009256049,0.0001365973,0.7124421],"genre_scores_gemma":[0.9934054,0.00009923863,0.0002186666,0.001285623,0.0003881173,0.000004385342,0.000003381016,0.00001068859,0.004584524],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7226722,"threshold_uncertainty_score":0.4525591,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W73221715","doi":"","title":"Ondinnok's Xajoj Tun Rabinal Achi: Re-Membering Fragmented Lineages","year":2011,"lang":"en","type":"article","venue":"TheatreForum","topic":"Latin American and Latino Studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Drama; History; Dance; Art history; Humanities; Queen (butterfly); Cartography; Geography; Visual arts","authors":[{"name":"Julie Burelle","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05510006419539285,"gpt":0.3041415428706568,"spread":0.249041478675264,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004258599,0.0001581232,0.000227258,0.0000684495,0.0007584511,0.00003862722,0.0003419662,0.00006733593,0.001422983],"category_scores_gemma":[0.00005791891,0.0001227847,0.00009245431,0.0003190633,0.0003693942,0.0002098403,0.000154967,0.0001605081,0.0001435146],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007690817,"about_ca_system_score_gemma":0.00006508817,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003912671,"about_ca_topic_score_gemma":0.001124364,"domain_scores_codex":[0.998537,0.0001367072,0.0002159569,0.0002425382,0.0002938362,0.0005739504],"domain_scores_gemma":[0.9994079,0.00005775105,0.0001009597,0.0002547587,0.000048766,0.0001298224],"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":[0.000250662,0.0007699198,0.1410316,0.00006925863,0.0005878076,0.0001023197,0.3392113,0.00001396354,0.001458568,0.3019785,0.01866962,0.1958566],"study_design_scores_gemma":[0.002765159,0.001127696,0.09692981,0.0002970929,0.0002131307,0.00001203736,0.1873125,0.0003428123,0.00615572,0.0259301,0.6765167,0.002397241],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.0622815,0.0001917371,0.0005276958,0.002530722,0.0004143102,0.0001990646,0.000005600629,0.0003320373,0.9335173],"genre_scores_gemma":[0.9875024,0.0001571902,0.002327834,0.0004187555,0.0002573887,0.00001756116,0.000002626968,0.00001747393,0.009298757],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9252209,"threshold_uncertainty_score":0.9994898,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W258288991","doi":"","title":"L'Archange: Oper'installation: A Production by Chants Libres","year":2006,"lang":"en","type":"article","venue":"TheatreForum","topic":"Literature, Musicology, and Cultural Analysis","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":"Power (physics); Interpretation (philosophy); Atmosphere (unit); Mysticism; Administration (probate law); Government (linguistics); Opera; Law; Political science; History; Sociology; Art; Literature; Philosophy","authors":[{"name":"Patrick Mathieu","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01703104060887028,"gpt":0.2669403026513587,"spread":0.2499092620424884,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002214557,0.00009814013,0.0001239107,0.00004616443,0.0006506494,0.00009655215,0.0001454318,0.00009408437,0.0003050732],"category_scores_gemma":[0.00001269998,0.00006788882,0.00006898109,0.0003932845,0.0001598578,0.0003397262,0.00003029447,0.00007994567,0.00006608009],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005198742,"about_ca_system_score_gemma":0.00003058323,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003637299,"about_ca_topic_score_gemma":0.01117771,"domain_scores_codex":[0.9989609,0.0001085493,0.0001299757,0.0002228077,0.0002422254,0.0003355856],"domain_scores_gemma":[0.9996922,0.000009834213,0.00005092842,0.0001244435,0.00006663791,0.00005596202],"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":[0.0001446967,0.0006027899,0.02310616,0.00004730614,0.0001973682,0.00001295038,0.02788108,0.00007735303,0.04701896,0.1360173,0.6845494,0.08034462],"study_design_scores_gemma":[0.0001697759,0.0000482369,0.002528483,0.00001559825,0.00003957451,0.000002309206,0.00255042,0.00002064389,0.001264302,0.0112811,0.9818639,0.0002156678],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5486882,0.003546766,0.00005081282,0.06071213,0.001419743,0.0006191956,0.00004800262,0.0004066603,0.3845085],"genre_scores_gemma":[0.9186008,0.00004737201,0.00005853847,0.001029579,0.001705581,0.00002110758,0.00008100907,0.000007812412,0.07844821],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3699126,"threshold_uncertainty_score":0.6237427,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W303737956","doi":"","title":"Postcard from Buenos Aires","year":2012,"lang":"en","type":"article","venue":"TheatreForum","topic":"Latin American and Latino 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":"Menagerie; Art history; Art; Visual arts; Performance art; Quarter (Canadian coin); Cartography; Humanities; History; Geography; Archaeology","authors":[{"name":"Maria Delgado","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02079421959482106,"gpt":0.3024361646398096,"spread":0.2816419450449885,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001977317,0.00007364709,0.0001248094,0.0000286023,0.0005206797,0.00003918603,0.0001650636,0.00003869817,0.000603074],"category_scores_gemma":[0.00004092744,0.00005695196,0.00005558792,0.0001337167,0.0002478566,0.0002093746,0.00007202648,0.00005989715,0.0003656021],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004264124,"about_ca_system_score_gemma":0.00004240805,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03344598,"about_ca_topic_score_gemma":0.001836059,"domain_scores_codex":[0.9990606,0.00009695425,0.00009240943,0.00009416913,0.0002027576,0.0004530626],"domain_scores_gemma":[0.9995723,0.00009294627,0.0000390293,0.0001528389,0.00001975366,0.000123167],"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":[0.0000233078,0.0001556466,0.3039417,0.000003918602,0.0001533892,0.000002734923,0.132991,9.117811e-7,0.0004057263,0.2469087,0.0265756,0.2888373],"study_design_scores_gemma":[0.0001756107,0.00003237164,0.07838183,0.00001073321,0.00002301215,3.622131e-7,0.01909593,0.000003047026,0.0002307755,0.004431671,0.8973913,0.000223308],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07256304,0.001133283,0.0001347082,0.008201661,0.0005505506,0.0001096476,0.00001388847,0.0002043195,0.9170889],"genre_scores_gemma":[0.9944228,0.0001394357,0.0007364399,0.0006626835,0.0006921427,0.000006490724,0.00000268486,0.000007770423,0.003329535],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9218598,"threshold_uncertainty_score":0.9729904,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W320290481","doi":"","title":"After the Flood: Resurrecting Prague's Archa Theatre","year":2008,"lang":"en","type":"article","venue":"TheatreForum","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Population; Quarter (Canadian coin); Flood myth; History; Art; Geography; Cartography; Art history; Archaeology; Sociology","authors":[{"name":"Christopher L. Berchild","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02580073331445536,"gpt":0.2163375313456572,"spread":0.1905367980312019,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002525293,0.0002332479,0.0002203863,0.00006734893,0.001787096,0.00006325496,0.0002604747,0.00003629252,0.001222749],"category_scores_gemma":[0.000005481645,0.0001205723,0.0001557692,0.00005582775,0.000582728,0.0002268518,0.0001333998,0.000277096,0.000559076],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002644222,"about_ca_system_score_gemma":0.00003218964,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0005773981,"about_ca_topic_score_gemma":0.002443616,"domain_scores_codex":[0.9986747,0.0000685596,0.0002445803,0.0002243686,0.0002382018,0.000549612],"domain_scores_gemma":[0.9993173,0.0001012917,0.00005905566,0.0004187039,0.00005122272,0.00005240979],"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":[0.001458122,0.0003641661,0.05476164,0.0001337998,0.0007199316,0.0002042806,0.7013555,0.00003644913,0.0001148486,0.04865976,0.08325726,0.1089343],"study_design_scores_gemma":[0.0003934699,0.0001913414,0.004126434,0.00005987945,0.00005179932,0.0001039342,0.01903324,0.00002635247,0.0002064948,0.002550661,0.9728961,0.0003603029],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4610077,0.001286675,0.000004843127,0.003574076,0.001046059,0.0002213969,0.00003589809,0.0001880316,0.5326353],"genre_scores_gemma":[0.9802288,0.0001891173,0.00001790041,0.0007518857,0.00215509,0.00007484309,0.000005681954,0.00003276196,0.01654393],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8896388,"threshold_uncertainty_score":0.9996903,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W269511918","doi":"","title":"Mariela in the Desert","year":2006,"lang":"en","type":"article","venue":"TheatreForum","topic":"Globalization and Cultural Identity","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":"Performance art; Musical; Art history; Art; Visual arts; Performing arts; The arts; Alley; Cartography; History; Archaeology; Geography","authors":[{"name":"Karen Zacarías","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01021413210682043,"gpt":0.2845796111967654,"spread":0.274365479089945,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003259034,0.00003023849,0.00003327245,0.00001208435,0.0002407462,0.00006395832,0.000171808,0.00002918598,0.000226614],"category_scores_gemma":[0.00001325499,0.00001733865,0.00002242969,0.0002249647,0.00006634332,0.00009274628,0.00001149922,0.00003721167,0.0001121373],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00003597294,"about_ca_system_score_gemma":0.00001857268,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.0275563,"about_ca_topic_score_gemma":0.09733142,"domain_scores_codex":[0.9994548,0.0001083951,0.0000623408,0.00005267843,0.0001622628,0.000159547],"domain_scores_gemma":[0.999879,0.00001213013,0.00001309285,0.00006797303,0.00001467145,0.00001314586],"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":[0.000002599843,0.00003980983,0.04922871,9.028538e-7,0.000001094319,0.000003334771,0.003024496,0.000009112035,0.00003073138,0.9132558,0.03327264,0.001130764],"study_design_scores_gemma":[0.0001325415,0.000006336695,0.09549445,0.000004064599,0.000003424316,9.616684e-7,0.01068236,0.000007757043,0.00002420698,0.1047286,0.788844,0.0000712838],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1486475,0.0000590286,0.00003088595,0.01172376,0.0001142356,0.00009847173,0.000001032783,0.00003496531,0.8392901],"genre_scores_gemma":[0.989632,0.00001003812,0.00001612145,0.0005976327,0.00008829439,0.000003889184,0.00000364139,0.000001400904,0.00964703],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8409845,"threshold_uncertainty_score":0.9789193,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}