cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.17876/plate/dr.3/envelopes/203_47324
title: Digital object identifier (DOI) for the envelope 47324 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47326
title: Digital object identifier (DOI) for the envelope 47326 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47327
title: Digital object identifier (DOI) for the envelope 47327 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47328
title: Digital object identifier (DOI) for the envelope 47328 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47329
title: Digital object identifier (DOI) for the envelope 47329 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47331
title: Digital object identifier (DOI) for the envelope 47331 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47332
title: Digital object identifier (DOI) for the envelope 47332 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47333
title: Digital object identifier (DOI) for the envelope 47333 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47334
title: Digital object identifier (DOI) for the envelope 47334 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47336
title: Digital object identifier (DOI) for the envelope 47336 in archive 203 from the APPLAUSE DR3
DOI: 10.17876/plate/dr.3/envelopes/203_47337
title: Digital object identifier (DOI) for the envelope 47337 in archive 203 from the APPLAUSE DR3
DOI: 10.25386/genetics.7898075.v2
title: Supplemental Material for He, Cuentas-Condori, and Miller, 2019

description: supplemental figures<br>
DOI: 10.25387/g3.7732358
title: Supplemental Material for Campbell et al., 2019

description: A table of rainbow trout ohnologs originating from the Ss4R as described is provided as Supplemental File S1. Supplemental File S2 contains summary alignment statistics from the HTSeq analysis. Supplemental File S3 contains information on gene expression from edgeR, including log<sub>2</sub>fold difference in expression, raw, and FDR corrected <i>p </i>–values. Supplemental File S4 shows the specific genes associated with enriched GO terms in tetrasomic regions of the rainbow trout genome. Supplemental File S5 shows differentially expressed genes between cross type with associated GO terms. Supplemental File S6 shows proportions of disomic and tetrasomic ohnologs with protein-protein interaction information. All RNA-seq data used in this manuscript have been uploaded to NCBI (BioProject Number PRJNA269115) and the rainbow trout genome can be accessed at https://www.ncbi.nlm.nih.gov/assembly/GCF_002163495.1/.
DOI: 10.25387/g3.7732358.v1
title: Supplemental Material for Campbell et al., 2019

description: A table of rainbow trout ohnologs originating from the Ss4R as described is provided as Supplemental File S1. Supplemental File S2 contains summary alignment statistics from the HTSeq analysis. Supplemental File S3 contains information on gene expression from edgeR, including log<sub>2</sub>fold difference in expression, raw, and FDR corrected <i>p </i>–values. Supplemental File S4 shows the specific genes associated with enriched GO terms in tetrasomic regions of the rainbow trout genome. Supplemental File S5 shows differentially expressed genes between cross type with associated GO terms. Supplemental File S6 shows proportions of disomic and tetrasomic ohnologs with protein-protein interaction information. All RNA-seq data used in this manuscript have been uploaded to NCBI (BioProject Number PRJNA269115) and the rainbow trout genome can be accessed at https://www.ncbi.nlm.nih.gov/assembly/GCF_002163495.1/.
DOI: 10.3886/e120041v1
title: Parents, Schools and Human Capital Differences across Countries - Data

description: Data Files for "Parents, Schools and Human Capital Differences across Countries"
DOI: 10.3886/e120041
title: Parents, Schools and Human Capital Differences across Countries - Data

description: Data Files for "Parents, Schools and Human Capital Differences across Countries"
DOI: 10.5281/zenodo.3944753
title: Granja et al. GSE139369 mixed-phenotype acute leukemia for Besca

description: The gene expression matrices were downloaded from GEO (https://www.ncbi.nlm.nih.gov/geo/query/acc.cgi?acc=GSE139369), originally published by Granja JM, Klemm S, McGinnis LM, Kathiria AS et al. Single-cell multiomic analysis identifies regulatory programs in mixed-phenotype acute leukemia. Nat Biotechnol 2019 Dec;37(12):1458-1465. PMID: 31792411. Individual raw matrices were merged to be uploaded directly with Besca. We then reprocessed the dataset using the Besca package (https://github.com/bedapub/besca). Raw processed h5ad is available. Processed and annotated h5ad was annotated using the notebook available at https://github.com/bedapub/besca_publication_results/tree/master/hematopoietic/Granja2019
DOI: 10.17909/t9-5nb9-8543
title: Data used for "Validation of PSF models for HST and other space-based observations"

description: Paper abstract: Forthcoming space-based observations will require high-quality point spread function (PSF) models for weak gravitational lensing measurements. One approach to generating these models is using a wavefront model based on the known telescope optics. We present an empirical framework for validating such models to confirm that they match the actual PSF to within requirements by comparing the models to the observed light distributions of isolated stars. We apply this framework to Tiny Tim, the standard tool for generating model PSFs for the Hubble Space Telescope (HST), testing its models against images taken by HST’s Advanced Camera for Surveys in the Wide Field Channel. We show that Tiny Tim’s models, in the default configuration, differ significantly from the observed PSFs, most notably in their sizes. We find that the quality of Tiny Tim PSFs can be improved through fitting the full set of Zernike polynomial coefficients that characterize the optics, to the point where the practical significance of the difference between model and observed PSFs is negligible for most use cases, resulting in additive and multiplicative biases both of order ∼4 × 10−4. We also show that most of this improvement can be retained through using an updated set of Zernike coefficients, which we provide.
DOI: 10.6084/m9.figshare.8131730
title: The test set

description: A test set consists of real products from Amazon.com
DOI: 10.6084/m9.figshare.8131835
title: Del1

description: ....
DOI: 10.25386/genetics.7796837
title: Supplemental Material for Ellison et al., 2019

description: Supplementary Figures and Tables
DOI: 10.25386/genetics.7796837.v1
title: Supplemental Material for Ellison et al., 2019

description: Supplementary Figures and Tables
DOI: 10.6084/m9.figshare.8158958
title: Field Theory for recurrent mobility

description: Aggregated mobility flow information data as described in the paper "Field theory for recurrent mobility" by M. Mazzoli, A. Molas, A. Bassolas, M. Lenormand, P. Colet and J.J. Ramasco. <br><br>File starting with “CEN” refer to census aggregated data in London, Manchester-Liverpool and Paris.Others refer to Twitter aggregated data in the same cities plus Los Angeles, Rio de Janeiro and Tokyo.<br><br><br>Files ending with “C” refer to 1x1km^2 cells centroid projected coordinates in meters.<br>They are structured as follow:<br><br>cell index, x position, y position<br><br><br>Files ending with “OD” are Origin-Destination sparse matrices.<br>They are structured as follow:<br><br>home cell index i, work cell index j, flow (number of people commuting from I to j)<br><br>
DOI: 10.6084/m9.figshare.8159030
title: Remediation of complex remazol effluent using biochar derived from green seaweed biomass

description: The unique property of biochar, synthesized from a green seaweed (<i>Ulva lactuca</i>), to remediate complex Remazol dye bearing wastewater was investigated. Preliminary trials were targeted to explore the remediation capacity of biochar towards each of Remazol dyes (Remazol brilliant blue R (RBBR), Remazol brilliant orange 3R (RBO3R), Remazol brilliant violet 5R (RBV5R), and Remazol Black B (RBB)) in single-solute system. The results show that equilibrium pH played a vital part with maximum sorption observed at pH 2.0. The isotherm experiments confirmed that biochar exhibited high uptakes of 0.301, 0.292, 0.265, and 0.224 mmol/g for RBO3R, RBBR, RBV5R, and RBB, respectively. Due to the presence of multiple dyes as well as high concentration of auxiliary chemicals, the performance of biochar to remediate Remazol effluent was inhibited markedly compared to single solute systems. Nevertheless, the dye removal efficiency was above 77.5% and the decolorization rate was high with more than 95% of total dye decolorization completed within 240 min. Our results provide novel insights into the potential of biochar to remove Remazol dyes from complex dye wastewaters.
DOI: 10.6084/m9.figshare.8159030.v1
title: Remediation of complex remazol effluent using biochar derived from green seaweed biomass

description: The unique property of biochar, synthesized from a green seaweed (<i>Ulva lactuca</i>), to remediate complex Remazol dye bearing wastewater was investigated. Preliminary trials were targeted to explore the remediation capacity of biochar towards each of Remazol dyes (Remazol brilliant blue R (RBBR), Remazol brilliant orange 3R (RBO3R), Remazol brilliant violet 5R (RBV5R), and Remazol Black B (RBB)) in single-solute system. The results show that equilibrium pH played a vital part with maximum sorption observed at pH 2.0. The isotherm experiments confirmed that biochar exhibited high uptakes of 0.301, 0.292, 0.265, and 0.224 mmol/g for RBO3R, RBBR, RBV5R, and RBB, respectively. Due to the presence of multiple dyes as well as high concentration of auxiliary chemicals, the performance of biochar to remediate Remazol effluent was inhibited markedly compared to single solute systems. Nevertheless, the dye removal efficiency was above 77.5% and the decolorization rate was high with more than 95% of total dye decolorization completed within 240 min. Our results provide novel insights into the potential of biochar to remove Remazol dyes from complex dye wastewaters.
DOI: 10.22023/mdx.8159333
title: Winter 2 on linen.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. <br>The textile designs were hand screen-printed, using natural dyes. Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The images show the design printed in three different colourways,  onto linen and wool. <br> 2 Linen: Madder, Buckthorn, Brazilwood, Citric, Blackcurrant, Iron. <br> The design is printed, steamed to fix the dye-pastes, and washed by hand.<br>After steaming and washing out the dye colours change in brightness and intensity.<br> All fabric was mordanted prior to the print process.<br> All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.22023/mdx.8159333.v1
title: Winter 2 on linen.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. <br>The textile designs were hand screen-printed, using natural dyes. Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The images show the design printed in three different colourways,  onto linen and wool. <br> 2 Linen: Madder, Buckthorn, Brazilwood, Citric, Blackcurrant, Iron. <br> The design is printed, steamed to fix the dye-pastes, and washed by hand.<br>After steaming and washing out the dye colours change in brightness and intensity.<br> All fabric was mordanted prior to the print process.<br> All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.6084/m9.figshare.8159852
title: Antarctic Ice Shelf Thickness Change and Bottom Melt Rates from NASA/CECS Antarctic Ice Mapping and NASA Operation IceBridge

description: HDF5 files with data from NASA/CECS Antarctic ice mapping and NASA Operation IceBridge campaigns.Contains elevation and co-registered triangulated data processed in a Lagrangian reference frame along with geophysical corrections and derived values.<br><b>HDF5 data variables:</b>DH_Dt: Ice thickness change rate [m/yr]DH_Dt_sigma: Ice thickness change rate uncertainty [m/yr]bmr: Bottom melt rate calculated using mass conservation [m/yr]bmr_sigma: Bottom melt rate uncertainty [m/yr]h: Uncorrected surface elevation [m]h_sigma: Surface elevation error [m]dh_dx: Surface slope in easting direction [unitless]dh_dy: Surface slope in northing direction [unitless]longitude: Longitude of measurement [degrees east]latitude: Latitude of measurement [degrees north]delta_time: Acquisition time measured as seconds elapsed since January 1, 2000 12:00:00 UTC (J2000 seconds)tide_ocean: Ocean tide elevation from CATS2008 harmonic constants at the measurement position at the acquisition time [m]tide_load: Load tide elevation from CATS2008 harmonic constants at the measurement position at the acquisition time [m]tide_pole: Solid earth pole tide displacements at the measurement position at the acquisition time [m]tide_oc_pole: Ocean pole tide radial displacements at the measurement position at the acquisition time [m]dac: Dynamic atmospheric correction which includes inverse barometer (IB) effects located at the measurement position at the acquisition time [m]adt: Absolute dynamic topography (calculated by adding the mean dynamic topography to the sea level anomalies) [m]mdt: Mean dynamic topography (sea surface height above geoid) [m]sla: Sea level anomaly located at the measurement position at the acquisition time [m]geoid_h: Geoid height computed from GGM05 gravity model [m]ITRF: Offset to translate to 2014 reference frame [m]IQR: Mask calculated using a interquartile range algorithm (Pritchard et al., 2009)RDE: Mask calculated using a robust dispersion estimator algorithm (Smith et al., 2017)track: ATM icessn track number (0=nadir)<br><br><b>Disclaimer:</b>This data provided here is not sponsored or maintained by the Universities Space Research Association (USRA) or NASA. It is provided here under a Creative Commons 4.0 license but with no guarantees whatsoever.
DOI: 10.22023/mdx.8159330
title: Winter 1 on linen.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. <br> Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The related images show the design printed in three different colourways,  onto linen and wool.<br> 1 Linen: Madder, Buckthorn, Brazilwood, Citric, Blackcurrant, Iron. <br> The design is printed, steamed to fix the dye-pastes, and washed by hand.After steaming and washing out the dye colours change in brightness and intensity.<br> All fabric was mordanted prior to the print process.<br> All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.22023/mdx.8159330.v1
title: Winter 1 on linen.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. <br> Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The related images show the design printed in three different colourways,  onto linen and wool.<br> 1 Linen: Madder, Buckthorn, Brazilwood, Citric, Blackcurrant, Iron. <br> The design is printed, steamed to fix the dye-pastes, and washed by hand.After steaming and washing out the dye colours change in brightness and intensity.<br> All fabric was mordanted prior to the print process.<br> All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.22023/mdx.8159936
title: Winter 3 on wool.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. The textile designs were hand screen-printed, using natural dyes. Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The linked images for Winter show the design printed in three different colourways, onto linen and wool. 3 on Wool: Indigo, Citric, Madder, Buckthorn, Chlorophyllin, Soda Ash.<br>The design is printed, steamed to fix the dye-pastes, and washed by hand.After steaming and washing out the dye colours change in brightness and intensity. All fabric was mordanted prior to the print process. All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.22023/mdx.8159936.v1
title: Winter 3 on wool.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. The textile designs were hand screen-printed, using natural dyes. Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The linked images for Winter show the design printed in three different colourways, onto linen and wool. 3 on Wool: Indigo, Citric, Madder, Buckthorn, Chlorophyllin, Soda Ash.<br>The design is printed, steamed to fix the dye-pastes, and washed by hand.After steaming and washing out the dye colours change in brightness and intensity. All fabric was mordanted prior to the print process. All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.22023/mdx.8159975
title: Winter 4 on linen.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. The textile designs were hand screen-printed, using natural dyes. Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The images show the design printed in three different colourways,  onto linen and wool.<br>4 Linen: Madder, Buckthorn, Brazilwood, Citric, Logwood, Iron. The linen was pre-dyed with red onion skins. The design is printed, steamed to fix the dye-pastes, and washed by hand.After steaming and washing out the dye colours change in brightness and intensity.The citric lost intensity when it was steamed and washed. All fabric was mordanted prior to the print process. All the print pastes were made using combinations of bio-waste and plant extracts.
DOI: 10.22023/mdx.8159975.v1
title: Winter 4 on linen.pdf

description: This project is part of Ceres Artists in Residence at The Museum of Domestic Design & Architecture (MoDA). The aim of the residency was to use objects from MoDA's collection as a starting point for exploration of natural prints and dyes with the aim of raising the awareness of sustainability in design research.<b><br></b><br><b>Winter design</b><br>2 colour repeat, with overprinting and papercut out details. The textile designs were hand screen-printed, using natural dyes. Winter design is one of my responses to a 1930’s Christmas card design, called Winter Afternoon, by the artist Gwen White. The pattern is inspired by strong shadows, furrows of the ploughed field, and stark shapes of the trees. The design can be repeated as a block repeat. The images show the design printed in three different colourways,  onto linen and wool.<br>4 Linen: Madder, Buckthorn, Brazilwood, Citric, Logwood, Iron. The linen was pre-dyed with red onion skins. The design is printed, steamed to fix the dye-pastes, and washed by hand.After steaming and washing out the dye colours change in brightness and intensity.The citric lost intensity when it was steamed and washed. All fabric was mordanted prior to the print process. All the print pastes were made using combinations of bio-waste and plant extracts.