dataesr/scientific-paragraphs-categorization huggingface dataset:
The more a database element is employed to articulate a narrative, the more that narrative becomes part of the character's identity which in turn must be preserved within the process of re-contextualisation, bonding the character with the narrative. This is a process that can be observed in all of Muramasa's female characters. Akane Ichijō, self-styled hero of justice (a database element), sees it as a way to express commentary on the nature of justice itself. By holding a fundamentalist view of what is right and wrong, with no place for subtlety or nuance and holding every transgressor MUTUAL IMAGES ‖ ISSUE 3 ‖ AUTUMN 2017 as being worthy of death, the character of Akane Ichijō carries part of the background narrative (the game's uncaring world) within her character identity. These two examples show a process which results in characters whose individual characteristics/database elements are drawn from the character database, but at the same time see their individual identity developed through the articulation of each database element.
When these elements are made to reference a peculiar narrative contest, we have conservation of the character's host narrative in their constitutive database elements, as the characters must be depicted with that particular articulation of database elements to maintain character consistency. This constancy is carried even when the characters are re-articulated within different contexts. See the following (figure  8 ) wallpaper featuring all of Sokō Akki Muramasa's principal female characters as pinup girls. This is most evident within the wallpaper in the side character of Chachamaru (third from the left). During the course of the game, she is depicted as a warrior girl fighting for the Rokuhara bakufu, and this is preserved by her being depicted with a Japanese sword in hand. Furthermore, references to the game are made in the ornament which dangles from her bikini top, which references the samurai armour she wears for most of the game.
The same can be observed with Ichijō Akane (first from right, foreground), whose pinup dress includes references to her role as a tsurugi mechanic during chapter three of the game. A third example lies in Muramasa (second from left), whose leg accessory references the temple where she is kept (as a tsurugi suit of armour) in the game. Thus, it can be argued that, as the setting of the game becomes more articulated, the more this universe is preserved and communicated within the character's database elements, and this is preserved during the process of character re-contextualisation. Even if one was to look at the above representation of Chachamaru without prior knowledge of either the character or Sokō Akki Muramasa, by simply noting that she wields a sword they will deduce that Chachamaru is a fighter.
Furthermore, if the ornament is identified, the viewer will be able to deduce, at the mere minimum, that she belongs to a world where samurai exist, which is reinforced by the ornament dangling from the bikini top. The way in which she is depicted as a pinup, however, also embeds narrative, as her clothes are depicted to be of a cloth that is not found in a completely orthodox depiction of samurai warfare, and thus the viewer will be able to deduce that she lives in a world where samurai and modern technology coexist. In fact, should we remove those two articulations of database elements, character coherency would waver, and it would become very difficult to tell whenever that character is indeed Ashikaga Chachamaru. When a database-element constituted character is placed within a setting home to an articulate narrative, as is the case with Sokō Akki Muramasa, the parallel necessities of articulating each character's constitutive database elements and communicating the narrative in which the characters act results in a conflation of the narrative within the articulation of database elements.
This, in turn, makes it so that the articulation of database elements needed to preserve character coherency cannot be accomplished without referencing the host narrative. This, as argued by  Nozawa (2013) , rather than leading to the disappearance of narrative, leads to a "new relation with narrative. " In other words, in the event of the character being subjected to re-contextualisation  (Nozawa 2013, np) , it would still be necessary to maintain character consistency, and with it, narrative information would still be carried over to the new context, allowing a preservation of narrative within character identity, whose other side is character-consistency. It is within this starting point that information about the 'grand narrative' as espoused by Ōtsuka Eiji (  2010 ) is conveyed. The more the setting in the background is developed, the higher the amount of information pertaining to the narrative will be conveyed through each character's database elements.
Database elements provide a common interface for the perception of unique character identity, in a way that is not unlike what has been detailed by Jos de Mul (2015) in his examination of personal identity within database contexts: when people's identity is turned into data, and thus into a database, what allows the creation of an individual identity is the presence of the same interface, Facebook in de Mul's case and the character database in the case of character identities within visual novels. In the case of visual novels, database elements are the common framework by which characters and narratives can be comprehended and consumed. Within Sokō Akki Muramasa, the character database is purposed as the access point(s) into the narrative, which in turn creates and solidifies character identities whose unicity is reliant on the context they communicate through the articulation of their constitutive database elements.
Conclusions This paper has offered a discussion of visual novels as a game genre enmeshed in the phenomenon described by  Azuma (2009)  as the character database and more in particular, how it relies on emphatic engagement (moe) in the construction of character identity and their relation to the game's narrative. The paper did so by providing an overview of previous approaches to visual novels, especially those by Emily  Taylor (2007)  and Patrick  Galbraith (2011) , while also attempting to reconcile the various attempt at defining the phenomenon of moe, especially in light of the fact that precise definitions outside of ill-defined 'euphoric reactions' have not yet been offered. The paper sought also to improve previous attempts at collocating visual novels, especially in light of the particular interactive framework that is offered by database elements, moving away from the view as 'interactive choose-you-adventure books'  (Taylor 2007, 277)  or simple interactive romance novels  (Galbraith 2009a, np).
Database elements and the interactive and open-ended nature by which an affective bond develops in the player arguably offer another dimension of interactivity parallel to the choices offered to the player during the course of the game. In fact, the game is a space where the player interacts with the database elements that constitute the characters, enjoying character fruition by way of filling the gaps between one database of elements and another, forming a personalised interaction which however remains founded on the constancy of the single database elements, whose peculiar articulation is what gives the character a unique identity. The particular articulation of database elements is a foundation by which the character's identity is maintained and preserved, which allows the preservation character consistency when the character is subjected to re-contextualisation (cf.
Nozawa 2013, np). From a game's studies standpoint, this places database elements in the dimension of objects  (Aarseth 2012)  while keeping the character they constitute as agents within the ludic dimension of the game software. This is a possible line of investigation that could offer interesting results in future examinations of visual novels from a game studies perspective. With a firm basis in these findings, the article presented Sokō Akki Muramasa as a case study, arguing that the subversion of the development of affection towards characters for narrative purposes present within the game makes the mechanisms evident for analysis and commentary. The reversal of visual novel mechanics is deployed to reinforce the game's narrative, influencing the player's actions and reversing the meaning that the player attributes to the pursuit of characters.
While the player can, in a metanarrative sense, bring the character back to life by going back to a previous savegame or choosing another storyline (Cf. Azuma 2007), the only way they can save the character's life is by not pursuing the character in question. As each character's storyline is explored by the player, each articulation of a database element is experienced in a way that reinforces the game's narrative and provide an increasingly unique identity to both the players and the game's world, resulting in a limitation to how the characters can be re-contextualised outside of their original narrative context, as the character identity (complete with the death they face within their storyline) is necessary for the preservation of character identity. MUTUAL IMAGES ‖ ISSUE 3 ‖ AUTUMN 2017 It is thus arguable that, in spite of  Azuma's (2007; 2009)  espousing the disappearance of narrative from the consumption of media products, narrative is in fact still prominent and as important as before, and, as the background narrative grows in sophistication and detail, the possibility for endless re-contextualisation (cf.
Nozawa 2013, np)  diminishes in light of the need to preserve character identity. Thus, narrative becomes subjected to its interpretation as per database elements, but does not disappear. In fact, the articulation of character constitutive database elements can be employed to generate new narrative possibilities which are not present within the database itself, as it is shown within Sokō Akki Muramasa. Furthermore, database elements can be subjected to discussion and deconstruction, and also employed to convey a complex narrative which is not readily referenced by the database itself. Further research possibilities on this particular video game genre could present opportunities to examine a genre of digital text which has been seldom explored within Japanese studies and, in particular, those focusing on Japanese pop culture.
which has long been the subject of much idealisation and commodification in a variety of contexts, from pop culture to tourism. In a way, the division along cultural lines of East and West and the depiction of Japanese and westerners as complete opposites, seems to echo Kōichi Iwabuchi's (1994) concept of complicit exoticism, as Yamato (Japan) possesses all kinds of special qualities such as being the place most favourable for the forging of tsurugi armours. By virtue of this particular relationship with the creation of techno-magical armours, Japan, fictionalised as the land of Yamato, is rendered exotic via the use of orientalist tropes, each of which is conveyed through the character database. Another instance of narrative being conveyed through database elements is the iteration of Japan's narrative as a peace-loving people, which is congruent with what James McVeigh describes as 'Peace Nationalism': a form of anti-militarist nationalism focused on the portrayal of the Japanese people as victims of war and of the machinations of immoral wartime leaders(McVeigh 2004: 208-210).
in the context of a virtual pet. The player can bring the girl with them and use the DS' camera to place the girl in a real context. The framework of interactivity in which the player is placed does not describe what happens within visual novels, discussion of bishōjo games, a more generic umbrella which conflates visual novels with every other game featuring interactions with database- constituted characters, presents a very particular Nintendo DS game, Love Plus (Konami 2007) as the paper's case study, which is described with the usage of Anne Allison's (2006) concept of techno-intimacy, which refers to the bonds that are engendered as part of games that require the care of a virtual pet, which Allison exemplifies in her examination of the Tamagotchi device and is based on the continual enforced performing of menial tasks (such as feeding and cleaning the virtual pet, lest the pet becomes unhappy, ill or even die).
Building performance simulation DesignBuilder  [1]  has been selected as the software tool for this study to model building's thermal performance using a range of simulation scenarios. This software is the most comprehensive user interface of EnergyPlus  [2] , which is a widely used thermal simulation engine developed by the Department of Energy (DOE) in the USA. For this study, DesignBuilder V4. 2 was used, and it employs EnergyPlus 8. 1 as the engine for dynamic thermal simulations. The study building is over 100 years old and no significant refurbishment has been carried out to improve its airtightness, therefore, the infiltration level was set at 1ac/h for the simulations. The reported U-values for the building constructions are shown in Table  1. For calibration purposes, the DesignBuilder model was setup with the construction details defined in Table  1  and with reasonable assumed behavioural patterns and equipment heat gains, and the EPC generated was found to compare favourably to the recorded EPC rating of the property.
The contribution of PCM in reducing overheating risks in UK residential buildings The mean indoor air temperature for the entire study building, with and without PCM, using the 'current' weather data (Loughborough) is illustrated in Figure  1  for the month of August. CIBSE Guide A [11] recommends an indoor comfort temperature of 25°C and it is evident that both datasets exceeded this value regularly. However, the effect of the PCM has been to reduce the magnitude of the peak daytime temperatures thus maintaining the indoor conditions closer to the recommended ideal value. The night time temperatures are also noticeably higher for most of the month when using PCM, subsequently the indoor air temperature is observed to fluctuate within a narrower range with the use of PCM.
Location in the UK The UK has a maritime climate but is also influenced by continental weather systems, particularly in the South. It is, therefore, necessary to identify whether PCMs could make a valid contribution to all, or just some parts, of the UK. In order to assess this the case study building was modelled in three UK locations; Aberdeen (57°15′N), Leeds (53°79′N) and Southampton (50°54′N). Current and future weather data sets, from the Prometheus project [10] were available for these locations that were chosen as representative of the far North, Northern Central, and the Southern UK. The results presented in this section were generated using the 'historical' weather data recorded between 1961 and 1990. Figures  3  and 4  shown the results for this section. Figure  3  displays the predicted mean internal air temperature for the case study building, without PCM, at each of the three study locations.
The data shows that the risk of overheating is greatest in Southampton and that Aberdeen is clearly the coolest location with no evident overheating. CIBSE Guide A [11] gives 28°C as the threshold for overheating, and the data suggests that this will very rarely be exceeded in any of the three locations. It is, however, worth noting that these results were generated using the 'historical' weather data and more recently obtained datasets are warmer. It is, therefore, possible that the results presented here may underestimate the current risk of overheating. Figure  4  illustrates the effect of adding PCM to the study building located in Aberdeen, the most northerly and coolest of the three UK locations. A narrowing of the internal temperature range is evident in Figure  4  (as was evident in Figure  1 ) which would result in cooler peak summer internal temperatures on hot days and warmer internal temperatures on cooler days i.
Climate change/global warming The previous section (3. 2. 2) revealed that overheating is not currently anticipated in any of the three locations. However, the current scientific consensus is that climate change/global warming is occurring and is expected to modify existing climatic conditions leading to more extreme weather events and generally warmer conditions for the UK. This section analysed the predicted effect of global warming on the case study building's internal environment and the performance of PCM. The following weather datasets used here were downloaded from the Prometheus project official web page  [4] ; historical (average between 1961 and 1990) and future (i. e. those for year 2030, 2050 and 2080). Aberdeen was chosen as the study location for this section since it has the coolest climate of the three selected.
The dust particles are identified by the cast shadow and the light scattered off towards the microscope camera. For the porous gold targets, the reflectivity is less than 3% and the targets appear black. The COSIMA targets are identified by Downloaded from https://royalsocietypublishing. org/ on 13 September 2021 a unique hex code ranging from XC0 to XD8. The X is substituted by the numbers 1, 2 or 3, indicating the top, mid and low position, respectively, of the target mounted on the targetholder. The images are subjected to either lossy or lossless compression. Further, for some images, subpixel resolution of 10 µm is available  [11]. Nominally, particles of about 14 µm (COSISCOPE pixel size) can be identified and are specified by their coordinates in the target plane and the timestamp of the first image after their collection.
Acknowledgements. COSIMA was built by a consortium led by the  Max-Planck-Institut für Extraterrestrische Physik, Garching, Germany, in collaboration with Laboratoire de Physique et Chimie de l'Environnement et de l'Espace, Orléans, France, Institut d'Astrophysique Spatiale ,  CNRS/Université Paris Sud, Orsay, France, Finnish Meteorological Institute, Helsinki, Finland, Universität Wuppertal, Wuppertal, Germany, von Hoerner und Sulger GmbH, Schwetzingen, Germany, Universität der Bundeswehr, Neubiberg, Germany, Institut für Physik, Forschungszentrum Seibersdorf, Seibersdorf, Austria, Institut für Weltraumforschung, Österreichische Akademie der Wissenschaften, Graz, Austria  and is led by the  Max-Planck-Institut für Sonnensystemforschung, Göttingen, Germany , with the support of the national funding agencies of  Germany (DLR , grant no.
We provide a quantitative description of the French national herbarium vascular plants collection dataset. Held at the Muséum national d'histoire naturelle, Paris, it currently comprises records for 5,400,000 specimens, representing 90% of the estimated total of specimens. Ninety nine percent of the specimen entries are linked to one or more images and 16% have field-collecting information available. This major botanical collection represents the results of over three centuries of exploration and study. The sources of the collection are global, with a strong representation for France, including overseas territories, and former French colonies. The compilation of this dataset was made possible through numerous national and international projects, the most important of which was linked to the renovation of the herbarium building.
Background & Summary The dataset (Data Citation 1) of the Paris vascular plant herbarium (P) contains information on the collection of angiosperms, gymnosperms and vascular cryptogams held by the Muséum national d'histoire naturelle (MNHN). This collection constitutes, together with the non-vascular plant collections (PC), France's National Herbarium, which houses a total of ca. 8 million specimens. The collection at P includes ca. 6 million specimens mostly mounted on herbarium sheets, along with alcohol-preserved specimens (held in the 'alcoothèque'), dry fruits and seeds (the 'carpothèque'), wood samples (the 'xylothèque'), pollen slides (the 'palynothèque'), histological slides (the 'histothèque') and samples preserved in silica-gel for genetic studies (the 'silicagelothèque'). The holdings cover all vascular plant orders worldwide, with a particularly rich record of specimens from France, former French colonies, current French overseas departments and territories, as well as countries that were extensively explored by early French botanists such as China and Brazil.
The main body of the collection (the 'general collection'), which is physically arranged according to a systematic classification system, was built through donations, inter-institutional exchange programs and field expeditions conducted by the MNHN and collaborators. It holds an estimated 200,000 type specimens (about 96% of which have been databased) and historically important collections such as those of Jussieu and Lamarck. The origin of the Paris herbarium dates back to the late 17th century with the constitution of the first systematic herbaria at what was then called the Jardin royal des plantes médicinales (Royal Garden of Medicinal Plants), founded 1635. The collection started to resemble the modern herbarium we know today after the French Revolution and the establishment in 1793 of the Muséum national d'histoire naturelle.
Today's P collections are thus the inheritance of over 350 years of botanical activity  1. Between 2008 and 2012, the Paris herbarium was completely renovated, a process that included a building overhaul and the systematic reconditioning of all specimens to comply with modern curation standards. The entire collection was moved from fixed cabinets to compactors shelves, thus improving its general state of curation. A major databasing initiative was undertaken in conjunction with the renovation and a massive specimen imaging effort was conducted on a scale never before attempted  2. To date, the P collection dataset (Data Citation 1) includes ca. 5,400,000 specimens, which covers about 90% of the estimated total size of the collection. Images are available, under a CC-BY licence for 99% of the specimens, 16% of which are accompanied by complete collection label information, along with the plant name and the family in which it is placed (this material is hereafter referred to as 'fully databased').
This operation included a comprehensive resorting of the entire collection into a linear sequence following the APG III classification system  11. Concomitantly a mass digitisation project was undertaken  1, 12, 13  , which led to the integration of high resolutions images of all specimens into a dedicated database as described below, accompanied by basic information (accession number, family, genus, specific epithet, geographic region of origin and image) for those that had not already been fully databased.
Databasing of the physical collection The first discussions about biodiversity databases began at P during the mid-1970s and the first tool specifically designed to manage herbarium information was developed during the mid-1980s with the creation of the Vaillant database  14, 15. Commissioned in 1993, the current herbarium database, named Sonnerat (Data Citation 1), was developed to serve as a computerised catalogue of the P collections. It was named after Pierre Sonnerat (1748-1814), a French naturalist, illustrator and explorer who identified, described and illustrated numerous species, mainly from Asia and Mauritius. The database has now developed into the repository for the other herbarium collections of the MNHN (registered in the index herbarorium as PC & PAT  16  ) as well as for the network of herbaria in French-speaking countries and the partners in the e-ReColNat project (see below).