dataesr/scientific-paragraphs-categorization huggingface dataset:
In the tool created to test the possibilities, several layers can be displayed (Figure  15. 17, button in yellow frame). It is possible to click directly on the monument in order to get its recorded data and then all the detailed information is displayed and pictures, like a plan for example, can be seen (Figure  15. 17, in purple). Filters were also made and are recorded in the application. To have access to them, it is necessary to click on a button (Figure  15. 18, yellow frame). There is, for example, a layer with all the monuments containing a false door. Then, it is possible to have a summary of the information by clicking on another button (Figure  15. 18, orange frame). The number of entities concerned and the data are displayed (Figure  15. 18). Finally, the map can be printed or saved in pdf, for example (Figure  15.
18, pink frame). By clicking on a button, all the data stored in the database can be queried. If we consider possible extension to tourism management, the system brings new opportunities for tourists who could get a map. Indeed, it is easy to have a map with the monuments open for visit, for example, because this information is also recorded in the database. 20 publishing," bec 4 The Fourth British Egyptology  Congress, Manchester, 7-9 September 2018. 20  This is one of the wishes expressed in the survey. These are only a few examples, but anything is possible. The web application will be retrievable online and accessible with computer, tablet, or smartphone. For novices, some maps will be proposed; as for experts, they can make their own queries. To protect the data, a password can be implemented to restrict access.
Two landmark configurationtemplates were made with a total of 4 landmarks (LM), 43 curve semilandmarks (CSLM) and 25 surface semilandmarks (SSLM) for forelimb phalanges and 4 LM, 45 CSLM and 25 SSLM for hindlimb phalanges, that were digitized to get the form of the proximal epiphyses (Fig 2, Tables  4  and 5 ). Digitalization was carried out using ViewBox 4. 1. 0. 12 (dHAL software, Kifissia, Greece).
P values were corrected using the "Benjamini-Hochberg" method to decrease the false discovery rate  [113]. A Principal Component Analysis (PCA) based on Procrustes Coordinates was conducted to observe shape variation in the morphospace. Using a Thin-Plate Spline (TPS) interpolation function  [108]  we generated a 3D digital mesh for each articular surface respectively that was wrapped toward the Procrustes grand mean to understand variations along the principal axes. From the surface of the Procrustes mean configurations  [114] , shapes at the extremes of the axes of the principal components were visualized and magnified by a scale factor of 0. 1 (in order to improve the visualization of the morphological differences), using the function "tps3d" in the "Morpho" package  [115]. A multivariate analysis of variance (MANOVA) on PC scores was used to estimate shape differences between these groups.
Additionally, in order to test the assignment accuracy for each category, a Canonical Variate Analysis (CVA) was computed on PC scores (data dimensionality reduction) by calculating the cross-validated correct classification and the Kappa metric (see S1 File). We avoided overfitting  [116]  by never exceeding 95% of the variance cumulative and by never using more PCs than the number of specimens from the smallest group or category. As sex variable was known in some specimens from R. t. caribou subspecies, sexual size dimorphism was only explored in this subspecies through the Kruskal-Wallis test and if significant, then multiple Wilcoxon-rank test. We also examined shape sexual dimorphism using Principal Component Analysis, Thin-Plate-Spline, and a MANOVA test, as described previously. Multivariate regressions of shape variables on log-transformed centroid sizes were used to analyse allometry.
Acknowledgments We would like to thank  Claire Saint-Germain  ( Osteoteque de l'Universitede Montreal, Quebec, Canada ),  Maeve Winchester  ( Ministry of Forests, Lands, Natural Resources Operations and Rural Development of British Columbia, Canada ),  Kamal Khidas  ( Canadian Museum of Nature, Ottawa, Canada ),  Guillaume Gingras  ( Forest and Wildlife Department of the Government of Quebec, Canada ) and  James Woollett  and  Steeve Co  ˆte( Laval University, Quebec, Canada ) who provided us with samples of caribou to complete this study. We would also like to thank  N. Torres-Tamayo  for her helpful comments and the anonymous reviewers whose suggestions have undoubtedly improved this manuscript. ABGL would like to thank  A. Martı ´n Esteban  and  N. Lupiañez Corpas  for their valuable comments and support.
Data The ICP-Materials programme (International Co-operative Programme on Effects on Materials including Historic and Cultural Monuments) of the Economic Commission for Europe within the United Nations (UNECE ICP-Materials) is a collaborative project that aims to investigate the effects of air pollution on the degradation of materials and cultural heritage  [28]. It has a large network of tests sites and performs regular exposure campaigns involving different materials. The corrosion or soiling rates are evaluated after exposure using parallel meteorological and environmental data. For this, temperature and relative humidity data from local or national meteorological stations are gathered for each site. Rainfall collection is carried out using closed-bucket samplers to measure the pH and the composition.
Long-Term Alteration Rate of Historic Glass in Paris Ionescu et al. [43]  simulated the alteration rate of stone, modern glass, and stained glass in the centre of Paris from 1500 to 2090 using DRFs and climate models. Brimblecombe and Lefèvre  [36]  extended the study to the different materials (stone, metals, and stained glass) found in Notre-Dame Cathedral between 1325 and 2090. For the past and current periods, they collected historical data (based on proxies or assumptions) and contemporary data (measurements). In particular, they used dendrochronology for temperature and different climate assumptions for precipitation and relative humidity. By using different pollution scenarios, e. g. , based on fuel use  [44, 45] ), the authors were able to estimate the concentrations of SO 2 , NO 2 , O 3 , and PM10.
Advantages and Drawbacks of the Models The DRFs were established from data collected on various sites pertaining to the climate and pollution. They correlated different environmentally relevant parameters that were statistically selected, but also incorporated knowledge of the alteration processes. However, they were based on short-term measurements (6 and 12 months), and the alteration rate is not constant and tends to decrease over time  [2, 16, 20, 23, 35]. For the simulations at Notre-Dame (Figure  3 ), this alteration rate thus corresponded to the evaluation of a potential threat for stained glass over centuries or decades, and not to a cumulative process, as the alteration thickness does not evolve linearly. Nevertheless, this represents how stained-glass windows have been altered by the environment over time.
For example, climate data could be evaluated to consider solutions such as protective glazing. Then, the models could have a political application. DRFs have been used in the field of heritage to assess the economic and societal impacts of policies to reduce greenhouse gases and air pollutant emissions  [47] [48] [49] [50] [51]. In stained-glass window conservation, geochemical models could also have value in simulating the actual process of their alteration as a function of relevant environmental parameters, and they could be appropriate for similar evaluations of climate and pollution scenarios.
These are the most basic metadata to be considered for a document like a manuscript of a letter. This information can be extended to a variety of more specific elements. And the answers provided to the questions asked -the metadata fields -can also be either very basic (just a name, a date, or a city), or elaborated upon in order to contribute additional context. Metadata, in and of itself, tells a story about a document, and this story can range from scant bits of information to a fully fleshed narrative. This is as true for digital files as well as for traditional archived material. 22  Digital archiving relies strongly on metadata to identify di˙erent versions of the same document. Transposing the process of creating a digital archive for an analog document, taking again the example of the manuscript of a letter, the digital archive of a letter could for instance be structured along the following lines: first, include the initial text of the letter as it was drafted by the author when they sat down to write in the first place (version 1); then the version including the edits made by the author when they read what they had written and made some corrections to the letter before sending it (version 2); then the version deposited in a folder for preservation purposes, for instance, the box in which the recipient bundled all the letters from this specific correspondence partner, which is likely to include information on the position of the letter within the whole corpus, for example, its position in the chronological order of the correspondence (version 3); then the version generated when this correspondence folder was acquired by the archives and included in the structure of their holdings (version 4).
Let us consider the first type of online information: webpages that cannot be accessed after a while. The Internet Archive has proposed a new way of archiving webpages to address this problem. It implemented a tool called the Wayback Machine that makes it possible to go back in time to consult URLs in the way in which they were presented earlier. 23. What is displayed by the Wayback Machine, though, is only the interface, that is, what is displayed on one specific URL at one specific point in time -like a screenshot from the past. It is not the original information (or source code) that is being archived, and it does not automatically reproduce its overall architecture including all the internal hyperlinks. The Wayback Machine does not archive the content of a database; it archives its presentation in a browser -it is not strictly speaking a digital archive since the source code is not what is archived, even if the HTML version is well preserved and can, to some extent, even be browsed.
One of the reasons why a language like XML (or LaTeX, which I am using to write this book) is so interesting is that, although they are used for writing source code (input), they remain readable both by humans and by machines. In these formats, text content coexists with information on how to display this content, all in a single file, although separated into two information levels (contrary to binary formats, which merge them, like a word document). It requires an additional intellectual e˙ort to consider the di˙erent information layers presented in a file written in one of these languages, but it leaves room for interpretation when converting the information into a format intended for display. "What you see is what you get" text editors depend on display output. Moving away from that to start using languages, even as simple as Markdown  24  in which you can separate the content and how it is displayed, is certainly one of the most challenging aspects of digital information structure for non IT-specialists.
It takes a while to understand that you can label a title line with a "title" tag, and decide later whether you want the title to be displayed centred, bold and red, or on the left, in small caps and black. You cannot see these output options in the basic text file as you do in a so-called WYSWYG text editor ("what you see is what you get", displaying from the onset the output layout), or, if this information is included, it is not intertwined with the text itself, but located in some other part of the digital document containing all the metadata pertaining to output display. Another advantage of these computer languages that describe the way the text presents itself is that they structure it. A digital file in XML, for instance, is organised as a tree with di˙erent branches containing information, all related to a common trunk.
They also have the opportunity to add an entry in this database and create an identification number if the author is not already registered. But again, what is then provided is a digital archive, not a digital edition. A digital edition requires one to procure a text, in this case, at the very least, a transcription of the manuscript, and ideally a transcription that gives further information about the text. This information can relate to the way the text is distributed on the manuscript page, whether part of it has been erased and rewritten (if so, how), and whether it contains allusions to another piece of text, be it explicitly or implicitly (and then, if possible, point to it). In fact, in a digital scholarly edition, it is possible to gather as much information as you want about what I called the geography and the history of the text in section 1.
Training young scholars costs time and energy up to the point when it starts saving a lot of time and energy. The cursor moves between the two phases more or less quickly depending on the personalities of trainer and trainee. The scholarly team will work in cooperation with an institution providing primary sources (an archive, a library, maybe even a writer), and with an infrastructure providing server space and other technical settings necessary to access the editorial work. This can be a university datacentre or an overarching infrastructure that provides webspace, the setup for a 3. 1. The environmental cost of access to text database, protocols for exchanging information, etc. , at regional, national, or international level. Both the primary source provider and the infrastructure will have at the very least rooms in a building, personnel, and an energy consumption that will be dedicated in part to communicating with and providing services to the editorial team.
Now comes the point where scholars specialising in digital editing can legitimately be asked to make informed decisions. These will concern the data format for the source code, the overall architecture of the database, and visualisation decisions regarding the presentation of the output on a web interface. In order to make decisions, the editorial team needs to address the environmental impact of production, particularly related to the use of their edition: what happens to a user if they want to access the edition? How much energy will it require from them and from the datacentre that will send the information? How good does the internet connection have to be? The environmental cost of maintaining access is very di˙erent depending on the technical setup, whether the web content is actually fully available at all times, or whether it is generated upon user request, based on straightforward scripts that are quickly executed.
This would mean that archives, libraries, publishers, and scholars all somehow work with a similar, standardised, economical workflow. 25  Of course, this bears the risk of losing information because of its standardisation. But considering today's competitive situation where binary formats jockey for attention, I do not think it would be worse than the loss we would be faced with when we need to save electricity, and datacentres have to be turned o˙. Even in a situation where we would have reduced usage to a minimum and saved as much energy as possible in procuring the data basis for textual heritage, the question of duplication remains a crux. Duplication means that datasets are being archived in at least two di˙erent locations that mirror one another. If one of the locations ceases to work, or burns down, or if its hard drive content gets erased or crashes, the other iteration can provide backup.
I wish that my students and children will know better than me how to read XML, how to use a Raspberry Pi, how to work with minimal computing features, and how to manage a simple database. At the time of writing, this type of training is reserved to a handful of ICT students. To me, this type of training is what philology for tomorrow should entail. These are the skills philologists need to develop if we want to have a chance to build our school and higher education curricula on more than a handful of random Google Books. 27  I strongly believe in educational schemes carried out by professional institutions like state schools or publicly funded universities. But this is perhaps too restrictive, and so is thinking that it is up to the next generation to carry out the change. Maybe this kind of training should be developed on a more widely distributed and accessible level, such as community colleges or universités populaires, for people of all ages as long as they understand what is at stake.
I have printed the manuscript five times, each time to integrate major edits by third parties or myself, and discussed it over the phone or on zoom meetings for a limited time (two to three hours). If I add up all of this to calculate the overall footprint of the book manuscript, I have to factor the lifecycle assessment of my laptop according to the settings I have in place (screen brightness, screensaver, etc. ), of my headset for listening to music, of my hard drive and the University cloud, of internet connections, printing devices from the copy shop, including ink and paper, the consequences of the choice of such a text editor as LaTeX or such a music provider as Deezer, and the overall electricity consumption during all these activities. This can be done, but needs to combine information that can be measured rather precisely, such as electricity consumption, with elements for which finding the exact information for the exact device I have been using it is unlikely -for instance for my headset, which is a basic model I bought at a railway station a couple of years ago.
Text can always be transposed in audio for the visually impaired, while an image cannot. The final manuscript for publication presents itself in the form of a PDF generated from the source LaTeX file. During the last month of the writing phase, I interacted with the publisher to discuss copyright and funding, but also layout aspects (so that the final PDF would follow requirements), as well as the content of this section of the book. I also consulted online resources the publisher pointed to. In September 2022, the manuscript went to the publisher who initiated the peer-review process. The book proposal was sent out to three readers who agreed to undertake the review. Some e-mail communication with PDF attachments was involved there. The peer reviewers then sent their reviews back. The commission editor at Open Book Publishers synthetised the reviews and sent them to me, via e-mail again.
The revised manuscript was then sent back to reviewers alongside with a list of the revisions, adding another iteration to the process. Overall, this work step required reviewers to be equipped with a basic digital infrastructure: an end device, whether laptop or tablet, with a PDF-reading software and an e-mail programme. Once the peer review process was finished, the manuscript was sent back to me. I integrated reviewer comments, adapted my LaTeX file in order to comply with the layout requirements that facilitate the identification of the publishing house, and sent back my final PDF to the publisher. Once the edited manuscript was accepted, I sent it to professional copyediting, integrated the copyeditor's edits, and then sent the final version of the manuscript to the publisher. 36  It was the publisher's turn to take a final look at the book as an editorial product.
In the case of a PDF generated from a LaTeX file, there is no simple change tracking mode for the publisher to edit the manuscript. We exchanged PDF files. The final PDF was generated by adding imprints and creating two covers, one for paperback and one for hardback editions. The cover files are created at the publisher's end when the number of pages is final, with the help of a design software. The cover is then integrated into the LaTeX file together with imprint information procured by the publisher. It serves as a basis for generating the e-pub version, which can then work as a pivot for the transformation into alternative formats such as those required by commercial distributors. 37  The printed book is produced by Ingram, an American company that provides books on demand, based on a service called Lightning Source.
Obviously, shipping the volumes from another continent is not really optimal for me as a European author, but considering distribution is not to be limited to my own country, the notion of the centrality of the printing process is a relative one. Emerging models of cradle-to-cradle presses focus on using certified material whose impact is maximally lowered, but this model is not implemented widely enough to be recognised as a solid one for scientific publishers with specific market requirements. 38  In the phase of conception, preparation, and production of the output PDF file, there is not much room for alternative processes; there is at any rate no easy and obvious way to optimise them. Using an opensource software like LaTeX rather than a commercial text editor already modifies substantially the workflows compared to what publishers are used to.
These providers use the metadata, but they rely fully on the Open Book Publishers website and link to it. These massive databases aggregate metadata of Open Access resources, making them more easily findable than they would be if they were listed only on the publisher's website. 43  This remains fairly economical as long as it is not excessively multiplied (internal documentation points to about ten such metadata aggregators for Open Book Publishers) and as long as metadata can be exchanged in a standardised manner. In any case, metadata transit remains a not too costly process environmentally compared to content exchange. The situation is more worrisome when it comes to the dissemination via digital book distributors, who gather and distribute not only metadata, but also content. These commercial actors usually develop their own formats, and the e-pub output has to be transformed again in order to be accessible via Amazon or Google Books.
Digitization Both the natural endocast and the cranium of KNM-ER 3732 were scanned using an Artec Space Spider 3D scanner and reconstructed with the software Artec Studio 16X. The 3D mesh can be viewed on MorphoSource (https://www. morphosource. org/concern/media/000497752?locale=en ). The comparative specimens were imaged by microfocus X-ray tomography  (Beaudet et al. , 2018 )  at the South African Nuclear Energy Corporation in Pelindaba (South Africa) and at the Centre for X-ray Tomography of Ghent University (UGCT) in Ghent (Belgium). Virtual endocasts were generated using Endex software  (Subsol et al. , 2010 ).
Detection and identification of sulcal imprints Sulcal imprints were automatically detected through a geometry-based method using curvature lines computed from the natural endocast and the inner surface of the cranium. Sulcal imprints, considered as variation points of the surface on a triangle mesh, were detected through a geometry-based method using curvature lines defined as salient subsets of the extrema of the principal curvatures on surfaces  (Yoshizawa et al. , 2008 ; Beaudet et al. , 2016 ). Vascular imprints and non-anatomical structures (e. g. , fractures) were manually removed through a customized script written in MATLAB R2013a (Mathworks).