dataesr/scientific-paragraphs-categorization huggingface dataset:
Jos de Mul's sense of a biotechnological sublime similarly identifies the magnitude of biological, especially genetic databases and the infinite possibility of genetic recombination as the source of a new sublime. 19 As I conceive of it here, the molecular sublime can equally be connected to such notions of molecular vastness and endlessness, while twenty-first-century representations of molecular realms showcase a sublime aesthetic that is more specifically driven by the very smallness of the molecular levels of life. For example, in Simon Mawer's novel Mendel's Dwarf, a description of the pioneering biological work of Gregor Mendel suggests the sublimity of a perspective that brings life at the molecular scale into focus: He was one of those men whose vision goes beyond what we can perceive with our eyes and touch with our hands, and no one shared his insight.
They agree that either way it will involve the multiple interactions of both these brain areas, along with a host of others. While the debates continue and research advances, the field of consciousness studies proceeds largely through two modes of investigating brain-self-world relations: the thought experiment and the brain scan. Both modes-perhaps we can call them genres-tend to obscure their representational tools. This distinguishes them from other thought experiments, about echolocating bats, color scientists locked in colorless rooms, or zombies, which are like fairytales too, but are used to wage philosophical debates and ultimately the positions they represent outshine the outlandish hypothetical stories they tell. Brain scanning technologies like PET, SPECT, and fMRI represent brain activity through a complex process that involves the collection of data about the flow of chemicals, oxygen, or blood in the brain, the algorithmic representation of that data in visual forms, and the interpretation of the images by trained human experts.
In other words, human brains make reality, and consciousness of that reality is subjective by definition. Meaning, as a result, is always contingent, and in the case of graphic narrative, that contingency flows from the continuous interplay of text and image. Like these characters, a neural pattern is a representation of the world-one composed of neurotransmitters and electricity, whose meanings are further shaped by variables like location, the rhythms of brain waves, and the support of glial cells. Any psychology textbook will tell you that a perception is a construction-or a functional distortion-of the objects it represents. In that sense, graphic narratives are corollaries to academic critiques of the oversimplification of brain scanning technologies. As Fitzpatrick writes, 'brain-imaging scans are highly technical and difficult to interpret without expert knowledge of the subjects participating in the studies, the tasks performed, the techniques used to acquire the data, and the complicated statistical tools used to analyze the data and create the images'.
Such overlaps are common in theatre-and-the-new-climate-regime/. For examples of tragic rhetoric, see the Deep Adaptation movement and Jem Bendell's 'Deep Adaptation: A Map for Navigating Climate Tragedy' (2018, 2020), http://lifeworth. com/deepadaptation. pdf. Ecological elegy is discussed by Timothy Morton, 'The Dark Ecology of Elegy', The Oxford Handbook of Elegy, ed. by Karen Weisman (Oxford: Oxford University Press, 2010), https://doi. org/10. 1093/oxfordhb/9780199228133. 013. 0015. 34 Heather Houser, Infowhelm: Environmental Art and Literature in an Age of Data (New York: Columbia University Press, 2020). See also Victoria Vesna, ed. , Database Aesthetics: Art in the Age of Information Overflow (Minneapolis: University of Minnesota Press, 2007). 35 Ursula K. Heise, Imagining Extinction: The Cultural Meanings of Endangered Species.
Acknowledgements The work presented in this book was carried out with the support of the  Institut Universitaire de France  and the  PRISMES laboratory at the Sorbonne Nouvelle University in Paris. We would like to thank all our contributors for their dedication and enthusiasm over the three years we spent on this project, making this book a truly collaborative work. We are also grateful to the other researchers who contributed to our preparatory workshops and made them so wonderfully stimulating:  Frédérique Aït-Touati ,  Eric Bapteste ,  Sarah Bouttier ,  Pierre Cassou-Noguès ,  Josie Gill ,  Catherine Larose ,  Marc Porée ,  Dan Rebellato ,  Kerry-Jane Wallart ,  Apolline Weibel  and  Marion Clanet. We would also like to thank  Yale University Press , who were kind enough to allow us to publish an adapted version of  Jason Tougaw's chapter, 'Neurocomics and Neuroimaging'.
Such overlaps are common in theatre-and-the-new-climate-regime/. For examples of tragic rhetoric, see the Deep Adaptation movement and Jem Bendell's 'Deep Adaptation: A Map for Navigating Climate Tragedy' (2018, 2020), http://lifeworth. com/deepadaptation. pdf. Ecological elegy is discussed by Timothy Morton, 'The Dark Ecology of Elegy', The Oxford Handbook of Elegy, ed. by Karen Weisman (Oxford: Oxford University Press, 2010), https://doi. org/10. 1093/oxfordhb/9780199228133. 013. 0015. 34 Heather Houser, Infowhelm: Environmental Art and Literature in an Age of Data (New York: Columbia University Press, 2020). See also Victoria Vesna, ed. , Database Aesthetics: Art in the Age of Information Overflow (Minneapolis: University of Minnesota Press, 2007). 35 Ursula K. Heise, Imagining Extinction: The Cultural Meanings of Endangered Species (Chicago: University of Chicago Press, 2016), pp.
The variation before and after ageing were assessed by calculating: the difference between the final and initial value of L* (∆L* = L* f -L* i ), a* (∆a* = a* f -a* i ), b* (∆b* = b* f -b* i ); Chroma (C* ab = (a* + b*) 1/ 2 ); and the total colour difference (∆E* = [(∆L*) 2 + (∆a) 2 + (∆b) 2 ] 1/2 ). Colour measurements have been often used to assess colour variations due to ageing and conservation treatments. In order to find significant differences, the measured L*, a*, and b* data were subjected to analysis of variance using Microsoft Excel 2010 for Windows. The averages were compared by the Tukey's honest significant difference (HSD) test at 5% level of significance.
The chemical composition of the limestone samples was previously checked by energy dispersive X-ray fluorescence (EDXRF) using an excitation energy of 18 keV and an irradiated area of 1 mm 2. The high brilliance of synchrotron X-rays allows for remarkably low limits of detection for most chemical elements, thus enabling the analysis of trace and sub-trace species hosted by a mineral. The energy dispersive spectra collected for each sample were fitted using the PyMca software  [45]. Iron model minerals were selected to configure different oxidation states and metal coordination, namely, ilmenite (FeTiO 3 ), pyrrhotite (Fe 1-x S), siderite (FeCO 3 ) and pyrite (FeS 2 ) for Fe 2+ in octahedral coordination; hematite (α-Fe 2 O 3 ), goethite [α-FeO(OH)], lepidocrocite [γ-FeO(OH)] and limonite [FeO(OH).
nH 2 O] for Fe 3+ in octahedral coordination; magnetite (Fe 3 O 4 ) for a mix of Fe 2+ and Fe 3+ in tetrahedral plus octahedral coordination. XANES spectra were previously corrected in energy, the background was subtracted, and the spectra normalised for atomic absorption using the program Athena  [46]. In addition to the experimental spectra collected for the model minerals, calculated spectrum for selected mixtures of minerals, including different ratios of mixtures, were also obtained by combination fitting method in Athena software, with the purpose to a better approach to the spectra collected on limestone fragments. The details on the pre-edge region of the XANES spectrum (corresponding to the 1s→3d transition) have long been recognised as being mostly sensitive to the electronic structure and geometry of the iron site (e.
g. ,  [47] ). The deconvolution of the pre-edge structure into pseudo-Voigt components using the program Fityk (2007) [48], a free software, to derive the height, energy position and total area (integrated intensity) of components, was used to assess the variation(s) in the electronic state(s) of iron in limestone. Thus, to extract the pre-edge features the contribution of the edge jump to the pre-edge was modelled using a spline function. The pre-edge features were then fit into pseudo-Voigt components (between 2 and 5) with a similar width  [47, 49]. Then, the total area (integrated intensity of all components) and the centroid position (intensity-weighted average of the component's positions) were calculated from the parameters of the fit. The fixed-time counts after subtracting the background, obtained through XRF-WDS data, are compared for all elements except Ca (Figure  6 ), for better visualization.
Results and Discussion The details on the pre-edge region of the XANES spectrum (corresponding to the 1s→3d transition) have long been recognised as being mostly sensitive to the electronic structure and geometry of the iron site (e. g. ,  [47] ). The deconvolution of the pre-edge structure into pseudo-Voigt components using the program Fityk  (2007)  [48], a free software, to derive the height, energy position and total area (integrated intensity) of components, was used to assess the variation(s) in the electronic state(s) of iron in limestone. Thus, to extract the pre-edge features the contribution of the edge jump to the pre-edge was modelled using a spline function. The pre-edge features were then fit into pseudo-Voigt components (between 2 and 5) with a similar width  [47, 49]. Then, the total area (integrated intensity of all components) and the centroid position (intensity-weighted average of the component's positions) were calculated from the parameters of the fit.
Acknowledgments:  MVC-Mármores de Alcobaça  is thanked for supplying samples for this study. The authors acknowledge the  European Synchrotron Radiation Facility  for provision of synchrotron radiation facilities and in particular in using beamlines BM 25A (experiments  HG-100  and  HG-118 ) and  ID 21  ( ME-821  and  EC-87 ). Special thanks are due to the colleague  João Fernandes  for helping in the plots of fixed-time counts. Fundação Bragança  is also acknowledged for the images of the façade before and after conservation and restoration intervention. The authors are also grateful to the anonymous reviewers and editors for their comments on the manuscript.
Second, few things became institutionalized (neither the competencies nor the meanings around safety). Finally, commercial masks quickly became available again and were regarded as easier solutions. 2 The method: a qualitative analysis of a collection of testimonials As mentioned, to document mask self-production practices and their meaning, we rely on testimonials provided in response to a call circulated by the online versions of various regional newspapers (Ebra newspapers, Nice Matin, La D epêche du Midi, and Center France newspapers). The readers of these publications answered the call from the newspapers' websites, and the data were recorded through the Limesurvey platform. To be more specific, we launched three successive calls, each covering a key period of the pandemic: the first lockdown (April 3-12, 2020; 1018 testimonials), the immediate post-lockdown (May 28-June 8, 2020; 620 testimonials), and the back-to-school weeks (September 25-October 23, 2020; 450 testimonials).
The calls were conveyed as an open invitation asking respondents to report freely on their experience with masks, whatever their forms: This longitudinal and open approach led to the collection of 2088 narrative testimonials which were supplemented with information about the respondents (age, gender, place of residence, and occupation). In the following pages, all first names are pseudonyms that reflect each person's gender. Given the national coverage, the personal details we provide are not enough to identify the respondents. Our empirical materials can thus be described as mass qualitative data. The data are qualitative because people were invited to share their experiences openly, in written form, and without any word limit. We collected stories ranging from just one word to 1475 words, with an average of 106 words and a standard deviation of 122.
Data and method To address the role that speed information plays in motion descriptions, we conducted a corpus study of written Estonian. Corpus data was taken from the Estonian National Corpus 2019 (Koppel and Kallas 2020) of written language 4  using 41 frequent motion verbs of translational horizontal motion. Verb choice was based on the earlier studies of motion descriptions in Estonian  (Taremaa 2017 (Taremaa , 2021b)). The verbs chosen are the most frequent motion verbs in Estonian  (Taremaa 2017) , and these verbs have also been determined through a sorting experiment to clearly express horizontal and translational motion  (Taremaa 2021b ; see Taremaa and Kopecka 2022a for concise details regarding the verb choice). For each of the 41 verbs, 300 clauses were randomly selected from the corpus with motion verbs in finite form being used in their literal sense of describing physical motion.
In addition, based on the speed ratings of the verbs, they were clustered into three groups (VerbSpeedCat). A combined variable-VerbCat-is derived from VerbType and VerbSpeedCat (see explanation and Table  2  below). As for the clausal units other than the verbs, they include the following spatial categories (see Table  1 ): Source as the starting point of motion (e. g. , metsast 'from the forest'), Location as the place of motion (e. g. , metsas 'in the forest'), Trajectory as the route along which motion is conducted (e. g. , mööda teed 'along the road'), Direction as the general orientation of motion or motion towards a place not known to be reached (e. g. , maja poole 'towards the house'), Goal as the spatial destination of motion (e. g. , metsa 'into the forest'), and Distance as the length of the journey (e.
All calculations were performed in R using the following packages: 'stats' (R Core Team 2020), 'party'  (Hothorn et al. 2015) , 'sjplot' (Lüdecke 2021), 'factoextra' (Alboukadel and Mundt 2020) and 'FactoMineR'  (Le et al. 2008). The data and reproducible R code are available in the data repository DataDOI 7  (Taremaa and Kopecka 2022b).
In a small set of clauses (4%), vehicles are indicated as movers. Inanimate motion is particularly rare in our dataset (1%), and in some cases, the animacy of the mover could not be established due to the lack of contextual cues. 8 Note that we call adverbs used to express Direction "adverb phrases" out of simplicity. The majority of such adverbs are actually verbal particles (i. e. , satellites; the same applies to Trajectory). However, the distinction between the verbal particles, free adverbs and adpositions is rather vague and dynamic in Estonian, which makes it challenging (if not impossible) to draw fine lines between these morphological categories. Verbal particles can also be found within the categories of Source, Location, and most frequently, Trajectory.
General discussion In this paper, we aimed to establish possible speed effects in motion descriptions by analysing how speed-related information is expressed in relation to other features that characterise motion descriptions in Estonian. More specifically, we assessed (i) the distribution and frequencies of manner and spatial expressions, (ii) combinations of verbs (varying either in their reference to different degrees of speed or in their expression of manner or path) and semantic units (e. g. , Source and Goal), and (iii) the clausal structure of motion descriptions that contain multiple speed expressions as compared to those that contain no extra information about the speed of motion. Based on our extensive corpus analysis, we can conclude that speed effects do occur in the data in that motion verbs of different speeds have somewhat distinct clausal patterns.
Acknowledgments: This study has been supported by the research fund of  Kadri, Nikolai  and  Gerda Rõuk , by the  Estonian Research Council  grant ( PSG671 ) and by the  European Union  through the  European Regional Development Fund  ( Centre of Excellence in Estonian Studies ). Research funding: This work was supported by  Eesti Teadusagentuur  (grant number  PSG671 ), The research fund of  Kadri, Nikolai , and  Gerda Rõuk  and The  European Union  through the  European Regional Development Fund  ( Centre of Excellence in Estonian Studies ).
As one participant in the first group explained, "this idea of everydayness. It is reminding us we don't have to go far away. With the 10 old clothes that you don't wear, you can do something with them. " "Kyali Kikambwe. " It is hard. But "Still we wiggle our tongues": we have the power to use our everyday languages and our everyday objects to make new and beautiful things. This collective poem was thought out as possible content for a collective zine to be made later in the week. But when the trio took the pulse of the ArtVism group, and heard their voiced desire to ensconce themselves each in their own work, the collective zine exercise was dropped. Flexibility was the funnel that allowed the tempo and texture of each group's particular expressive needs to be met. The poem, however, remains as the self-ascribed coordinates of the cocoon created for their 5-day journey into learning and making zines.
" Around the zine has grown a kabbalah. Eight women amble about the room looking for textures. Collecting matter with brushes, paper plates, plastic cups, keeping their brushes moist. Play is the mainstay in storytelling through collage, clustering beads, writing speech bubbles, cutting out patterns from lace scraps, braiding extensions into your work. Each material carries within it its own language. Majestic Plaza is the best! (Day 3, ArtVism) Most had never heard of zines before the workshop. This was part of the enchantment. The wonder of initiation. By the end, the ArtVism group was making grand storage boxes for their zines. The prediction stitched into their sides: There will be more to come. The stuff they come with and the stuff they leave with. The ArtVism group comes with pens and notebooks or computers.
The Ndejje group comes with their voices. Voice (n); /vo-y-s/ syn: opinion, power, identity. Something I was apparently born with but need permission to use. Fato-phobic homophobic bigots, is it yet time for me to use mine? (Dictionary entry single-sheet zine exercise, ArtVism) In the first group, there is more telling and less showing. In the second group, it is the other way around. They participate in different economies of language. Yet they all come out of the workshops with a practice of pushing the boundaries of their languages, of thinking real big with something real small. Or the other way around. Zines come in all shapes and sizes. ArtVism: zines as a gateway between art and activism. Ndejje: zines as a gateway between self and community. In many ways, these are two facets of the same coin played out differently in the two workshops.
OVERVIEW OF STUDIES We collected data from six samples across three studies to confirm the factor structure of the RGSQ, study the interrelationships between goals and strategies, and assess criterion-related validity in terms of a regulatory focus nomological network. That is, we assessed whether the RGSQ was related to other theoretically-related constructs and was unrelated to theoreticallyunrelated constructs. Lastly, we determined the RGSQ's predictive validity (i. e. is the RGSQ related to outcomes at a later point in time; cf. DeVellis, 2016). In Study 1, we collected data across four different samples to confirm the factor structure of the RGSQ, and to test whether the different goals and strategies are empirically distinct. We then assessed convergent and discriminant validity by relating the RGSQ to a nomological network of concepts that should (not) correlate with promotion versus prevention focus, such as approach-avoidance motivation (BIS/BAS), positive and negative affect (PANAS), but also different forms of organizational commitment.
Sample and procedure Mturk workers (N = 441; 49% female), ranging in age from 19 to 73 (M = 35. 50, SD = 10. 47), participated in this study for a compensation of $2 (an additional 61 participants were compensated but excluded from the dataset because they failed an attention check). Participants indicated the extent to which they strived to attain ideal (α =. 88), gain (α =. 85), advancement (α =. 90), ought (α =. 82), non-loss (α =. 92), and security goals (α =. 85) in their life by completing the RGSQ. After that, they performed several tasks, including the NOT and Remote Associates Task, in random order. Following each of these tasks, we measured promotion and prevention strategies using the RGSQ to assess their experienced promotion and prevention strategic states during the previous task.
FTIR spectroscopy has long been applied to archaeological sites with a mobile system moving over the excavation site (for the first such application, see  Weiner et al. , 1993). Now, as with NIR spectroscopy, portable systems of ATR-FTIR spectroscopy are available, which offer the opportunity for rapid and low-cost analysis of bone and moreover facilitate on-site estimation of their collagen content. However, the acquisition and treatment of spectral data with ATR-FTIR spectroscopy does not make quantification of contents straightforward, even when implementing several different FTIR instruments. It is therefore necessary to establish analytical control protocols that make the quantification process reliable by eliminating measurement bias. To that end, analyses of reference samples were performed using three different ATR-FTIR spectrometers (one benchtop and two portable ones) to establish and assess the robustness of the procedure for quantifying bone collagen contents.
At least three spectra were acquired for each sample to test instrumental repeatability and bone-sample homogeneity. Data acquisition was driven by the OPUS software for Bruker and the OMNIC software for Nicolet. The amide band area was selected in the range 1710-1590 cm -1 (linear baseline) and the phosphate band was measured between 1110 and 940 cm -1 after a linear baseline correction between 1160 and 890 cm -1. The limits of quantification were calculated from calibration curves using the Linest function of Microsoft Excel software according to  Feinberg (2012). Standard errors of estimation were calculated using the Steyx function of Microsoft Excel software. Details of calculations are reported in  Lebon et al. (2016). The Bruker Vertex 70 (MNHN) instrument was used in a laboratory  (France)  to establish the method by analysing calibrate reference bone samples  (Lebon et al.
1b ). Background measurements were regularly performed (~every 2 h) to avoid any atmospheric changes that could affect the quality of FTIR spectra. ATR-FTIR spectra were acquired directly after sampling in the bonestoring room, providing immediate information about the degree of collagen preservation of the examined bones. A macro on the OPUS software allows fast extraction of band areas, and the previously established calibration curve on a Microsoft Excel spreadsheet gives the collagen quantification. Once calibrated using reference bones, the Nicolet iS5 instrument was used in the laboratory (IFAO) to measure archaeological bone powders transferred to the IFAO lab. As recommended by  Lebon et al. (2016) , in order to enable a reproducible band-intensity ratio, the anvil pressure on the ATR crystal was adjusted to obtain the same raw absorbance of the ν 3 PO 4 band around 1015 cm -1 for all spectra (references and unknown samples) acquired with each of the systems.