dataesr/scientific-paragraphs-categorization huggingface dataset:
| New reference genome The new reference genome produced for European barn owl was a near chromosome level assembly, and has been deposited at DDBJ/ENA/GenBank under the accession JAEUGV000000000. The final assembly was 1. 25 Gbp long, with an N50 of 36 Mbp and BUSCO score of 96. 9% (see Appendix S2: Table  S1  for full assembly metrics). In comparison, the previous reference assembly  (Ducrest et al. , 2020)  had 21,509 scaffolds, with an N50 of 4. 6 Mbp.
DATA AVA I L A B I L I T Y S TAT E M E N T The new refence genome for European barn owl (Tyto alba) has been deposited at DDBJ/ENA/GenBank under the accession JAEUGV000000000, and the corresponding PacBio reads in the BioProject PRJNA694553. The raw Illumina reads for the whole-genome sequenced individuals are available in BioProject PRJNA700797. Colour and MC1R data are provided in Appendix S1.
Freely accessible online databases developed by cultural and artistic institutions (e. g. , museums, libraries, universities, studios, etc. ) enable the transnational dissemination of catalogues of cultural and creative works, exploiting the advantages of modern technologies. Intelligent tools, which use advanced algorithms to classify and contextualize data, can foster knowledge mainly in two ways: (1) providing a stable and accessible basis for large amounts of data; (2) promoting cultural heritage. A case of skillful use of such tools is the Saint-Raymond Museum, the archaeological museum of Toulouse. For several years it has been working on the open data front and on putting its catalogue online on Wikimedia platforms, in various forms.
In Europe a clear example comes from the large Europeana portal and data aggregator, while several European nations are developing data repositories. An exhaustive, but not complete, list of open cultural projects can be found on the Data. europa. eu portal. A similar approach to open access for cultural heritage databases has been adopted in the US as well, where, at the government level, beginning in 2009, the Library of Congress converted its famous subject headings and authority names into Linked open data (LOD) through the Library of Congress Linked Open Data Service portal. In this paper, we will see the case history of the musée Saint-Raymond, the archaeological museum of Toulouse, France. The musée Saint-Raymond utilizes Wikimedia platforms since 2016 to publish and share its collections that cover a vast period of time, from protohistory to middle age, with a rich series of Roman sculptures from the Villa of Chiragan.
This asset represents both a treasure to preserve and a challenge in showcasing it. By making use of Wikimedia platforms, the museum uses free licenses to distribute data related to its collections, and, at the same time, to organize the curator's work using the WWW and web-related tools. As open data represent both an opportunity and a government directive, this assignment is anchored for the museum in its fundamental educational missions, and the Wikimedia projects amplify its audience thanks to their hegemonic presence on the web and the activity of a large community. More than just publishing, sharing open data and open content over free licenses promotes the emergence of new uses and allows the collections to go outside their original disciplinary fields. In the following section, we will see how this contribution from the Musée Saint Raymond has been made possible by French legislation, and by the European context where open data and open access are encouraged, besides some specific exceptions.
Open data and Open Access Cultural and information institutions hold knowledge, structured and unstructured data, such as a catalogue of the collections, originally used for internal purposes. Yet their resources and services are crucial to the development of information literate, innovative and heritage aware societies. Since the end of the 20th century, cultural heritage institutions such as libraries, archives, and museums are searching for new ways to engage with their public. Opening their data is one of the main ways to use the Web technology to reach out to a novel public, and to engage patrons in using such data to eventually share the cultural heritage. "Technology drives change because it alters culture"  [1]  and riding this "technological horse" affects and modernizes both the image of cultural heritage, and the way it is shared.
Their dataset, consisting of 112,039 photographic reproductions of the artworks exhibited in the Rijksmuseum, is freely available for any kind of reuse  [4]  The photographs of objects from the collections are shared by the museum together with descriptive object information (metadata) and bibliographic data via their data services, without restrictions on reuse. All this data about the Rijksmuseum collections is released under CC0 Public Domain Statement, which allows a very large and diverse audience to use the material in any way, sharing the knowledge about it. By providing technological openness, the Rijksmuseum encourages repeated visits from their users that scrutinize new digitization and new insights in the collections.
European, French and Italian Context The Rijksmuseum is not an isolated case. In Europe, we see the National Library of Spain launching an open data portal and different projects based on the reuse of its data, such as BNEscolar; the Miguel de Cervantes Virtual Library Foundation, whose catalogue consists of more than 230,000 records open for reuse; the Norwegian platform DigitaltMuseum. The British Museum has also adopted an open approach (at least for individual use: the data release license is in fact CC-BY-NC-SA, which prevents use for commercial purposes): cultural open data are uploaded in the form of high-resolution images of artworks. The database of the British museum is one of the earliest and most extensive online museum search platforms in the world. There are currently 2,335,338 records available, which represent more than 4,000,000 objects.
The Open Knowledge Foundation annually updates the Global Open Data Index, an international ranking that examines 94 countries and 1410 datasets, establishing that only 11% of them can be considered technically and legally open (see also Open GLAM Survey by Douglas Mc Carthy and Andrea Wallace, https://pro. europeana. eu/post/exploring-the-global-picture-of-open-glam). Italy, which is a major actor of cultural heritage worldwide, ranks 32nd, with a serious gap in the geographic and geospatial information, which are essential for mapping the territory. This is the only existing study about the opening of data in the various sectors from which a non-linear and non-punctual process emerges. To remedy this aspect, the Agency for Digital Italy (AgID) updated the National Guidelines for the Enhancement of Public Information Assets in 2017, so as to offer a reference for all public administrations that want to make their data available in an open format.
From a survey of the datasets available at regional level, however, an extremely diversified situation emerges regarding the type, license and quality of data: some formats, according to the well-known classification for LOD by Tim Berners Lee (https://www. w3. org/DesignIssues/LinkedData. html), would barely reach the two stars. Here we briefly emphasize only the importance of updating the datasets, which in Lombardy takes place quarterly in some cases, while elsewhere it dates back to 2015, and of the maximum coverage of the information available-significant gaps are found in the mapping of the Lazio POIs, limited to the northern part of the region only. Although formally Italy is among the European "trend setter" nations in terms of policy, impact, maturity of portals and quality, this disparity explains why the situation is not so good.
Freely Accessible Online Databases of Open Cultural Data and Wikimedia Platforms: The Use Case of Musée Saint-Raymond (Toulouse, France) Freely accessible online databases developed by cultural and artistic institutions (e. g. , museums, libraries, universities, studios, etc. ) enable the transnational dissemination of catalogues of cultural and creative works, exploiting the advantages of modern technologies. Intelligent tools, which use advanced algorithms to classify and contextualize data, can foster knowledge mainly in two ways: (1) providing a stable and accessible basis for a large amount of data and (2) promoting cultural heritage. Moreover, the possibility to perform federated queries, i. e. , to search and to relate information from linked datasets, allow us to integrate, connect and mix data from different sources, resulting in new and innovative applications.
Linked data are a standard way to represent data on a wide range of topics  [5]. By applying this standard to open data, any cultural heritage actor can combine its own data with other linked open datasets. Thus, any cultural institution can enrich their own collections through collaboration, or even promote the creation of new specific datasets tailored to their needs. Besides the bare LOD, curators, archivists and cultural institutions need tools and platforms to publish their data. This can be performed on local servers, managed by the institution itself, but larger, multilingual platforms can be used freely. This is the case of Wikidata, the open data database supported by the Wikimedia Foundation-a non-profit charitable organization dedicated to encouraging the growth, development and distribution of free, educational content.
Thanks to the licenses and the standard data formats, the contents are easy to share and reuse. The tools are free of charge and all the technical maintenance and software updates are provided by the community. The institution can then devote itself entirely to the publication and uploading of content. Getting involved in Wikimedia projects requires efforts to master the tools, understand the rules and prepare the content, but in return the benefits are great. Integrating the cultural resources in the Wikimedian ecosystem offers the opportunity to enrich the data linked to other contents produced by the international community. At the musée Saint-Raymond (MSR), Wikimedia platforms entered as part of the collection's publication workflows. Wikidata, Wikimedia Commons, Wikipedia and Wikisource are all projects of the Wikimedia Foundation that we will describe below; thanks to their interconnected design, they offer very effective support to integrate local data and resources to the linked open data wider ecosystem.
Moving to an Open Data Collection The museum Saint-Raymond belongs to the city council of Toulouse. On one side, the French law setting open data by default for the public administration, encouraging curators to open their collections to a wider public by using tools and platforms for redistributing and sharing them. On the other side, the culture of open data has been embraced by the MSR way before 2016. Collaborations with WMFr, the French chapter of the Wikimedia Foundation, were already in place through a partnership since 2010, and free access to digital collections was already possible via Wikimedia tools and platforms. Wikidata stands out, among the "wiki" projects, as the flagship since it is the database that collects all the information of Wikimedia projects by establishing inter-wiki links, including Wikipedia.
Wikidata is open, collaborative, multilingual and, in that sense, a good support to provide catalogues of cultural and creative works of historical and artistic heritage. Through synchronization with Wikimedia Commons (an open online repository for photographs published under a free license), graphic descriptions are automatically associated with textual information so that photographs of items in the database (e. g. , archaeological finds, statues, paintings and generally any object of cultural or artistic value) can be described and contextualized directly on the image repository. Items in the database are also connected to encyclopedic descriptions, when available, hosted on Wikipedia, the free and well-known online encyclopedia. A free and open knowledge base is used to publish the inventory data of artefacts.
To date there are 1630 objects of the MSR described on Wikidata including the main description criteria used in the internal database. The major advantage of using Wikidata is to have a pre-existing environment, constantly a work in progress, created by the international community of users. Since 2016 the templates for describing cultural objects have stabilized. The hesitations of the first contributions, manually made, have now given way to automatization thanks to Open Refine, a very useful tool to import external datasets into Wikidata. Thanks to volunteers from the Wikimedia community, the museum staff performed importation of database items and learnt to master the available tools. In fact, several tools are available outside Wikidata, and were created by a helpful and dynamic community.
The necessity to have user-made tools and scripts arose for all these Wikimedia platforms that rely on MediaWiki software, a software now obsolete and with serious limitations when facing the needs of new Internet technologies. These datasets, built off of years of institutional growth and careful work at MSR, can benefit both the institution and the larger community by expanding the semantic web and establishing an institution as a trusted source of highquality data. The most robust of these datasets have been converted into RDF triples and are shared via an open API or through a SPARQL query endpoint (e. g. , https://w. wiki/34Hg, for the items from MSR). Matching linked open data requirements also enable users to have greater accessibility to the data, while this access is lighter and easier to handle for the hosting institution.
A similar approach has been tackled, for instance, by the Library of Congress and The Hungarian National Library: two national libraries that have released their datasets as open linked data. The former to maintain the value of their already well-used cataloguing information, and the latter to promote their more siloed collection to an international audience. Once the artifacts in the collections are described as items in Wikidata, it becomes really easy to upload photos of the corresponding objects in the media library Wikimedia Commons and to automatically generate the relative metadata for the photos in order to facilitate future search and classification. The number of files uploaded by the museum amounts to 2500 (see https://commons. wikimedia. org/wiki/Category: Media_contributed_by_the_Musée_Saint-Raymond_of_Toulouse) and the total number of files concerning the collections made by both the institution and the volunteers reaches at least twice this amount in 2021 (see https://commons.
Some of them have been translated in other languages, amplifying the notoriety of the subject. The Wikimedia platforms are not the only places where the MSR expands its collections as open data. The 3D models of some artifacts are available on the Sketchfab platform under CC0 license. In that way, MSR takes part in the public domain cultural heritage project exactly in the same way as some of the major museums involved in open content (See https://sketchfab. com/museesaintraymond). Publishing collections on 3D platforms is a way to reach a new community, with a different usage for free contents than Wikimedia. Such usage is much more centered on creativity. Cultural heritage then becomes the raw material for new productions in artistic contexts. In 2019 the MSR reused all the structured material for digital publication.
https://sketchfab. com/museesaintraymond). Publishing collections on 3D platforms is a way to reach a new community, with a different usage for free contents than Wikimedia. Such usage is much more centered on creativity. Cultural heritage then becomes the raw material for new productions in artistic contexts. In 2019 the MSR reused all the structured material for digital publication. The objective was to edit a new catalogue of the roman sculptures from the Villa of Chiragan in Martres-Tolosane. The Villa of Chiragan is a Roman villa where, among numerous sculptures and splendid marble decorations, about 600 statues and carved fragments of very fine manufacture have been unearthed  [6]  and one part is now exhibited on the 1st floor of the museum. Based on the Getty model, the publishing chain developed by two French academic researchers, Antoine Fauchié et Julie Blanc, relies on open-source software and of course all the contents (images, data, and texts) are downloadable and free to reuse (Catalog of the Sculptures of the roman villa of Chiragan: http://villachiragan.
Pre-Existent Tools and Their Integration Contributing to Wikimedia projects cannot be carried out separately from other dissemination activities. MSR collections are published on "Joconde", the French museums' national database managed by the Ministry of Culture, via the POP platform. Each Joconde ID is linked to the corresponding Wikidata item as the primary source. In return, the Wikidata ID is linked to the Joconde record as an open data extension. Wikidata also serves as a connecting hub for all the digital resources about an artwork, including links to all the items in the databases where it is published (Joconde, Arachne,.
Pre-Existent Tools and Their Integration Contributing to Wikimedia projects cannot be carried out separately from other dissemination activities. MSR collections are published on "Joconde", the French museums' national database managed by the Ministry of Culture, via the POP platform. Each Joconde ID is linked to the corresponding Wikidata item as the primary source. In return, the Wikidata ID is linked to the Joconde record as an open data extension. Wikidata also serves as a connecting hub for all the digital resources about an artwork, including links to all the items in the databases where it is published (Joconde, Arachne, NESP, CIL, Artefacts, Sketchfab, etc. ), giving coherence and visibility to disseminated information. Of course, such integration needs an upstream work in uniformizing the vocabulary of each database, as each one lies on a different structure and ontology of types.
This work is performed on the names of the peoples, the geographic locations, the time periods, the materials, the techniques and other keywords used to describe the artifacts. This vocabulary harmonization is held at MSR thanks to the alignment process that enables matching distinct reference systems and connecting knowledge repositories disseminated over the web. To do so, the existing national repositories designed by the Bureau de la diffusion numérique des collections, Service des musées de France at the Ministry of Culture, are exploited. These scientific vocabularies were initially intended for the data in the national collective catalogue Joconde, to which the MSR has also contributed since 2016  [7]. They are published under the CC BY-SA license; they are published on the GINCO application (http://data.
Towards a Free Online Catalogue Eventually, vocabularies, such as those of the Getty or of the Joconde database or of the MSR, are matched with their corresponding Wikidata item that ensures their integration in linked open data projects. In fact, LOD can take advantage of the unified datasets interconnection. Datasets can be matched, giving the opportunity to convert a basic catalogue of cultural heritage into integrated datasets, interrelating communication artifacts without needing the interpretation of an archivist, curator or librarian. LOD gives the opportunity to disseminate the collections of cultural heritage institutions, placing them in multiple contexts by pairing them with different LOD sets from around the world. This ability empowers users to use the data for their own research, mapping within their own metadata, at no cost  [10].
Similarly to the users, which build new cultural heritage artifacts by combining collections from different sources, museums can create an online and custom-made catalogue by gathering data from various sources. In 2020, Shonagon, a Wikipedian very involved in French GLAM (Galleries, Libraries, Archives and Museums) projects, developed a portal called Palladia that provides multilingual access to more than 1200 objects of the MSR collection published on Wikidata and Wikimedia Commons. This interface is a variation of the search engine for visual artworks, Crotos, which includes more than 330,000 items from all over the world. The experience of MSR helps going beyond viewing a single collection, but aggregating data from various sources permits us to connect data together and perform actual data analysis.
Following the same idea, the open-source Aton framework is a system that DigiLab Sapienza University of Rome is developing in support to the National Research Council for developing Web3D apps aggregating data from various sources (photogrammetric 3D acquisition, 3D scenes and objects on the Web, archaeological sites data, etc. ) to create 3D environments aimed at creating immersive experiences for cultural heritage (ATON framework, Bruno Fanini, Zenodo, doi:10. 5281/zenodo. 4618387, 2020).
Conclusions In several countries there is still a certain diffidence towards the opening of museum data and information. Italy is a clear example of a country still grabbing on to retrograde policies: these practices are linked to the problem relating to the reproduction of cultural heritage, despite some pioneering examples  [11]. For instance, it is possible to photograph and publish photos of the finds kept in the Museum of Villa Giulia in Rome under a free license, making part of the archaeological collections freely accessible (https://commons. wikimedia. org/wiki/Category:Museo_nazionale_etrusco_di_Villa_Giulia), thanks to the Wiki Loves Monuments campaign in 2018. The heavy limitations relating to the reproducibility of the Italian cultural heritage, even by photographic means, have been partially overcome with Law no.
There has therefore been a multiplication of popular videos conducted by mu-seum curators, 360-degree navigation or virtual museums, and to a small extent also with regard to the opening and sharing of data. These activities joined a global trend towards sharing cultural open data, providing a richer database for research, both to scholars and to a wider, more general audience. Having a more open, freely available, and interconnected offer of cultural heritage information appears to be the new way of sharing knowledge, and increasing the public of institutions. The "Survey on the impact of the COVID-19 situation on museums in Europe" performed by the Network of European Museum Organizations (NEMO) which documented and analyzed the economic impact of the COVID-19 crisis on museums, has led to recommendations for reviewing and restructuring the museums, in order to weather future storms (https://www.
ne-mo. org/fileadmin/Dateien/public/ NEMO_documents/NEMO_COVID19_Report_12. 05. 2020. pdf, Survey on the impact of the COVID-19 situation on museums in Europe, Final Report, NEMO, 2021). Even if the majority of the museums in Europe have been closed during the lockdown, and have lost an average of EUR 20,300 a week due to closure and travel halt, two out of five museums reported an increase in online visits, ranging between 10 to 150% during the reporting time. Without any effort, there is no increase in the number of visitors: the museums that were able to adapt staff tasks and/or add resources were also able to increase their digital services and observed an increase in their online visits. A novel, modern and effective new open data policy for cultural heritage institutions, such museums, libraries and academies, does not only concern the way the information is put online, but also its structuring and the interconnection methodology.