dataesr/scientific-paragraphs-categorization huggingface dataset:
Online content Any methods, additional references, Nature Research reporting summaries, source data, extended data, supplementary information, acknowledgements, peer review information; details of author contributions and competing interests; and statements of data and code availability are available at https://doi. org/10. 1038/s41586-022-05283-y. Extended Data Table  1  | Neanderthal remains from Chagyrskaya and Okladnikov Caves included in this study for DNA analysis or  14  C dating All remains from Chagyrskaya Cave were recovered from lithoseries II, and all those from Okladnikov Cave were recovered from the Shelter. (a) This study, except for Chagyrskaya 8  5  and Okladnikov sample SP1087 (mtDNA only 41 ); 'genome capture' indicates that mitochondrial, Y-chromosome and nuclear capture has been performed, and 'no data' indicates that no ancient DNA was detected.
Acknowledgements We thank  D. Lucas  and  C. Logan  for comments on an earlier version of the manuscript;  H. Temming  for performing computed tomography scans;  S. Sawyer  and  J. Krause , who drilled the bones of Chagyrskaya 2 and Chagyrskaya 6;  R. Schultz  for helping to recover the digital photographs of the samples and uploading the primary data files. V. S. was funded by the  Alon Fellowship , M. H. was funded by  Marie Skłodowska Curie Action  ( MSCA-IF-EF-ST LIF, "ORIGIN " no. 844014 ), S. T. was funded by the  European Research Council   Horizon 2020 Research and Innovation Programme grant  " RESOLUTION " (no. 803147 ), K. D. was funded by the  European Research Council   Horizon 2020 Research and Innovation Programme grant "FINDER " (no. 715069 ), R. G. R. was funded by the  Australian Research Council  fellowship  FL130100116 , T.
H. was funded by the  European Research Council Seventh Framework Programme  ( FP7/2007-2013 ) grant  324139  " PalaeoChron ", K. A. K. was funded by  Russian Science Foundation , project  N 21-18-00376 , M. T. K. was funded by  National Science Centre, Poland , grant  2018/29/B/ST10/00906 , B. V. was funded by  Social Sciences and Humanities Research Council ,  Canada , Insight grant  435-2018-0943. This project was funded by the  European Research Council  (grant agreement no. 694707  to  S. Pääbo ).
No statistical methods were used to predetermine sample size. The experiments were not randomized and the investigators were not blinded to allocation during links for publicly available datasets -A description of any restrictions on data availability -For clinical datasets or third party data, please ensure that the statement adheres to our policy Raw data for each library are available in the European Nucleotide Archive under accession number PRJEB55327. Mapped bam files for all specimens and individuals, VCF files, consensus FASTA mtDNA sequences and a multiple alignment of all mtDNA can be downloaded from http://ftp. eva. mpg. de/neandertal/ ChagyrskayaOkladnikov.
Data analysis Data was analysed using the leehom (version 1. 2. 16) package that is available at https://bioinf. eva. mpg. de/, bam-rmdup package that is available at https://github. com/mpieva/biohazard-tools, Python v3. 7. 3, BEAST v2. 6. 6, Tracer v1. 7, Figtree v1. 4. 4, samtools v1. 3. 1-21, admixfrog v0. 6. 1, MAFFT version 7. 453, bwa-0. 7. 17 version, admixtools v 7. 0. 2, READ (no version number available but can be download here https://bitbucket. org/tguenther/read/src/master/) and R v4. 0. 3 For manuscripts utilizing custom algorithms or software that are central to the research but not yet described in published literature, software must be made available to editors and reviewers. We strongly encourage code deposition in a community repository (e. g. GitHub). See the Nature Portfolio guidelines for submitting code & software for further information.
Funding statement This research is funded by the  Generalitat de Catalunya's Culture Department  ( CLT009/18/ 00024  and  00053 ) and  AGAUR  ( 2017SGR-0011  and  1040 ), the  Spanish Ministry of Science  ( PID2020-113960GB-I00 ) and the  City Council of l'Espluga de Francolí. A. R. -H. , J. I. M. and M. G. are supported by the  Spanish Ministry of Science and Innovation through the María de Maeztu excellence accreditation  ( CEX2019-000945-M ); M. S. is the beneficiary of the  UAM TyV Program ,  R. H. of the URV  2019PMF-PIPF-59  grant and J. R. R. of the UA  MARSALAS21-22  grant.
contextual and structural aspects of religious systems and human agencies, which is the scope of the MAP project. The big data approach of MAP, with thousands of Greek and Semitic onomastic sequences registered in the database, enables to gain intelligibility and to promote a "small-scale global history",  5  making it possible to renew our understanding of the relation between naming and mapping. The database shows an incredible creativity in constructing divine names, but also permanencies and resilience, with a high degree of complexity and unpredictability. In this paper, I will first concentrate on the global scale of the naming system, by extracting all the onomastic elements connected to space from the MAP database. I will clarify how they are distributed in time and space, according to different criteria.
In the second part, I will propose a preliminary typology of the spatial onomastic elements and I will compare the Greek and Semitic ways of assigning the gods to spatial settings. Finally, I will focus on the Greek and Semitic onomastic sequences from Cyprus and the different scales they mobilise. 1 Exploiting the Database: An Overall View of Spatial Onomastic Elements At the end of June 2021, when I wrote this contribution, the MAP database contained over 6700 sources, including more than 8600 testimonies of divine onomastic sequences. More than 2300 different elements are combined in these sequences. This is only part of the huge epigraphic stock of divine names, and the work will be ongoing until June 2023, when the ERC Grant will come to an end. The "global view" that I will present and analyse now is, in fact, only a partial view, since different regions remain unexplored.
Nonetheless we can assume that 8600 onomastic sequences represent a solid foundation for a preliminary reflection on naming and mapping the gods. Each single onomastic element  6  is registered in the database with different metadata. 7 One of these is a field called "category", which aims to characterise the semantic scope covered by the element, regardless of the context in which it is used. Due to the polysemy of the elements a maximum of three categories may be chosen. For example, the Greek adjective komaios, "of the village, of the komos", is associated with three categories, or "tags": Political, Space, Social. The selection of one, two or three categories is undoubtedly debatable, but ultimately this is something for which the author of the data sheet is responsible. 8 As far as spatial issues are concerned, four main  For this concept, see Trivellato 2015.
 The database has a 3-table architecture: 1. Sources, which contain 2. Testimonies (of divine names), which are made up of minimum two 3. Elements (the basic "bricks" of the system).  https://base-map-polytheisms. huma-num. fr/element.  For a different taxonomy, see Alvar 2019 and the EPIDI project. categories out of the forty-one that are available are particularly relevant: 1. "Limit/Passage", 2. "Mobility", 3. "Space", and 4. "Toponym". Other categories may imply a spatial dimension, like agriculture, trade, netherworld, etc. , but the more categories I select for my request, the less clear my results will be. Of the whole stock of elements, approximately 650 elements, i. e. almost 30% pertain to the four selected categories. It is by far the most frequent ones, before "Perception", "Protection/Beneficence", "Cult/ritual", "Political", "Title", "Praise", "Kinship/Relational", "Temporality", etc.
Since each element may be connected to more than one category, the analysis must take into account possible overlaps. Nonetheless, the pre-eminence of the four spatial markers (limit/passage, mobility, space and toponym) is unquestionable. The numerous spatial elements are used in a significant number of testimonies, amounting to 55% of the total, a proportion which confirms the centrality of space as a characteristic of divine names. When looking at the proportion of Greek and Semitic testimonies, a strong bias appears, since, among Semitic testimonies, almost 2000 refer to Baal Hammon, the second element of which, ḥmn, may be connected with the Amanus mountain or with a cultic space (a kind of chapel). 9 When the whole corpus of inscriptions from the so-called Tophet of Salammbo in Carthage will be registered in the database (approximately 6000 texts), there will be an even stronger disproportion due to the massive and repetitive presence of dedications to Baal Hammon.
10 Nonetheless, the balance between masculine and feminine spatialized elements in Greek and Semitic could be a relevant observation, which needs further exploration. The overall ratio between testimonies with masculine or feminine elements in the whole database is 6820 Masculine / 4630 Feminine. This is only a general trend because, in many cases, masculine and feminine elements are associated in a single onomastic sequence, like the famous Carthaginian "To the Lady to Tanit Face of Baal and to the Lord to Baal Hammon". All in all, these statistics seem to indicate that gender is not a highly significant variant for the spatial characterisation of the gods. The typology of the sources may be a more interesting criterion. Spatial elements are used in a large range of inscriptions (in decreasing order): dedications, honorific inscriptions, decrees, inventories, ritual norms, calendars, proskynemata, funerary texts, ownership inscriptions, prayers, boundaries, letters, building inscriptions, laws, defixiones, blessings, acclamations, etc.
Moving towards a Typology of Spatial Onomastic Elements and a Comparative Approach of Greek and Semitic Mental Maps We observed so far a massive recourse to spatial categories in the construction of composite divine names. Let us now take a closer look at how space is expressed in the onomastic elements and which kind of space is involved. A preliminary typology of spatial elements may be based on their grammatical nature. In the MAP database we offer eight possibilities: adjective, adverb, clause, preposition, pronoun, substantive, verb, undetermined. Adjectives are far more present in Greek than in Semitic, where substantives are largely predominant. To indicate the god of one specific town, region, or land in Greek, an adjective is frequently used (Paphios, Golgios, Surios, etc. ), whereas in Semitic, a substantive, basically a toponym is more common (Baal Ṣr, Baalat Gbl, etc.
). Alternative constructions, like Aphrodite en Kepois, Zeus epi Palladiou, ʾlhʾ zy byb byrtʾ, "the god who is in Yeb the fortress", or participle + toponym (medeon/medeousa),  11  which are quite numerous, may convey specific nuances, maybe a closer relationship to the territory, but it needs further analysis, when the database will be exhaustive. If we attempt to refine the large "Toponym" category, regardless of the grammatical nature of the element, it is clear that a toponym may refer to different spatial scales: cities (Golgoi, Paphos, Claros, Sidon, Tyr. ), sites within a city (Cadmea), regions (Achaios, Paniônios, Samaria, Syria. ), islands (Alashiya/Cyprus, Crete, Malta. ), mountains (Hammon, Lebanon, Anchesmos, Parnes, Kasios/Saphon. ), rivers (Inachos, Acheloos, Nile. ), and springs (Ydal), capes (Sounion, Kenaion, Zoster.
The "city" scale (polis, small kingdom, tribal entity) is by far the most frequently attested to fix a god in a specific place. This is not surprising at all: the topic dimension of cults is predominant everywhere during the whole Antiquity. 14 This is the most "natural" way of appropriating the divine and of creating the conditions of durable interactions. provides a more dynamic image of the power of the gods, whereas "Limit/Passage" expresses the gods' ability to provide protection in dangerous spaces and experiences. Among the many spatial elements registered so far in the MAP database, few refer to "the world" as a whole, the kosmos. In one inscription from Maad in Lebanon, a Holy Lord and Master of the whole Universe is addressed, 15 while in Philae, Isis is the one "who is able to save the world".
16 In Semitic, the element ʽlm, which means "eternity" and "universe" is used in several Palmyrene dedications to the "Master of eternity/universe", who is twice referred to as Baal Shamim, "Baal of the Sky". 17 In Karatepe (Turkey), Shamash, the Sun god is called "of eternity/the universe". 18 Basically, the cosmic dimension of the gods, brought to the forefront by mythological narratives, especially theogonies, starts to blur when adopting the point of view of everyday cultic practices. A case-study, i. e. the exhaustive corpus of divine names attested in Cyprus, will provide the opportunity to have a closer look at the relevant scales of space involved in the interactions between gods and people. It may be useful to remember that, in the period that we study, nobody had in mind a database of the divine onomastic.
Since the stock of onomastic elements available hic et nunc was relatively narrow, the perspective offered by the MAP database corresponds to some sort of Augmented Reality, that is, a virtual experience where the objects, that reside in the real world and are experienced by people, are enhanced by computer-generated "perceptual" information. When using the MAP database, we are immerged in an artificial divine world that never existed as such, but which sharpens our cognition and understanding of the complexity of religious systems and practices. It allows us to observe how the many, if not infinite, resources of plurality and polysemy are mobilised in different historical and social contexts.  When I wrote this paper, the Kafizin inscriptions were not yet registered. In the meantime, among the 305 inscriptions from the sanctuary, about 200 sources and 250 attestations were added to the database.
To conclude, I will focus on seven main points. 1. The MAP database is thought to be a heuristic tool which brings to light regularities and singularities in the use of divine onomastic sequences. These data need to be interpreted paying attention to different criteria, such as the typology of sources, the chronology, the gender of gods and humans, etc. 2. Two biases are particularly relevant: first, the database only contains the onomastic sequences with a minimum of two elements. All the inscriptions mentioning Hestia alone or Shadrapha without any qualification are discarded; second, the analysis is so far based on an uncomplete set of data. At the end of the MAP project, in June 2023, the amount of information provided by the database will be much more. Some regions and typologies of inscriptions partially lack (defixiones, funerary, etc.
The Phoenician elements rarely refer to landscapes or "natural" features; they basically connect gods and territories. Designed as "lords", "masters", or "kings" of a place, the gods rule over a land, like the kings. The Greek gods are more frequently associated with an environment that determines their mode of action: a marsh, a cape, a garden, a grove. 7. With the MAP database, one request leads to another: the MAP team hopes that this digital tool will trigger a creative process of exploration of the available data and generate new questions, results, and perspectives on the religious systems of the Mediterranean world.
Furthermore, it is used to model the stories comprising the technological, social, and historic context of crafts. The Mingei Online Platform (MOP)  [9]  is a Web-based authoring platform that integrates the aforementioned craft process and narrative models and provides a GUI for the instantiation of craft representations. This GUI facilitates this process and user collaboration, allowing different access roles. The MOP is built on top of ResearchSpace  [32, 33] , a research platform that introduces modules for CIDOC-CRM and integrates a repository of digital assets that assigns IRIs to the resources managed. For the resources that have other identifiers in Wikidata or any other knowledge base, connective links are asserted in the MOP knowledge base. Each digital asset is endowed with metadata, including semantic annotations from controlled vocabularies for objects, activities, and locations.
Understanding craft practice requires the identification of at least the following types of concepts and their appellations. Physical items are materials, artifacts, and manufacturing tools or machines, protective or traditional clothing, and workspaces. Actions refer to the transformation of materials into intermediate or final craft products. Quantitative data include the measurement of quantities relevant to craft practice such as the amounts of materials, number of workers, as well as production and economic figures. Narrations and stories of direct relevance to craft representation are collected. They are selected based on the historical events that have influenced the history and economy of social groups, technological advances, and artistic movements relevant to the craft of study. In  [34] , ways to identify pertinent topics are proposed.
Recording This task concerns the recording of objects (endurants) and events (perdurants). Recordings of endurants are photographic documentation and 3D digitization. Event recordings are acquired through audio, video, and 4D reconstruction. The digitization also includes contextualization items, literature, and other information-carrying media, e. g. , documents, technical drawings, images, and audio recordings. The digital assets are associated with technical metadata to interpret them appropriately as computer files. The multiplicity of types is facilitated by the concept of digital assets, which are linked to the knowledge base independently of their file type and storage location.
Technical Implementation in the MOP The collected digital assets are linked to the knowledge base as "media objects". These recordings are abstracted as media objects when inserted in the knowledge base. Media objects are the way the MOP treats digital assets. New digital assets that are not web resources, i. e. , new media objects, are made such by uploading them to the MOP repository, associating them with new URIs, and assigning them to the Web server of the MOP. They are identified by an IRI and served by the MOP Web server via the HTTP protocol. No operation is required for resources already online. When data collection is complete, all media objects are similarly treated, albeit their storage location is transparent to the user. Though digital assets are abstracted in the MOP, the format in which these are encoded is relevant to the sustainability of their digital preservation.
The location is a knowledge element that is referred to by other entities, besides the event which we study, such as the construction of the building or its renovation (shown only for illustration). The figure also illustrates the use of the geographical database of GeoNames. Given the association of this location with Krefeld, it is possible to reason that this location is in Germany and Europe. Finally, the figure illustrates two more events (the construction and a renovation event), which are implicitly related in the knowledge base, through the location and the participants. The second example is illustrated in Figure  3  and comes from the glassblowing craft. The term "bubbling" refers to a glass-forming technique, where the practitioner insufflates air into a gathering of molten glass with the aid of a blowpipe to create a glass bubble.
Places Places extend class E53 Place and may contain one or multiple links to geographical locations. For crafting processes, both the geographical location and type of the place are of relevance. The geographical location is relevant to the origin of materials or the manufacturing site of craft products. The classification of places is of relevance to represent the type of place where crafting processes occur, such as a workshop or a harvesting site. For contextualization narratives, geographical locations enable the documentation of historical events. In addition, some places may be imaginary, as in legends or tales, and are not associated with a geographical location. The implementation is integrated with a database of location names  [42] , which provides geographical coordinates and hierarchical organization of locations into cities, regions, and states.
The adaptation to these requirements led to several redesign iterations of the MOP. Craft presentation and preservation faced two main challenges. The first was to create online presentations of the acquired representation so as (a) allow researchers to build narrations on the acquired representation, (b) disseminate knowledge through the MOP, and (c) create online educational material and process representations. The second was to ensure compatibility of the knowledge base with external sources both in terms of linking to external sources and importing in knowledge standards such as CIDOC-CRM and EDM. The lessons learned regarded the quality of our representation, which was capable of supporting several online presentations of the represented knowledge. Furthermore, considering that the system was based on existing knowledge standards, disseminating the represented knowledge was as simple as creating semantic associations of CIDOC-CRM encoded metadata to other knowledge standards and creating a SPARQL endpoint to deliver knowledge in standardized formats.
For building the 3D models of the machines to inhabit the implemented virtual model, the actual machines exhibited at the Chios Mastic Museum were scanned using a handheld tri-optical scanner, and photographic documentation was acquired. Using the Blender 3D software  [66] , the scanned models were post-processed to deal with known scanning issues relevant to metallic reflective materials, glass parts, etc. Indicative examples of the photographic documentation (Original), reconstruction results (Scanned), and postprocessing outcomes (Processed scan) are shown in Figure  4.
The activity diagram is shown in Figure  9. For the production of mastic chewing gum, first, the mixture is prepared using mastic, sugar, butter, corn flour, and water. The ingredients are placed in the blending machine to produce the mixture. After 15 min, the mixture is taken out of the blending machine and is placed on a marble counter. Then, it is formed into pieces with a maximum height of 3 cm and left to cool. After cooling, the pieces are transferred to the press and engraving machine, where they are pressed and gum pieces are formed. In the end, the pieces are cut and put in the candy machine to create a coating made out of syrup. The activity diagram is shown in Figure  10. The activity diagrams are transcribed into transition graphs using the MOP UI. Data fields are used to enter appellations, informal descriptions, and the step order.
Digital Preservation and Open Data Dissemination The digital assets hosted in the MOP repository are provided online in conventional and open formats. Each asset has a unique Internationalized Resource Identifier (IRI) to be directly integrated by third parties. Our knowledge is available on the Semantic Web via the SPARQL endpoint by the MOP. Furthermore, to ensure compatibility with online knowledge sources, definitions of terms are imported to the MOP by linking to terms from the Getty Arts and Architecture thesaurus  [69]  and the UNESCO thesaurus  [70]. For further exploitation of the semantic knowledge encoded in the MOP, a Europeana Data Model (EDM)  [21]  export facility has been also been implemented allowing (a) the export of data in semantic compatible with EDM format and (b) the formulation of SPARQL queries  [71]  to the MOP SPARQL endpoint to receive EDM-formatted results.