dataesr/scientific-paragraphs-categorization huggingface dataset:
Processing Craft Actions and Retargeting to VHs The processing of the motion data was completed on Autodesk MotionBuilder software  [79] , is dedicated to animation and the direct integration of motion capture technologies. The process requires different steps: (a) the creation of an "actor" in Motion-Builder with a skeleton definition corresponding to the BVH hierarchy, (b) the mapping of the received animations onto the actor, and (c) the synchronization of the VH with the actor by adjusting the two models so that the measurements match and the animations are correctly reproduced (retargeting, see Figure  14 ). Processed animations were used for the implementation of the 3D representation of the mastic cultivation activities in a virtual environment depicting a mastic tree field, as shown in Figure  15.
Calculation of peak areas. In order to assess whether the characterisation of ironrich pictorial layers can be improved by pXRF data processing, we also used the areas of the peaks (netto counts) calculated using the fundamental parameters (direct values calculated by the PDA of the SPECTRO xSORT X-ray instrument). Considering the large differences between elements, we used the centred log ratio (clr) and the logarithm weighted by Fe netto counts (alr)  [109]. We used Fe-ratios of netto counts for the same reason we used the Fe-ratios of the spectra. The calculations were performed using CODAPAK software  [110]. When more than 25% of the values were missing (netto count = 0), the element was not taken into account. Missing values were replaced by 0. 65 multiplied by the minimum peak area detected for the element concerned following the software recommendation.
Multivariate statistical data processing. Statistical analyses were used in order to improve sample comparison. We used Principal Component Analyses (PCA) in order to describe composition variability among the measurements. The variables and individuals retained in each PCA are summarised in Table  4. For the spectra, PCAs were carried out using a selected range of energies: 1. 70-10. 92 KeV (variables). Energies below 1. 70 keV were not used because the instrumental conditions were not suitable for the detection of light elements and energies above 10. 92 keV, as the peaks of heavy elements are too weak or absent. As the logarithm of null values cannot be calculated, this means that when the background reaches its minimum, there is a missing value in the Fe-ratio log data. All energies showing missing values were removed from PCA4, as were energy ranges between 7.
61 and 10. 39 keV because of the high contribution of the X-ray source in this part of the spectra. Except for PCA6 and PCAc, we used all the measurements performed at El Castillo associated with the second experimental reference (Exp2) as individuals. Cave wall measurements were kept in all PCAs to avoid underestimating the contribution of the cave wall to the results. PCA coordinates were calculated using the FactoMineR library in R software  [111] , and graphs were done with the factoextra library.
Acknowledgments We would like to thank  Garrido Pimentel  and  Raul Gutierrez  ( Cuevas Prehistoricas de Cantabria ) for guiding us at El Castillo cave, as well as the  Consejería de Educación, Cultura y Deporte of the Government of Cantabria  for granting us permission to work and conduct in situ analyses at the site. Thank you to  Catherine Ferrier  ( Universitede Bordeaux, UMR PACEA ) for showing us the use of the digital microscope and giving us a block of Rupelian limestone from her own research. We also thank  Eric Pubert  ( UMR PACEA ) for building the support for the pXRF instrument and to  Alain Queffelec  ( UMR PACEA ) for discussion on the choice of pXRF analytical parameters. Our thanks also go to Helène Salomon (UMR EDYTEM) for discussions on pXRF in situ analyses.
The work of Laure Dayet was supported by a grant from the  European Research Council  ( FP7/2007/2013 ,  TRACSYMBOLS 249587 ). The work of Francesco d'Errico is also supported by the  Programme Talents  and the  Grand Programme de Recherche Human Past of the University of Bordeaux Initiative of Excellence , and the  Research Council of Norway through its Centres of Excellence funding scheme, SFF Centre for Early Sapiens Behaviour (SapienCE) , project number  262618.
The larger the dataset (i. e. assemblages) the more reliable are the conclusions that can be drawn, and allowances must be made for differences in sample size when comparing data. This is relevant to the present study, where there is an almost five-fold difference in the number of data between the smallest assemblage under consideration from Hamadan and the largest collection of samples from Gorgan. However, by expressing group structures as percentages of the total number of samples in the assemblage of each site, we are able to propose a regional production model of early Islamic glass in Iran.
External calibration was performed against Standard Reference Materials from the National Institute of Standards and Technology (NIST SRM) 610, the Corning reference glasses B, C, and D, as well as an archaeological glass sample (APL1) for chlorine quantification. The signals were converted into quantitative compositional data following the procedures detailed by  Gratuze (2016). Reference materials Corning A and NIST SRM612 were analysed at regular intervals as unknowns to determine the accuracy and precision of the analyses. For the major elements, the analysed values were within 5 % relative and for most trace elements within 10 % relative of the reference material. The coefficients of variation for all major elements were <5 %, for most minor and trace elements <5 % and always <10 %.
Multivariate statistical analysis Based on the variables most useful for grouping the samples (Na 2 O, MgO, Al 2 O 3 , SiO 2 , P 2 O 5 , K 2 O, CaO, Li, Ti, V, Cr, Rb, Sr, Y, Zr, La, Ce, and the ratio Cr/La) converted to log-ratios  (Aitchison, 1999) , we applied Minitab version 20. 1. 3 for Principal Components Analysis (PCA) and Cluster Analysis (CA) to a dataset of 154 of the Iranian plant-ash glasses (omitting six samples identified as outliers or Levantine), 40 samples from Samarra including 20 from Samarra group 1 and 20 from Samarra group 2  (Schibille et al. , 2018) , and 21 Sasanian samples from Veh Ardašīr  (Mirti et al. , 2008 (Mirti et al. , , 2009)). The comparative data were selected because they appeared to be similar to the Iranian glasses based on prior PCA and CA of a larger dataset (not shown).
After having read the protocol description and after accepting to take part in the study, they responded to socio-demographic questions (age, sex) and completed the PHQ-4 questionnaire  44. Participants completed the Time estimation task, followed by the Metacognitive Questionnaire on Time  40  , and the Recognition task. The protocol ended with questions assessing the participants' habits toward films (e. g. , the frequency of movie watching, preferred movie style), if they knew the film from which the sequences were extracted, and their editing experience. The total duration of the protocol was 16. 73 ± 3. 8 min. Study 2. Participants. We used the software program G*Power to conduct a power analysis. Our goal was to obtain 0. 8 power to detect an effect size of 0. 43, based on the effect size obtained in our first exploratory study concerning the effect of Editing on the Time estimation error, at the standard 0.
Overlays are then added that use the spatial context to position and correlate data: metric, visual, and acoustic data are "projected" inside that spatial background. The approach was developed in response to a specific set of constraints (small-scale architecture, remote sites, lightweight, low-cost solutions, reproducibility and reusability of outputs, etc. ) that are detailed in  [2]. It was applied to 15 rural chapels in south-eastern France, with an objective to support reproducibility (from acquisition to post-processing stages), as well as comparative analyses (see Supplementary Materials section for further details on the corpus). This study covers four major issues raised in the heritage studies community: • From the operational point of view, it questions the integration of visualisation practices and promotes a vision of sensemaking in large 3D datasets through the use of visualisation paradigms that complement scientific visualisation approaches per se.
• The photogrammetric acquisition is carried out with a 360 panoramic camera (pyramidal sequence in each position). The 3D Integrator aggregates heterogeneous outputs from the survey stage and the post-processing chain: oriented stitched panoramas, XYZ coordinates of the spatial grid (DXF files), 3D point clouds, room impulse responses, auralisations calculated for the 4 points recording points (MA, MC, MD, and MG), and quantitative acoustic descriptors. The pyramidal data acquisition protocol (see Figure  2 ) consists of an overlapping block of 5 images for each tripod position (instead of a single one). This results in faster The pyramidal data acquisition protocol (see Figure  2 ) consists of an overlapping block of 5 images for each tripod position (instead of a single one). This results in faster coverage of the surveyed space and thereby speeds up data acquisition and improves (densifies) the panoramic camera network.
Measurements and Naming (DXF Points) Other add-ons allow users to manipulate the survey data. The first one provides users with means to perform on-the-fly measurements on the DXF points (Potree's native tools only allow the calculation of distances on the point clouds). The module enables an on-the-fly display of the distance between two points (Figure  5a ). Distances can be calculated in sequences or separately. Resulting measurements can be saved locally or online in JSON format and can be re-used outside the integrator or re-loaded into it via the corresponding sub-menu. Another add-on allows the naming of DXF points (Figure  5b ). Heritage 2022, 5, FOR PEER  REVIEW 6  tools only allow the calculation of distances on the point clouds). The module enables an on-the-fly display of the distance between two points (Figure  5a ).
The computation was realised using Matlab with the Spherical-Array Processing Toolbox  [24]. The RMS values are then calculated on each signal. Because of the importance of the temporal behaviour of the acoustic data, we chose to compute the RMS values on different time frames of the PWD signal. These time frames were defined arbitrarily, but we chose the shortest time frames for the beginning of the room impulse response. Because of the quantity of data, it was not conceivable to compute a higher number of time frames. Nineteen time frames were computed as follows: • 6 time frames of length 5 ms from t = 0 s to t = 30 ms; • 6 time frames of length 10 ms from t = 30 ms to t = 90 ms; • 6 time frames of length 20 ms from t = 90 ms to t = 210 ms; • 1 time frame from t = 210 ms to the end of the impulse response (the length of the time frame depends on the length of the impulse response).
Briefly speaking, its role is to help actors reason on the correlation of an acoustic behaviour with architectural features. It plays the role of an InfoVis solution, where the visualisation of data sets acts as food for thought in trial-and-error processes aimed at a fine-grain interpretation of the data. Several visual solutions have been designed and implemented to help explore and cross-examine the datasets inside the 3D integrator (3D visual metaphors) or as 2D formalisms. They build on the key benefit of a systematic survey protocol jointly developed by architects and acousticians and prioritising reproducibility and comparability. A number of open issues (in terms of methods or technology) can be discussed in the light of this experiment, such as limitations of a 3D visualisation in terms of information readability and navigability, the challenges of enhancing comparisons inside 3D settings, scalability, response time, export formats, etc.
Acknowledgments: The project team wishes to express its gratitude to the local actors-local authorities and their technical services, associations, and members of the clergy-who allowed it access to the buildings studied and thus enabled it to carry out this work. The 3D integrator is used here to extract control points for each segment based on the green trace in the 3D point cloud by the laser beams projected by the self-levelling laser levels (hence ensuring horizontality and verticality). Once each segment has been identified and documented (dimensions and qualitative indicators), it is possible to transfer the values of each segment in the form of a 'sound' and, in fine, to propose a 'sonification' of the contour, in other words, a sound mapping of the architectural information. This exploratory work is carried out by a research laboratory partner of the project, the  PRISM research unit , which is developing complementary sonification strategies using the data extracted via the 3D integrator (an experiment that falls outside the scope of this article).
Data Availability Statement: Given the amount and variety of the data sets mentioned in this study, some are made available only on request from the corresponding author. However, a large number of resources are available from the following entry points: The 3D integrator http://anr-sesames. map. cnrs. fr/viewer_ply_dxf/SESAMES_Integrateur/programmes/SESAMES_Integrateur. html (accessed on 27 November 2022); MEMORIA IS (documentation of research processes): http://memoria-dev. gamsau. archi. fr/is/analyse. php?viz = 3&v = 3 (accessed on 27 November 2022); The project's open documents repository: http://anr-sesames. map. cnrs. fr/do. html (accessed on 27 November 2022).
Experimental data For the purposes of comparison, we included experimental data from three experiments  [43] [44] [45] 122]. The main aim of these experiments was to record percussion mark location when novice experimenters broke bones to extract the yellow marrow. The analysis of percussion mark distribution along the long bone shaft provided data on intuitive patterns. These three experiments enable us to compare two different species (  [43]  and  [122]  for cow, and  [44]  for red deer) and the technique used to break the bones. Indeed, some experimenters used the hammerstone on anvil technique  [43] [44] [45] 122] ; while the rest of them used the batting technique  [43, 122]. The analyses conducted to record percussion mark distribution are similar to those applied to the archaeological samples, presented above.
Data analysis We used an alpha of 0. 05 for all the tests. Spearman's rho was used to test the correlation between long bone density indices and percussion marks frequency by portion to test whether the densest parts or the least dense zones were the most impacted. Bone density indices were estimated by  [55]  and  [123]  LUNG for Equus, MUNG for Cervus and SUNG for Ovis. We also employed this bivariate test to cross the %MAU and the medullary cavity volume of ungulate long bones to explore human carcass transport strategies  [124]. Finally, we tested the correlation between the amounts of percussion marks per element with its NISPa to determine whether the number of identified fragments affected the number of percussion marks recorded per element. The correlation coefficients and tests were computed using R software  [125].
When data are quantitatively limited, we group the assemblages from the same site together. The results show that at Bolomor, percussion mark areas are not randomly distributed, in contrast to Gran Dolina with the previously published chi-square. Regarding our studied sites, Riparo Tagliente presents a probable random distribution of the marked areas (Chi-square: p-value > 0. 05). Nonetheless, in the site of Abri du Maras, four long bones: humerus (Chi-square: p-value < 0. 001, χ 2 = 40. 86), radio-ulna (Chi-square: p-value = 0. 002, χ 2 = 29. 53), femur (Chi-square: p-value < 0. 001, χ 2 = 21. 11) and metatarsal (Chi-square: p-value = 0. 001, χ 2 = 31. 08) show that bone areas are not equally impacted. At Saint-Marcel Cave, three long bones: tibia (Chi-square: p-value = 0. 031, χ 2 = 21. 16), metacarpal (Chi-square: p-value = 0.
Some features of percussion mark distribution at Abri du Maras are non-random and are very different to the intuitive pattern (layer 4. 1, humerus and femur; layer 4. 2 of humerus of the LUNG assemblage and radio-ulna of the MUNG assemblage). This seems to imply probable butchery traditions for some elements, as suggested by our experimental data. Nevertheless, in layer 4. 2, this non-random feature only concerns one bone of each sample, i. e. , the LUNG (humerus) and the MUNG (radio-ulna) assemblages. This difference could be explained by a dissimilar treatment of the two differentsized ungulates in the two layers. Data from the Abri du Maras assemblages demonstrate that one assemblage with non-random and counter-intuitive percussion mark distribution in one level could influence a larger assemblage of one site.
2 between the 4. 2MUNG and the 4. 2LUNG was also observed in the current ethnographical groups (for example  [143] ) and also within archaeological assemblage of Qesem cave regarding the treatment of the metapodial  [147]. Our data attest to variability in Neandertal behaviour during the Middle Palaeolithic, and not only for subsistence patterns. This variability can be partly explained by the geographical extension and duration of this period associated with the diversity of environmental conditions. Each context seems to represent a balanced response to specific conditions. Based on this assumption, the existence of different butchery practices is highly plausible. Variability in traditions could be noticed in subsistence, including both hunting and butchery strategies, and technical strategies, as observed in the sites and layers of Abri du Maras, Saint-Marcel Cave and Riparo Tagliente.
Acknowledgments Fieldworks at Abri du Maras were supported by the  Regional Office of Archaeology in Rhone-Alpes , the  French Ministry of Culture and Communication  and the  Ardèche Department through several scientific programs. L. Byrne , an official translator and native English speaker, edited the English manuscript. We are grateful to the reviewers and particularly to  A. Val , for their very useful comments, which enhance a lot this manuscript.
In this 'perennial 1965', so to speak, Oppenheimer and his associates use reenactment in an almost therapeutic manner -it is the role change from perpetrator to victim that finally causes their protagonist to break down. Both the Escalante reenactments and The Act of Killing are interventions in situations in which the past is all too present; they make the ongoing effects of these massacres perpetrated by US-backed regimes painfully sensible" rather than offering an escape from the present to a more heroic past. In a less directly interventionist mode, Eran Schaerf's Scenario Data presents a series of artworks focusing on the staging of history, from seemingly innocuous war reenactments to more sinister forms of stagecraft. If the masters of history perpetuate the historical crimes that created their position of power and privilege in the first place, thus effecting a colonization of the now by a past that refuses to die, the perpetuation of this power in turn facilitates the remaking of history.
Scenario Data is based on an elliptical scenario that Schaerf has realized in various media: in printed text/photo spreads, for instance, but also in large installations in which revolving slide projectors cast images related to the scenario on the walls. These images include Napoleonic reenactors, old chairs scattered around a campfire during the Yom Kippur War, and an astronaut in an eighteenth-century period room. This still, from the end of Stanley Kubrick's 2001: A Space Odyssey, is reframed in an accompanying text by Schaerf: The American space agency Odyssey suspects the Kubrick Company's lost futurologist may be in an eighteenth century French salon. The agency has requested the support of the Israeli secret service. Meanwhile, the French Baron Edmund de Rothschild declared his intention to donate an eighteenth century French salon to the Israeli Museum of Period Rooms to ensure that in the case of the lost futurologist's return, it will be in Israel.
NOTATION AND MEDIATION If pieces such as The Milgram Reenactment or The Battle of Orgreave could be accepted as contemporary visual art, this was ultimately due 16 Eran Schaerf, 'Scenario Data #39', in Life, Once More, ed. by Sven  Lütticken,. 17  Ibid. , p. 10. to the performative turn in the art of the 1960s and early 1970s; after all, such pieces reintroduce some of the tropes of historicism into performance art. By the early twenty-first century, the work of the first and second generation of performance artists had itself become historical. How to deal with these works, which were, by their nature, ephemeral? Many of them had been documented in some ways (in the form of photos, films, videos, and written accounts); could and should they also be reenacted? In 2001, the project ' A Little Bit of History Repeated' at KW Institute for Contemporary Art in Berlin, curated by Jens Hofmann, put the issue of the reenactment of historical performance pieces on the map.
RE-AND PRE- While performance scholars have increasingly focused on performance documentation as more than just a pale and passive reflection of the 'real thing', as archival materials with an intrinsic value and performative qualities in their own right, artists have increasingly taken to performing various archives within the context of exhibitions. 22 Examples include:Hans Ulrich Obrist's Swiss Pavilion at the 2014 Venice Architecture Biennale -in which documents of the work of Lucius Burckhardt and Cedric Price were activated through a choreography devised in collaboration with Tino Sehgal and other artists -and the 2015 Black Mountain College exhibition at the Hamburger Bahnhof in Berlin. Analysing Jean-François Lyotard's take on the postmodern condition, Tom Holert argues that a specifically 'postindustrial and postmodern relationship between competence and performativity  […]  opens up a new area of activity for the artist which, though performativity, is distinguished by a potential freedom of choice and interests and omni-accessibility to databases and archives'.
The Neapolitan group considered hubris to be a quality inherent in men's behaviour. The collective Le Nemesiache, followers of Nemesis, strained against patriarchal arrogance. Other members were inspired by the legendary nymphs, such as the naiads of the fresh water, the dryads of the trees, and the oreads of the mountains. Medea, Helen of Troy, Niobe, and Cassandra were among the mythological figures with which the group identified. Following their desire to rethink women's subjectivities through art, Le Nemesiache worked on theatre performances, films, poetry happenings, video art, music, and paintings, but they also staged protests and occupations of buildings to trigger a new conception of their location, Naples, and of the spaces for women's creativity that the city might offer. As a collective, they produced five performances, three films, four music concerts, and seven video works.