wanyu/IteraTeR_full_sent huggingface dataset:
Original:  If an institution has decided to invest in a repository  numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository  " , Stezano, Leo (March 2016).
Revised:  If an institution has decided to invest in a repository numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository " Stezano, Leo (March 2016).
Edit intent: fluency
Original:  Elsevier Library Connect URL Software The major institutional repository software platforms use a common open standard called OAI-PMH . This standard makes it not just possible to collect and move research output from one platform to another.
Revised:  Elsevier Library Connect URL Software Most institutional repository software platforms use a common open standard called OAI-PMH . This standard makes it not just possible to collect and move research output from one platform to another.
Edit intent: clarity
Original:  Elsevier Library Connect URL Software The major institutional repository software platforms use a common open standard called OAI-PMH . This standard makes it not just possible to collect and move research output from one platform to another.
Revised:  Elsevier Library Connect URL Software The major institutional repository software platforms can use OAI-PMH . This standard makes it not just possible to collect and move research output from one platform to another.
Edit intent: clarity
Original:  Elsevier Library Connect URL Software The major institutional repository software platforms use a common open standard called OAI-PMH . This standard makes it not just possible to collect and move research output from one platform to another.
Revised:  Elsevier Library Connect URL Software The major institutional repository software platforms use a common open standard called OAI-PMH to harvest metadata. For example, DSpace supports OAI-PMH.
Edit intent: meaning-changed
Original:  Institutions are choosing cloud-based solutions because such providers "enable institutions to easily get started with a hosted software service, with no need to provision local hardware, software, staff, or other infrastructure nor is there any specific technical skill or expertise required ".
Revised:  Institutions are choosing cloud-based solutions because such providers "enable institutions to easily get started with a hosted software service, with no need to provision local hardware, software, staff, or other infrastructure nor is there any specific technical skill or expertise required ."
Edit intent: fluency
Original:  Interoperability is achieved in the world of institutional repositories using protocols to which repositories should conform, such as OAI-PMH. This allows search engines and open access aggregators, such as BASE, CORE and Unpaywall, to index repository metadata and content and provide value-added services on top of this content.
Revised:  Interoperability is achieved in the world of institutional repositories by using protocols such as OAI-PMH. This allows search engines and open access aggregators, such as BASE, CORE and Unpaywall, to index repository metadata and content and provide value-added services on top of this content.
Edit intent: clarity
Original:  For a university, this includes materials such as monographs, eprints of academic journal articles—both before (preprints) and after (postprints) undergoing peer review—as well as electronic theses and dissertations  .
Revised:  For a university, this includes materials such as monographs, eprints of academic journal articles—both before (preprints) and after (postprints) undergoing peer review—as well as electronic theses and dissertations (ETDs) .
Edit intent: clarity
Original:  Developing an institutional repository An institutional repository has been understood as a means to ensure that the published work of scholars is available to the academic community even after increases in subscription fees or budget cuts within libraries. The majority of research scholars do not provide free access to their research output to their colleagues in an organization. Institutional repositories provide scholars with a common platform so that everyone in the institution can contribute scholarly material to promote cross-campus interdisciplinary research. The development of an institutional repository redefines the production and dissemination of scholarly material within an academic community.
Revised:  Developing an institutional repository Steps in the development of an institutional repository redefines the production and dissemination of scholarly material within an academic community.
Edit intent: coherence
Original:  The development of an institutional repository redefines the production and dissemination of scholarly material within an academic community. The contents available on the institute’s website usually are removed after a few weeks. An institutional repository can provide a platform to manage institutional information, including web content. Institutional repositories have a number of benefits, including access to resources, visibility of research, and presentations of the contents. Bhardwaj, Raj Kumar. "Institutional Repository Literature: A Bibliometric Analysis." Science Technology Libraries ahead-of-print (2014): 1-18%DIFDELCMD < %DIFDELCMD < %%% If an institution has decided to invest in a repository, numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository.
Revised:  The development of an institutional repository Technology Libraries ahead-of-print (2014): 1-18%DIFDELCMD < %DIFDELCMD < %%% If an institution has decided to invest in a repository, numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository.
Edit intent: clarity
Original:  Science Technology Libraries ahead-of-print (2014): 1-18%DIFDELCMD < %DIFDELCMD < %%% If an institution has decided to invest in a repository, numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository.
Revised:  Science %DIFDELCMD < %DIFDELCMD < %%% If an institution has decided to invest in a repository, numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository.
Edit intent: coherence
Original:  Science Technology Libraries ahead-of-print (2014): 1-18%DIFDELCMD < %DIFDELCMD < %%% If an institution has decided to invest in a repository, numerous resources exist to help librarians and other repository managers frame and answer such questions, including "A Librarian's Process for Building an Institutional Repository."Stezano, Leo (March 2016). A Librarian’s Process for Building an Institutional Repository. Elsevier Library Connect URL
Revised:  Science Technology Libraries ahead-of-print (2014): 1-18%DIFDELCMD < %DIFDELCMD < %%% include choosing a platform and defining metadata practices.
Edit intent: meaning-changed
Original:  A survey commissioned by Duraspace found that 72\% of respondents indicated that their institutional repository is a hosted service. Institutions are choosing cloud-based solutions because such providers "enable institutions to easily get started with a hosted software service, with no need to provision local hardware, software, staff, or other infrastructure nor is there any specific technical skill or expertise required. " Also important to the decision to go hosted may be the understanding that a hosted institutional repository solution "frees a library from both hardware and software support, allowing staff resources to be directed to other publishing service functions such as consulting and workflow design."
Revised:  A survey commissioned by Duraspace found that 72\% of respondents indicated that their institutional repository is hosted by a third party.
Edit intent: clarity
Original:  City Lore works in four cultural domains: urban folklore and history, preservation, arts in education, and grassroots poetry traditions. Described by Sonnet Takahisa of the September 11th Memorial Museum as    " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Revised:  In a March 21, 2020 article in The Wall Street Journal, Steve Zeitlin notes, “We believe in grassroots creativity as a redeeming force in society and a symbol of the irrepressible nature of the human spirit.” " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Edit intent: meaning-changed
Original:  Described by Sonnet Takahisa of the September 11th Memorial Museum as    " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Revised:  Described by Sonnet Takahisa of the September 11th Memorial Museum as Since 2013, City Lore has been headquartered at 56 East 1st Street on the historic Lower East Side of New York. The building holds offices, a gallery, and a multicultural library for teachers and researchers. In 2019, City Lore became an official Smithsonian Affiliate, one of 6 affiliates in New York City. " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Edit intent: meaning-changed
Original:  Described by Sonnet Takahisa of the September 11th Memorial Museum as    " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Revised:  Described by Sonnet Takahisa of the September 11th Memorial Museum as Founding November, 1985, folklorist Steve Zeitlin founded City Lore, and the organization received full non-profit status. Prior to founding City Lore, Steve Zeitlin worked for eight years as a folklorist for the Smithsonian Institution’s Festival of American Folklife. In 1979, the New York City Chapter of the New York Folklore Society, led by Dr. Barbara Kirshenblatt Gimblett, Nancy Groce and others, sponsored the first of three conferences on New York City Folklore. Zeitlin, who participated in the conferences, moved to New York in 1981, and, in 1983, became the President of the New York City Chapter of the New York Folklore Society. City Lore’s first program was a tribute to late anthropologist Barbara Myerhoff in September, 1985. In 1986 moved into offices at 72 E. First Street on the Lower East Side. In 1986, the organization held the first City Lore Festival in Central Park staged in tandem with the first Central Park Summerstage. " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Edit intent: meaning-changed
Original:  Described by Sonnet Takahisa of the September 11th Memorial Museum as    " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Revised:  Described by Sonnet Takahisa of the September 11th Memorial Museum as Approach to Folklore City Lore founder Steve Zeitlin City Lore's Founder Dr. Steve Zeitlin has said that City Lore has: an " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Edit intent: meaning-changed
Original:  Described by Sonnet Takahisa of the September 11th Memorial Museum as    " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Revised:  Described by Sonnet Takahisa of the September 11th Memorial Museum as " open mission to document and present New York City and America's living cultural heritage. Living cultural heritage used by folklorists to suggest the documentation, interpretation, and presentation of traditions within living memory, as opposed to events that predate living memory, and are, in a sense, purely historical. The original impetus for the discipline of folklore in the 19th century was the notion of collecting myths and legends as " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Edit intent: meaning-changed
Original:  Described by Sonnet Takahisa of the September 11th Memorial Museum as    " wise renegades, " their programs include People's Poetry Project, Place Matters (in collaboration with the Municipal Arts Society) and City of Memory.
Revised:  Described by Sonnet Takahisa of the September 11th Memorial Museum as " wise renegades, " survivals" from an earlier age, but City Lore is very present oriented. It's not only about capturing the past, it's about using an arts perspective to look at life itself. And to see the present in a slightly more vivid and interested and compelling way by looking at the artistic impulse in everyday life. Folklorists distinguish themselves from historians and from cultural anthropologists, because of the attention they pay to the aesthetic dimensions of history and culture."
Edit intent: meaning-changed
Original:   City Lore works collaboratively with folk and community artists, embracing different aesthetics for the creation   of art.
Revised:  City Lore works collaboratively with folk and community artists, embracing different aesthetics for the creation In a formal evaluation by the Artography initiative of Leveraging Investments in Creativity (LINC) funded by the Ford Foundation, Dr. William Westerman writes: of art.
Edit intent: meaning-changed
Original:  Their collaborators include the Gotham Center for New York City History, the New-York Historical Society, Bank Street College of Education, and smaller groups such as Los Pleneros de la 21. City Lore  ’s staff consists of professional folklorists (Steve Zeitlin, the founder and executive director, Elena Martínez and Amanda Dargan), historians (Marci Reaven),photographers (Martha Cooper), ethnomusicologists (Roberta Singer and Lois Wilcken), and arts and education specialists (Anika Selhorst)
Revised:  It is as if in Western society what is seen as the arts is equivalent to the visible light in the spectrum, whereas folklorists see the art across the whole spectrum, from ultraviolet to infrared. That full range of creative expression is what concerns the mission of City Lore, and it includes history and memory, language and religion, food and gardens, lace and place. ’s staff consists of professional folklorists (Steve Zeitlin, the founder and executive director, Elena Martínez and Amanda Dargan), historians (Marci Reaven),photographers (Martha Cooper), ethnomusicologists (Roberta Singer and Lois Wilcken), and arts and education specialists (Anika Selhorst)
Edit intent: meaning-changed
Original:  City Lore  ’s staff consists of professional folklorists (Steve Zeitlin, the founder and executive director, Elena Martínez and Amanda Dargan), historians (Marci Reaven),photographers (Martha Cooper), ethnomusicologists (Roberta Singer and Lois Wilcken), and arts and education specialists (Anika Selhorst)
Revised:  City Lore The difference between City Lore and other arts programs is not simply that the arts presented are folk and traditional arts, but that City Lore ’s staff consists of professional folklorists (Steve Zeitlin, the founder and executive director, Elena Martínez and Amanda Dargan), historians (Marci Reaven),photographers (Martha Cooper), ethnomusicologists (Roberta Singer and Lois Wilcken), and arts and education specialists (Anika Selhorst)
Edit intent: meaning-changed
Original:  City Lore  ’s staff consists of professional folklorists (Steve Zeitlin, the founder and executive director, Elena Martínez and Amanda Dargan), historians (Marci Reaven),photographers (Martha Cooper), ethnomusicologists (Roberta Singer and Lois Wilcken), and arts and education specialists (Anika Selhorst)
Revised:  City Lore ’s arts are traditional and modern, and a great deal of the artmaking takes place in the collaborations of different cultural organizations and artists, and in the ties between the traditional and the way that contemporary New Yorkers use and adapt their traditions in their current work, whether they are professionals or schoolchildren. In this way, musical and poetic forms that build on traditional genres – including hip-hop, mambo,and spoken word – are part of a continuum of artistic practice that recognizes and builds upon deep genealogical connections to the past without being bound by them. It is in this way that City Lore’s work gets far beyond nostalgia, because the thrust is always forward-looking, not referring to what once was and could never be again, but building creatively with respect for the cultural foundations that exist.
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Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  3] . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Edit intent: fluency
Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  ] Programs and Series City Lore works in four cultural domains: urban folklore and history, preservation, arts in education, and grassroots poetry traditions. In addition, City Lore undertakes special projects in keeping with its mission, and serves as a fiscal sponsor for filmmakers and other cultural specialists . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Edit intent: meaning-changed
Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  ] . Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Edit intent: clarity
Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  ] . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Edit intent: fluency
Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  ] . Projects and programs Urban folklore The City Lore archives at 56 E. First Street on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Edit intent: meaning-changed
Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  ] . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses 12,685 images by photographer Martha Cooper and 5,634 by Katrina Thomas. The total with other photographers was 19 , hundreds of oral histories, and traditional music and poetry performance tapes.
Edit intent: meaning-changed
Original:  ]  . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , hundreds of oral histories, and traditional music and poetry performance tapes.
Revised:  ] . Projects and programs Urban folklore The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images , 320 images. The archive also includes 5,210 photographic negatives, 692 cassette tapes, 143 dat tapes, 163 mini DV tapes and 148 VHS tapes including oral histories, and traditional music and poetry performance tapes.
Edit intent: meaning-changed
Original:  The archives are part of the ongoing documentation project featured on   City of Memory , a participatory online story map of New York  City .
Revised:  The archives are part of the ongoing documentation project featured on City of Memory , a participatory online story map of New York written about in the volume Letting Go: Sharing Authority in a User Generated World. Designed with Flash technology by Local Projects, the map has been replaced with City Lore’s new Youtube based storymap designed by ESRI.Tariq Hamad at his sweet shop City .
Edit intent: meaning-changed
Original:  [  City Lore created   Know Your Rights! , a guide for street performers . Place Matters %DIFDELCMD < %DIFDELCMD < %%% Since its inception, City Lore has served as an advocate for local landmarks through the Place Matters program in collaboration with Municipal Arts Society .
Revised:  [7 City Lore created Know Your Rights! , a guide for street performers . Place Matters %DIFDELCMD < %DIFDELCMD < %%% Since its inception, City Lore has served as an advocate for local landmarks through the Place Matters program in collaboration with Municipal Arts Society .
Edit intent: fluency
Original:  [  City Lore created   Know Your Rights! , a guide for street performers . Place Matters %DIFDELCMD < %DIFDELCMD < %%% Since its inception, City Lore has served as an advocate for local landmarks through the Place Matters program in collaboration with Municipal Arts Society .
Revised:  [ Honorees covered by The New York Times include the Harlem Blues and Jazz Band (1997), the Bronx Old Timers Stickball League (1997), and Tariq Hamad (1998), founder of the first Indian sweet shop in New York. City Lore created Know Your Rights! , a guide for street performers . Place Matters %DIFDELCMD < %DIFDELCMD < %%% Since its inception, City Lore has served as an advocate for local landmarks through the Place Matters program in collaboration with Municipal Arts Society .
Edit intent: meaning-changed