Find research datasets worth reusing

Video no. 1 'Motif, phrase in working on music choreography' by Barbara Dutkiewicz

The footage complements the publication by Barbara Dutkiewicz (2023) &sbquo;Choreography of music. Process of creation according to the principles of plastique animée on the example of music by Henryk Mikołaj Górecki 'Kleines Requiem für eine Polka op. 66’, choreography created by Barbara Dutkiewicz and Iga Eckert’ (DOI: <a href="https://doi.org/10.5281/zenodo.7789711">https://doi.org/10.5281/zenodo.7789711</a>), written as a part of the intellectual output of the project EURHYTHMICS IN EDUCATION AND ARTISTIC PRACTICE (ERASMUS+). implemented in 2020-2023. Workshop with students of The Karol Szymanowski Academy of Music in Katowice, Poland and Universität für Musik und darstellende Kunst Wien, Austria took place during LTT, host Katowice 21-25.03.2022. Artistic direction: Associate Professor Barbara Dutkiewicz (PhD.hab) and Iga Eckert, MA. ISBN  978-83-963687-3-7 The article is supplemented by photos and four videos: - Video no. 1  ’Motif, phrase in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922029">https://doi.org/10.5281/zenodo.7922029</a> - Video no 2. ’Exercises with polymetric structure in working on music choreography’ by Iga Eckert and Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916295">https://doi.org/10.5281/zenodo.7916295</a>  - Video no. 3 ’Movement stylization and multi planarity in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922104">https://doi.org/10.5281/zenodo.7922104</a> - Video no. 4  'A short exercise on body awareness - movement technique in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916598">https://doi.org/10.5281/zenodo.7916598</a> This article and videos are published on the digital platform "Atlas of Eurhythmics"  <a href="https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html">https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html</a>  at modul: "Plastique animée - tradition and contemporary performing".

Video no. 4 'A short exercise on body awareness - movement technique in working on music choreography' by Barbara Dutkiewicz

The footage complements the publication by Barbara Dutkiewicz (2023) &sbquo;Choreography of music. Process of creation according to the principles of plastique animée on the example of music by Henryk Mikołaj Górecki 'Kleines Requiem für eine Polka op. 66’, choreography created by Barbara Dutkiewicz and Iga Eckert’, (DOI:<a href="https://doi.org/10.5281/zenodo.7789711"> https://doi.org/10.5281/zenodo.7789711</a>), written as a part of the intellectual output of the project EURHYTHMICS IN EDUCATION AND ARTISTIC PRACTICE (ERASMUS+). implemented in 2020-2023. Workshop with students of The Karol Szymanowski Academy of Music in Katowice, Poland and Universität für Musik und darstellende Kunst Wien, Austria took place during LTT, host Katowice 21-25.03.2022. Artistic direction: Associate Professor Barbara Dutkiewicz (PhD.hab) and Iga Eckert, MA. ISBN  978-83-963687-3-7 The article is supplemented by photos and four videos: - Video no. 1  ’Motif, phrase in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922029">https://doi.org/10.5281/zenodo.7922029</a> - Video no 2. ’Exercises with polymetric structure in working on music choreography’ by Iga Eckert and Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916295">https://doi.org/10.5281/zenodo.7916295</a>  - Video no. 3 ’Movement stylization and multi planarity in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922104">https://doi.org/10.5281/zenodo.7922104</a> - Video no. 4  'A short exercise on body awareness - movement technique in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916598">https://doi.org/10.5281/zenodo.7916598</a> This article and videos are published on the digital platform "Atlas of Eurhythmics"  <a href="https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html">https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html</a>  at modul: "Plastique animée - tradition and contemporary performing".

Video no. 3 'Movement stylization and multi planarity in working on music choreography' by Barbara Dutkiewicz

The footage complements the publication by Barbara Dutkiewicz (2023) &sbquo;Choreography of music. Process of creation according to the principles of plastique animée on the example of music by Henryk Mikołaj Górecki 'Kleines Requiem für eine Polka op. 66’, choreography created by Barbara Dutkiewicz and Iga Eckert’, (DOI:<a href="https://doi.org/10.5281/zenodo.7789711"> https://doi.org/10.5281/zenodo.7789711</a>), written as a part of the intellectual output of the project EURHYTHMICS IN EDUCATION AND ARTISTIC PRACTICE (ERASMUS+). implemented in 2020-2023. Workshop with students of The Karol Szymanowski Academy of Music in Katowice, Poland and Universität für Musik und darstellende Kunst Wien, Austria took place during LTT, host Katowice 21-25.03.2022. Artistic direction: Associate Professor Barbara Dutkiewicz (PhD.hab) and Iga Eckert, MA. ISBN  978-83-963687-3-7 The article is supplemented by photos and four videos: - Video no. 1  ’Motif, phrase in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922029">https://doi.org/10.5281/zenodo.7922029</a> - Video no 2. ’Exercises with polymetric structure in working on music choreography’ by Iga Eckert and Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916295">https://doi.org/10.5281/zenodo.7916295</a>  - Video no. 3 ’Movement stylization and multi planarity in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922104">https://doi.org/10.5281/zenodo.7922104</a> - Video no. 4  'A short exercise on body awareness - movement technique in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916598">https://doi.org/10.5281/zenodo.7916598</a> This article and videos are published on the digital platform "Atlas of Eurhythmics"  <a href="https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html">https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html</a>  at modul: "Plastique animée - tradition and contemporary performing".

Video no 2. 'Exercises with polymetric structure in working on music choreography' by Iga Eckert and Barbara Dutkiewicz

The footage complements the publication by Barbara Dutkiewicz (2023) &sbquo;Choreography of music. Process of creation according to the principles of plastique animée on the example of music by Henryk Mikołaj Górecki 'Kleines Requiem für eine Polka op. 66’, choreography created by Barbara Dutkiewicz and Iga Eckert’, (DOI: <a href="https://doi.org/10.5281/zenodo.7789711">https://doi.org/10.5281/zenodo.7789711</a>), written as a part of the intellectual output of the project EURHYTHMICS IN EDUCATION AND ARTISTIC PRACTICE (ERASMUS+). implemented in 2020-2023. Workshop with students of The Karol Szymanowski Academy of Music in Katowice, Poland and Universität für Musik und darstellende Kunst Wien, Austria took place during LTT, host Katowice 21-25.03.2022. Artistic direction: Associate Professor Barbara Dutkiewicz (PhD.hab) and Iga Eckert, MA. ISBN  978-83-963687-3-7 The article is supplemented by photos and four videos: - Video no. 1  ’Motif, phrase in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922029">https://doi.org/10.5281/zenodo.7922029</a> - Video no 2. ’Exercises with polymetric structure in working on music choreography’ by Iga Eckert and Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916295">https://doi.org/10.5281/zenodo.7916295</a>  - Video no. 3 ’Movement stylization and multi planarity in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7922104">https://doi.org/10.5281/zenodo.7922104</a> - Video no. 4  'A short exercise on body awareness - movement technique in working on music choreography’ by Barbara Dutkiewicz <a href="https://doi.org/10.5281/zenodo.7916598">https://doi.org/10.5281/zenodo.7916598</a> This article and videos are published on the digital platform "Atlas of Eurhythmics"  <a href="https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html">https://www.kmh.se/in-english/atlas-of-eurhythmics/results-from-the-project.html</a>  at modul: "Plastique animée - tradition and contemporary performing".

Does Taylor approximation really works? (Portuguese version)

Didactic video that shows how Taylor approximation can be used to approximate the exponential function. It is illustrated that the approximation becomes more accurate as the polynomial degree increases.

Datasets for Work "Predicting Pulsed-Laser Deposition SrTiO3 Homoepitaxy Growth Dynamics using High-Speed Reflection High-Energy Electron Diffraction"

RHEED raw dataset and Gaussia fitting parameter dataset for samples "treated_213nm", "treated_81nm" and "untreated_162nm" in the work "Predicting Pulsed Laser Deposition SrTiO3 Homoepitaxy Growth Dynamics using High-Speed Reflection High-Energy Electron Diffraction."

opencc-by-4.0Jul 2023View details →

HeatResilientCity II - work package 2.3: Interactions between buildings and open space adaptation measures – Meteorological input data for building performance simulation

This repository contains meteorological data from urban climate simulations that were carried out in districts of the cities of Dresden and Erfurt as part of the <a href="http://heatresilientcity.de/">HeatResilientCity II</a> project. The data was extracted at specific points (receptors) of the urban climate model. In addition to the data, a script is attached that can be utilized to generate a time series for IDA ICE building performance simulations using IceWeather.exe. Therefore, a Microsoft Windows operating system is required. To create a time series, simply use the function createIdaIceInput() at the end of the script createTimeSeries.py. Further explanations can be found at the beginning of the script. Information about the ENVI-met data used to create the IDA ICE input can be found in README_RawENVImetOutput_DD.txt and README_RawENVImetOutput_EF.txt. Some input data files have already been generated and can be directly used for thermal building performance simulations with IDA ICE. These files can be found in the folder 0.3_Input_Timeseries (Climate) for IDA ICE. The naming convention of the final input data files for IDA ICE is as follows: <ul> <li>TOWN_SCENARIO_RECEPTOR_AVERAGING_INTERFACE_LATITUDE_LONGITUDE_VERSION</li> <li>TOWN: Choose between 'Erfurt' and 'Dresden'</li> <li>SCENARIO: See further information in README_RawENVImetOutput_DD.txt and README_RawENVImetOutput_EF.txt</li> <li>RECEPTOR: Location in the modelled area (ENVI-met simulation) where data was extracted.</li> <li>AVERAGING: Information about averaging the hourly values of the urban climate simulation (see createTimeSeries.py and READMEs)</li> <li>INTERFACE: Information on how single days were joined together (see createTimeSeries.py).</li> <li>LATITUDE: Default values for Dresden and Erfurt are set in the script. Add additional values in the function setIceWeatherParams() if you are using other cities/custom ENVI-met simulation data.</li> <li>LONGITUDE: Default values for Dresden and Erfurt are set in the script. Add additional values in the function setIceWeatherParams() if you are using other cities/custom ENVI-met simulation data.</li> <li>VERSION: The version number can be set in the script.</li> </ul> Example: Dresden_2y_A1_a_timeSeries_24-24_51.0468_13.6707_v11.prn Folder overview: <ul> <li>The ENVI-met raw data is stored in 0.1_Input_RawENVImetOutput.</li> <li>The script is stored in 0.2_Input_ScriptsToCreateTimeSeries.</li> <li>The final datasets ready for simulation with IDA ICE are stored in 0.3_Input_Timeseries(Climate)ForIDAICE. This folder also contains some weather data time series that have already been created and can be used for IDA ICE (subfolders Erfurt_v11 and Dresden_v11).</li> </ul>

opencc-zeroAug 2023View details →

Estonian National Bibliography - works in public domain

A subset of public domain works from the Estonian national bibliography. The Estonian national bibliography (Eesti rahvusbibliograafia - ERB) covers publications in all languages in Estonia and abroad, regardless of the medium and date of publication. The database of the national bibliography is constantly updated with newly published works. A separate part of the national bibliography is the Estonica collection, which includes both publications in foreign languages by Estonian authors and publications about Estonia and Estonians published abroad. The database is managed by the National Library of Estonia, which manages the Estonian national bibliography in accordance with the relevant laws. For more info, see <a href="https://digilab.rara.ee">https://digilab.rara.ee</a>.

Data from: Prospection of potential actions during visual working memory starts early, is flexible, and predicts behavior.

Raw data (EEG and behavior) reported in the manuscript "Prospection of potential actions in visual working memory starts early, is flexible,  and predicts behavior" by Rose Nasrawi, Sage E.P. Boettcher, and Freek van Ede

Soil chemistry dataset from the work "Modelling and prediction of major soil chemical properties with Random Forest: machine learning as tool to understand soil-environment relationships in Antarctica"

Bases sum, H+Al (potential acidity), pH, phosphorous, remaining P (P-rem), sodium and total organic carbon distribution in Antarctic soils modeled and predicted through Machine Learning approaches, legacy soil data and environmental covariates. The quantile and prediction interval data represent the spatial uncertainty of the predictions. As soon as the work "Modelling and prediction of major soil chemical properties with Random Forest: machine learning as tool to understand soil-environment relationships in Antarctica" is published, the paper will be cited here.  The .zip file contains the following folders: 1) soil_chemistry_antarctica: data containing the soil chemical attributes distribution 2) soil_chemistry_prediction_interval: uncertainty from the prediction interval 90% (Q95% - Q5%) of the soil attributes prediction 4) soil_texture_quantile05: quantile 5% of the soil attributes prediction 5) soil_texture_quantile95: quantile 95% of the soil attributes prediction

Tissue-specific Regulatory Network from Badr's work

Mapping perturbed molecular circuits that underlie complex diseases remains a great challenge. We developed a comprehensive resource of 394 cell type- and tissue-specific gene regulatory networks for human, each specifying the genome-wide connectivity among transcription factors, enhancers, promoters and genes. Integration with 37 genome-wide association studies (GWASs) showed that disease-associated genetic variants--including variants that do not reach genome-wide significance--often perturb regulatory modules that are highly specific to disease-relevant cell types or tissues. Our resource opens the door to systematic analysis of regulatory programs across hundreds of human cell types and tissues (http://regulatorycircuits.org). hs_blood_network.rds : human blood related  gene regulatory networks (R program data file) hs_pantissue_network.rds : human pan-tissue related  gene regulatory networks (R program data file) mm_blood_network.rds : mouse blood related  gene regulatory networks  (R program data file) mm_pantissue_network.rds : mouse pan-tissue related  gene regulatory networks (R program data file) <ul> <li>PMID: 26950747</li> <li>PMCID: <a href="http://www.ncbi.nlm.nih.gov/pmc/articles/pmc4967716/">PMC4967716</a></li> <li>DOI: <a href="https://doi.org/10.1038/nmeth.3799">10.1038/nmeth.3799</a></li> </ul>

Datafiles resulting from work at the RG-2 rock glacier in the Uinta Mountains, 2021-2022

Datafiles resulting from work at the RG-2 rock glacier in the Uinta Mountains, 2021-2022 <ul> <li>2023JF007453-Table S1 – list of interferograms processed</li> <li>2023JF007453-Table S2 – cosmogenic surface-exposure dating results</li> <li>RG-2 Surveying – RTK-GPS surveying results for 32 points on the rock glacier surface.  Used to calculate displacement between September 2021 and September 2022</li> <li>GPR – exported ground penetrating radar survey transects at the head of the rock glacier.Files are provided in .sgv form and the locations of each transect are provided in .kml form</li> <li>UAV – orthophotomosaic and digital elevation model for the RG-2 rock glacier produced from images collected by a drone mapping mission flown on 9/22/2021</li> </ul>

opencc-by-4.0Oct 2023View details →

IDs of Tweets containing data on Work Life balance before and after covid

This dataset contains Tweet IDs that contain " "work-life balance" OR "worklife balance" OR "#work-lifebalance" OR "#worklifebalance". 1,768,628 tweets were downloaded based on this query. Specifically 915 402 &bdquo;before covid“ and 853 226 &bdquo;after covid“. This dataset contains only Tweet IDs.

"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19

"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18

"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12