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15 results for “DFG”
Einführung eines Informationsbudget im Rahmen des DFG-geförderten Projekts "Open Access-Publikationskosten"
<p>Hintergrund:<br>● Projektergebnisse sollen zum Zweck der<br>wissenschaftsadäquaten Kommunikation im Open Access<br>veröffentlicht werden<br>● sie sollen “entweder direkt in qualitätsgesicherten bzw. fachlich anerkannten<br>Open-Access-Zeitschriften od. auf Open-Access-Plattformen (...)<br>od. zusätzlich zur Verlagspublikation (...) in disziplinspezifische<br>od. institutionelle elektronische Archive (Repositorien)<br>eingestellt werden.”<br>https://www.dfg.de/resource/blob/323900/27c0c6db263ec8566d19d0b3719310ad/dfg-2-00-de-v0124-data.pdf</p>
Datensatz zum DFG-Projekt "Personelle Netzwerke im päpstlichen Umfeld des 9. Jahrhunderts"
<p>Dieser Datensatz wurde im Rahmen des DFG-Projekts "Personelle Netzwerke im päpstlichen Umfeld des 9. Jahrhunderts" erstellt. Die entsprechende Webapplikation finden Sie hier: <a href="http://personspopes9c.regesta-imperii.de/personen/basic/">http://personspopes9c.regesta-imperii.de/personen/basic/</a></p> <p>Die PNG-Datei zeigt die Verknüpfung der einzelnen Tabellen.</p>
Compilation of data collected in surveys on the WissKI-based 3D Repository with DFG 3D-Viewer project partners and architecture students from the Warsaw University of Technology and the Technical University of Łódź
<p>The dataset contain the compiliation of responses from users of WissKI-based 3D Repository (https://3d-repository.hs-mainz.de/)., which is the open platform for deposit of 3D models of cultural heritage. The beta version of the WissKI 3D Repository, initiated in June 2022, has been subjected to evaluation by two primary target groups since its launch. The initial group, composed of students in the cultural heritage domain, was tasked with showcasing the importance of documenting and publishing 3D models of digital reconstructions. The survey with sutdents was conducted for three different classes: </p> <p>1) In summer 2022 with bachelor architectrue students at Warsaw University of Technology during seminar of choice regarding digital reconstruction of wooden synagogues;</p> <p>2) In summer 2023 with bachelor architectrue students at Warsaw University of Technology, and master students from Technology University of Łódź during seminar of choice regarding digital reconstruction of wooden synagogues;</p> <p>3) In autumn 2023 during international workshop about digital 3D heritage of CoVHer project with studnets of architecture from Warsaw Univeristy of Technology, Alma Mater Studiorum – Universita di Bologna, Facoltà di Architettura di Porto and Hochschule Mainz - University of Applied Sciences, as well as archaeology studnets from Universitat Autònoma de Barcelona.</p> <p>The second group, comprising digital 3D cultural heritage professionals, predominantly focused on archiving digital assets. Participants were project partners of DFG 3D Viewer project, which were professionals from the Institute of Archaeology at University Cologne, the Institute of Art History at the Ludwig-Maximilians-Universität Munich, the Architecture, Civil Engineering and Urban Planning Department of BTU Cottbus Senftenberg, and the Detushce Museum. They were asked for evaluaton of system after three differetn stages of work: at the begging wihtout any introduction to the system, after proivision of intorudctionary materilas and finally at the end of work.</p> <p>All participants were requested to report their experiences across four categories: metadata form, 3D viewer, provided guidelines, and overall experience. A 5-point rating scale was employed to assess specific issues, with 1 being the most negative and 5 being the most positive. The form length question was an exception, where a median value of 3 was considered ideal, and extreme values indicated either excessive length or brevity.</p>
Qesem Cave, 3D model and orthophoto, DFG-Project UT41/4-1
<p>A 3D documentation of the cave as a whole and its surroundings (by drone) was carried out in cooperation with D. Hoffmeister and produced a 3D-model of the cave and the current excavation areas available Open Access under Zenodo. Surveys included terrestrial laser scanning of the cave site, drone flights on the slope including the cave site, and tachymetric measurements to establish a combined result of the previously mentioned measurements and an incorporation of the excavation grid and plans. Terrestrial laser scanning was conducted with a FARO Focus 3D LS120 laser scanner set up on 22 single locations. Single laser scans were combined by using the tachymetric measurements of reflecting spheres and a following fine-tuning of this initial registration with an iterative closest point algorithm. The final point cloud consists of 46 million single points. Likewise, 8 ground control points for the drone flights and 10 connection points with the excavation grid were measured by the same method and within the same local surveying system. The drone flight was conducted with a DJI Phantom 4, and the processing of the single images was conducted with Agisoft Metashape. By a mean flight altitude of about 35 m above the terrain, the final digital elevation model resulted in a resolution of 2.6 cm per pixel and the orthophoto in a resolution of 1.3 cm per pixel with an accuracy of about 2 cm. The final 3D point cloud from both surveys was manually cleaned from shrubs, trees etc. and consists of 24 million points used to establish a 3D model by meshing the single 3D points (software: Geomagic Wrap), presented in Figure X. The 3D model was used by the team for a better understanding of the setting and are the basis for ongoing research using Geographic Information Systems (GIS).</p>
Time/frequency-domain characterization of a mid-IR DFG frequency comb via two-photon and heterodyne detection: datasets
<p>This archive contains the datasets used for generating the plots shown in the paper entitled "Time/frequency-domain characterization of a mid-IR DFG frequency comb via two-photon and heterodyne detection", authored by Tecla Gabbrielli, Giacomo Insero, Michele De Regis, Nicola Corrias, Iacopo Galli, Davide Mazzotti, Paolo Bartolini, Jeong Hyun Huh, Carsten Cleff, Alexander Kastner, Ronald Holzwarth, Simone Borri, Luigi Consolino, Paolo De Natale, and Francesco Cappelli. </p> <p>A README file describing the contained data and how to elaborate them is also provided. </p> <p> </p>
Christian Heise über digitales Publizieren in den Geisteswissenschaften. Ein Experteninterview im Rahmen des DFG-Projektes Fu-PusH
<p>Das Gespräch mit Christian Heise, Politik- und Kulturwissenschaftler am <em>Centre for Digital Cultures</em> (CDC) an der Leuphana Universität in Lüneburg sowie Vorstandsmitglied der <em>Open Knowledge Foundation</em>, führte Michael Kleineberg am 15. Januar 2015 im Jacob-und-Wilhelm-Grimm-Zentrum der Humboldt-Universität zu Berlin.</p> <p>Christian Heise hat unmittelbar vor Beginn der Aufzeichnung einer Veröffentlichung sowohl der Audiodatei als auch des Transkriptionsprotokolls zugestimmt. Aus datenschutzrechtlichen Gründen wurden personenbezogen Passagen der Aufzeichnung zum Teil unkenntlich gemacht (Stille bei fortlaufender Audiodatei).</p> <p>Diese exemplarische Veröffentlichung eines Experteninterviews im Rahmen des DFG-Projektes "Future Publications in den Humanities" (Fu-PusH) stellt einen Einzelfall dar und soll vor allem einer transparenteren Methodik dienen.</p>
Qesem Cave, 3D models of bifaces, DFG-Project UT41/4-1
<p>3D models of bifaces from Qesem Cave, Stucture from Motion (SfM) modelled with Metashape AgiSoft.</p> <p>PDF-files.</p>
Supplementary Data: Uncovering DFG-out sequence propensity determinants of kinases with machine learning
<h2>General description</h2><p>This submission accompanies the paper "Uncovering DFG-out sequence propensity determinants of kinases with machine learning" and covers:</p><ul><li><strong>Trained models (train/models_latest)</strong>. A subset of these is also published as a part of the <a href="https://github.com/edikedik/kinactive">KinActive tool</a>; each model is of `KinactiveClassifier` type and can be loaded using this tool as well via `kinactive.io.load()` function).</li><li><strong>Patched sequences (patched_seqs)</strong>. PDB sequences, with missing regions patched by UniProt sequences. This is a collection of <a href="https://github.com/edikedik/lXtractor">lXtractor</a> ChainSequence objects.</li><li><strong>All labels, variables, and datasets</strong> (datasets and labels).</li><li><strong>Initial chains and predictions for SwissProt proteins</strong> (SP_predictions).</li></ul><h2>Note on model abbreviations</h2><p>The main text emphasized datasets that yielded more interpretable results. These were constructed from domain sequences, labeled as apo, inactive, DFG-in, or DFG-out, and further divided into TK and STK subsets. We refer to these datasets with the abbreviation <strong>AAIO</strong> (Apo All In or Out) to distinguish them from additional datasets.</p><p>In addition to <strong>AAIO</strong>, we explored two alternative labeling strategies:</p><ul><li><strong>AHAO</strong> (Apo/Holo Any Out): This dataset includes sequences from ligand-bound entries. All sequences within 95\% identity clusters are labeled as DFG-out if the cluster contains at least one sequence in this state. All others are labeled as DFG-in.</li><li><strong>AAO</strong> (Apo Any Out): This dataset excludes sequences corresponding to ligand-bound entries but includes those with conflicting conformational tendencies within 95\% identity clusters.</li></ul><p>Each of these datasets had two versions:</p><ol><li>A seed version, denoted by a "*" symbol.</li><li>A version enriched with orthologous sequences (no special designation).</li></ol><p>Together with the <strong>TkST</strong> datasets (encompassing TK and STK labels) used for testing the methodology, a total of 14 datasets were used, and both <i>RF</i> and <i>XGB</i> models were applied to each, using the same initial settings, resulting in 28 different models. This additional information is provided for completeness.</p>
Early Versus Delayed Double-guidewire Technique in Difficult Biliary Cannulation. (DFG)
ClinicalTrials.gov study NCT03582540. IPD Sharing: NO. Countries: 1. Publications: 24.
A Comparative Clinical Study to Assess Pain Score and Wound Healing Following Fractional Ablation With a DFG Laser and CO2 Laser
ClinicalTrials.gov study NCT06295471. IPD Sharing: NO. Countries: 1. Publications: 13.
A novel RAF kinase inhibitor with DFG-out binding mode: high efficacy in BRAF-mutant tumor xenograft models in the absence of normal tissue hyperproliferation
GEO Series GSE74729. Homo sapiens. 9 samples. Type: Expression profiling by high throughput sequencing.
DFG Project Taming War - Visitor Interview Transcripts Tin Figure Museum Goslar
<p>With a plethora of commemorative services, performances and exhibitions the centennial of the First World War found its end, but the effects on the museum landscape remain: a renewed interest in military history produced new strategies of display that aim on establishing military history museums as an environment where the human condition and current geopolitical developments can be discussed. Central to these developments is the literal scale of war: the museum diorama has a surprising comeback. Instead of attempting the impossible - to recreate experiences of war - dioramas are used in combination with new technologies and large-scale exhibits to create affective experiential spaces that promote discussion and contemplation of war and violence. At the same time these museums are under constant political pressure and can implement new display strategies only slowly and over a long time due to financial constraints.</p> <p>Nevertheless, it is not well understood how visitors perceive these new strategies of display that employ the updated diorama in combination with large scale exhibits and new technology such as augmented reality. In addition, the motivation and role of curators, modelers and other actors in these developments is largely unknown. Accordingly, it is impossible to say if these new strategies of display are successful without further enquiry. There is always the danger that visitors and curators alike slip back into traditional perceptions and modes of display that simply see the diorama as a pseudo-realistic reconstruction of war experiences.</p> <p>The project wants to elucidate these aspects through qualitative visitor interviews that focus on the perception, effect and affective potential of this new form of exhibiting war. At the same time interviews with curators, designers and modelers are an important aspect of this international research project that spans three countries (England, New Zealand and Germany) and ten museums, ranging from small local institutions to large national museum. All of them use dioramas, miniatures and large-scale exhibits in their displays. Few studies of military history museums make use of such an approach that combines qualitative narrative interviews with different museum actors, a gap this project wants to address.</p> <p>Contrary to comparable studies the project not only relies on conventional interviewing techniques such as narrative face-to-face interviews or focus groups, but also embraces non-verbal interviewing techniques such as Personal Meaning Maps, participatory professional wargames and Lego Serious Play sessions to supplement and expand methodologies of museum visitor research. This approach engenders a deeper understanding of the musealization of war and its effects on visitors as well as the actors behind the scenes.</p> <p>----------</p> <p>This data set is part of a pilot interview campaign that took place in 2018 in preparation for the DFG project. The interviews are semi-structured, but emphasise a narrative approach, with the aim to explore a variety of topics and visitor reactions.</p>
DFG Project Taming War - Visitor Interview Transcript Museum Geschichte in Miniaturen e. V. Hann. Münden
<p>With a plethora of commemorative services, performances and exhibitions the centennial of the First World War found its end, but the effects on the museum landscape remain: a renewed interest in military history produced new strategies of display that aim on establishing military history museums as an environment where the human condition and current geopolitical developments can be discussed. Central to these developments is the literal scale of war: the museum diorama has a surprising comeback. Instead of attempting the impossible - to recreate experiences of war - dioramas are used in combination with new technologies and large-scale exhibits to create affective experiential spaces that promote discussion and contemplation of war and violence. At the same time these museums are under constant political pressure and can implement new display strategies only slowly and over a long time due to financial constraints.</p> <p>Nevertheless, it is not well understood how visitors perceive these new strategies of display that employ the updated diorama in combination with large scale exhibits and new technology such as augmented reality. In addition, the motivation and role of curators, modelers and other actors in these developments is largely unknown. Accordingly, it is impossible to say if these new strategies of display are successful without further enquiry. There is always the danger that visitors and curators alike slip back into traditional perceptions and modes of display that simply see the diorama as a pseudo-realistic reconstruction of war experiences.</p> <p>The project wants to elucidate these aspects through qualitative visitor interviews that focus on the perception, effect and affective potential of this new form of exhibiting war. At the same time interviews with curators, designers and modelers are an important aspect of this international research project that spans three countries (England, New Zealand and Germany) and ten museums, ranging from small local institutions to large national museum. All of them use dioramas, miniatures and large-scale exhibits in their displays. Few studies of military history museums make use of such an approach that combines qualitative narrative interviews with different museum actors, a gap this project wants to address.</p> <p>Contrary to comparable studies the project not only relies on conventional interviewing techniques such as narrative face-to-face interviews or focus groups, but also embraces non-verbal interviewing techniques such as Personal Meaning Maps, participatory professional wargames and Lego Serious Play sessions to supplement and expand methodologies of museum visitor research. This approach engenders a deeper understanding of the musealization of war and its effects on visitors as well as the actors behind the scenes.</p> <p>----------</p> <p>This data set is part of a pilot interview campaign that took place in 2018 in preparation for the DFG project. The interviews are semi-structured, but emphasise a narrative approach, with the aim to explore a variety of topics and visitor reactions.</p>
Additional Data for DFG
<p>The folder consists of the data, the details of which are described in the letter sent to DFG on 17 May 2019.</p>
Raw NIRS Data for DFG from PLoS Biology
<p>These are the data acquired until October 2014 which was used for the PLoS Biology publication.</p>
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