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943 results for “Play”
Data associated with the following publication: Developing the Playground Play Value and Usability Audit Tool (PVUA): An Evaluation of Content Validity via an Expert Panel
<p>This data set contains the supporting data associated with the following publication:</p> <p>Morgenthaler, T., Loebach, J., Lynch, H., Pentland, D., Kottorp, A., & Schulze, C. (in press). Developing the Playground Play Value and Usability Audit Tool (PVUA): An Evaluation of Content Validity via an Expert Panel. Children, Youth and Environments. [DOI was not yet available when the data set was published]</p> <p>The data set includes the following files:</p> <ul> <li>read me file [contains all relevant information to understand and reuse this data set] </li> <li>13 additional files [for description, see read me file]</li> </ul> <p>For more information, please contact the lead researcher, Thomas Morgenthaler (tom.morgenthaler@gmail.com or 121101888@umail.ucc.ie)</p> <p> </p>
Performance of users with Cerebral Palsy playing GABLE Games together with their results to the Left/Right Dynamic balance tool
<p>This dataset contains data generated by users of GABLE platform. The data shows the performance of some users with Cerebral Palsy playing GABLE Games together with their results to the Left/Right Dynamic balance tool. More information about GABLE project can be found at: www.projectgable.eu</p>
Patterns of object play behaviour and its functional implications in free-flying ravens (supplementary data)
<p>This resource contains the processed data sets and R scripts associated with the article titled "Patterns of object play behaviour and its functional implications in free-flying ravens" authored by Awani Bapat, Anna E Kempf, Salome Friry, Palmyre H Boucherie, Thomas Bugnyar, published in Scientific Reports on 02-01-2025.</p>
How Clarinettists Play Music to Acheive Expressive Goals
<p>Dataset used in article 'How Clarinettists play Music to Acheive Expressive Goals' submitted to New Music Research on July 2023</p>
OrchideaSOL: an audio dataset of isolated musical notes, including mutes and extended playing techniques
<p>OrchideaSOL<br> ==========<br> Version 2.0, April 2020.<br> </p> <p> </p> <p>Created By<br> --------------</p> <p>Carmine-Emanuele Cella (1), Daniele Ghisi (1), Vincent Lostanlen (2), Fabien Lévy (3), Joshua Fineberg (4), Yan Maresz (5)<br> <br> (1): UC Berkeley<br> (2): New York University<br> (3): Columbia University<br> (4): Boston University<br> (5): Conservatoire de Paris</p> <p> </p> <p>Description<br> ---------------</p> <p><br> OrchideaSOL is a dataset of 13265 samples, each containing a single musical note from one of 14 different instruments:</p> <ol> <li>Bass Tuba</li> <li>French Horn</li> <li>Trombone</li> <li>Trumpet in C</li> <li>Accordion</li> <li>Contrabass</li> <li>Violin</li> <li>Viola</li> <li>Violoncello</li> <li>Bassoon</li> <li>Clarinet in B-flat</li> <li>Flute</li> <li>Oboe</li> <li>Alto Saxophone</li> </ol> <p> </p> <p>These sounds were originally recorded at Ircam in Paris (France) between 1996 and 1999, as part of a larger project named Studio On Line (SOL). One asset of OrchideaSOL is that it contains many combinations of mutes and extended playing techniques.<br> <br> The OrchideaSOL audio data can be used for creative purposes insofar at the use complies with the Ircam Forum License. Please visit: https://forum.ircam.fr/legal/contrat-de-licence-forum-ircam/</p> <p><br> The OrchideaSOL metadata can be used for creative purposes insofar at the use complies with the Creative Commons Attribution 4.0 International license (see below).<br> <br> OrchideaSOL can be used for education and research purposes. In particular, it can be employed as a dataset for training and/or evaluating music information retrieval (MIR) systems, for tasks such as instrument recognition, playing technique recognition, or fundamental frequency estimation. For this purpose, we provide an official 5-fold split of OrchideaSOL. This split has been carefully balanced in terms of instrumentation, pitch range, and dynamics. For the sake of research reproducibility, we encourage users of OrchideaSOL to adopt this split and report their results in terms of average performance across folds.</p> <p> </p> <p>Data Files<br> --------------</p> <p>OrchideaSOL contains 13265 audio clips as WAV files, sampled at 44.1 kHz, with a single channel (mono), at a bit depth of 16. This is equivalent to the audio quality of a compact disc. Audio clips vary in duration between two and ten seconds.</p> <p>Every audio file has a file path of the form:<br> <FAMILY>/<INSTRUMENT><+MUTE>/<TECHNIQUE>/<INSTR><+M>-<TECH>-<PITCH>-<DYN>-<INSTANCE>-<MISC>.wav</p> <p><br> where:</p> <ul> <li><FAMILY> corresponds to the instrument family: "Brass", "Keyboards" (includes accordion), "Strings", and "Winds" (i.e., woodwinds).</li> <li><INSTRUMENT> is the full name of the instrument.</li> <li><+MUTE> is the type of mute being used, such as "wah", "harmon", "piombo", or "sordina". If there is no mute, this field is absent.</li> <li><TECHNIQUE> is the type of playing technique.</li> <li><INSTR> is the abbreviation of the instrument.</li> <li><+M> is the abbreviation of the type of mute, if applicable.</li> <li><TECH> is the abbreviation of playing technique.</li> <li><PITCH> denotes the pitch of the musical note. This pitch is encoded in the American standard pitch notation: pitch class (C means "do") followed by pitch octave. According to this convention, A4 has a fundamental frequency of 440 Hz.</li> <li><DYN> denotes the intensity dynamics, ranked from pp (pianissimo) to ff (fortissimo).</li> <li><INSTANCE> contains additional information, when applicable. For example, for bowed string instruments, the same pitch may sometimes be achieved on different positions and different strings, resulting in small timbre differences. In this case the label "1c", "2c", "3c", or "4c" denotes the string which is being bowed. (The letter c originates from the word "corde", which means string in French.) By convention, the first string is the one with the highest pitch when played as an open string. Furthermore, on some wind instruments, the same note was played multiple times, e.g. at multiple durations. In this case, we use the label "alt1", "alt2", etc. to denote alternative instances of the note. If none of these tags apply, the <INSTANCE> field becomes "N", which stands for "Not Applicable".</li> <li><MISC> contains additional information, if applicable. In OrchideaSOL, some pitches were never recorded, and thus missing from the chromatic scale. In this case, the <MISC> tag contains a letter "R", to denote the fact that the corresponding WAV file has been obtained by transforming a different audio clip via some digital frequency transposition (similar to Auto-Tune). The letter "R" stands for "resampled". Furthermore, some pitches were slightly out of tune in comparison with the A440 tuning standard. Again, we applied some digital frequency transposition to correct them and put them exactly in tune. The amount of frequency transposition is measured in "cents" of an equal-tempered semitone. The letter "T" stands for "tuned". Because we employed a high-fidelity algorithm for frequency transposition, and because the amount of digital frequency transposition is small, the timbre of pitch-corrected notes remains faithful to the instrument. If none of these tags apply, the <MISC> field becomes "N", which stands for "natural"; in this case, the note is distributed exactly as it was recorded in the studio.</li> </ul> <p>For example, "Strings/Violin+sordina/tremolo/Vn+S-trem-A4-mf-4c-T13d_R200d.wav" corresponds to:</p> <ul> <li>a violin sound;</li> <li>equipped with a sordina mute;</li> <li>played in the tremolo playing technique;</li> <li>at pitch A4 (440 Hz);</li> <li>with mezzoforte dynamics;</li> <li>on the fourth string (i.e. the lowest);</li> <li>resampled from a B4 by lowering pitch by a semitone, i.e. 100 cents (R100d)</li> <li>lowered by 13 cents (T22d) to match the A440 tuning standard.</li> </ul> <p> </p> <p>The audio data for OrchideaSOL is not directly downloadable on Zenodo. Rather, it can be downloaded for free after registering to the Ircam forum. Please visit: https://forum.ircam.fr/</p> <p> </p> <p>Metadata File<br> -------------------</p> <p>The OrchideaSOL_metadata.csv file contains 13265 rows, one for each audio clip. It can be opened by a text editor or by a spreadsheet software application. It contains 13 columns:</p> <ol> <li>Path to the WAV file, in UNIX filesystem format. For Windows compatibility, replace the slashes ("/") by backslashes ("\"). Ex: "Strings/Violin+sordina/tremolo/Vn+S-trem-A4-mf-4c-T13d_R200d.wav"</li> <li>Fold ID. Either equal to 0, 1, 2, 3, or 4.</li> <li>Family. Ex: "Brass"</li> <li>Instrument abbreviation. Ex: "BTb"</li> <li>Instrument name in full. Ex: "Bass Tuba"</li> <li>Technique abbreviation.</li> <li>Technique name in full.</li> <li>Pitch. Ex: "A#1"</li> <li>Pitch ID in MIDI format. Ex: 34. Integer in the range 0-127.</li> <li>Dynamics. Ex: "ff".</li> <li>Dynamics ID. Integer. pp maps to 0 and ff maps to 4. The higher, the louder.</li> <li>Instance ID. Integer in the range 0-4</li> <li>String ID. Equal to 1, 2, 3, 4, or empty if not applicable.</li> <li>"Needed digital retuning". TRUE if the file has been pitch-shifted with digital audio effects; FALSE otherwise.</li> </ol> <p> </p> <p>Conditions of Use<br> ------------------------</p> <p>OrchideaSOL was created in 2020 by Carmine-Emanuele Cella, Daniele Ghisi, Vincent Lostanlen, Fabien Lévy, Joshua Fineberg, and Yan Maresz.</p> <p>OrchideaSOL is a derivative of SOL. We wish to thank Hugues Vinet, Greg Beller, and all coordinators of the Ircam Forum for their authorization to upload the metadata of OrchideaSOL to Zenodo.</p> <p>The audio samples in OrchideaSOL are offered free of charge under the Ircam Forum License. Please visit: https://forum.ircam.fr/legal/contrat-de-licence-forum-ircam/</p> <p>The dataset and its contents are made available on an "as is" basis and without warranties of any kind, including without limitation satisfactory quality and conformity, merchantability, fitness for a particular purpose, accuracy or completeness, or absence of errors. Subject to any liability that may not be excluded or limited by law, the authors are not liable for, and expressly exclude all liability for, loss or damage however and whenever caused to anyone by any use of the OrchideaSOL dataset or any part of it.</p> <p> </p> <p>Versions<br> -----------<br> 1.0 was released on February 24th, 2020.<br> 2.0 was released on April 4th, 2020. It fixes a bug in the instance IDs of oboe sounds in the "blow without reed" technique.</p> <p> </p> <p>Feedback<br> -------------</p> <p>Please help us improve OrchideaSOL by sending your feedback to:<br> carmine.cella@berkeley.edu</p> <p>For issues regarding the metadata encoding, the five-fold split, or the OrchideaSOL module in mirdata, please write to:<br> vincent.lostanlen@nyu.edu</p> <p>In case of a problem, please include as many details as possible.</p>
iNRACM: Incorporating 15N into the Regional Atmospheric Chemistry Mechanism (RACM) for assessing the role photochemistry plays in controlling the isotopic composition of NOx, NOy, and atmospheric nitrate
<p><sup>15</sup>N compounds and reactions were incorporated into Regional Atmospheric Chemistry Mechanism (RACM), based on recent experimental or calculated values of isotope fractionation factors (α), to simulate δ<sup>15</sup>N values in NO<sub>y</sub> compounds.</p>
Erhu Playing Technique Dataset
<p>Erhu Playing Technique Dataset (ErhuPT)</p> <p> </p> <p>This dataset is an audio dataset containing about 1500 audio clips recorded by multiple professional players. We divide all the recorded techniques into the following 11 categories according to [1] [2] [3] [4],</p> <ul> <li> <p>detache 分弓 </p> <ul> <li> <p>forte </p> </li> <li> <p>medium </p> </li> <li> <p>piano </p> </li> </ul> </li> <li> <p>diangong 垫弓 </p> </li> <li> <p>harmonic 泛音 </p> <ul> <li> <p>natural 自然泛音 </p> </li> <li> <p>artificial 人工泛音 </p> </li> </ul> </li> <li> <p>legato&slide&glissando 连弓&滑音&大滑音 </p> <ul> <li> <p>glissando_down 大滑音 下行 </p> </li> <li> <p>glissando_up 大滑音 上行 </p> </li> <li> <p>huihuayin_down 下回滑音 </p> </li> <li> <p>huihuayin_long_down 后下回滑音 </p> </li> <li> <p>legato&slide_up 向上连弓 包含滑音 </p> <ul> <li> <p>forte </p> </li> <li> <p>medium </p> </li> <li> <p>piano </p> </li> </ul> </li> <li> <p>slide_dianzhi 垫指滑音 </p> </li> <li> <p>slide_down 向下滑音 </p> </li> <li> <p>slide_legato 连线滑音 </p> </li> <li> <p>slide_up 向上滑音 </p> </li> </ul> </li> <li> <p>percussive 打击类音效 </p> <ul> <li> <p>dajigong 大击弓 </p> </li> <li> <p>horse 马嘶 </p> </li> <li> <p>stick 敲击弓 </p> </li> </ul> </li> <li> <p>pizzicato 拨弦 </p> <ul> <li> <p>forte </p> </li> <li> <p>medium </p> </li> <li> <p>piano </p> </li> <li> <p>left 左手勾弦 </p> </li> </ul> </li> <li> <p>ricochet 抛弓 </p> </li> <li> <p>staccato 顿弓 </p> <ul> <li> <p>forte </p> </li> <li> <p>medium </p> </li> <li> <p>piano </p> </li> </ul> </li> <li> <p>tremolo 颤弓 </p> <ul> <li> <p>forte </p> </li> <li> <p>medium </p> </li> <li> <p>piano </p> </li> </ul> </li> <li> <p>trill 颤音 </p> <ul> <li> <p>long 长颤音 </p> <ul> <li> <p>forte </p> </li> <li> <p>medium </p> </li> <li> <p>piano </p> </li> </ul> </li> <li> <p>short 短颤音 </p> <ul> <li> <p>down 下颤音 </p> </li> <li> <p>up 上颤音 </p> </li> </ul> </li> </ul> </li> <li> <p>vibrato 揉弦 </p> <ul> <li> <p>late </p> </li> <li> <p>press 压揉 </p> </li> <li> <p>roll 滚揉 </p> </li> <li> <p>slide 滑揉 </p> </li> </ul> </li> </ul>
Six Years of SiriusXM Now Playing Data
<p>My Sirius XM <a href="https://github.com/sgloutnikov/sxm-tracker">now playing tracker</a> has been running for six years without any major interruptions. I have gathered all of the data collected to date and am open sourcing the dataset for anyone to use.</p> <p>The tracker has been recording data for <a href="https://www.siriusxm.com/channels/the-highway">The Highway</a> country and <a href="https://www.siriusxm.com/channels/the-heat">The Heat</a> hip-hop stations.</p> <p><strong>Dataset Details</strong></p> <p><strong>Total Entries</strong></p> <ul> <li>The Heat Total: `643472`</li> <li>The Highway Total: `604861`</li> </ul> <p><strong>Entry Date Ranges</strong></p> <ul> <li>The Heat First: `Mon Jun 20 2016 18:49:38 (GMT)`</li> <li>The Heat Last: `Fri Jul 15 2022 18:08:38 (GMT)`</li> <li>The Highway First: `Tue Nov 29 2016 00:03:40 (GMT)`</li> <li>The Highway Last: `Fri Jul 15 2022 18:11:09 (GMT)`</li> </ul> <p><strong>Fields</strong></p> <ul> <li>artist -- Artist name</li> <li>title -- Song title</li> <li>start_time -- Song start timestamp in UNIX epoch (GMT)</li> <li>spotify -- Matched song spotify metadata (may be unavailable) <ul> <li>spotify.artist -- Artist name</li> <li>spotify.title -- Song title</li> <li>spotify.url -- Spotify song URL</li> <li>spotify.uri -- Spotify song URI</li> <li>spotify.album -- Album title</li> <li>spotify.album_image -- Album image URL</li> </ul> </li> </ul> <p> </p>
Scribe of Ages: Playing with 6th to 13th c.-Iberian Manuscripts
<p><strong>Motivación</strong></p> <p>Hace muchísimo tiempo, creo que desde que me enteré de que la paleografía existía como ciencia y en qué consistía, que he tenido la ilusión de desarrollar <strong>un videojuego sobre manuscritos medievales</strong>. No soy muy del tema, pero los de temática histórica sí que tienen un hueco en casa y continúo aprendiendo gracias a ellos. Siempre me ha parecido increíblemente bonita la escritura como tal, desde un punto de vista meramente estético, y más aún cuando empezamos a pensar que es el resultado de gente que, ya sea como individuos o como sociedad, también se veían reflejados en ella. Cuanto más capturada estaba por la escritura, los manuscritos y la paleografía en sí, más me sorprendía que no lo estuviera todo el mundo.</p> <p>Cuando empecé a dar clase comencé a entender por qué. Y es que, aunque la carga estética sí es fácil de apreciar, las diferentes grafías y el idioma (véase el latín medieval apreciado por todos) hacían ya no solo prácticamente incomprensible, sino, y más importante, tedioso para los alumnos el acercarse a las fuentes manuscritas. Mi idea del videojuego cobró entonces más fuerza. Si conseguía meterles en la cabeza las <strong>abreviaturas</strong>, los diferentes tipos de <strong>alfabetos</strong>, como si fuera un juego, quizás verían los manuscritos con otros ojos. Pero, llevar a cabo algo así no es fácil. De hecho, ¡diseñar un videojuego es tremendamente difícil! A lo que me refiero es que ya no es solamente el tener la idea y saber cómo desarrollarla, sino tener el tiempo para hacerlo y, lo más importante de todo, desde mi punto de vista, no estar solo en la tarea; ya no por dividir la carga de trabajo entre varios, proponiendo, realizando y revisando entre todos los contenidos, sino el hecho de sentirse respaldado en lo que puede parecer, a priori, una locura absoluta. Pues bien, ahora que ya soy personal docente estable, ¡llegó el momento de secuestrar compañeros y volverse locos!</p> <p><strong>Una idea</strong></p> <p>Como firme defensora de la escritura visigótica, me desilusionaba mucho que los <a href="http://www.litteravisigothica.com/resources/learning-palaeography">recursos existentes online para practicar paleografía</a>, incluso los centrados en contenido medieval, hiciesen caso omiso de este tipo de escritura. Por otro lado, soy muy quisquillosa con el aspecto gráfico de las cosas y, practicar transcripción, que ya es duro, en un entorno digital funcional pero aburrido (¡con excepciones!) me hace simpatizar con los estudiantes en su reticencia. Había (hay) mucho trabajo que hacer.</p> <p><strong>El año pasado empecé a desarrollar la idea del videojuego</strong> ya con la firme intención de llevarla a cabo porque realmente pensaba que los alumnos no solo necesitaban una herramienta de aprendizaje más dinámica, sino que la iban a agradecer. Desde el principio tuve claro que tenía que reunir un equipo de colaboradores interdisciplinar, porque la paleografía no lo es todo y no sirve de nada sin la historia y la filología (entre otras ciencias). Compañeros de la USAL se unieron: <a href="https://ataemhis.usal.es/portfolio-item/martin-viso-inaki/">Iñaki Martín Viso</a>, <a href="https://ataemhis.usal.es/portfolio-item/luis-corral-fernando/">Fernando Luis Corral</a>, <a href="https://dialnet.unirioja.es/servlet/autor?codigo=103778">Gregorio del Ser Quijano</a>, <a href="https://usal.academia.edu/Mar%C3%ADaAdelaidaAndr%C3%A9sSanz">Mª Adelaida Andrés Sanz</a>, <a href="https://usal.academia.edu/ValeroMorenoJuanMiguel">Juan Miguel Valero Moreno</a> y <a href="https://usal.academia.edu/DavidPaniagua">David Paniagua Aguilar</a>.</p> <p>Nuestra primera tarea fue determinar los<strong> objetivos prácticos del juego</strong> y, partiendo de éstos, <strong>cómo presentarlos al jugador</strong>. ¿De qué va el juego? Pues bien, Scribe of Ages (Littera en su versión beta), el juego, tiene como finalidad esencial introducir a los alumnos al trabajo directo con los <strong>alfabetos</strong>, <strong>sistema abreviativo</strong>, y <strong>textos</strong> de contexto peninsular de entre los <strong>siglos VI y XIII</strong>. Esto significa que tanto las escrituras uncial, semiuncial, carolina y gótica libraria, y no solamente la escritura visigótica, están representadas. Partiendo de esta base, necesitábamos hacer una selección de fuentes sobre las que trabajar cada aspecto. ¿Cómo? Tras darle muchas vueltas, decidimos seleccionar un códice representativo de cada uno de estos siglos, dejando para más adelante los diplomas. Había que empezar por algún sitio. Decidimos que, de cada ejemplo, añadiríamos una <strong>introducción explicativa</strong> de su contexto, añadiendo enlaces a libros, artículos, videos… cualquier recurso que sirviese para que el jugador entendiese qué estaba viendo más allá de aprender lo básico del trabajo con fuentes.</p> <p>Cuando teníamos algo que enseñar, sobre papel, fue fundamental el <strong>apoyo excepcional que recibimos por parte de los archivos</strong>: <a href="https://www.bnf.fr/fr">Bibliothèque nationale de France</a>, <a href="http://rbme.patrimonionacional.es/">Real Biblioteca del Monasterio de San Lorenzo de El Escorial</a>, <a href="https://digi.vatlib.it/">Biblioteca Apostólica Vaticana</a>, <a href="https://www.rah.es/">Real Academia de la Historia (Madrid)</a>, <a href="https://www.library.manchester.ac.uk/">University of Manchester (John Rylands Library)</a>, <a href="https://www.bl.uk/">The British Library</a> y <a href="http://www.bne.es/es/Inicio/index.html">Biblioteca Nacional de España</a> (Madrid). No solamente nos brindaron su ayuda (recursos gráficos) de forma gratuita, es más, recibieron la idea con entusiasmo.</p> <p>Teníamos los manuscritos, los textos contextuales, la idea de los minijuegos que formarían cada etapa de Littera, uno para practicar el alfabeto, otro para las abreviaturas, otro para la transcripción… Faltaba el equipo de <strong>desarrollo técnico</strong>.</p> <p>Scribe of Ages no habría sido posible, y no lo será en el futuro, sin la colaboración de <a href="http://andresdepedro.com/">Andrés de Pedro</a>, que desde el principio acogió la idea con una energía tremenda y que, gracias a su experiencia profesional, ha madurado mucho más allá de lo que era inicialmente. Con Andrés vino <a href="https://jorgeperal.tumblr.com/">Jorge Peral</a>, que supo plasmar el diseño que tenía en mente con una rapidez y perfección impresionantes. Y, cuando ya la cosa empezaba a tomar forma, se sumó otro componente fundamental del equipo, <a href="http://cristinaraurich.cat/">Cristina Alís</a>, que, desinteresadamente, ha proporcionado (y quiero decir ha grabado) toda la música ambiental de Scribe of Ages. Si los alumnos/jugadores están más de 3 horas seguidas jugando (sus propios comentarios) es por su excelente trabajo.</p> <p><strong>Primeros resultados</strong></p> <p>Cuando ya tuvimos una versión beta de Scribe of Ages, invité a los <strong>alumnos de paleografía</strong> del grado en historia de la USAL a que lo probasen y la experiencia ¡resultó ser todo un hito! Jugaron, superaron cada etapa, aprendieron, se picaron entre ellos, y completaron lo que para nosotros había sido el trabajo de meses en unos pocos días. Lo más importante, nos animaron a ampliarlo, desarrollarlo más, completarlo y, en fin, llevaron la idea inicial a la siguiente etapa. Por tener una segunda opinión, también se abrió Littera a un grupo selecto de <strong>beta testers</strong> externos a través de convocatoria en Twitter, que super rápidamente se vio sobrepasada con más de cien personas pidiendo jugar. Ambas experiencias han demostrado que este tipo de recursos resultan indispensables en nuestro marco docente. Todos los alumnos constataron una mejoría indiscutible en sus habilidades en el trabajo con fuentes. De hecho, la nota media del curso subió considerablemente. Y mejoraron jugando. En la cafetería, en casa, entre asignaturas, casi por casualidad.</p> <p>Algo fundamental que nos dejó la primera ronda de testeo es darnos cuenta de que estábamos equivocados en una cosa; no habíamos caído en algo. Enfocamos el juego a nuestros alumnos, pero nos encontramos con <strong>alumnos de otras materias</strong>, de física, psicología, medicina, con <strong>gente de fuera del ámbito universitario</strong>, que también disfrutaban jugando. Tuvimos que darle una vuelta, y en ello estamos; este próximo año,</p> <p><strong>Scribe of Ages será una historia gráfica completa, con su personaje principal y su archienemigo, en el que el jugador se verá envuelto en una búsqueda paleográfico-histórica a través de la edad media peninsular resolviendo puzles y, de paso, mejorando sus habilidades de transcripción… El año que viene.</strong></p> <p><strong>Beneficios para el docente</strong></p> <p>El hecho de desarrollar y usar Scribe of Ages en clase, me ha llevado a ponderar dos aspectos que, a simple vista, no había considerado con tanta profundidad previamente.</p> <p>En primer lugar, la <strong>metodología docente de cada uno de los profesores que enseñamos fuentes manuscritas, dejando a un lado por un momento la especialidad, es diferente</strong>. Para unos, lo fundamental es conseguir que los alumnos realicen una transcripción medianamente potable y, para ello, dedican toda su energía a practicar transcripciones incansablemente en las horas de clase. Para otros, como es mi caso, la intención última es que aprecien los manuscritos con una opinión lo suficientemente formada que les capacite para acercarse a su contexto, que entiendan qué es un sistema gráfico y qué implicaciones tiene dado un contexto histórico determinado. Desde mi punto de vista, hacer bien una transcripción no tiene mucho que ver, aunque, por supuesto, es deseable, con ser un buen paleógrafo.</p> <p>En segundo lugar, <strong>es tremendamente aburrido tener que ceñirse a un programa docente</strong>. Separar la docencia de la investigación es erróneo y cansino, y nuestra falta de entusiasmo en clase se transmite con muchísima facilidad. Los alumnos han de saber en qué estamos trabajando, qué se está haciendo en el campo y por qué. Me parece fundamental mostrarles que la ciencia paleográfica, fuera de ser algo rígido, es cambiante y evoluciona constantemente.</p> <p>En ambos sentidos, Scribe of Ages ha resultado una buena herramienta para reflexionar sobre nuestra labor y cómo mejorarla. Partiendo de las clases presenciales, los alumnos han podido centrarse en la escritura en sí y en su contexto, en la transcripción de un texto específico, o en ambos. Pudiendo incorporar material casi automáticamente a la plataforma, incluso artículos recientes podían referenciarse con explicaciones específicas a las que el docente puede dirigir a los alumnos. Aún estamos dando los primeros pasos, pero, sin duda, está mereciendo la pena.</p> <p>Por ahora, Scribe of Ages es accesible solamente a nuestros alumnos. Queremos aprender cómo mejorar antes de abrir el juego a todos. Esperamos que, próximamente, podamos compartirlo y, espero, porque sigo teniendo más ideas locas, hacerlo aún más grande.</p>
Google Play Store Data
<p>Mobile App Stores such as Google, Apple have wide range of applications to suffice every need of customers in the digital platform. Customer feedback and ratings has always been one of the major metrics that can be used to review the performance and accordingly provide suitable recommendations to enhance the functionality. The Given dataset contain the feedback of the customer regarding the app used in app store.</p> <p>Data Set Column Details are as given below:</p> <p><strong>Column name: </strong></p> <p><strong>Description</strong>:</p> <p><strong>Column Name in Working Sheet </strong></p> <p><strong>Datatype</strong></p> <p><strong>Please read the Readme.docs file</strong></p> <p> </p>
Release dates for role playing computer games (RPGs)
<p>Release date information from Steam using web data scraping through Python coding. <br>Code can be located on GitHub: <a href="https://github.com/kyoraven/genderGames">kyoraven/genderGames (github.com)</a></p>
Gender in role playing computer games (RPGs)
<p>Modified data from:</p> <p>Rennick, S., Clinton, M., Ioannidou, E., Oh, L., Clooney, C., T, E., Healy, E., & Roberts, S. G. (2023). <em>The Video Game Dialogue Corpus</em> [Data set]. GitHub, Incorporated. <a href="https://github.com/seannyD/VideoGameDialogueCorpusPublic">https://github.com/seannyD/VideoGameDialogueCorpusPublic</a></p> <p>Stephanie Rennick, Melanie Clinton, Elena Ioannidou, Liana Oh, Charlotte Clooney, E. T., Edward Healy, Seán G. Roberts (2023) Gender bias in video game dialogue. <em>Royal Society Open Science</em> 10(5). <a href="https://royalsocietypublishing.org/doi/10.1098/rsos.221095" rel="nofollow">https://royalsocietypublishing.org/doi/10.1098/rsos.221095</a></p> <p>Modified data was filtered and analysed using Excel and Python. Python coding can be found: <a href="https://github.com/kyoraven/genderGames/tree/code">kyoraven/genderGames at code (github.com)</a> </p>
Indie role playing computer games (RPGs)
<p>Indie role playing computer games (RPGs) from Steam, with 'choices matter' tag from publisher Choice of Games. Name, publishing date, price, and description fields only. 116 records. Please note that Choice of Games has a scripting language that enables authors/developers to use, publish and sell their work. An analysis of those works may be conducted at a later date.</p> <p>v0.1.1 now includes gender options, orientation options</p>
Photographic dataset of playing cards
<p>This is an open access photographic dataset collected for testing image processing algorithms. The idea is to have sets of identical photos with varying image noise. The images show playing cards.</p> <p>The dataset consists of seven high-resolution black and white images of playing cards in TIFF file format (*.tif files) with varying noise . Also included are nine MATLAB files to process the data (*.m files). Documentation of the dataset is available at <a href="https://arxiv.org/abs/1701.07354">arxiv.org/abs/1701.07354</a>. See also <a href="https://www.fips.fi/photographic_dataset.php">www.fips.fi/photographic_dataset.php</a>.</p> <p>Example usage in MATLAB:</p> <pre><code>im = imread('im_clean.tif'); im = double(im); % Converting to floating point data </code></pre> <p>The data is collected at the Industrial Mathematics Laboratory of the Department of Mathematics and Statistics of University of Helsinki.</p>
Influence of Playing on the Tonal Characteristics of a Concert Piano - Dataset
<p>Dataset supporting conference proceedings publication:</p> <p><strong>## Abstract</strong></p> <p>Well-maintained pianos are said to ”mature” and to ”change for the better” over the first years. When auditioning concert<br> pianos for purchase, technicians do often not choose the best sounding instrument but the one with the greatest potential<br> for future development. The present work addresses the following questions: Are structural changes measurable on a<br> piano after one year of operation in a concert house? Are these changes perceivable by listeners?<br> Measurements are performed on two occasions: First, on a brand new instrument prepared for sale. Second, on the same<br> piano after having been played for one year in a concert hall. Single notes are recorded with dummy-head-microphones<br> in player position in an anechoic chamber. An extended ABX listening test engaging approx. 100 players, tuners,<br> and builders, addresses the questions whether a variation in tonal quality is audible and if so, what sound properties<br> could lead to a perceived difference. Semantic sub-grouping allows for indication on the vocabulary listeners of varying<br> expertise use to verbalize their sensation. The statements give hints on what could have changed over the year and<br> are used as a basis for the analysis of corresponding physical properties and psychoacoustic parameters related to the<br> described sensations.</p> <p><strong>## Data Structure</strong></p> <p><strong>### Naming Rules:</strong></p> <p><strong>Example:</strong> 'D1_PROD07_01__0000_M0000.csv'</p> <ul> <li>Ignore the <em>D1</em></li> <li><em>PROD07 </em>is before the year in a concert hall, <em>PROD08 </em>is after the year.</li> <li><em>01</em> is the key (range: <em>01-88</em>)</li> <li>Ignore the <em>0000.</em></li> <li><em>M0000 </em>is the take (range: <em>M0000-M0004</em>)</li> </ul> <p>.csv files contain the data, the corresponding .txt files are the headers.</p> <p><strong>### Columns in .csv file:</strong></p> <ul> <li><strong>Time [s]</strong>; Time vector</li> <li><strong>Kistler 9722A500 [N]</strong>; Force sensor, measures the key / key bed impact force</li> <li><strong>PCB 352C23 [m/s^2]</strong>; Acceleration sensor, measures the acceleration at the bridge (at the hitch pins of the corresponding string) in direction normal to the soundboard. </li> <li><strong>HSU 3.2 left [Pa]</strong>; Left ear channel of dummy head, measures sound pressure in player position.</li> <li><strong>HSU 3.2 right [Pa]</strong>; Right ear channel of dummy head, measures sound pressure in player position.</li> </ul> <p>sample rate = 50000</p> <p>The listening test utilizing this dataset is still online (however, your input will not be evaluated): <a href="http://www.culturalheritage.digital/listeningtest/">http://www.culturalheritage.digital/listeningtest/</a></p> <p>Feel free to contact me for comments or questions: niko.plath@uni-hamburg.de</p>
Application of optical tweezer technology reveals that PfEBA and PfRH ligands, not PfMSP1, play a central role in Plasmodium-falciparum merozoite-erythrocyte attachment, Supporting Information
<p>This repository contains the dataset and analysis scripts associated with the upcoming publication titled <em>Application of optical tweezer technology reveals that PfEBA and PfRH ligands, not PfMSP1, play a central role in Plasmodium-falciparum merozoite-erythrocyte attachment</em>. The repository includes a comprehensive collection of data and scripts related to optical tweezer experiments, growth assays, qPCR data, and supplementary information. It is organized into several sections, each detailing different aspects of the study:</p> <ul> <li><strong>Growth Assays:</strong> Includes raw and processed data on parasitemia levels, invasion rates, and growth rate assays, along with corresponding Jupyter notebooks and Python scripts for data visualization (e.g., <code>GrowthAssayPlotlib.py</code>, <code>Plot GA1.ipynb</code>, and <code>GA2_df_melted.json</code>).</li> <li><strong>qPCR Data:</strong> Contains results from multiple qPCR runs, including quantification data for various samples, as well as analysis scripts and plotted results (<code>qpcr_plotbench.ipynb</code>, <code>qPCR_plotting.py</code>, etc.). Data files such as <code>.xlsx</code> and <code>.json</code> contain gene expression data and fold changes to NF54.</li> <li><strong>Optical Tweezer Experiments:</strong> Includes detailed results and plots from optical tweezer measurements of attachment forces, time dependence, and multiple merozoite attachments. Notebooks (<code>tweezer_plots.ipynb</code>, <code>Antibody_binding_assay_plots.ipynb</code>) and data files support these analyses.</li> <li><strong>Optical Tweezer Images</strong>: Includes images that were used to measure RBC diameters for deformation and force measurements in <code>.tiff</code> format.</li> <li><strong>Supplementary Information (SI):</strong> Provides additional data and visualizations, such as scatter plots of two stretched RBCs, time post-egress vs. detachment force, and antibody GIA flow data. The accompanying figures (e.g., <code>SupFig1d_egress time vs force_3D7.svg</code>, <code>SupFig5a_GIA.svg</code>) are provided as <code>.svg</code> files.</li> </ul> <p>This repository offers all necessary resources to replicate the findings, including the complete codebase, raw data, and graphical representations of results. Researchers are encouraged to explore the included notebooks and datasets for detailed insights.</p>
Native and exotic plants play different roles in urban pollination networks across seasons
<p>Datasets for 'Native and exotic plants play different roles in urban pollination networks across seasons' by Zaninotto et al. (2023) in Oecologia.</p>
Graph 6: Stagings of Heiner Müller's Plays in Germany (East and West).
<p>Graph 6 shows the number of stagings of Heiner Müller’s plays in East and West Germany from 1957-1990.</p>
ERC Locus Ludi. Play and Games in Antiquity. Les proverbes relatifs aux jeux
<p>Arnaud Zucker, eminent specialist of Greek literature, especially of encyclopedic tradition. What do proverbs transmit about ancient games? His talk: Les proverbes relatifs aux jeux, chez Pollux et les parémiographes, was given at the International Conference, Play and Games in Antiquity. Definition, Transmission, Reception, September 17-19, 2018, Swiss Museum of Games.</p> <p>Movie/Music: <a href="https://www.edwanmusic.com/">https://www.edwanmusic.com/</a></p> <p>More about: www.locusludi.ch</p>
ERC Locus Ludi. Play and Games in Antiquity. Playing at the Festival. Aiora, a Swinging Ritual
<p>Vicky Sabetai is Director of Research, Academy of Athens, and a reputed specialist of vase-painting and iconography, especially of rituals. Her talk: Playing at the Festival: Aiora, a Swinging Ritual was given at the International Conference, Play and Games in Antiquity. Definition, Transmission, Reception, September 17-19, 2018, Swiss Museum of Games.</p> <p>Movie/Music: <a href="https://www.edwanmusic.com/">https://www.edwanmusic.com/</a></p> <p>More about: www.locusludi.ch</p>
ScienceDex guides
Understand access before you commit
These curated guides explain access requirements, typical timelines, costs, and reuse considerations for widely used research datasets.
Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
ABODe is a University of Edinburgh DataShare dataset for behavior classification in group-housed mice using home-cage video, identities, bounding boxes, ground-plate positions, and annotator labels.
DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.