In the field of translation, a translation unit is a segment of a text which the translator treats as a single cognitive unit for the purposes of establishing an equivalence. It may be a single word, a phrase, one or more sentences, or even a larger unit. When a translator segments a text into translation units, the larger these units are, the better chance there is of obtaining an idiomatic translation. This is true not only of human translation, but also where human translators use computer-assisted translation, such as translation memories, and when translations are performed by machine translation systems. == Perceptions on the concept of unit == Vinay and Darbelnet took to Saussure's original concepts of the linguistic sign when beginning to discuss the idea of a single word as a translation unit. According to Saussure, the sign is naturally arbitrary, so it can only derive meaning from contrast in other signs in that same system. However, Russian scholar Leonid Barkhudarov stated that, limiting it to poetry, for instance, a translation unit can take the form of a complete text. This seems to relate to his conception that a translation unit is the smallest unit in the source language with an equivalent in the target one, and when its parts are taken individually, they become untranslatable; these parts can be as small as phonemes or morphemes, or as large as entire texts. Susan Bassnett widened Barkhudarov's poetry perception to include prose, adding that in this type of translation text is the prime unit, including the idea that sentence-by-sentence translation could cause loss of important structural features. Swiss linguist Werner Koller connected Barkhudarov's idea of unit sizing to the difference between the two languages involved, by stating that the more different or unrelated these languages were, the larger the unit would be. One final perception on the idea of unit came from linguist Eugene Nida. To him, translation units have a tendency to be small groups of language building up into sentences, thus forming what he called meaningful mouthfuls of language. == Points of view towards translation units == === Process-oriented POV === According to this point of view, a translation unit is a stretch of text on which attention is focused to be represented as a whole in the target language. In this point of view we can consider the concept of the think-aloud protocol, supported by German linguist Wolfgang Lörscher: isolating units using self-reports by translating subjects. It also relates to how experienced the translator in question is: language learners take a word as a translation unit, whereas experienced translators isolate and translate units of meaning in the form of phrases, clauses or sentences. Since 1996 and 2005 keylogging and eyetracking technologies were introduced in Translation Process Research. These more advanced and non-invasive research methods made it possible to elaborate a finer-grained assessment of translation units as loops of (source or target text) reading and target text typing. Loops of translation units are thought to be the basic units by which translations are produced. Thus, Malmkjaer, for instance, defines process oriented translation units as a “stretch of the source text that the translator keeps in mind at any one time, in order to produce translation equivalents in the text he or she is creating” (p. 286). Records of keystrokes and eye movements allow to investigate these mental constructs through their physical (observable) behavioral traces in the translation process data. Empirical Translation Process Research has deployed numerous theories to explain and models the behavioral traces of these assumed mental units. === Product-oriented POV === Here, the target-text unit can be mapped into an equivalent source-text unit. A case study on this matter was reported by Gideon Toury, in which 27 English-Hebrew student-produced translations were mapped onto a source text. Those students that were less experienced had larger numbers of small units at word and morpheme level in their translations, while one student with translation experience had approximately half of those units, mostly at phrase or clause level.
1.58-bit large language model
A 1.58-bit large language model (also known as a ternary LLM) is a type of large language model (LLM) designed to be computationally efficient. It achieves this by using weights that are restricted to only three values: -1, 0, and +1. This restriction significantly reduces the model's memory footprint and allows for faster processing, as computationally expensive multiplication operations can be replaced with lower-cost additions. This contrasts with traditional models that use 16-bit floating-point numbers (FP16 or BF16) for their weights. Studies have shown that for models up to several billion parameters, the performance of 1.58-bit LLMs on various tasks is comparable to their full-precision counterparts. This approach could enable powerful AI to run on less specialized and lower-power hardware. The name "1.58-bit" comes from the fact that a system with three states contains log 2 3 ≈ 1.58 {\displaystyle \log _{2}3\approx 1.58} bits of information. These models are sometimes also referred to as 1-bit LLMs in research papers, although this term can also refer to true binary models (with weights of -1 and +1). == BitNet == In 2024, Ma et al., researchers at Microsoft, declared that their 1.58-bit model, BitNet b1.58 is comparable in performance to the 16-bit Llama 2 and opens the era of 1-bit LLM. BitNet creators did not use the post-training quantization of weights but instead relied on the new BitLinear transform that replaced the nn.Linear layer of the traditional transformer design. In 2025, Microsoft researchers had released an open-weights and open inference code model BitNet b1.58 2B4T demonstrating performance competitive with the full precision models at 2B parameters and 4T training tokens. == Post-training quantization == BitNet derives its performance from being trained natively in 1.58 bit instead of being quantized from a full-precision model after training. Still, training is an expensive process and it would be desirable to be able to somehow convert an existing model to 1.58 bits. In 2024, HuggingFace reported a way to gradually ramp up the 1.58-bit quantization in fine-tuning an existing model down to 1.58 bits. == Critique == Some researchers point out that the scaling laws of large language models favor the low-bit weights only in case of undertrained models. As the number of training tokens increases, the deficiencies of low-bit quantization surface.
Artificial imagination
Artificial imagination is a narrow subcomponent of artificial general intelligence which generates, simulates, and facilitates real or possible fiction models to create predictions, inventions, or conscious experiences. The term artificial imagination is also used to describe a property of machines or programs. Some of the traits that researchers hope to simulate include creativity, vision, digital art, humor, and satire. Practitioners in the field are researching various aspects of Artificial imagination, such as Artificial (visual) imagination, Artificial (aural) Imagination, modeling/filtering content based on human emotions and Interactive Search. Some articles on the topic speculate on how artificial imagination may evolve to create an artificial world "people may be comfortable enough to escape from the real world". Some researchers such as G. Schleis and M. Rizki have focused on using artificial neural networks to simulate artificial imagination. Another important project is being led by Hiroharu Kato and Tatsuya Harada at the University of Tokyo in Japan. They have developed a computer capable of translating a description of an object into an image, which could be the easiest way to define what imagination is. Their idea is based on the concept of an image as a series of pixels divided into short sequences that correspond to a specific part of an image. The scientists call this sequences "visual words" and those can be interpreted by the machine using statistical distribution to read an create an image of an object the machine has not encountered. The topic of artificial imagination has garnered interest from scholars outside the computer science domain, such as noted communications scholar Ernest Bormann, who came up with the Symbolic Convergence Theory and worked on a project to develop artificial imagination in computer systems. An interdisciplinary research seminar organized by the artist Grégory Chatonsky on artificial imagination and postdigital art has taken place since 2017 at the Ecole Normale Supérieure in Paris. == Use in interactive search == The typical application of artificial imagination is for an interactive search. Interactive searching has been developed since the mid-1990s, accompanied by the World Wide Web's development and the optimization of search engines. Based on the first query and feedback from a user, the databases to be searched are reorganized to improve the searching results. Artificial imagination allows us to synthesize images and to develop a new image, whether it is in the database, regardless its existence in the real world. For example, the computer shows results that are based on the answer from the initial query. The user selects several relevant images, and then the technology analyzes these selections and reorganizes the images' ranks to fit the query. In this process, artificial imagination is used to synthesize the selected images and to improve the searching result with additional relevant synthesized images. This technique is based on several algorithms, including the Rocchio algorithm and the evolutionary algorithm. The Rocchio algorithm, locating a query point near relevant examples and far away from irrelevant examples, is simple and works well in a small system where the databases are arranged in certain ranks. The evolutionary synthesis is composed of two steps: a standard algorithm and an enhancement of the standard algorithm. Through feedback from the user, there would be additional images synthesized so as to be suited to what the user is looking for. == General artificial imagination == Artificial imagination has a more general definition and wide applications. The traditional fields of artificial imagination include visual imagination and aural imagination. More generally, all the actions to form ideas, images and concepts can be linked to imagination. Thus, artificial imagination means more than only generating graphs. For example, moral imagination is an important research subfield of artificial imagination, although classification of artificial imagination is difficult. Morals are an important part to human beings' logic, while artificial morals are important in artificial imagination and artificial intelligence. A common criticism of artificial intelligence is whether human beings should take responsibility for machines' mistakes or decisions and how to develop well-behaved machines. As nobody can give a clear description of the best moral rules, it is impossible to create machines with commonly accepted moral rules. However, recent research about artificial morals circumvent the definition of moral. Instead, machine learning methods are applied to train machines to imitate human morals. As the data about moral decisions from thousands of different people are considered, the trained moral model can reflect widely accepted rules. Memory is another major field of artificial imagination. Researchers such as Aude Oliva have performed extensive work on artificial memory, especially visual memory. Compared to visual imagination, the visual memory focuses more on how machine understand, analyse and store pictures in a human way. In addition, characters like spatial features are also considered. As this field is based on the brains' biological structures, extensive research on neuroscience has also been performed, which makes it a large intersection between biology and computer science.
DONE
The Data-based Online Nonlinear Extremumseeker (DONE) algorithm is a black-box optimization algorithm. DONE models the unknown cost function and attempts to find an optimum of the underlying function. The DONE algorithm is suitable for optimizing costly and noisy functions and does not require derivatives. An advantage of DONE over similar algorithms, such as Bayesian optimization, is that the computational cost per iteration is independent of the number of function evaluations. == Methods == The DONE algorithm was first proposed by Hans Verstraete and Sander Wahls in 2015. The algorithm fits a surrogate model based on random Fourier features and then uses a well-known L-BFGS algorithm to find an optimum of the surrogate model. == Applications == DONE was first demonstrated for maximizing the signal in optical coherence tomography measurements, but has since then been applied to various other applications. For example, it was used to help extending the field of view in light sheet fluorescence microscopy.
Holographic algorithm
In computer science, a holographic algorithm is an algorithm that uses a holographic reduction. A holographic reduction is a constant-time reduction that maps solution fragments many-to-many such that the sum of the solution fragments remains unchanged. These concepts were introduced by Leslie Valiant, who called them holographic because "their effect can be viewed as that of producing interference patterns among the solution fragments". The algorithms are unrelated to laser holography, except metaphorically. Their power comes from the mutual cancellation of many contributions to a sum, analogous to the interference patterns in a hologram. Holographic algorithms have been used to find polynomial-time solutions to problems without such previously known solutions for special cases of satisfiability, vertex cover, and other graph problems. They have received notable coverage due to speculation that they are relevant to the P versus NP problem and their impact on computational complexity theory. Although some of the general problems are #P-hard problems, the special cases solved are not themselves #P-hard, and thus do not prove FP = #P. Holographic algorithms have some similarities with quantum computation, but are completely classical. == Holant problems == Holographic algorithms exist in the context of Holant problems, which generalize counting constraint satisfaction problems (#CSP). A #CSP instance is a hypergraph G=(V,E) called the constraint graph. Each hyperedge represents a variable and each vertex v {\displaystyle v} is assigned a constraint f v . {\displaystyle f_{v}.} A vertex is connected to an hyperedge if the constraint on the vertex involves the variable on the hyperedge. The counting problem is to compute ∑ σ : E → { 0 , 1 } ∏ v ∈ V f v ( σ | E ( v ) ) , ( 1 ) {\displaystyle \sum _{\sigma :E\to \{0,1\}}\prod _{v\in V}f_{v}(\sigma |_{E(v)}),~~~~~~~~~~(1)} which is a sum over all variable assignments, the product of every constraint, where the inputs to the constraint f v {\displaystyle f_{v}} are the variables on the incident hyperedges of v {\displaystyle v} . A Holant problem is like a #CSP except the input must be a graph, not a hypergraph. Restricting the class of input graphs in this way is indeed a generalization. Given a #CSP instance, replace each hyperedge e of size s with a vertex v of degree s with edges incident to the vertices contained in e. The constraint on v is the equality function of arity s. This identifies all of the variables on the edges incident to v, which is the same effect as the single variable on the hyperedge e. In the context of Holant problems, the expression in (1) is called the Holant after a related exponential sum introduced by Valiant. == Holographic reduction == A standard technique in complexity theory is a many-one reduction, where an instance of one problem is reduced to an instance of another (hopefully simpler) problem. However, holographic reductions between two computational problems preserve the sum of solutions without necessarily preserving correspondences between solutions. For instance, the total number of solutions in both sets can be preserved, even though individual problems do not have matching solutions. The sum can also be weighted, rather than simply counting the number of solutions, using linear basis vectors. === General example === It is convenient to consider holographic reductions on bipartite graphs. A general graph can always be transformed it into a bipartite graph while preserving the Holant value. This is done by replacing each edge in the graph by a path of length 2, which is also known as the 2-stretch of the graph. To keep the same Holant value, each new vertex is assigned the binary equality constraint. Consider a bipartite graph G=(U,V,E) where the constraint assigned to every vertex u ∈ U {\displaystyle u\in U} is f u {\displaystyle f_{u}} and the constraint assigned to every vertex v ∈ V {\displaystyle v\in V} is f v {\displaystyle f_{v}} . Denote this counting problem by Holant ( G , f u , f v ) . {\displaystyle {\text{Holant}}(G,f_{u},f_{v}).} If the vertices in U are viewed as one large vertex of degree |E|, then the constraint of this vertex is the tensor product of f u {\displaystyle f_{u}} with itself |U| times, which is denoted by f u ⊗ | U | . {\displaystyle f_{u}^{\otimes |U|}.} Likewise, if the vertices in V are viewed as one large vertex of degree |E|, then the constraint of this vertex is f v ⊗ | V | . {\displaystyle f_{v}^{\otimes |V|}.} Let the constraint f u {\displaystyle f_{u}} be represented by its weighted truth table as a row vector and the constraint f v {\displaystyle f_{v}} be represented by its weighted truth table as a column vector. Then the Holant of this constraint graph is simply f u ⊗ | U | f v ⊗ | V | . {\displaystyle f_{u}^{\otimes |U|}f_{v}^{\otimes |V|}.} Now for any complex 2-by-2 invertible matrix T (the columns of which are the linear basis vectors mentioned above), there is a holographic reduction between Holant ( G , f u , f v ) {\displaystyle {\text{Holant}}(G,f_{u},f_{v})} and Holant ( G , f u T ⊗ ( deg u ) , ( T − 1 ) ⊗ ( deg v ) f v ) . {\displaystyle {\text{Holant}}(G,f_{u}T^{\otimes (\deg u)},(T^{-1})^{\otimes (\deg v)}f_{v}).} To see this, insert the identity matrix T ⊗ | E | ( T − 1 ) ⊗ | E | {\displaystyle T^{\otimes |E|}(T^{-1})^{\otimes |E|}} in between f u ⊗ | U | f v ⊗ | V | {\displaystyle f_{u}^{\otimes |U|}f_{v}^{\otimes |V|}} to get f u ⊗ | U | f v ⊗ | V | {\displaystyle f_{u}^{\otimes |U|}f_{v}^{\otimes |V|}} = f u ⊗ | U | T ⊗ | E | ( T − 1 ) ⊗ | E | f v ⊗ | V | {\displaystyle =f_{u}^{\otimes |U|}T^{\otimes |E|}(T^{-1})^{\otimes |E|}f_{v}^{\otimes |V|}} = ( f u T ⊗ ( deg u ) ) ⊗ | U | ( f v ( T − 1 ) ⊗ ( deg v ) ) ⊗ | V | . {\displaystyle =\left(f_{u}T^{\otimes (\deg u)}\right)^{\otimes |U|}\left(f_{v}(T^{-1})^{\otimes (\deg v)}\right)^{\otimes |V|}.} Thus, Holant ( G , f u , f v ) {\displaystyle {\text{Holant}}(G,f_{u},f_{v})} and Holant ( G , f u T ⊗ ( deg u ) , ( T − 1 ) ⊗ ( deg v ) f v ) {\displaystyle {\text{Holant}}(G,f_{u}T^{\otimes (\deg u)},(T^{-1})^{\otimes (\deg v)}f_{v})} have exactly the same Holant value for every constraint graph. They essentially define the same counting problem. === Specific examples === ==== Vertex covers and independent sets ==== Let G be a graph. There is a 1-to-1 correspondence between the vertex covers of G and the independent sets of G. For any set S of vertices of G, S is a vertex cover in G if and only if the complement of S is an independent set in G. Thus, the number of vertex covers in G is exactly the same as the number of independent sets in G. The equivalence of these two counting problems can also be proved using a holographic reduction. For simplicity, let G be a 3-regular graph. The 2-stretch of G gives a bipartite graph H=(U,V,E), where U corresponds to the edges in G and V corresponds to the vertices in G. The Holant problem that naturally corresponds to counting the number of vertex covers in G is Holant ( H , OR 2 , EQUAL 3 ) . {\displaystyle {\text{Holant}}(H,{\text{OR}}_{2},{\text{EQUAL}}_{3}).} The truth table of OR2 as a row vector is (0,1,1,1). The truth table of EQUAL3 as a column vector is ( 1 , 0 , 0 , 0 , 0 , 0 , 0 , 1 ) T = [ 1 0 ] ⊗ 3 + [ 0 1 ] ⊗ 3 {\displaystyle (1,0,0,0,0,0,0,1)^{T}={\begin{bmatrix}1\\0\end{bmatrix}}^{\otimes 3}+{\begin{bmatrix}0\\1\end{bmatrix}}^{\otimes 3}} . Then under a holographic transformation by [ 0 1 1 0 ] , {\displaystyle {\begin{bmatrix}0&1\\1&0\end{bmatrix}},} OR 2 ⊗ | U | EQUAL 3 ⊗ | V | {\displaystyle {\text{OR}}_{2}^{\otimes |U|}{\text{EQUAL}}_{3}^{\otimes |V|}} = ( 0 , 1 , 1 , 1 ) ⊗ | U | ( [ 1 0 ] ⊗ 3 + [ 0 1 ] ⊗ 3 ) ⊗ | V | {\displaystyle =(0,1,1,1)^{\otimes |U|}\left({\begin{bmatrix}1\\0\end{bmatrix}}^{\otimes 3}+{\begin{bmatrix}0\\1\end{bmatrix}}^{\otimes 3}\right)^{\otimes |V|}} = ( 0 , 1 , 1 , 1 ) ⊗ | U | [ 0 1 1 0 ] ⊗ | E | [ 0 1 1 0 ] ⊗ | E | ( [ 1 0 ] ⊗ 3 + [ 0 1 ] ⊗ 3 ) ⊗ | V | {\displaystyle =(0,1,1,1)^{\otimes |U|}{\begin{bmatrix}0&1\\1&0\end{bmatrix}}^{\otimes |E|}{\begin{bmatrix}0&1\\1&0\end{bmatrix}}^{\otimes |E|}\left({\begin{bmatrix}1\\0\end{bmatrix}}^{\otimes 3}+{\begin{bmatrix}0\\1\end{bmatrix}}^{\otimes 3}\right)^{\otimes |V|}} = ( ( 0 , 1 , 1 , 1 ) [ 0 1 1 0 ] ⊗ 2 ) ⊗ | U | ( ( [ 0 1 1 0 ] [ 1 0 ] ) ⊗ 3 + ( [ 0 1 1 0 ] [ 0 1 ] ) ⊗ 3 ) ⊗ | V | {\displaystyle =\left((0,1,1,1){\begin{bmatrix}0&1\\1&0\end{bmatrix}}^{\otimes 2}\right)^{\otimes |U|}\left(\left({\begin{bmatrix}0&1\\1&0\end{bmatrix}}{\begin{bmatrix}1\\0\end{bmatrix}}\right)^{\otimes 3}+\left({\begin{bmatrix}0&1\\1&0\end{bmatrix}}{\begin{bmatrix}0\\1\end{bmatrix}}\right)^{\otimes 3}\right)^{\otimes |V|}} = ( 1 , 1 , 1 , 0 ) ⊗ | U | ( [ 0 1 ] ⊗ 3 + [ 1 0 ] ⊗ 3 ) ⊗ | V | {\displaystyle =(1,1,1,0)^{\otimes |U|}\left({\begin{bmatrix}0\\1\end{bmatrix}}^{\otimes 3}+{\begin{bmatrix}1\\0\end{bmatrix}}^{\otimes 3}\right)^{\otimes |V|}} = NAND 2 ⊗ | U | EQUAL 3 ⊗ | V | , {\displaystyle ={\text{NAND}}_{2}^{\otim
Clip Studio Paint
Clip Studio Paint (previously marketed as Manga Studio in North America), informally known in Japan as Kurisuta (クリスタ), is a family of software applications developed by Japanese graphics software company Celsys. It is used for the digital creation of comics, general illustration, and 2D animation. The software is available in versions for macOS, Windows, iOS, iPadOS, Android, and ChromeOS. The program is widely used by amateur and professional comics creators, and animation studios. The application is sold in editions with varying feature sets. The full-featured edition is a page-based, layered drawing program, with support for bitmap and vector art, text, imported 3D models, and frame-by-frame animation. It is designed for use with a stylus and a graphics tablet or tablet computer. It has drawing tools which emulate natural media such as pencils, ink pens, and brushes, as well as patterns and decorations. It is distinguished from similar programs by features designed for creating comics: tools for creating panel layouts, perspective rulers, sketching, inking, applying tones and textures, coloring, and creating word balloons and captions. == History == The application has it origins in a program for macOS and Windows, released in Japan in 2001 as "Comic Studio". It was sold as "Manga Studio" in the Western market by E Frontier America until 2007, then by Smith Micro Software. Early versions were designed for creating black and white art with only spot color (a typical format for Japanese manga), with version 4 adding support for full-color art. Celsys developed Clip Studio Paint as a replacement for this product, based on the company's Illust Studio application, and it was released on May 31, 2012. It was initially distributed in Western markets as "Manga Studio 5", but in 2016, the branding was unified worldwide as "Clip Studio Paint". At this time, version 1.5.4 introduced a new file format (extension .clip) and frame-by-frame animation. In late 2017, Celsys took over direct support for the software worldwide, and ceased its relationship with Smith Micro. In July 2018, Celsys began a partnership with Graphixly for distribution in North America, South America, and Europe. Clip Studio Paint for the Apple iPad was introduced in November 2017, and for the iPhone in December 2019. Clip Studio Paint for Samsung Galaxy tablets and smartphones was released in August 2020 on the Galaxy Store, with versions for other Android devices and Chromebooks released in December. The Windows and macOS versions of the software have been sold and distributed either from the developer's web site or on DVD, and purchased either with a perpetual license or an ongoing subscription. The versions for iPhone, iPad, and Android-based devices are distributed through the corresponding app stores free of charge, but require a subscription – which includes cloud storage – for unrestricted use. Without a subscription, the tablet versions can be used only for a specified number of months, and the phone versions can be used only for 30 hours per month. From 2013 to 2023, regular updates for version 1 were distributed free of additional charge to both perpetual and subscription users. Since the release of version 2 in 2023, feature updates are included only in subscription plans and are available to perpetual licenses at an additional cost. Perpetual licenses can be upgraded permanently or with an annual "update pass". The "update pass" provides early access to features to be included in subsequent perpetual licenses for 12 months, after which the software reverts to the original license if not renewed. In March 2024, version 3 was released, and version 4 introduced additional features in March 2025. == Editions == Clip Studio Paint is available in three editions, with differing feature sets and prices: Debut (bundle-only grade), Pro (adding support for vector-based drawing, custom textures, and comics-focused features), and EX (adding support for multi-page documents, book exporting, and 2D animation). Companion programs include Clip Studio (for managing and sharing digital assets distributed through the Clip Studio web site, managing licenses, and getting updates and support) and Clip Studio Modeler (for setting up 3D materials to use in Clip Studio Paint).
Long division
In arithmetic, long division is a standard division algorithm suitable for dividing multi-digit numbers that is simple enough to perform by hand. It breaks down a division problem into a series of easier steps. As in all division problems, one number, called the dividend, is divided by another, called the divisor, producing a result called the quotient. It enables computations involving arbitrarily large numbers to be performed by following a series of simple steps. The abbreviated form of long division is called short division, which is almost always used instead of long division when the divisor has only one digit. == History == Related algorithms have existed since the 12th century. Al-Samawal al-Maghribi (1125–1174) performed calculations with decimal numbers that essentially require long division, leading to infinite decimal results, but without formalizing the algorithm. Caldrini (1491) is the earliest printed example of long division, known as the Danda method in medieval Italy, and it became more practical with the introduction of decimal notation for fractions by Pitiscus (1608). The specific algorithm in modern use was introduced by Henry Briggs c. 1600. == Education == Inexpensive calculators and computers have become the most common tools for performing division in educational and professional contexts worldwide, reducing reliance on traditional paper-and-pencil techniques. Internally, these devices implement various division algorithms, many of which rely on iterative approximations and multiplication to improve computational efficiency. Educational approaches to teaching division vary across countries and regions, reflecting differing curricular priorities. In North America, long division has been de-emphasized or, in some cases, removed from portions of the curriculum as part of reform mathematics, which emphasizes conceptual understanding and the use of technology. In contrast, many education systems in Europe and Asia continue to emphasize mastery of standard algorithms, including long division, as a foundational arithmetic skill. For example, curricula in countries such as Japan and Germany typically introduce and reinforce long division during primary education, often alongside mental arithmetic strategies and problem-solving techniques. International assessments such as the Trends in International Mathematics and Science Study (TIMSS) highlight these differences, showing variation in how procedural fluency and conceptual understanding are balanced across educational systems. These differing approaches reflect broader educational philosophies regarding the balance between procedural fluency, conceptual understanding, and the role of technology in mathematics education. == Method == In English-speaking countries, long division does not use the division slash ⟨∕⟩ or division sign ⟨÷⟩ symbols but instead constructs a tableau. The divisor is separated from the dividend by a right parenthesis ⟨)⟩ or vertical bar ⟨|⟩; the dividend is separated from the quotient by a vinculum (i.e., an overbar). The combination of these two symbols is sometimes known as a long division symbol, division bracket, or even a bus stop. It developed in the 18th century from an earlier single-line notation separating the dividend from the quotient by a left parenthesis. The process is begun by dividing the left-most digit of the dividend by the divisor. The quotient (rounded down to an integer) becomes the first digit of the result, and the remainder is calculated (this step is notated as a subtraction). This remainder carries forward when the process is repeated on the following digit of the dividend (notated as 'bringing down' the next digit to the remainder). When all digits have been processed and no remainder is left, the process is complete. An example is shown below, representing the division of 500 by 4 (with a result of 125). 125 (Explanations) 4)500 4 ( 4 × 1 = 4) 10 ( 5 - 4 = 1) 8 ( 4 × 2 = 8) 20 (10 - 8 = 2) 20 ( 4 × 5 = 20) 0 (20 - 20 = 0) A more detailed breakdown of the steps goes as follows: Find the shortest sequence of digits starting from the left end of the dividend, 500, that the divisor 4 goes into at least once. In this case, this is simply the first digit, 5. The largest number that the divisor 4 can be multiplied by without exceeding 5 is 1, so the digit 1 is put above the 5 to start constructing the quotient. Next, the 1 is multiplied by the divisor 4, to obtain the largest whole number that is a multiple of the divisor 4 without exceeding the 5 (4 in this case). This 4 is then placed under and subtracted from the 5 to get the remainder, 1, which is placed under the 4 under the 5. Afterwards, the first as-yet unused digit in the dividend, in this case the first digit 0 after the 5, is copied directly underneath itself and next to the remainder 1, to form the number 10. At this point the process is repeated enough times to reach a stopping point: The largest number by which the divisor 4 can be multiplied without exceeding 10 is 2, so 2 is written above as the second leftmost quotient digit. This 2 is then multiplied by the divisor 4 to get 8, which is the largest multiple of 4 that does not exceed 10; so 8 is written below 10, and the subtraction 10 minus 8 is performed to get the remainder 2, which is placed below the 8. The next digit of the dividend (the last 0 in 500) is copied directly below itself and next to the remainder 2 to form 20. Then the largest number by which the divisor 4 can be multiplied without exceeding 20, which is 5, is placed above as the third leftmost quotient digit. This 5 is multiplied by the divisor 4 to get 20, which is written below and subtracted from the existing 20 to yield the remainder 0, which is then written below the second 20. At this point, since there are no more digits to bring down from the dividend and the last subtraction result was 0, we can be assured that the process finished. If the last remainder when we ran out of dividend digits had been something other than 0, there would have been two possible courses of action: We could just stop there and say that the dividend divided by the divisor is the quotient written at the top with the remainder written at the bottom, and write the answer as the quotient followed by a fraction that is the remainder divided by the divisor. We could extend the dividend by writing it as, say, 500.000... and continue the process (using a decimal point in the quotient directly above the decimal point in the dividend), in order to get a decimal answer, as in the following example. 31.75 4)127.00 12 (12 ÷ 4 = 3) 07 (0 remainder, bring down next figure) 4 (7 ÷ 4 = 1 r 3) 3.0 (bring down 0 and the decimal point) 2.8 (7 × 4 = 28, 30 ÷ 4 = 7 r 2) 20 (an additional zero is brought down) 20 (5 × 4 = 20) 0 In this example, the decimal part of the result is calculated by continuing the process beyond the units digit, "bringing down" zeros as being the decimal part of the dividend. This example also illustrates that, at the beginning of the process, a step that produces a zero can be omitted. Since the first digit 1 is less than the divisor 4, the first step is instead performed on the first two digits 12. Similarly, if the divisor were 13, one would perform the first step on 127 rather than 12 or 1. === Basic procedure for long division of n ÷ m === Find the location of all decimal points in the dividend n and divisor m. If necessary, simplify the long division problem by moving the decimals of the divisor and dividend by the same number of decimal places, to the right (or to the left), so that the decimal of the divisor is to the right of the last digit. When doing long division, keep the numbers lined up straight from top to bottom under the tableau. After each step, be sure the remainder for that step is less than the divisor. If it is not, there are three possible problems: the multiplication is wrong, the subtraction is wrong, or a greater quotient is needed. In the end, the remainder, r, is added to the growing quotient as a fraction, r⁄m. === Invariant property and correctness === The basic presentation of the steps of the process (above) focuses on what steps are to be performed, rather than the properties of those steps that ensure the result will be correct (specifically, that q × m + r = n, where q is the final quotient and r the final remainder). A slight variation of presentation requires more writing, and requires that we change, rather than just update, digits of the quotient, but can shed more light on why these steps actually produce the right answer by allowing evaluation of q × m + r at intermediate points in the process. This illustrates the key property used in the derivation of the algorithm (below). Specifically, we amend the above basic procedure so that we fill the space after the digits of the quotient under construction with 0's, to at least the 1's place, and include those 0's in the numbers we write below the division bra