The Bulgarian Sense-annotated Corpus (BulSemCor) (Bulgarian: Български семантично анотиран корпус (БулСемКор)) is a structured corpus of Bulgarian texts in which each lexical item is assigned a sense tag. BulSemCor was created by the Department of Computational Linguistics at the Institute for Bulgarian Language of the Bulgarian Academy of Sciences. == Structure == BulSemCor was created as part of a nationally funded project titled "BulNet – A lexico-semantic network for the Bulgarian Language" (2005–2010). It follows the general methodology of SemCor combined with some specific principles. The corpus for annotation consists of 101,791 tokens covering an excerpt from the Bulgarian "Brown" Corpus modelled on the Brown Corpus.Francis Kucera An important feature of BulSemCor is that the samples are selected using heuristics that provide optimal coverage of ambiguous lexis. BulSemCor is manually sense-annotated according to the Bulgarian WordNet. Its size is comparable to that of other contemporary semantically annotated corpora or pool of acceptable linguistic components. The semantic annotation consists in associating each lexical item in the corpus with exactly one synonym set (synset) in the Bulgarian WordNet that best describes its sense in the particular context. The selection of the best match among the suggested candidates is based on a set of procedures, such as the other synset members, the synset gloss (explanatory definition) and the position of a given candidate in the WordNet structure. == Scale == The number of annotated tokens is 99,480 (the difference in the number of tokens compared to the initial corpus is due to the fact that some of them are not linguistic items). The simple word count is 86,842 and multiword expressions (MWE) are 5,797 (12,638 tokens). == Specific features == All words in BulSemCor are assigned a sense, while according to established practice only simple content words or content word classes (typically nouns and verbs) are annotated. Since 2000 the development of language resources, has broadened to include annotation of function words and multiword expressions covering particular senses or types of words and expressions. In this respect, BulSemCor's annotation is more exhaustive and hence provides greater opportunities for linguistic observations and non-linear programming (NLP) applications. Annotated items inherit the linguistic information associated with the corresponding synset, which along with morphological and semantic tags may include annotation on one or more of the following additional levels: Partial information about the syntactic structure of MWE types – particularly, information about syntactic heads and their dependents; Information about the category of the named entities – names, locations, organisations, dates, numbers, etc.; Information about the taxonomic category of adverbs, such as time, place, manner, degree, quantity, etc.; Information about the type of the syntactic relationships – coordination or subordination – expressed by conjunctions; Information about the original part-of-speech of substantivised words (non-nouns that act as nouns in a particular context); Stylistic/register, grammatical and other information about synsets or individual synset members;
MoFA Mitra
MoFA Mitra is a mobile application launched by the Ministry of Foreign Affairs of Nepal to provide digital consular services, emergency support, rescue coordination, and complaint registration facilities for Nepali citizens living and working abroad. The application allows Nepali migrant workers, students, tourists, and Non-Resident Nepalis (NRNs) to access embassy services, emergency help, and official information directly from their smartphones. == Background == The need for a centralized digital support platform for Nepalis abroad had been discussed for several years due to increasing complaints related to labor exploitation, rescue delays, documentation problems, and lack of communication with Nepali diplomatic missions. Media organizations and migrant rights advocates had continuously highlighted issues faced by Nepali workers abroad, including human trafficking, fraudulent recruitment, delayed repatriation, and difficulties in receiving emergency assistance. In response, the Ministry of Foreign Affairs developed the MoFA Mitra app to digitize complaint handling, improve communication between embassies and citizens, and make emergency response faster and more accessible. == Features == The app includes several services and features for Nepali citizens abroad, including complaint registration, rescue coordination, embassy communication, and digital consular support services. Features of the application include: Online complaint registration Emergency rescue request system Direct contact with Nepali embassies and consulates Digital consular information Passport and document-related assistance Labor and migration support information Emergency hotline access Real-time notifications and alerts Location-based embassy information Tracking and coordination support for stranded citizens According to reports, the application was designed to simplify access to diplomatic services and strengthen emergency response coordination for Nepalis abroad. == Launch == The application was officially launched by Nepal’s Ministry of Foreign Affairs in Kathmandu in May 2026. Government officials stated that the app would strengthen Nepal’s digital governance system and improve support mechanisms for Nepali citizens residing overseas. Officials said the platform would help improve communication between Nepali diplomatic missions and citizens during emergencies and rescue operations. == Reception == The launch of the app received positive coverage from Nepali and international media outlets. Commentators described the initiative as a significant step toward modernization of Nepal’s diplomatic and consular services and digital governance infrastructure. Some observers also emphasized the importance of effective implementation, rapid response mechanisms, and continuous monitoring to ensure practical benefits for migrant workers abroad.
Semantic heterogeneity
Semantic heterogeneity is when database schema or datasets for the same domain are developed by independent parties, resulting in differences in meaning and interpretation of data values. Beyond structured data, the problem of semantic heterogeneity is compounded due to the flexibility of semi-structured data and various tagging methods applied to documents or unstructured data. Semantic heterogeneity is one of the more important sources of differences in heterogeneous datasets. Yet, for multiple data sources to interoperate with one another, it is essential to reconcile these semantic differences. Decomposing the various sources of semantic heterogeneities provides a basis for understanding how to map and transform data to overcome these differences. == Classification == One of the first known classification schemes applied to data semantics is from William Kent in the late 80s. Kent's approach dealt more with structural mapping issues than differences in meaning, which he pointed to data dictionaries as potentially solving. One of the most comprehensive classifications is from Pluempitiwiriyawej and Hammer, "Classification Scheme for Semantic and Schematic Heterogeneities in XML Data Sources". They classify heterogeneities into three broad classes: Structural conflicts arise when the schema of the sources representing related or overlapping data exhibit discrepancies. Structural conflicts can be detected when comparing the underlying schema. The class of structural conflicts includes generalization conflicts, aggregation conflicts, internal path discrepancy, missing items, element ordering, constraint and type mismatch, and naming conflicts between the element types and attribute names. Domain conflicts arise when the semantics of the data sources that will be integrated exhibit discrepancies. Domain conflicts can be detected by looking at the information contained in the schema and using knowledge about the underlying data domains. The class of domain conflicts includes schematic discrepancy, scale or unit, precision, and data representation conflicts. Data conflicts refer to discrepancies among similar or related data values across multiple sources. Data conflicts can only be detected by comparing the underlying sources. The class of data conflicts includes ID-value, missing data, incorrect spelling, and naming conflicts between the element contents and the attribute values. Moreover, mismatches or conflicts can occur between set elements (a "population" mismatch) or attributes (a "description" mismatch). Michael Bergman expanded upon this schema by adding a fourth major explicit category of language, and also added some examples of each kind of semantic heterogeneity, resulting in about 40 distinct potential categories . This table shows the combined 40 possible sources of semantic heterogeneities across sources: A different approach toward classifying semantics and integration approaches is taken by Sheth et al. Under their concept, they split semantics into three forms: implicit, formal and powerful. Implicit semantics are what is either largely present or can easily be extracted; formal languages, though relatively scarce, occur in the form of ontologies or other description logics; and powerful (soft) semantics are fuzzy and not limited to rigid set-based assignments. Sheth et al.'s main point is that first-order logic (FOL) or description logic is inadequate alone to properly capture the needed semantics. == Relevant applications == Besides data interoperability, relevant areas in information technology that depend on reconciling semantic heterogeneities include data mapping, semantic integration, and enterprise information integration, among many others. From the conceptual to actual data, there are differences in perspective, vocabularies, measures and conventions once any two data sources are brought together. Explicit attention to these semantic heterogeneities is one means to get the information to integrate or interoperate. A mere twenty years ago, information technology systems expressed and stored data in a multitude of formats and systems. The Internet and Web protocols have done much to overcome these sources of differences. While there is a large number of categories of semantic heterogeneity, these categories are also patterned and can be anticipated and corrected. These patterned sources inform what kind of work must be done to overcome semantic differences where they still reside.
List of algorithm general topics
This is a list of algorithm general topics. Analysis of algorithms Ant colony algorithm Approximation algorithm Best and worst cases Big O notation Combinatorial search Competitive analysis Computability theory Computational complexity theory Embarrassingly parallel problem Emergent algorithm Evolutionary algorithm Fast Fourier transform Genetic algorithm Graph exploration algorithm Heuristic Hill climbing Implementation Las Vegas algorithm Lock-free and wait-free algorithms Monte Carlo algorithm Numerical analysis Online algorithm Polynomial time approximation scheme Problem size Pseudorandom number generator Quantum algorithm Random-restart hill climbing Randomized algorithm Running time Sorting algorithm Search algorithm Stable algorithm (disambiguation) Super-recursive algorithm Tree search algorithm
AI: When a Robot Writes a Play
AI: When a Robot Writes a Play (in Czech: AI: Když robot píše hru) is a 2021 experimental theatre play, where 90% of its script was automatically generated by artificial intelligence (the GPT-2 language model). The play is in Czech language, but an English version of the script also exists. == Creation == The play is the first result of the THEaiTRE research project, aiming to commemorate the centenary of the R.U.R. play by Karel Čapek by investigating to what extent artificial intelligence could be used to create theatre play scripts. The script of the play was created using the THEaiTRobot tool, based on the GPT-2 language model. First, the play dramaturge, David Košťák, described the initial setting of each scene in a few sentences, and wrote the first line for each character. Next, THEaiTRobot suggested a continuation of the script, which the dramaturge could use, reject, or use part of it and let the tool generate a new continuation. Another option was to manually insert another line or a scenic remark. The script was generated in English and was automatically translated to Czech by the state-of-the-art CUBBITT machine translation tool. The resulting script was then further post-edited by the dramaturge. The resulting script was made freely available for non-commercial use both in English and in Czech, with marked manually inserted texts and manual edits. The analysis shows that 90% of the English script is automatically generated, with 10% manually written or manually post-edited. In the Czech script, a larger amount of edits were made, but the analysis claims that these additional edits are corrections of errors of the automated translation and stylistic corrections which do not change the meaning of the lines as represented by the English script, but rather bring the Czech script closer to the English one. == Characters == The play contains 9 characters. The Robot appears in all the scenes, while each of the other characters appears in only one scene. Robot – The lead character, a male humanoid robot. Master – An old man, the creator of the Robot. Boy – A schoolboy. Masseuse – A sex worker in a brothel. Stranger – An engineer. Man. Psychologist. Administrator – A female clerk at an employment agency. Actress – A film actress and a model in a robot-like costume. == Plot == The play is composed of 8 scenes. It tells the story of a humanoid robot, who encounters 8 other characters and engages into various typically human situations and activities, related to death, love, sex, violence, etc. The individual scenes are not tightly linked, but there are some linking points, such as the central character of the robot or some repeated and developing themes, such as the robot's search for love. The scenes often contain some absurd turns and it is often hard to find sense in them. It is therefore a very complicated piece interpretationally, requiring the director and the actors to invest a lot of effort and creativity in finding a meaningful interpretation which would not deviate from the script. In the interpretation by Švanda theatre, who premiered the play and who also participated on the creation of the script, the scenes typically contain non-verbally expressed content which can add a lot to the meaning of the scene compared to what is contained in the actual script (as the script only contains the lines said by the characters). === Scene 1: Death === The play opens by the Robot parting with his dying Master. The Master gives the Robot several last lessons and talks with him about death, soul, and love. === Scene 2: Sense of Humour === In the second scene, the Robot meets a sad and angry Boy, who complains that he wants to go to school, that his girlfriend is crazy, that he wants to buy a car, etc. The Robot tries to help the Boy by giving him advice, but the Boy's reactions are quite negative and irritated. The Boy then repeatedly asks the Robot to tell him a joke; the Robot keeps refusing, but ultimately tells the following joke: When you are dead. When your children are dead. When your grandchildren are dead, I will be still alive. === Scene 3: Nightclub === The Robot wants to feel pleasure, so he goes to a "night club" (a brothel), where he meets a "Masseuse" (a prostitute). The Robot is initially "a bit cold", but eventually manages to enjoy the experience and falls in love with the Masseuse. In the Švanda theatre performance, the Robot and the Masseuse seem to have a sort of virtual sex without touching each other, reminiscent of the sex scene in Demolition Man. === Scene 4: Fear of the Dark === It is the night. The Robot is standing under a lamp, unable to move away from the light as he finds that he is afraid of the dark. He meets a Stranger, an engineer who tells him that robots don't have feelings and that people cannot be trusted, and keeps hurting him. In the Švanda theatre performance, the Man repeatedly zaps the Robot with some kind of electric pulse. === Scene 5: Killer Robot === A Man approaches the Robot and repeatedly asks him to kill him. Instead, the Robot sticks a finger into the Man's anus, which leads to an argument between the Man and the Robot. === Scene 6: Burn Out === The Robot meets a Psychologist, who keeps asking him lots of questions regarding his life, burnout feeling, love, relationships, and emotions. They also talk about the Robot using a device called emotion machine which helps him to get rid of stress. === Scene 7: Search for Job === The Robot comes to an employment agency. He meets an Administrator and asks her to help him find a job. He expresses the wish to become an actor, and talks about his experience as a clown. He reveals his name to be Troy McClure, which is a character from The Simpsons who is an actor. In the Švanda theatre performance, the Administrator starts to seduce the Robot once his name is revealed, which he keeps ignoring; the Administrator then becomes irritated. === Scene 8: Love at First Sight === The Robot meets a human Actress in a robotic costume and falls in love with her immediately. The Actress is first reluctant, but the Robot manages to seduce her and she also falls in love with him. The Robot tells her about a binary world, in which he lives and where he will also take her. Ultimately, the Actress agrees, and the whole play concludes by the Robot and the Actress promising each to other to always be together. In the Švanda theatre performance, the Robot does not have a physical body in this scene, we can only hear his voice and see a pulsating light (based on the line in the script where the Robot says: "I have no body. So I don't need to wear clothes. You can't see me, you only hear me."), and the Actress eventually also agrees to lose her physical body so that she can be with the Robot forever. == Theatrical performances == The play premiered on 26 February 2021 in Švanda Theatre in Prague, Czech Republic, directed by Daniel Hrbek. Due to the COVID-19 pandemic, the play was not played in front of a live audience, but it was broadcast online, in Czech language with English subtitles. The play was followed by a panel discussion by the project members and experts on artificial intelligence. The premiere was viewed by 13,498 spectators worldwide. A short trailer of the premiere is available on YouTube. In 2021, after the opening of the theatres in the Czech Republic to spectators, the play can be viewed at Švanda Theatre. The performance takes approximately 60 minutes, and is followed by a discussion of the creators with the audience. The derniere is planned for 4 February 2023. == Reception == The play received a number of reviews, both in its country of origin as well as internationally. It is praised as first of its kind, although some reviewers note the similarity to previous works, such as the musical Beyond the Fence, the play Lifestyle of the Richard and Family, or the short movie Sunspring; however, these works used less advanced technology, and either were very short (Sunspring) or necessitated a larger amount of human interventions. The reviewers note that the script is far from perfect, with many inconsistencies and nonsensical parts, and conclude that the technology is definitely not yet ready to replace human authors; however, some find some parts of the script frighteningly human-like. The amount of human intervention is a somewhat controversial topic, with some reviewers finding the human influence too large (especially in interpreting the script and putting the play on scene), while others feel that a greater amount of human intervention would have been favorable as this could greatly improve the quality of the play. The reviews also frequently comment on the amount of sex, violence and strong language in the play; this can be attributed to the method used for creating the script, where the GPT-2 language model reflects topics and language common in the human-written articles on the internet that were used to train the model. Furthermore, some r
Euratlas
Euratlas is a Switzerland-based software company dedicated to elaborate digital history maps of Europe. Founded in 2001, Euratlas has created a collection of history maps of Europe from year 1 AD to year 2000 AD that present the evolution of every country from the Roman Empire to present times. The evolution includes sovereign states and their administrative subdivisions, but also unorganized peoples and dependent territories. The maps show European country borders at regular intervals of 100 years, but not year by year. This leaves out many important turning points in history. Euratlas is considered a digital humanities company, and a scholar research software used in the field of historic cartography. It is broadly known among American and European universities, who mainly use Euratlas as a research tool and as a digital library atlas. == Sequential mapping policy == This concept was first designed by the German scholar Christian Kruse (1753–1827). Kruse, well aware that historical accounts are often biased for geographical, philosophical or political reasons, created a set of sequential maps in order to give a global vision of the successive political situations. Nowadays, the majority of atlases don't use this approach, but are event-based, like the well-known Penguin Atlas of History. The sequential approach intends to make the sequence of maps more neutral and suitable for students, historians and professionals of several fields. Although, this approach has been discussed as it leaves out many important history events that are not reflected on any of the maps because of the century interval. == Geo-referenced historical data == Initially, the European maps by century were developed as vector maps. From 2006 on, they have been converted to a geographic information system (GIS) database, enabling geo-referenced data capabilities. The map information is distributed in several layers: physical (geography information layer); political information layer (supranational entities, sovereign states, administrative divisions, dependent states and autonomous peoples); and special layers for cities and uncertain borders. The software database also contains much non-geographical information about political relationships between the various kinds of territories. == Map projection == Euratlas History Maps uses a Mercator projection, with the center in Europe. The maps include the North-African coast and the Near-East, offering a complete view of the Mediterranean Basin. The European Russia plains are shown, but not Scandinavia, specially Finland, which is cropped off the map view.
Skyline operator
The skyline operator is the subject of an optimization problem and computes the Pareto optimum on tuples with multiple dimensions. This operator is an extension to SQL proposed by Börzsönyi et al. to filter results from a database to keep only those objects that are not dominated by any other point on all dimensions. The name skyline comes from the view on Manhattan from the Hudson River, where those buildings can be seen that are not hidden by any other. A building is visible if it is not dominated by a building that is taller or closer to the river (two dimensions, distance to the river minimized, height maximized). Another application of the skyline operator involves selecting a hotel for a holiday. The user wants the hotel to be both cheap and close to the beach. However, hotels that are close to the beach may also be expensive. In this case, the skyline operator would only present those hotels that are not worse than any other hotel in both price and distance to the beach. == Formal specification == The skyline operator returns tuples that are not dominated by any other tuple. A tuple dominates another if it is at least as good in all dimensions and better in at least one dimension. Formally, we can think of each tuple as a vector p , q ∈ R n {\displaystyle p,q\in \mathbb {R} ^{n}} . p {\displaystyle p} dominates q {\displaystyle q} (written: p ≻ q {\displaystyle p\succ q} ) if p {\displaystyle p} is at least as good as q {\displaystyle q} in every dimension, and superior in at least one: p ≻ q ⇔ ∀ i ∈ [ n ] . p [ i ] ⪰ q [ i ] ∧ ∃ j ∈ [ n ] . p [ j ] ≻ q [ j ] . {\displaystyle p\succ q\Leftrightarrow \forall i\in [n].p[i]\succeq q[i]\wedge \exists j\in [n].p[j]\succ q[j].} Dominance ( p ≻ q {\displaystyle p\succ q} ) can be defined as any strict partial ordering, for example greater (with ≻:=> {\displaystyle \succ :=>} and ⪰:=≥ {\displaystyle \succeq :=\geq } ) or less (with ≻:=< {\displaystyle \succ :=<} and ⪰:=≤ {\displaystyle \succeq :=\leq } ). Assuming two dimensions and defining dominance in both dimensions as greater, we can compute the skyline in SQL-92 as follows: == Proposed syntax == As an extension to SQL, Börzsönyi et al. proposed the following syntax for the skyline operator: where d1, ... dm denote the dimensions of the skyline and MIN, MAX and DIFF specify whether the value in that dimension should be minimised, maximised or simply be different. Without an SQL extension, the SQL query requires an antijoin with not exists: == Implementation == The skyline operator can be implemented directly in SQL using current SQL constructs, but this has been shown to be very slow in disk-based database systems. Other algorithms have been proposed that make use of divide and conquer, indices, MapReduce and general-purpose computing on graphics cards. Skyline queries on data streams (i.e. continuous skyline queries) have been studied in the context of parallel query processing on multicores, owing to their wide diffusion in real-time decision making problems and data streaming analytics. Exasol features a native implementation.