All that glitters is not gold: Relational events models with spurious events

As relational event models are an increasingly popular model for studying relational structures, the reliability of large-scale event data collection becomes more and more important. Automated or human-coded events often suffer from non-negligible false-discovery rates in event identification. And most sensor data are primarily based on actors’ spatial proximity for predefined time windows; hence, the observed events could relate either to a social relationship or random co-location. Both examples imply spurious events that may bias estimates and inference. We propose the Relational Event Model for Spurious Events (REMSE), an extension to existing approaches for interaction data. The model provides a flexible solution for modeling data while controlling for spurious events. Estimation of our model is carried out in an empirical Bayesian approach via data augmentation. Based on a simulation study, we investigate the properties of the estimation procedure. To demonstrate its usefulness in two distinct applications, we employ this model to combat events from the Syrian civil war and student co-location data. Results from the simulation and the applications identify the REMSE as a suitable approach to modeling relational event data in the presence of spurious events

All that Glitters is not Gold when Translating Phraseological Units

Invited talk delivered at Machine Translation Summit XIV 2-6 September 2013, Nice, France.Phraseological unit is an umbrella term which covers a wide range of multi-word units (collocations, idioms, proverbs, routine formulae, etc.). Phraseological units (PUs) are pervasive in all languages and exhibit a peculiar combinatorial nature. PUs are usually frequent, cognitively salient, syntactically frozen and/or semantically opaque. Besides, their creative manipulations in discourse can be anything but predictable, straightforward or easy to process. And when it comes to translating, problems multiply exponentially. It goes without saying that cultural differences and linguistic anisomorphisms go hand in hand with issues arising from varying degrees of equivalence at the levels of system and text. No wonder PUs have been considered a pain in the neck within the NLP community. This presentation will focus on contrastive and translational features of phraseological units. It will consist of three parts. As a convenient background, the first part will contrast two similar concepts: multi-word unit (the preferred term within the NLP community) versus phraseological unit (the preferred term in phraseology). The second part will deal with phraseological systems in general, their structure and functioning. Finally, the third part will adopt a contrastive approach, with especial reference to translators’ strategies, procedures and choices. For good or for bad, when it comes to rendering phraseological units, human translation and computer-assisted translation appear to share the same garden path

All That Glitters is not Gold (Gilded Age) [11th grade]

In this unit students will be focusing on the American society during the Gilded Age. Students will understand the rise of the Gilded Age through invention and technology. Students will see how progress includes opportunities and challenges and the relationship between technology and economic development. Students will be able to see the interdependence between environment and migration due to technological and economic development. During this unit students will also analyze the growth of business, labor unrest, immigration and social inequalities that are inevitable in human societies. The culminating performance assessment allows students to explore the complexities of society during this period

All is not Gold that Glitters: The Gilded Apple (1899)

In 1901, the neo-pre-Raphaelite artist Eleanor Fortescue-Brickdale became an overnight success with a show of watercolours at the London dealers Dowdeswell’s. The works were characterised by critics as decorative moralities relying on allegory and literary reference. Focussing on one of these works, The Gilded Apple, allows an examination of this millennial moment of currency for the moral parable in which the traditional benchmark of wealth, good and benefit—gold—was a central referent.This intensely worked drawing was not explained by the artist, whom some critics reproached for the opacity of her stories. Notwithstanding, this choice of theme can be connected to her preoccupation with the competing appeal of worldly wealth and moral or spiritual richness, seen in other works in the 1901 exhibition which generally warned against materialism; and to the intensely topical issue of the worth of modern woman’s soul or character, which appeared widely in cultural discourse at the time, and in which Brickdale, as a woman, would have been expected to interest herself. Gilding is used here to invoke that long-established English proverb that warns against trusting in appearances in the pursuit of riches. This is not the reliable, genuinely precious golden apple of the beauty contest involving Paris, Helen and Venus; or of the race run by Atalanta, who was decoyed into losing her independence by the lure of golden apples; but a superficially valuable object or prize by which the unwary, gullible or greedy person stands to be duped. Modern woman’s role in this moral challenge was the turn-of-the-century society’s preoccupation: it is not certain whether it was the artist’s, but it could well have been her viewer’s.En 1901, l’artiste néo-préraphaélite Eleanor Fortescue-Brickdale remporta un vif succès lors de son exposition d’aquarelles dans la galerie d’art Dowdeswell de Londres. Ses œuvres, décrites par les critiques comme des morales illustrées, représentaient des sujets allégoriques empruntés à la littérature. L’une de ces aquarelles, The Gilded Apple, permet d’examiner un moment-clé dans l’évolution de la parabole morale où l’or, ce marqueur traditionnel d’opulence et des valeurs du bien et du beau, constitue le référent central.The Gilded Apple est une œuvre très travaillée dont le sujet ne fait nulle part l’objet d’une explicitation de la part de l’artiste, à qui les critiques reprochaient parfois l’opacité de ses histoires peintes. Il est néanmoins clair que dans cette aquarelle, comme dans d’autres œuvres de l’exposition de 1901, l’artiste oppose richesses terrestres et richesses spirituelles pour mettre le spectateur en garde contre le matérialisme ambiant. En outre, The Gilded Apple invite à réfléchir au statut et à la valeur de la femme moderne, cette New Woman dont l’âme et le caractère faisaient l’objet d’âpres débats au tournant du siècle. Toutefois, la pomme « dorée » du titre (« gilded ») implique, selon le proverbe bien connu, que les apparences sont trompeuses et que tout ce qui brille n’est pas or. Il ne s’agit pas ici de l’authentique pomme d’or du jugement de Pâris, ni des précieuses pommes d’or grâce auxquelles Vénus parvint à freiner Atalante dans sa course. Au contraire, il est question ici d’une récompense de pacotille, d’un objet précieux seulement en apparence, de manière superficielle, et destiné à ceux ou celles qui, crédules, imprudents ou avaricieux, veulent bien se laisser duper. Dans ces conditions quel rôle la femme moderne joue-t-elle au juste dans cette scène ? Saura-t-elle montrer sa valeur en distinguant l’or véritable de l’illusion dorée ? Là est la question que l’artiste semble poser au public

Google Scholar: all that glitters is not gold

After a short historical perspective of bibliographic databases with citations, which allow bibliometric studies, the features of Google Scholar as a possible database for the same purpose are discussed. While Scholar is free and more comprehensive than WoS and Scopus, its use is not recommended for bibliometric analysis, especially for the evaluation of individuals and institutions