Sample dispersion is better than sample discrepancy for classification

We want to generate learning data within the context of active learning. First, we recall theoretical results proposing discrepancy as a criterion for generating sample in regression. We show surprisingly that theoretical results about low discrepancy sequences in regression problems are not adequate for classification problems. Secondly we propose dispersion as a criterion for generating data. Then, we present numerical experiments which have a good degree of adequacy with theory

Sélection de points en apprentissage actif. Discrépance et dispersion : des critères optimaux ?

National audienceNous souhaitons générer des bases d'apprentissage adaptées aux problèmes de classification. Nous montrons tout d'abord que les résultats théoriques privilégiant les suites à discrépance faible pour les problèmes de régression sont inadaptés aux problèmes de classification. Nous donnons ensuite des arguments théoriques et des résultats de simulations montrant que c'est la dispersion des points d'apprentissage qui est le critère pertinent à minimiser pour optimiser les performances de l'apprentissage en classification

Toxicokinetics of selenium in the slider turtle Trachemys scripta

Selenium (Se) is an essential element that can be harmful for wildlife. However, its toxicity in poikilothermic amniotes, including turtles, remains poorly investigated. The present study aims at identifying selenium toxicokinetics and toxicity in juvenile slider turtles (age: 7 months), Trachemys scripta, dietary exposed to selenium, as selenomethionine SeMet, for eight weeks. Non-destructive tissues (i.e. carapace, scutes, skin and blood) were further tested for their suitability to predict selenium levels in target tissues (i.e. kidney, liver and muscle) From conservation perspective. 130 juvenile yellow-bellied slider turtles were assigned in three groups of 42 individuals each (i.e. control, SeMet1 and SeMet2). These groups were subjected to a feeding trial including an eight-week supplementation period SP8 and a following four-week elimination period EP4. During the SP8, turtles fed on diet containing 1.1 ± 0.04, 22.1 ± 1.0 and 45.0 ± 2.0 µg.g-1 of selenium (control, SeMet1 and SeMet2, respectively). During the EP4, turtles fed on non-supplemented diet. At different time during the trial, six individuals per group were sacrificed and tissues collected (i.e. carapace, scutes, skin, blood, liver, kidney, muscle) for analyses. During the SP8 (Figure 1), both SeMet1 and SeMet2 turtles efficiently accumulated selenium from a SeMet dietary source. The more selenium was concentrated in the food, the more it was in the turtle body but the less it was removed from their tissues. Moreover, SeMet was found to be the more abundant selenium species in turtles’ tissues. Body condition (i.e. growth in mass and size, feeding behaviour and activity) and survival of the SeMet1 and SeMet2 turtles seemed to be unaffected by the selenium exposure. There were clear evidences that reptilian species are differently affected by and sensitive to selenium exposure but the lack of any adverse effects was quite unexpected

Eksplorasi Etnomatematika pada Wayang Beber Pacitan sebagai Transformasi Konteks Pembelajaran Matematika di Sekolah Dasar

Abstrak Produk budaya banyak menggunakan proses matematika di dalamnya sehingga dapat menjadi konteks pembelajaran matematika di kelas. Etnomatematika merupakan jembatan antara matematika dengan kebudayaan. Adapun Tujuan dari penelitian ini adalah untuk mengetahui konsep matematika SD yang terdapat pada wayang beber Pacitan serta bagaimana tanggapan guru terhadap eksplorasi hasil eskplorasi wayang beber Pacitan sebagai transformasi konteks pembelajaran matematika di SD. Metode penelitian ini adalah pendekatan kualitatif dengan metode autoetnografi serta data dikumpulkan melalui teknik observasi, wawancara dan dokumentasi. Hasil eksplorasi menunjukkan bahwa terdapat konsep matematika berupa geometri pada ornamen atau gambar wayang beber Pacitan seperti konsep titik, garis lurus, garis spiral, garis zig-zag, garis sejajar, sudut (lancip, siku-siku dan tumpul), bangun datar sederhana berupa segitiga, persegi panjang, jajar genjang, elips dan lingkaran, serta konsep translasi.Melalui penelitian ini dapat mengubah pandangan dari peneliti dan guru di SD yang sebelumnya wayang beber Pacitan dan matematika tidak memiliki keterkaitan, berubah bahwa wayang beber Pacitan dan matematika memiliki kaitan yang erat sehingga dapat dijadikan sebagai transformasi konteks pembelajaran matematika di SD.   Kata Kunci: Wayang Beber Pacitan, Etnomatematika, Transformasi    Abstract Cultural products use a lot of mathematical processes in them so that they can become a context for learning mathematics in the classroom. Ethnomatematics is a bridge between mathematics and culture. The purpose of this study was to find out the elementary mathematical concepts contained in wayang beber Pacitan and how the teacher's response to the exploration of the results of exploration of wayang beber Pacitan as a transformation of the context of learning mathematics in elementary school. This research method is a qualitative approach with autoethnography methods and data collected through observation techniques, interviews and documentation. The exploration results show that there are mathematical concepts in the form of geometry in Pacitan ornaments or wayang beber drawings such as the concept of points, straight lines, spiral lines, zig-zag lines, parallel lines, angles (sharp, right and obtuse), simple flat shapes in the form of triangles. , rectangles, parallelograms, ellipses and circles, as well as the concept of translation. Through this research it can change the views of researchers and teachers in elementary schools where previously wayang beber Pacitan and mathematics had no connection, changing that wayang beber Pacitan and mathematics have a close relationship so that can be used as a transformation of the context of learning mathematics in elementary school. Keywords: Wayang Beber Pacitan,  Ethnomathematics,  Transformatio

The genome of a tortoise herpesvirus (testudinid herpesvirus 3) has a novel structure and contains a large region that is not required for replication in vitro or virulence in vivo

Testudinid herpesvirus 3 (TeHV-3) is the causative agent of a lethal disease affecting several tortoise species. The threat that this virus poses to endangered animals is focusing efforts on characterizing its properties, in order to enable the development of prophylactic methods. We have sequenced the genomes of the two most studied TeHV-3 strains (1976 and 4295). TeHV-3 strain 1976 has a novel genome structure and is most closely related to a turtle herpesvirus, thus supporting its classification into genus Scutavirus, subfamily Alphaherpesvirinae, family Herpesviridae. The sequence of strain 1976 also revealed viral counterparts of cellular interleukin-10 and semaphorin, which have not been described previously in members of subfamily Alphaherpesvirinae. TeHV-3 strain 4295 is a mixture of three forms (m1, m2, and M), in which, in comparison to strain 1976, the genomes exhibit large, partially overlapping deletions of 12.5 to 22.4 kb. Viral subclones representing these forms were isolated by limiting dilution, and each replicated in cell culture comparably to strain 1976. With the goal of testing the potential of the three forms as attenuated vaccine candidates, strain 4295 was inoculated intranasally into Hermann's tortoises (Testudo hermanni). All inoculated subjects died, and PCR analyses demonstrated the ability of the m2 and M forms to spread and invade the brain. In contrast, the m1 form was detected in none of the organs tested, suggesting its potential as the basis of an attenuated vaccine candidate. Our findings represent a major step towards characterizing TeHV-3 and developing prophylactic methods against it. IMPORTANCE: Testudinid herpesvirus 3 (TeHV-3) causes a lethal disease in tortoises, several species of which are endangered. We have characterized the viral genome, and used this information to take steps towards developing an attenuated vaccine. We have sequenced the genomes of two strains (1976 and 4295), compared their growth in vitro, and investigated the pathogenesis of strain 4295, which consists of three deletion mutants. The major findings are: (i) TeHV-3 has a novel genome structure; (ii) its closest relative is a turtle herpesvirus; (iii) it contains interleukin-10 and semaphorin genes, the first time these have been reported in an alphaherpesvirus; (iv) a sizeable region of the genome is not required for viral replication in vitro or virulence in vivo; and (v) one of the components of strain 4295, which has a deletion of 22.4 kb, exhibits properties indicating that it may serve as the starting point for an attenuated vaccine

Wayang Klithik Robot

Wayang is a autentic culture from Indonesia. Wayang has many figure and character. It is main idea of this make the artwork. Inspiration of the artwork also from observation robot forms. Robot has the furious and futuristic form. Like the progression of technologi, form of robot also more experiencing form progression. Until now, form of robot still identic and can not losed from imajinative forms. This prossesing to make the artwork use created methode from Gustami, it is a three stages six steps creating craft artwork. First stage is eksploration consist of observation and finding refference steps. Second stage is desaigning consist of making the sketch and making the gambar teknik or modeling steps. Third stage is forming consist of create artwork and finished with value and evaluation steps. Result of visual form is a three dimension artwork with futuristic robot form. Visual form the artwork is a transformastion of futuristic wayang klithik with robot form. The puppet figures are Wrekudara and Gatotkaca Combination form is a method for impression and aesthete value of the artwork. Wayang merupakan budaya asli dari Indonesia. Wayang memiliki berbagai macam tokoh dan karakter. Wayang menjadi ide utama dalam penciptaan karya ini. Inspirasi karya juga muncul dari pengamatan bentuk-bentuk robot. Robot memiliki bentuk yang variatif dan futuristik. Sesuai dengan perkembangan teknologi, bentuk robot juga mengalami perkembangan yang lebih bermacam-macam. Sampai saat ini, bentuk robot masih identik dan tidak bisa lepas dari bentuk-bentuk imajinatif. Proses pembuatan karya seni ini menggunakan metode penciptaan dari Gustami, yaitu metode tiga tahap enam langkah dalam menciptakan karya seni kriya. Tahap pertama yaitu eksplorasi yang meliputi langkah pengamatan dan pencarian sumber pustaka. Tahap kedua merupakan tahap perancangan yang terdiri dari langkah pembuatan beberapa sketsa dan pembuatan gambar teknik ataupun model. Tahap yang ketiga yaitu tahap perwujudan yang terdiri langkah pengerjaan karya, dan diakhiri dengan penilaian juga evaluasi karya yang telah jadi. Bentuk visual yang dihasilkan yaitu karya seni tiga dimensi dengan bentuk futuristik menyerupai robot. Bentuk visual karya merupakan penggabungan antara bentuk wayang klithik dengan bentuk robot. Tokoh wayang yang dibuat yaitu Wrekudara dan Gatotkaca. Perpaduan bentuk dilakukan sebagai cara untuk memberikan kesan dan nilai estetik pada karya

WAYANG KLITHIK ROBOT

Wayang is a autentic culture from Indonesia. Wayang has many figure and character.It is main idea of this make the artwork. Inspiration of the artwork also from observation robotforms. Robot has the furious and futuristic form. Like the progression of technologi, form ofrobot also more experiencing form progression. Until now, form of robot still identic dan cannot losed from imajinative forms.This prossesing to make the artwork use created methode from Gustami, it is a threestages six steps creating craft artwork. First stage is eksploration consist of observation andfinding refference steps. Second stage is desaigning consist of making the sketch and makingthe gambar teknik or modeling steps. Third stage is forming consist of create artwork andfinished with value and evaluation steps.Result of visual form is a three dimension artwork with futuristic robot form. Visualform the artwork is a transformastion of futuristic wayang klithik with robot form. The puppetfigures are Wrekudara and Gatotkaca Combination form is a method for impression andaesthete value of the artwork. Keywords: puppet, wayang klithik, robot, Wrekudara, Gatotkaca  Wayang merupakan budaya asli dari Indonesia. Wayang memiliki berbagai macamtokoh dan karakter. Wayang menjadi ide utama penciptaan dalam penciptaan karya ini.Inspirasi karya juga muncul dari pengamatan bentuk-bentuk robot. Robot memiliki bentukyang variatif dan futuristik. Sesuai dengan perkembangan teknologi, bentuk robot jugamengalami perkembangan yang lebih bermacam-macam. Sampai saat ini, bentuk robot masihidentik dan tidak bisa lepas dari bentuk-bentuk imajinatif.Proses pembuatan karya seni ini menggunakan metode penciptaan dari Gustami, yaitumetode tiga tahap enam langkah dalam menciptakan karya seni kriya. Tahap pertama yaitueksplorasi yang meliputi langkah pengamatan dan pencarian sumber pustaka. Tahap keduamerupakan tahap perancangan yang terdiri dari langkah pembuatan beberapa sketsa danpembuatan gambar teknik ataupun model. Tahap yang ketiga yaitu tahap perwujudan yangterdiri langkah pengerjaan karya, dan diakhiri dengan penilaian juga evaluasi karya yang telahjadi.Bentuk visual yang dihasilkan yaitu karya seni tiga dimensi dengan bentuk futuristikmenyerupai robot. Bentuk visual karya merupakan penggabungan antara bentuk wayangklithik dengan bentuk robot. Tokoh wayang yang dibuat yaitu Wrekudara dan Gatotkaca.Perpaduan bentuk dilakukan sebagai cara untuk memberikan kesan dan nilai estetik padakarya.Kata kunci: wayang, wayang klithik, robot, Wrekudara, Gatotkac