Instapoetry is a style of poetry that emerged after the advent of social media, especially on Instagram. The term has been used to describe poems written specifically for being shared online, most commonly on Instagram, but also other platforms including Twitter, Tumblr, and TikTok. The style usually consists of short, direct lines in aesthetically pleasing fonts that are sometimes accompanied by an image or drawing, often without rhyme schemes or meter, and dealing with commonplace themes. Literary critics, poets, and writers have contended with Instapoetry's focus on brevity and plainness compared to traditional poetry, criticizing it for reproducing rather than subverting normative ideas on social media platforms that favor popularity and accessibility over craft and depth. == History == Instapoetry developed as a result of young, predominantly women, amateur poets sharing their output to expand their readership, who began using social media as their preferred method of distribution rather than traditional publishing methods. The term "Instapoetry" is a portmanteau of the words "Instagram" and "poetry," and was created by other writers trying to define and understand the new extension of "instant poetry" shared via social media, most prominently Instagram. In its most basic form, Instapoetry usually consists of bite-sized verses that consider political and social subjects such as immigration, domestic violence, sexual assault, love, culture, feminism, gun violence, war, racism, LGBTQ rights, and other social justice topics. All of these elements are usually made to fit social media feeds that are easily accessible through applications on smartphones. == Scholarship == Despite the diversity of poetry on Instagram, the Brazilian linguist Bruna Osaki Fazano found that shared "aspects of the compositional form, theme and style" mean that it can be understood as a specific genre. Camilla Holm Soelseth argues that taking on the platform-specific tasks of a social media creator is a prerequisite for being an Instapoet. Writing in Poetics Today, JuEunhae Knox combined quantitative and qualitative analysis to show that Instapoetry is a cohesive genre, in part because "the sheer volume and rapidity of content production in turn encourages posts that are not only visually appealing but also immediately recognizable as Instapoems". Instapoetry has been seen as a practice that serves as a form of self-staging for poets and "[crafts] authenticity". Eirik Vassenden describes the work of Norwegian poet Trygve Skaug as appearing to offer a "simple, almost direct access to the inner self". Vassenden writes that poems such as Rupi Kaur's "if you are not enough for yourself / you will never be enough / for someone else" are "authentic" to such an extent that they are not literary. Kiera Obbard describes how Rupi Kaur uses humour as a rhetorical device in her poetry performances to tell personal stories of trauma and challenge social inequalities. Scholars have also studied the work of specific Instapoets, such as Rupi Kaur, R.M. Drake, Aja Monet, Yrsa Daley-Ward, Nayyirah Waheed, Atticus, Nikita Gill and Trygve Skaug. == Overview == Academics have shown appreciation for the way in which Instapoetry has stimulated interest in poetry in general. Meanwhile, it has been argued that since Instapoets avoid critical evaluations, academics, and the publishing industry, Instapoets qualify more as online celebrities than literary figures. Additionally, although Instapoetry has been characterized as anti-establishment, Alyson Miller noted traditional or even conservative views in the online posts of Instapoets in contrast with the activist views the style is associated with, and that there is a contradiction between "the extra-textual commentary surrounding Instapoetry, particularly by way of interviews and artistic statements, and the content of works which repeatedly reinscribe conservative, patriarchal, and heteronormative worldviews". Thom Young, a poet and high school English teacher, created a parody Instagram page as a way to mock Instapoets and their work, describing it as "fidget-spinner poetry. Like they're just scrolling on their devices, to read something instantly, while the libraries are empty. I think people today don't want to read anything that causes a whole lot of critical thinking." According to Johnathan Ford's piece in the Financial Times, as Instagram's algorithms have limited prospective Instapoets' reach-per-post, it has pushed them to pay to promote their material. Popular Instagram accounts will be promoted to the front of users' feeds, with the app's algorithm, in the view of critics, favoring the spread of bland, inauthentic, or clichéd content while preventing disciplined poetry from reaching new audiences. == Writers described as Instapoets == Rupi Kaur Atticus Amanda Lovelace Tyler Knott Gregson Najwa Zebian Lang Leav Nikita Gill Upile Chisala Tendai M. Shaba Donna Ashworth Trista Mateer
Apache OpenNLP
The Apache OpenNLP library is a machine learning based toolkit for the processing of natural language text. It supports the most common NLP tasks, such as language detection, tokenization, sentence segmentation, part-of-speech tagging, named entity extraction, chunking, parsing and coreference resolution. These tasks are usually required to build more advanced text processing services.
Concept mining
Concept mining is an activity that results in the extraction of concepts from artifacts. Solutions to the task typically involve aspects of artificial intelligence and statistics, such as data mining and text mining. Because artifacts are typically a loosely structured sequence of words and other symbols (rather than concepts), the problem is nontrivial, but it can provide powerful insights into the meaning, provenance and similarity of documents. == Methods == Traditionally, the conversion of words to concepts has been performed using a thesaurus, and for computational techniques the tendency is to do the same. The thesauri used are either specially created for the task, or a pre-existing language model, usually related to Princeton's WordNet. The mappings of words to concepts are often ambiguous. Typically each word in a given language will relate to several possible concepts. Humans use context to disambiguate the various meanings of a given piece of text, where available machine translation systems cannot easily infer context. For the purposes of concept mining, however, these ambiguities tend to be less important than they are with machine translation, for in large documents the ambiguities tend to even out, much as is the case with text mining. There are many techniques for disambiguation that may be used. Examples are linguistic analysis of the text and the use of word and concept association frequency information that may be inferred from large text corpora. Recently, techniques that base on semantic similarity between the possible concepts and the context have appeared and gained interest in the scientific community. == Applications == === Detecting and indexing similar documents in large corpora === One of the spin-offs of calculating document statistics in the concept domain, rather than the word domain, is that concepts form natural tree structures based on hypernymy and meronymy. These structures can be used to generate simple tree membership statistics, that can be used to locate any document in a Euclidean concept space. If the size of a document is also considered as another dimension of this space then an extremely efficient indexing system can be created. This technique is currently in commercial use locating similar legal documents in a 2.5 million document corpus. === Clustering documents by topic === Standard numeric clustering techniques may be used in "concept space" as described above to locate and index documents by the inferred topic. These are numerically far more efficient than their text mining cousins, and tend to behave more intuitively, in that they map better to the similarity measures a human would generate.
Lesk algorithm
The Lesk algorithm is a classical algorithm for word sense disambiguation introduced by Michael E. Lesk in 1986. It operates on the premise that words within a given context are likely to share a common meaning. This algorithm compares the dictionary definitions of an ambiguous word with the words in its surrounding context to determine the most appropriate sense. Variations, such as the Simplified Lesk algorithm, have demonstrated improved precision and efficiency. However, the Lesk algorithm has faced criticism for its sensitivity to definition wording and its reliance on brief glosses. Researchers have sought to enhance its accuracy by incorporating additional resources like thesauruses and syntactic models. == Overview == The Lesk algorithm is based on the assumption that words in a given "neighborhood" (section of text) will tend to share a common topic. A simplified version of the Lesk algorithm is to compare the dictionary definition of an ambiguous word with the terms contained in its neighborhood. Versions have been adapted to use WordNet. An implementation might look like this: for every sense of the word being disambiguated one should count the number of words that are in both the neighborhood of that word and in the dictionary definition of that sense the sense that is to be chosen is the sense that has the largest number of this count. A frequently used example illustrating this algorithm is for the context "pine cone". The following dictionary definitions are used: PINE 1. kinds of evergreen tree with needle-shaped leaves 2. waste away through sorrow or illness CONE 1. solid body which narrows to a point 2. something of this shape whether solid or hollow 3. fruit of certain evergreen trees As can be seen, the best intersection is Pine #1 ⋂ Cone #3 = 2. == Simplified Lesk algorithm == In Simplified Lesk algorithm, the correct meaning of each word in a given context is determined individually by locating the sense that overlaps the most between its dictionary definition and the given context. Rather than simultaneously determining the meanings of all words in a given context, this approach tackles each word individually, independent of the meaning of the other words occurring in the same context. "A comparative evaluation performed by Vasilescu et al. (2004) has shown that the simplified Lesk algorithm can significantly outperform the original definition of the algorithm, both in terms of precision and efficiency. By evaluating the disambiguation algorithms on the Senseval-2 English all words data, they measure a 58% precision using the simplified Lesk algorithm compared to the only 42% under the original algorithm. Note: Vasilescu et al. implementation considers a back-off strategy for words not covered by the algorithm, consisting of the most frequent sense defined in WordNet. This means that words for which all their possible meanings lead to zero overlap with current context or with other word definitions are by default assigned sense number one in WordNet." Simplified LESK Algorithm with smart default word sense (Vasilescu et al., 2004) The COMPUTEOVERLAP function returns the number of words in common between two sets, ignoring function words or other words on a stop list. The original Lesk algorithm defines the context in a more complex way. == Criticisms == Unfortunately, Lesk’s approach is very sensitive to the exact wording of definitions, so the absence of a certain word can radically change the results. Further, the algorithm determines overlaps only among the glosses of the senses being considered. This is a significant limitation in that dictionary glosses tend to be fairly short and do not provide sufficient vocabulary to relate fine-grained sense distinctions. A lot of work has appeared offering different modifications of this algorithm. These works use other resources for analysis (thesauruses, synonyms dictionaries or morphological and syntactic models): for instance, it may use such information as synonyms, different derivatives, or words from definitions of words from definitions. == Lesk variants == Original Lesk (Lesk, 1986) Adapted/Extended Lesk (Banerjee and Pederson, 2002/2003): In the adaptive lesk algorithm, a word vector is created corresponds to every content word in the wordnet gloss. Concatenating glosses of related concepts in WordNet can be used to augment this vector. The vector contains the co-occurrence counts of words co-occurring with w in a large corpus. Adding all the word vectors for all the content words in its gloss creates the Gloss vector g for a concept. Relatedness is determined by comparing the gloss vector using the Cosine similarity measure. There are a lot of studies concerning Lesk and its extensions: Wilks and Stevenson, 1998, 1999; Mahesh et al., 1997; Cowie et al., 1992; Yarowsky, 1992; Pook and Catlett, 1988; Kilgarriff and Rosensweig, 2000; Kwong, 2001; Nastase and Szpakowicz, 2001; Gelbukh and Sidorov, 2004.
Scale space
Scale-space theory is a framework for multi-scale signal representation developed by the computer vision, image processing and signal processing communities with complementary motivations from physics and biological vision. It is a formal theory for handling image structures at different scales, by representing an image as a one-parameter family of smoothed images, the scale-space representation, parametrized by the size of the smoothing kernel used for suppressing fine-scale structures. The parameter t {\displaystyle t} in this family is referred to as the scale parameter, with the interpretation that image structures of spatial size smaller than about t {\displaystyle {\sqrt {t}}} have largely been smoothed away in the scale-space level at scale t {\displaystyle t} . The main type of scale space is the linear (Gaussian) scale space, which has wide applicability as well as the attractive property of being possible to derive from a small set of scale-space axioms. The corresponding scale-space framework encompasses a theory for Gaussian derivative operators, which can be used as a basis for expressing a large class of visual operations for computerized systems that process visual information. This framework also allows visual operations to be made scale invariant, which is necessary for dealing with the size variations that may occur in image data, because real-world objects may be of different sizes and in addition the distance between the object and the camera may be unknown and may vary depending on the circumstances. == Definition == The notion of scale space applies to signals of arbitrary numbers of variables. The most common case in the literature applies to two-dimensional images, which is what is presented here. Consider a given image f {\displaystyle f} where f ( x , y ) {\displaystyle f(x,y)} is the greyscale value of the pixel at position ( x , y ) {\displaystyle (x,y)} . The linear (Gaussian) scale-space representation of f {\displaystyle f} is a family of derived signals L ( x , y ; t ) {\displaystyle L(x,y;t)} defined by the convolution of f ( x , y ) {\displaystyle f(x,y)} with the two-dimensional Gaussian kernel g ( x , y ; t ) = 1 2 π t e − ( x 2 + y 2 ) / 2 t {\displaystyle g(x,y;t)={\frac {1}{2\pi t}}e^{-(x^{2}+y^{2})/2t}\,} such that L ( ⋅ , ⋅ ; t ) = g ( ⋅ , ⋅ ; t ) ∗ f ( ⋅ , ⋅ ) , {\displaystyle L(\cdot ,\cdot ;t)\ =g(\cdot ,\cdot ;t)f(\cdot ,\cdot ),} where the semicolon in the argument of L {\displaystyle L} implies that the convolution is performed only over the variables x , y {\displaystyle x,y} , while the scale parameter t {\displaystyle t} after the semicolon just indicates which scale level is being defined. This definition of L {\displaystyle L} works for a continuum of scales t ≥ 0 {\displaystyle t\geq 0} , but typically only a finite discrete set of levels in the scale-space representation would be actually considered. The scale parameter t = σ 2 {\displaystyle t=\sigma ^{2}} is the variance of the Gaussian filter and as a limit for t = 0 {\displaystyle t=0} the filter g {\displaystyle g} becomes an impulse function such that L ( x , y ; 0 ) = f ( x , y ) , {\displaystyle L(x,y;0)=f(x,y),} that is, the scale-space representation at scale level t = 0 {\displaystyle t=0} is the image f {\displaystyle f} itself. As t {\displaystyle t} increases, L {\displaystyle L} is the result of smoothing f {\displaystyle f} with a larger and larger filter, thereby removing more and more of the details that the image contains. Since the standard deviation of the filter is σ = t {\displaystyle \sigma ={\sqrt {t}}} , details that are significantly smaller than this value are to a large extent removed from the image at scale parameter t {\displaystyle t} , see the following figures and for graphical illustrations. === Why a Gaussian filter? === When faced with the task of generating a multi-scale representation one may ask: could any filter g of low-pass type and with a parameter t which determines its width be used to generate a scale space? The answer is no, as it is of crucial importance that the smoothing filter does not introduce new spurious structures at coarse scales that do not correspond to simplifications of corresponding structures at finer scales. In the scale-space literature, a number of different ways have been expressed to formulate this criterion in precise mathematical terms. The conclusion from several different axiomatic derivations that have been presented is that the Gaussian scale space constitutes the canonical way to generate a linear scale space, based on the essential requirement that new structures must not be created when going from a fine scale to any coarser scale. Conditions, referred to as scale-space axioms, that have been used for deriving the uniqueness of the Gaussian kernel include linearity, shift invariance, semi-group structure, non-enhancement of local extrema, scale invariance and rotational invariance. In the works, the uniqueness claimed in the arguments based on scale invariance has been criticized, and alternative self-similar scale-space kernels have been proposed. The Gaussian kernel is, however, a unique choice according to the scale-space axiomatics based on causality or non-enhancement of local extrema. === Alternative definition === Equivalently, the scale-space family can be defined as the solution of the diffusion equation (for example in terms of the heat equation), ∂ t L = 1 2 ∇ 2 L , {\displaystyle \partial _{t}L={\frac {1}{2}}\nabla ^{2}L,} with initial condition L ( x , y ; 0 ) = f ( x , y ) {\displaystyle L(x,y;0)=f(x,y)} . This formulation of the scale-space representation L means that it is possible to interpret the intensity values of the image f as a "temperature distribution" in the image plane and that the process that generates the scale-space representation as a function of t corresponds to heat diffusion in the image plane over time t (assuming the thermal conductivity of the material equal to the arbitrarily chosen constant 1/2). Although this connection may appear superficial for a reader not familiar with differential equations, it is indeed the case that the main scale-space formulation in terms of non-enhancement of local extrema is expressed in terms of a sign condition on partial derivatives in the 2+1-D volume generated by the scale space, thus within the framework of partial differential equations. Furthermore, a detailed analysis of the discrete case shows that the diffusion equation provides a unifying link between continuous and discrete scale spaces, which also generalizes to nonlinear scale spaces, for example, using anisotropic diffusion. Hence, one may say that the primary way to generate a scale space is by the diffusion equation, and that the Gaussian kernel arises as the Green's function of this specific partial differential equation. == Motivations == The motivation for generating a scale-space representation of a given data set originates from the basic observation that real-world objects are composed of different structures at different scales. This implies that real-world objects, in contrast to idealized mathematical entities such as points or lines, may appear in different ways depending on the scale of observation. For example, the concept of a "tree" is appropriate at the scale of meters, while concepts such as leaves and molecules are more appropriate at finer scales. For a computer vision system analysing an unknown scene, there is no way to know a priori what scales are appropriate for describing the interesting structures in the image data. Hence, the only reasonable approach is to consider descriptions at multiple scales in order to be able to capture the unknown scale variations that may occur. Taken to the limit, a scale-space representation considers representations at all scales. Another motivation to the scale-space concept originates from the process of performing a physical measurement on real-world data. In order to extract any information from a measurement process, one has to apply operators of non-infinitesimal size to the data. In many branches of computer science and applied mathematics, the size of the measurement operator is disregarded in the theoretical modelling of a problem. The scale-space theory on the other hand explicitly incorporates the need for a non-infinitesimal size of the image operators as an integral part of any measurement as well as any other operation that depends on a real-world measurement. There is a close link between scale-space theory and biological vision. Many scale-space operations show a high degree of similarity with receptive field profiles recorded from the mammalian retina and the first stages in the visual cortex. In these respects, the scale-space framework can be seen as a theoretically well-founded paradigm for early vision, which in addition has been thoroughly tested by algorithms and experiments. == Gaussian derivatives == At any scale in scale space, we c
Frame grabber
A frame grabber is an electronic device that captures (i.e., "grabs") individual, digital still frames from an analog video signal or a digital video stream. It is usually employed as a component of a computer vision system, in which video frames are captured in digital form and then displayed, stored, transmitted, analyzed, or combinations of these. Historically, frame grabber expansion cards were the predominant way to interface cameras to PCs. Other interface methods have emerged since then, with frame grabbers (and in some cases, cameras with built-in frame grabbers) connecting to computers via interfaces such as USB, Ethernet and IEEE 1394 ("FireWire"). Early frame grabbers typically had only enough memory to store a single digitized video frame, whereas many modern frame grabbers can store multiple frames. Modern frame grabbers often are able to perform functions beyond capturing a single video input. For example, some devices capture audio in addition to video, and some devices provide, and concurrently capture frames from multiple video inputs. Other operations may be performed as well, such as deinterlacing, text or graphics overlay, image transformations (e.g., resizing, rotation, mirroring), and conversion to JPEG or other compressed image formats. To satisfy the technological demands of applications such as radar acquisition, manufacturing and remote guidance, some frame grabbers can capture images at high frame rates, high resolutions, or both. == Circuitry == Analog frame grabbers, which accept and process analog video signals, include these circuits: Input signal conditioner that buffers the analog video input signal to protect downstream circuitry Video decoder that converts SD analog video (e.g., NTSC, SECAM, PAL) or HD analog video (e.g., AHD, HD-TVI, HD-CVI) to a digital format Digital frame grabbers, which accept and process digital video streams, include these circuits: Digital video decoder that interfaces to and converts a specific type of digital video source, such as Camera Link, CoaXPress, DVI, GigE Vision, LVDS, or SDI Circuitry common to both analog and digital frame grabbers: Memory for storing the acquired image (i.e., a frame buffer) A bus interface through which a processor can control the acquisition and access the data General purpose I/O for triggering image acquisition or controlling external equipment == Applications == === Healthcare === Frame grabbers are used in medicine for many applications, including telenursing and remote guidance. In situations where an expert at another location needs to be consulted, frame grabbers capture the image or video from the appropriate medical equipment, so it can be sent digitally to the distant expert. === Manufacturing === "Pick and place" machines are often used to mount electronic components on circuit boards during the circuit board assembly process. Such machines use one or more cameras to monitor the robotics that places the components. Each camera is paired with a frame grabber that digitizes the analog video, thus converting the video to a form that can be processed by the machine software. === Network security === Frame grabbers may be used in security applications. For example, when a potential breach of security is detected, a frame grabber captures an image or a sequence of images, and then the images are transmitted across a digital network where they are recorded and viewed by security personnel. === Personal use === In recent years with the rise of personal video recorders like camcorders, mobile phones, etc. video and photo applications have gained ascending prominence. Frame grabbing is becoming very popular on these devices. === Astronomy & astrophotography === Amateur astronomers and astrophotographers use frame grabbers when using analog "low light" cameras for live image display and internet video broadcasting of celestial objects. Frame grabbers are essential to connect the analog cameras used in this application to the computers that store or process the images.
BulSemCor
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;