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"I would encourage as many experienced or none experienced actors to join" – Nadia Dilamy
By ActUpNorth | Student Blogs
I have been attending actupnorth for at least three years and I am still learning each term, there is always something new and fresh that is being taught at each session. I find actupnorth to be an exciting experience, from working on screen acting, theatre based scripts and casting workshops. Peter and the rest of the team at actupnorth put a great deal of planning to each one of their sessions. Being a student at actupnorth you are being introduced to lots of different techniques, and you can form a ray of different techniques to which suits you best. Because what works for one person may not work for another! I am a newly qualified drama teacher and for me I am not only progressing in my acting skills but also my teaching skills ☺ Actupnorth is a big learning curve for me and I would encourage as many experienced or none experienced actors to join. Wonderful!
Nadia Dilamy
"Thank you ActUpNorth" – Simon Lennon
My name is Simon Lennon and I am a former member of the ActUpNorth Liverpool Tuesday class. Just wanted to drop an email as I'm keeping up to date with all of the news and it sounds like all is going brilliantly. I absolutely loved my time with AUN and only left as I moved to London and live here permanently now. Just wanted to say how thankful I was for all of your help; from Erin, David and yourself. I learnt so much and have since filmed a supporting lead in a new 5-part BBC series called 'Our Girl' about a female medic in the British army in Afghanistan which airs on Sunday at 9pm (21st September – BBC1). I'm also now in rehearsals for a show at the Almeida in London called 'Our Town' and have made sure that the programme states that I trained/worked with AUN.
Hope all is as well as it looks and I'm forever grateful for all of your hard work in helping people improve and hone their skills – benefited me so much, in the time I was with you guys.
Simon Lennon
"I did not envisage staying this long" – Tara Donelon
It is my third year at Actupnorth. I did not envisage staying this long at the school. I did not realise that it would be continuous learning!. It is fantastic, I am constantly changing and developing my acting skills. From where I began to the level I am at now is poles apart!
The Teachers encourage you from the start to "Get over yourself!" not in the terms of having a big ego but in the sense that yes you look like that on camera, yes you sound like that and that is essentially the true you showing up on the TV screen. Once you have grasped this fact then you can start to learn to hone your skills.
The weekly classes I have been part of is an encouraging in environment where people listen to your work, provide constructive feedback and support you when you may struggle with a certain scene or technique. Sometimes you have to get it wrong to get it right, it is a learning process and when you do finally nail it the sense of achievement is up lifting.
I have been lucky since I began at Actupnorth I have starred in Theatre at the R.N.C.M, The Lass O Gowrie, various short films and regularly featured on Key 103 with my self devised comedy characters. I have been seen for TV commercials and filmed a TV pilot. On Thursday last week I acted in my first interactive theatre show at the Contact Theatre in Manchester. I also have my first standup gig at the Comedy Balloon at the Ape & Apple in two weeks.
Actupnorth provides you will the tools to get the work. From training you to a high standard, audition techniques, current TV scripts, mock castings and meeting renowned casting directors. It is up to you to get out what you put in as you are your product so you have to market yourself but actupnorth with help you with the rest.
So if you are serious about taking your first step into acting or refresh your skills then I would highly recommend ActUpNorth.
"One step closer to fulfilling your acting career" – Marlene Tingling
Having worked in the industry for almost 18 years I felt that I had achieved quite a lot in my career as an actress. It was only when I discovered ActUpNorth that I realised there was so much more to honing your skills. You learn something new, every week, and not just about yourself, but about what acting really is and how to apply different techniques to each and every scene you approach, to bringing that scene to life in a natural and realistic way.
I have had my fair share of castings and auditions to attend,some successful others not, and each time I took in with me what I thought was the best and most appropriate way to approach an audition. However, having being taught skills in each class on how to closely analyse a script, from the'objectives', to 'the moment before' even down to how you 'action' a scene, I believe these are techniques that have successfully helped me in my more recent acting achievements.
Having secured an audition for Coronation Street, when my agent gave me the breakdown of the character I was auditioning for, I immediately looked at the technique of using the scene objective to enable youto play out your character. I also used this once I had received the script on arrival at my audition, breaking it down into how I would play that objective.When my script with the full scenes arrived in the post, I analysed it using the 'action' technique as to how you are driven to perform each line and how 'the moment before' allows you to live that part. This was invaluable to me whilst filming as you have to be in the moment when on set as you are working against camera angles, lighting, sound etc and to deadlines in having to work each scene back to back with only little rehearsal time.
One of the key things we do each week in class is working our scripts and performances on camera. Before I joined ActUpNorth I had no knowledge of how I came across on camera in castings/auditions and performances etc as you don't get to see that once you have been in front of a casting director and also I am a performer who never likes to see myself on screen.However ActUpNorth has taught me so much about my facial expressions, reactions etc that when I was filming CoronationStreet, I felt confident in knowing how my expressions would play out on the screen and therefore knew what to avoid doing and so on.
For two hours in an evening every Monday working alongside people who are not only driven such as myself, but are supportive in helping you to be the best actor you can be, your knowledge is improved enormously and you grow in confidence week by week.
The tutor (Andy), not only makes the class a fun and relaxed place to learn, but in addition to this you are studying in a professional environment whereby you are given constructive criticism after each and every performance. Which I find only adds to your growth as an actor as it allows you to facilitate your own learning.
Whether you are a complete novice with a hidden talent, or are returning thespian who has taken time out, ActUpNorth has something to offer you, which can take you along that ever so unpredictable journey as an actor, with confidence and the reassurance that you are one step closer to fulfilling your acting career.
Marlene Tingling
"Safety in numbers!" – Andy Pearson
There is an old saying that there is safety in numbers well that's not true if your class at ActUpNorth is running a workshop on group scripts!
On initial reading the script handed out on arrival looked easy peasy, a handful of lines scattered over a 3 page scene playing a TV personality Doctor with 3 flirty women! Boy were we in for a shock, the normally straightforward task in a one to one scene of sorting out an objective and analysing where the changes of tactics might be was suddenly a chaotic task as our group read it through desperately trying to work out who or what our character was about. Those early readings were painfully slow and wooden as we all jostled for position and moved around far too much trying to make our part work. We then progressed to us all missing the occasional line and butting in too early as we stopped listening or were too busy reacting to the wrong person. Mmmmm this is tricky!
At last some organisation, Lesley took control and started directing us where and when to stand and sit, phew! Now it's coming together a bit but still not quite working. Rehearsal time over now for the acid test.
Luckily for us several groups were "on stage" before us so we benefitted from Lee's critique of others attempts at running this scene from his favourite play, it became apparent that the scene should be all about Catherine (Kelly's character) so with that in mind it was our turn next.
With a little luck and Lee's insight we went for it! To our collective surprise it went rather well and for once better than our rehearsal with us all being pretty much in the moment as Catherine teetered around offering drink, drugs and despair to anyone who'd accept them whilst we reacted and tried to remain planted whilst Kelly added her touch of chaos to the scene. Time for our critique! Lee offered his usual forthright review of our performances; overall pretty good, the most pertinent point being we could have all pushed our performances bigger! Always an issue when a scene involves drunkenness and highly emotional content how big should you go?
What did we learn? Well I now appreciate that three or four lines per page in a chaotic group scene is way more difficult than it first appears, you have to be constantly listening and reacting to all that's going on around to prevent it from being situational awareness overload! Good fun though.
PREVIOUS BLOG… 'CASTING SECRETS'
Sue Jones Casting Director visited the Leeds classes on the 3 August to run what we thought would be "another mock casting" session which meant many people were pretty nervous in the waiting area!
Boy were we in for a surprise after initial down to earth introductions we were informed that rather than run it like a formal casting Sue was going to give us a lesson on what Directors/Casting Directors want and perhaps more importantly don't want to see from an actor.
Thankfully we weren't treated to the usual "be on time" and "be prepared" advice that is obvious for any interview instead Sue let us in on little secrets like Directors often don't like directing as they are shy or nervous and that they just want to see the actor give them a good performance that needs little if no intervention from them. Also she couldn't stress enough how much she wanted actors to come across as relaxed and confident in an audition, now this is a big ask from many of us new and aspiring actors, but it seems is an essential skill we need if we are to put nervous Directors at ease!
For the next part of the lesson we were each scrutinised and cast in half a dozen well used scripts Sue had brought along which had been carefully selected to provide us with traps and pitfalls that many auditionees fall into. We had 15 minutes to read the scripts alone and prepare, now for those that struggle to learn lines we were informed that we would be reading them, a skill in itself!
After our short preparation we were straight into our readings, if people fell into the prepared traps Sue quickly and politely pointed it out and gave us steps to avoid such calamities, if people read well then after any notes or direction the pitfalls of that script were again pointed out and tools offered to avoid them in future auditions.
A final few minutes of questions and answers followed before our all too brief a session with Sue was over, time flies when you're having fun!
"Organic fear – fake it til you make it" – Sonny Hartland
Tuesday 11th June's Liverpool class was about portraying fear convincingly. Organic fear. Feeling it in your heart and bones, using your imagination to generate an icy hand squeezing your internal organs. How did we get on? Well it's always interesting to me to see how different actors take the same text and give a different performance. I think for my own part I fell into the trap of playing the emotion instead of the objective, and having read and re-read the hand-out will hopefully dodge that bullet next time round.
I worked in a three with Jess Corcoran and the now departed Jade Easom-Samuels (not "dear departed", just no longer a classmate) and I think we worked well. It's difficult in a scene like this, I think, to get the starting level right. If you're too scared at the start, you have nowhere to go that naturally follows the writer's intent. If you start too calm, the stakes appear too low. Finding the right starting point for your character's scene arc, especially in an emotionally-charged scene, is really important to me both as a writer and an actor. I'm not saying I always get it right – far from it, I'd imagine – but I'm aware of it. Creating fear – real soul-gripping fear – is more difficult for me than portraying something like love or hate. I've loved and hated, I've never really feared, not in a "this is it, survival time" kind of way, I think partly because scary situations often seem scarier afterward and somehow less real at the time. I definitely played "this is how I'd be if I were scared" rather than "I'm genuinely in need of replacement trousers", so I know next time I'll need to firm up my objective and play that.
"Better acting through chemistry" – Alice Weston
You always hear actors and directors talking about performers who have 'good chemistry'. It seems odd for artists to relate to their craft using scientific terminology, especially because I had always understood that chemistry between actors was not something that could be manufactured.
I now stand corrected.
Although everyone at ActUpNorth get along famously we all have a strong sense of personal space. This can be an obstacle for any actor as many scripts call for more than hand holding. I am generally comfortable with my own sense of personal space but I have always had this secret panic in my soul; I worried that my comfortable demeanour would evaporate in the face of the words 'THEY KISS PASSIONATELY' cropping up in a script.
In my head I had this nightmare scenario where I discover that whoever I had to get up close and personal with would not be my 'type'; that they would have bad breath or just seem repulsive as a person.
That is worst case scenario though, more generally I had issues with physicality. A hug is usually a comfortable, natural occurrence. However, when you have to force dialogue and blocking in there it becomes this spanner in the works and suddenly it's like you're hugging a drunk at a family barbecue. It's awkward and embarrassing.
Chemistry can be taught using a number of techniques that during the course of the class quickly dissolved those mental and physical barriers between performers. Within two hours we went from timidly patting each other on the shoulder to embracing each other like we were lifelong friends and lovers. It might sound strange out of context but as a performer you have to be able to display an emotional investment in the relationships you portray. No one watching you will believe your performance if you lack the courage of your convictions.
Also recently we were treated to a lively and informative workshop hosted by the delightful and talented Judy Holt. The subject was how to make the most of an audition opportunity.
Part of your job as an actor, predictably, involves auditions. Anyone who has ever been to one will tell you they can be truly terrifying. Even seasoned professionals claim it is something you never get used to. They are scary in the same way some people find rollercoasters or skydiving scary; it is an adrenaline rush. But sometimes those nerves can get the better of your performance and cloud your judgement. It makes you fumble your lines and forget to do simple things like listen to the other actors in your scene. The two hours with Judy equipped us with some useful tools to help combat the nerves as well as maximise your potential during that precious little time before you step into the room with the casting director.
Recently many of our fellow actors have been getting a lot of work in television and on stage. Others are in the midst of improving their CV's and their show reels/headshots (we're lucky to have a professional photographer in our midst in the form of Corrie Shelley.) I am looking forward to some upcoming auditions for short films and possibly even filming later on this year (working titles, dates still TBC.)
I have been at ActUpNorth for little over a year now and it is one of the best things I have ever done. Even if you class yourself as a performer 'of a nervous disposition' I would definitely urge you to give us a try. Acting is not just an art; it is a craft and the classes balance artistic integrity with practicality and technique.
"Keep training, keep learning, keep doing" – Victoria Lindsay
Since graduating from East 15 Acting School in 2006, the best piece of advice I was given was to 'keep training, keep learning, keep doing!' At that point, I wasn't really aware of what they meant by this.
After moving back up to my home in the north west in February 2011, I got myself a new agent, attended numerous castings, some with success, and generally pushed myself to the best of my ability. Then it all became a little stale. The castings got fewer, my skills were admittedly getting a little rusty and I was getting severely disheartened.
It was at this point that I came across a company called Act Up North. I was unsure of whether to join because I naively thought that I had done all of my training at drama school. Now 8 months on, I can honestly say that it has been the greatest decision of my acting career so far.
Each week we are met with new, current and fresh television scripts. These scripts are attacked differently every week and performed, some weeks infront of the lens, refreshing camera technique. Act Up North provide honest, constructive feedback to your performances EVERY week. There are opportunities to work with new people, make new friends and try new approaches to acting. Throughout the term, you have the opportunity to work with guest tutors, who are currently working in the industry, passing on invaluable knowledge. At the end of each term there is a mock casting with a casting director in which you have the opportunity to gain exposure by performing your chosen piece/script, along with asking any questions which you may have to help with your journey in the industry. All of the tutors at Act Up North are trained actors themselves. They know where you are coming from and assist you in progressing your skills to where you want to get to!
Since joining Act Up North I can honestly say that I now know what East 15 Acting School meant by 'keep training, keep learning, keep doing! As an actor, you NEVER stop learning! Nor should you stop doing. You should take every opportunity you can to better yourself and progress to where you want to be. It has given me a new found passion to continue with the industry and has reminded me of all the reasons why I got involved in the first place! I can say that I am now confident in approaching a script again and pushing myself with new ideas in delivering it. When I walk into that casting room again I know that I will leave in the knowledge that I have done my very best and will continue to learn with the aid of my Act Up North weekly classes keeping my skills fresh!
And for a 2 hour weekly session, it's only £54 a month – a bargain! Get involved and join Act Up North!
"To Hollywood or to not Hollywood?" – Ashley Tabatabai
Some of you may have heard of the Lana Turner Myth. It's based on the story about a young girl who was discovered in Hollywood whilstsimply going about her daily business. And what happened next? She went on to become a "Star". This ideal of simply waltzing into Hollywood and being"Discovered" is one that most actors will have thought of. Perhaps in manycases even believe in. Is it possible? Sure, anything's possible. However, the illusion of this great industry is such that we often forget to realize what itreally takes to launch a successful career. Not just in acting, but in any discipline. If you're familiar with Gladwell's 10,000 hour rule, it says thatthat is the approximate amount of time you need to do something in order tobecome an "expert" in it. Look at the greats, they've all spent massive amountsof time pursuing and practicing their craft so that they could reach that level. And the one's that stuck it out got their rewards.
Now, the point of all this comes from a post that Peter puton Facebook to do with Hollywood networking weeks. As someone who has gone onone of these weeks (4 years ago) and is in the process of getting a US visa, Ithought it would be worth sharing my experiences. First and foremost, I canonly relate to the specific company I went with as I do know that some othershave cropped up recently. Was I slightly sceptical before going? You bet! It'sa sizeable investment to go on one of these trips. Do I regret it? Not for onesecond, because I didn't go in with any expectations of getting signed, landinga job or becoming the next big sensation over night. That was never promised. Whatwe got was an incredible experience. We met a lot of top agents, castingdirectors and coaches. I made some great friends who I am in contact with tothis day. And the organizer himself is someone who I consider a friend and hasbeen a great help to me in consulting me on the visa process. Some people evendid get offered representation. One girl turned down an offer from a hugeagency. Two others got offered management representation. However, here's the caveat to that. They were only going to get on the books if they had working papers.
And that's the main point. No papers means no representation and no job. The one thing the networking week really hits home is that this isa business. More so in LA than anywhere else. And if you're not legal, you'renot going to be in business. So, please do go and enjoy the experience of anetworking week. But understand that your main route to working there is tohave the visa to let you do so. Build your career up and conquer your ownbackyard. Perfect an American accent as well, as that was a huge thing thatkept getting repeated to us. Work towards getting the right documents. Then goto LA and give it your best shot. You may not get plucked out of obscurity likeLana Turner. But by then you'll likely have spent so much time on your craft that you'll be ready when the business comes calling.
"Just the pick-me-up I need" – Jen Banks
WEDNESDAY 12TH SEPTEMBER 2012 – RHYTHM 'N' BLUES
Need a way to break your rhythms and shake off the blues? Two hours with Lee Toomes and a room full of actors at Act Up North is sure to do the trick…
It's 7.35pm and after a night of poor sleep and a full day's work, my energy and mood are low. I'm dragging my tired, sorry ass to my Act Up North class. And I'm late. The car park's full, again, so I've had to drive round to Burley Road and dash back Studio 81, where I knock on the window to get someone to let me in.
When I enter, I'm told I've just been described as "the giddy one". Giddy is just about the last thing I'm feeling right now. Knackered, fed-up and anxious about how I'll do in class tonight is a more accurate description of my emotional state. What I later figure out is that what Donna sees as my "giddiness" is actually my acute and debilitating anxiety when it comes to getting up and acting – and it pours out of me in just about any way it can.
Thankfully, Lee's got some tricks up his sleeve to tackle tension and where we hold it when performing. He gets us to do a scene while consciously doing the physical things we usually do unconsciously. So, some deliver every line through gritted teeth, others have to frown throughout their performance, stick their necks out or shift their weight from side to side after delivering each line.
After the 'freak show' version of the scene – and believe me, some of these performances look well freaky – we're told to drop it and do the scene as normal. Of course, when it's my turn, I get a double whammy – I'm told to frown and shift my weight and that's a lot to think about. But once I do the scene again normally, I become immediately aware of the frowning and un-scrunch those facial muscles as soon as I sense them becoming tight. I do wave my arms around a bit though – which leads me to the conclusion the nerves have just found a different way out!
Still, it definitely brings an awareness to my performance and a more authentic quality to the performances I see. Others say the felt more connected, more at ease or just plain confused at getting the balance right between keeping their involuntary movements under control and not being too stiff. Aye there's the rub, that's certainly something that vexes me. However, the exercise is a real eye opener, for all of us – and quite literally so for Natalia, who has to keep her eyebrows raised throughout her performance.
So, the purpose of the evening's lesson is to bring our unconscious 'ticks' into consciousness in order to eliminate them, leaving us more open. "These things you do as an actor keep you stuck in certain rhythms," Lee explains, "and this is a way of breaking the rhythm, so that you're more open to be changed."
"Acting is being open and flexible enough to change tactics and adapt to what the other actor is giving you. You have an objective as an actor in a scene, but the other actor has an objective too – they're trying to evoke something in you and you have to react to that." Lee's lesson ends with another chewy nugget of acting wisdom. And as I scribble my final notes and snap my exercise book shut, I realise that I don't feel tired and fed-up anymore. An evening of frowning, gurning and learning has been just the pick-me-up I need…
WEDNESDAY 5 SEPTEMBER 2012 – TRUST ME, I'M AN ACTOR!!
Only trouble is, I don't trust myself… so it's back to school with an important lesson in what stops actors from being great
"It's not about deciding to deliver your lines with acertain emotion. It's about putting your focus on the person you're workingwith, listening line by line and truthfully responding in the moment to how they say their lines." It's lessonone of the new term at Act Up North Leeds and, for me, this is the crux oftonight's instruction from teach, Mr Hunt. Or quite simply, Peter, if you'renot trying to extend a Grange Hill metaphor.
His wisdom sounds so incredibly simple, and it seems to neatlyand concisely encapsulate the art of good acting. But why, oh why, oh why is itso blooming difficult to do? After two hours locked in a room with a lot ofjittering actors and their 'first night back nerves' the answer is all tooapparent – anxiety. And lack of trust. Or are they the same thing? I don'tknow. All I know is that I'm shaking like a jelly on a spin dryer when it's mineand Jo's turn to perform a scene from Lineof Duty.
We've been instructed to rehearse giving particular attentionto the three main things that let actors down in auditions and on set: poor eyecontact, facial tension and standing off centre. So what do I do when I get up there? Decideto deliver my lines with a certain emotion (see top of page for that one), dolots of my trademark gurning, tilt my head, forget my words and grasp for myscript.
Pass the dunce hat! Not even a C+ for effort. Still, thewhole point of the evening is to discover our own 'nervous ticks' in a bid toeliminate them. I'm told it's myself I should be forgetting and not my lines –which is a sign of lack of trust in myself. That old chestnut.
So the solution is to physically grapple with the anxiety. Acouple of classmates get up to hold myself and Jo in place while we haveanother crack at the scene – the idea being that you can't go throwing yourtension around when you're rooted to the spot. And it works. It makes me focusand take Jo in a lot more. And I feel (on some lines at least) that I'm doing it – responding in the moment. I'm not theonly one. Time and time again, through the aid of physical restraint, we cansee how people connect with each other, and their performances become genuine."Strip away the acting," Yoda, er Peter tells us.
So we've come to an acting class to learn how to act bystripping away the acting. Which means not acting is acting. What a head f**k! Yetit makes perfect sense. Now all that remains is to do my lines (write 100 times"I must trust myself, I must trust myself, I must trust myself"), and learn mylines for next week. Until then, I'm off out to play eye contact games in theplayground…
Liverpool Student wins British Soap Awards – Best Male Dramatic Performance Award
The cobbles welcome Manchester Student to Weatherfield
Liverpool Student lands role in Award winning soap – CH4's Hollyoaks
Leeds Student walks the cobbles in ITV's Coronation Street
Manchester Student Lands role in Emmerdale
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This unique and striking 2in1 design of these Anywhere Fireplace® OR Lantern series gives you the option to either use it as a GEL FUEL fireplace that will give you beautiful dancing flames OR use it as a lantern by switching out thecup for the candle holder (included). As a lantern, just insert a candle into the candle holder and lower it into the lantern body. Also, you can wind fairy lights in the lantern body for a different and unique take on a lantern. Then, just flip up the handle and hang it up on a secure hook or place it on a table or floor to give you the romance of a flickering candle or the magical festive sparkle of fairy lights.
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Laumeier's After Dark series provides affordable, evening experiences at the Park for all ages. Activities and programs bring a fresh, new perspective to the art and nature at Laumeier.
Grab a flashlight and embark on a nighttime quest to find treasure in the woodlands. Take on the expedition with your fellow participants or navigate the trails on your own—just be sure to implement the tips and tricks provided by our Naturalist! Return to the Kranzberg Education Lab to enjoy refreshments and share your finds.
Stargaze in the Park! Learn about navigation methods of the past used to spot stars, constellations and planets. Listen to "star-lore" and mysteries of our universe while you enjoy the night sky.


Copyright ©2015, Deutsches Forschungszentrum für Künstliche Intelligenz GmbH / German Research Center for Artificial Intelligence (DFKI) and QTLaunchPad.
Multidimensional Quality Metrics (MQM) by Deutsches Forschungszentrum für Künstliche Intelligenz (DFKI)/QTLaunchPad is licensed under a Creative Commons Attribution 4.0 International License.
Based on a work at http://qt21.eu/mqm-definition.
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Feedback on this document should be submitted to info@qt21.eu.
This document defines the Multidimensional Quality Metrics (MQM) framework. It contains a description of the issue types, scoring mechanism, and markup, as well as informative mappings to various quality systems. MQM provides a flexible framework for defining custom metrics for the assessment of translation quality. These metrics may be considered to be within the same "family" as they draw on a common inventory of values for data categories and a common structure. MQM supports multiple levels of granularity and provides a way to describe translation-oriented quality assessment systems, exchange information between them, and embed that information in XML or HTML5 documents.
MQM does not define a single metric intended for use with all translations. Instead it adopts the "functionalist" approach that quality can be defined by how well a text meets its communicative purpose. In practical terms, this statement means that MQM is a framework for defining a family of related metrics.
MQM is intended to provide a set of criteria which can be used to assess the quality of translations. While these criteria are intended to promote objectivity in assessment, a certain degree of subjectivity is inherent in assessing translation quality and MQM may not be able to distinguish between high-end translations that meet all specifications (other than to assure that they do, in fact, meet those specifications).
This document applies primarily to quality assessment of translated content (and thus to the output of translation systems). It does not apply to assessment of translation processes or projects. Here "translated content" is to be understood broadly to include text, graphics, and any other content which may be translated or adapted for multiple locales (i.e., a combination of language and geographical region). MQM applies to the translation industry, interpreted broadly to include localization (of software and other technical content) and "transcreation" (creative adaptation of content for target audiences and purposes, including but not limited to, adaptation of marketing materials and multi-media content), as well to various types of purely textual translation.
MQM is useful for assessing verifiable qualities of translations. It is not intended to address purely subjective criteria (such as "artistry" or "elegance") that may be of key importance in some circumstances. Rather, it provides a functional approach to quality that seeks to see whether a translation meets specifications and to identify aspects that may fall short of expectations.
MQM is designed to apply to (monolingual) source texts as well as translated target texts. MQM's Design (design), Fluency (fluency), Style (style), Terminology (terminology), and Verity (verity) branches apply equally to source texts and target texts (although some specific issues within them might apply more to one or the other). The Accuracy (accuracy) dimension is specific to translated texts (or, more properly, to the relationship between source and target text). While Locale convention (locale-convention) is more likely to apply to target texts, it can apply to source texts. And, finally, the Internationalization (internationalization) dimension applies solely to source content (many of its issues correspond to specific faults in the target text that can be identified under Locale convention (locale-convention)).
Quality assessment (sometimes considered synonymous with "quality evaluation") is the measurement of the extent to which a product complies with quality specifications (see the definition of "quality" below).
Quality assurance refers to ways of preventing mistakes or defects in manufactured products and avoiding problems when delivering solutions or services to customers. Quality assurance relies on continual assessment of quality.
Quality control is the process of checking whether manufactured products meet stated quality specifications. Quality control is a decision process based on the results of quality assessment.
The following terms and definitions apply in this document.
The extent to which the informational content conveyed by a target text matches that of the source text.
A metric that functions by identifying precise locations of issues within a text and categorizing them (versus a holistic metric.
An abstract concept for a particular type of information for describing translation quality metrics, such as an issue types, weights, and other aspects of a metric.
Individual issue types represent aspects of these dimensions and each dimension can be used as an issue.
An error is a specific instance of an issue that has been verified to be incorrect.
The points assessed against a text for each error in an analytic metric.
As used in MQM, a quantitative measure of the degree to which a translated text meets quality requirements. An MQM metric consists of one or more issues against which the text is evaluated and an assessment method (holistic or analytic).
A specific way of measuring some aspect of translation quality, e.g., Analytic, Functional, Holistic, Task-based. Note that the method does not refer to the process or procedure for measuring quality, but rather the general level to which the metric applies.
An aspect of a translation that defines expectations concerning the translation product. For example, "target language/locale" is the parameter that states what language/locale the translated text should appear in.
A quality translation demonstrates required accuracy and fluency for the audience and purpose and complies with all other negotiated specifications, taking into account end-user needs.
A quality text demonstrates required fluency for the audience and purpose and complies with all other negotiated specifications, taking into account end-user needs.
A metric based on one or more questions or statements, corresponding to issue types, that serve as the basis for evaluating the translation as a whole, along with definitions and examples to clarify the meaning of each statement or question, a scale of values on which to rate each item, and standards of excellence for specified performance levels.
An indication of the how severe a particular instance of an issue is. Issues with higher severity have more impact on perceived quality of the text. The default MQM severity model has three levels: minor, major, and critical.
A description of the requirements for the translation, as defined by ASTM F2575-2014. MQM utilizes a subset of the full specifications defined in that specification.
A numerical indication of the how important a particular issue type is in overall quality assessment. The default weight for issues is 1.0. Higher numbers assign more importance to an issue type, while lower numbers assign a lower importance. A weight of 0 would indicate that an issue is checked but not counted in MQM scores. Weights serve as multipliers for error penalties in MQM scoring.
As noted above, MQM applies to both source and target texts (with different dimensions applying to them). The default MQM scoring method accordingly allows for users to assess source texts to obtain a quality score for source texts and, if both source and target are assessed, issues found in the source may be counted against penalties for issues in the target text, resulting in higher scores. While not all implementations or usages scenarios will examine the source or count problems in the source in favor of translators, this principle is intended to help ensure that translators are recognized and credited when they have to translate inferior source texts rather than being blamed for all problems, even those beyond their control.
Analytic. Analytic quality assessment methods focus on the identification of precise issues within the object being assessed, such as (for a translation) identification of specific mistranslations, spelling errors, etc.
Holistic. Holistic assessment methods focus on overall characteristics of the object being assessed, such as (in the case of translated texts) reader impression, sentiment, clarity, accuracy, style, whether it enables a task to be completed, and so forth.
MQM is ideally suited for implementation as an analytic metric. It is also easily adapted to serve as the basis for holistic assessments.
Rather than proposing a single metric for assessing all translations, MQM provides a flexible method for defining and declaring metrics that can be adapted to specific requirements. These requirements are generally stated in terms of a set of 12 "parameters" (see Section 9.2. MQM parameters), a subset of the translation parameters described in ASTM F2575:2014 that focuses primarily on aspects of the translation product (rather than the project or process). Using these parameters to define requirements and expectations before translation allows users to create appropriate metrics before translation begins and provides translators with a clear view of the criteria for assessing their work.
In addition, metrics must support both simple and sophisticated requirements. Rather than proposing yet another metric with more detail, MQM provides a flexible catalog of defined issue types that can support any level of sophistication, from a simple metric with two categories to a complex one with thirty or forty. It also supports both holistic assessment (for quick acceptance testing) and error markup/counts for cases where detailed analysis is required.
Any issue types used by the metric that are not contained in MQM MUST be defined as MQM user extensions (see Section 5.3. User extension) at an appropriate place in the MQM hierarchy.
Metrics MAY use the a custom displayName to assign a non-default name to an issue type. (E.g, a metric could declare "Not translated" to be the display name for Untranslated (untranslated).) However, at least for English-language implementations, the use of the default MQM names is encouraged. In any cases where the different display name is uses, the MQM ID MUST be used to prevent confusion.
Metrics SHOULD use a declared MQM markup type (ITS 2.0-compatible) when possible for inline or standoff representation of annotated issues. However, in some instances such markup may not be possible (e.g., in non XML/HTML formats) or with tools that are used for counting errors but which do not provide inline markup.
Note that the only required aspect is use of the MQM vocabulary, which MUST NOT be contradicted or overridden.
The full list of MQM issues is maintained in a separate document at issues-list-2015-12-30.html.
Accuracy (accuracy): Accuracy issues address the relationship of the target text to the source text and can be assessed only by considering this relationship. Changes in intended meaning, addition and omission of content, and similar issues are considered in it.
Design (design): Design includes issues related to the physical presentation of text, typically in a "rich text" or "markup" environment.
Fluency (fluency): Fluency includes those issues about the linguistic "well-formedness" of the text that can be assessed without regard to whether the text is a translation or not. Most Fluency issues apply equally to source and target texts.
Internationalization (internationalization): Internationalization covers areas related to the preparation of the source content for subsequent translation or localization. Internationalization issues may be detected through problems found in the target (particularly from those included in Locale convention (locale-convention), but an Internationalization audit is generally conducted separately from a general assessment of translation quality.
Locale convention (locale-convention): Issues in Locale convention relate to the formal compliance of content with locale-specific conventions, such as use of proper number formats. If content is otherwise correctly translated and fluent but violates specific locale expectations (as defined in the translation specifications), it is addressed in this dimension. This dimension does not cover issues related to whether the content itself is appropriate for the locale (these issues are covered under Verity (verity).
Style (style): Style issues relate to what is commonly known as "Style", defined both formally (in style guides) and informally (e.g., a "light style" or an "engaging style"). These issues are closely related to Fluency (fluency), but are often treated separately by tools and quality processes and so are grouped as a separate dimension in MQM.
Terminology (terminology): Terminology issues relate to the use of domain- or organization-specific terminology (i.e., the use of words to relate to specific concepts not considered part of general language). Adherence to specified terminology is widely considered an issue of central concern in both translation and content authoring. Issues in this branch should not be used for general language mistranslation (e.g., translations that would not be considered correct under reasonable circumstances), and should be reserved for issues related to terminology (e.g., a translation is reasonable but incorrect in the context of specific technical domain or for a particular organization).
Verity (verity): Verity issues relate to the suitability of content for the target locale and audience. They do not relate to fluency or accuracy since content may be fluently written and accurately translated and still be inappropriate for the target locale or audience. For example, if a text translated for Germans in Germany refers to options available only in the UK, these portions will likely be problematic. For more details on Verity, see the discussion below.
Compatibility (Deprecated) (compatibility): The Compatibility dimension includes issues taken from legacy metrics that are not considered appropriate for general use in MQM (because they are related to areas not covered by MQM, such as deadlines, software functionality, or physical production). They are included only for compatibility with these older metrics and should not be used for new MQM metrics.
Other (other): This dimension is used for issues which cannot be otherwise classified into a dimension of MQM. In cases where an unforeseen issue can be classified as belonging to a dimension, it should be classified in that dimension under the top level or using a custom issue type. In practice Other should be used extremely rarely.
In order to simplify the application of MQM, MQM defines a smaller "Core" consisting of 20 issue types that represent the most common issues arising in quality assessment of translated texts. The Core represents a relatively high level of granularity suitable for many tasks. Where possible, users of MQM are encouraged to use issues from the Core to promote greater interoperability between systems.
Definitions for these issues can be found in the list of MQM issue types.
Even the 20 issues of the Core represent more issues than are likely to be checked in any given quality application and users may define subsets of the core for their needs. It is recommended for translation quality assessment tasks that issues contain at least the issue types Accuracy (accuracy) and Fluency (fluency) if no other more granular types are included.
Name: A human-readable name for the issue type.
ID: An unprefixed QName that serves as the XML identified of the issue type. The ID MUST begin with x- to indicate that the issue is a user-defined issue. E.g., x-respeaking-error would be a valid ID for a user-defined "respeaking error" but respeaking-error would be invalid.
Parent: The ID value of the parent issue type. The parent may by a predefined MQM issue type or a user-defined issue type.
Definition: A human-readable explanation of the issue type.
User extensions do not provide interoperability between systems and impede the exchange of data. Nevertheless they may be needed to support requirements not anticipated in MQM. Users should tie extensions into the predefined hierarchy using the parent value as much as possible since doing so provides consumers of MQM data with the best guidance in interpreting unknown categories and mapping them to other systems. As with other aspects of MQM, users should limit granularity to the least granular level that meets requirements.
Users who encounter frequent need for custom extensions are encouraged to communicate their requirements to the MQM project for possible inclusion of these types in future versions of MQM.
In addition to MQM, it may be desirable to use other metrics that cannot be converted to a native MQM representation for various purposes. The key principle in integrating metrics is that they must be scoped to indicate to what MQM content they apply. For example, if a metric assesses only readability, it would be scoped to provide a score for MQM Fluency (fluency), while a metric that provides a score for "Adequacy" would provide a score for MQM Accuracy (accuracy). A metric that provides an undifferentiated "quality" score would take all of an MQM metric as its scope and thus provide an overall score.
Non-MQM scores may be indicated in an MQM report by using the nodeScore and scoreType attributes, which may be appended to any node in the score report.
As the interpretation of any particular metric's result/score is likely to depend on the specifics of the assessment, MQM can provide no guidance on how to utilize the result/score of non-MQM metrics. Results may be appended to MQM reports at the appropriate nodes in the MQM hierarchy and users may wish to combine these results with the results of MQM-based evaluation, (e.g., through averaging MQM and non-MQM scores normalized on a 1-100 scale). Such combinations are outside the scope of MQM.
As an example, the BLEU metric, an automatic metric for assessing machine translation (MT) quality with respect to human reference translation(s), is widely used in MT research. In the case of BLEU, the scope is global because BLEU provides a single, undifferentiated quality score. A BLEU score would thus be provided as parallel to the overall MQM score (see Section 8. Scoring for a recommended method for generating an MQM score). An implementer could utilize the BLEU score in various ways in conjunction with MQM: e.g., only assessing those translations that obtain a BLEU score over a specific threshold, averaging the BLEU and MQM scores, or using both scores for thresholds.
While the specific use of other scores cannot be mandated, their usage should not conflict with the MQM principles. For example, a metric's results should not be stated to apply to the Fluency (fluency) branch of MQM if they include the results of an evaluation of whether or not terms have been translated correctly.
This section describes the MQM declarative markup. Use of the metrics declaration markup is mandatory for declaring an interoperable MQM metric. When used with XML or HTML, it is strongly recommended that the ITS 2.0 Localization Quality Issue data category be used to declare MQM issues in conjunction with the locQualityProfileRef pointing to a valid MQM definition. Note that when implemented with ITS 2.0 quality markup that the requirements for implementing are also mandatory.
MQM provides an XML mechanism for exchanging descriptions of MQM-compliant metrics. MQM metrics description files use the .mqm file name extension. An .mqm file contains a hierarchical list of MQM issue types. This listing MUST conform to the hierarchy of issue types.
The following is an example of a small metric description file with issue names in both English and German. It includes a user-defined extension (x-respeaking) used to identify errors caused when a vocal text being respoken without background noise based on a live audio feed is incorrectly repeated by the person doing the respeaking, leading to a mistranscription.
issueType. Contains the MQM issue type, listed by ID. Note: MQM implementations MUST use the ID and MUST NOT use a localized name.
issueSeverity. Contains the MQM issue severity using the name defined in the metric. Note that the default severity level names are minor, major, and critical. While other values MAY be used, if they are used they MUST be defined in the metric definition for proper interpretation.
locQualityIssueType: Contains the issue type as defined by ITS 2.0. Mapping the native MQM value to the appropriate ITS issue type helps ensure compatibility with ITS 2.0-aware implementations, even if they do not implement MQM.
locQualityIssueComment: Contains a human-readable comment about the issue.
locQualityIssueSeverity: Contains a rating of severity from 0 to 100. Mapping from the name contained in the MQM issueSeverity attribute to this attribute enables ITS 2.0-aware tools to interpret the severity of the issue.
To ensure compatibility with ITS 2.0 markup, implementers SHOULD use ITS 2.0 markup where possible. All of the ITS 2.0 localization quality annotation may be used. MQM markup adds capability to the ITS 2.0 quality markup.
The MQM issue type (Spelling (spelling)) is mapped to the corresponding ITS 2.0 type (ITS 2.0 is less fine-grained than MQM in many cases) as described in 8. Relationship to ITS and added as the value of its:locQualityIssueType.
The value of the severity multiplier is declared on a scale from 0 to 100 and inserted as the value of the its:locQualityIssueSeverity attribute. In this case the multiplier value was 5 (out of 10), so it is represented as 50 in ITS markup.
A comment is added using the its:locQualityIssueComment attribute.
Globally, the relevant profile (specifications and metric definition) are linked using the its:locQualityProfile attribute.
<mqm:startIssue />. This element defines the starting position of an MQM span.
<mqm:endIssue />. This element defines the end position of an MQM span.
Two empty elements are used so as to prevent any interference between MQM tags and existing XML structure, such as those that could be caused by improperly nested elements. To pair these tags the id attribute is used. ID values MUST be unique within the document to prevent confusion.
type. Provides the MQM issue type.
severity. Permissible values defined by the MQM metric in use. Provides the severity of the issue. Default value is undefined.
agent. Text string identifying the agent that supplied the annotation. Default value is undefined.
active. One of yes or no. Indicates whether the issue is considered active (yes) or inactive (no). Default value is yes. If an issue is marked as inactive, this means that it has either been resolved or determined not to be an actual error.
In addition, ITS 2.0 attributes MAY be added to these elements to promote greater interoperability.
idref. A value corresponding to the id of the mqm:startIssue tag that begins the identified span.
Use of these inline elements also requires that the mqm namespace be declared in the document. The method for declaring this namespace needs to be determined.
The Internationalization Tag Set (ITS) 2.0 specification holds a privileged position with respect to MQM due to its use as a standard format for interchanging localization quality information through its localization quality issue data category.
This section describes the mapping process from MQM to ITS 2.0 and from ITS 2.0 to MQM. As MQM allows the declaration of arbitrary translation quality assessment metrics, it serves a different purpose from ITS, which provides high-level interoperability between different metrics. While ITS is much less granular than the full MQM hierarchy, individual MQM metrics may be either more or less granular than the set of ITS 2.0 localization quality issue types (or may be more granular in some areas and less in other). As a result it is likely that conversion between MQM-based metrics and ITS will be "lossy" to some extent. In general the mapping process from MQM to ITS 2.0 is straight-forward since ITS 2.0 does not allow subsetting of the possible values for localization quality issue type, but the conversion from ITS 2.0 to MQM may be more challenging since an arbitrary MQM metric may or may not contain the default target mappings provided below and mappings may account for the MQM hierarchy.
MQM metrics that map to ITS MUST use the mappings described in this section, subject to the limitations described below.
MQM issue types are mapped to ITS issue types according to the following table. Note that this mapping is unambiguous and MUST be followed to ensure consistency between applications.
Note that the entire Internationalization branch of MQM maps to the ITS internationalization type. It is anticipated that this mapping will apply to all children of the MQM Internationalization issue type that may be added in the future.
Mapping from ITS to MQM is less likely to be used and presents particular problems since MQM metrics typically contain only a small subset of the full MQM issue set. As a result MQM issues to which ITS localization quality issue type values are mapped may not exist in a particular MQM metric. In such cases processes MUST map the ITS value to the closest higher-level issue type in MQM if one exists in the target MQM metric. If no higher-level issue type exists in the target MQM metric, the process MUST skip the ITS 2.0 issue type (but MAY preserve the ITS 2.0 markup).
For example, if a process encounters the ITS 2.0 Omission (omission) type and the target MQM metric does not contain Omission (omission) but does contain Accuracy (accuracy), the ITS omission value would be mapped to MQM Accuracy (accuracy). However, if the MQM metric does not contain Accuracy (accuracy), the higher node in the MQM hierarchy, the ITS omission issue type would be ignored/omitted by the conversion process.
Note that the above requirements mean that in some cases there may be a many-to-one mapping from ITS to MQM. For example, if a document contains ITS annotations for omission, untranslated, and addition, but the target MQM metric contains Accuracy (accuracy) and no daughter categories, all of these categories would be mapped to MQM Accuracy (accuracy). In other words, there is no universal mapping from ITS to all MQM metrics since MQM metrics do not all contain the same issues.
Processes encountering issues such as those described in the previous paragraphs SHOULD alert the user about the information loss or remapping if user interaction is expected by the process.
In most cases the table shows that the ITS issue types map to MQM issue types with identical (except for casing) or similar names, highlighting the evolutionary relationship between ITS and MQM. Those items where names are different in a non-trivial manner are marked with an asterisk (*) to help draw attention to the fact that the names do not match.
Note that the ITS uncategorized category maps to MQM Other (other) even though MQM Other (other) maps to ITS uncategorized. In other words, the mapping is asymmetric because the semantics of uncategorized are broader than Unintelligible (unintelligible).
The MQM scoring model applies only to error-count implementations of MQM. At present this specification does not define a default scoring model for holistic systems, which are less detailed in nature than error-count metrics. Future versions, however, MAY define a default model to holistic systems.
Note that MQM-conformant tools are NOT required to implement any scoring module at all. For example, an automatic tool that identifies possible issues but which does not determine their severity might not provide a score.
This scoring model provides one method to calculate a single quality score as a percentage value. Such scores are frequently used for acceptance testing in translation quality assurance processes. In addition, it generates sub-scores for various aspects of the both the target and, optionally, the source text. Additional scoring methods may apply to specific circumstances. It is RECOMMENDED, but not required, that implementers of MQM provide scores the conform to this section in addition to any other scores they may provide.
Version 0.3.0 made major changes with respect to severity multipliers. These changes render the default scoring for versions 0.3.0 and later incompatible with earlier versions. Version 0.9.1 introduced a new severity level, none, that always has a penalty of 0, i.e., it does not count against the transaltion, it is used to mark items that should be changed, but which are not considered errors for scoring purposes (see below).
All issues have a default weight of 1.0. This weight can be updated on a per-issue basis to reflect specific requirements.
none: 0. Issues with the severity level none are items that need to be noted for further attention or fixing but which should not count against the translation. This severity level can be conceived of as a flag for attention that does not impose a penalty. It should be used for "preferential errors" (i.e, items that are not wrong, per se, but where the reviewer or requester would like to see a different solution), systematic repeated errors that can be easily fixed (e.g., a translator has systematically used an incorrect domain term but it is a simple matter of search and replace to correct them all). Because no penalty is assessed for this level, it is not discussed in the scoring formulae.
minor: 1. Minor issues are issues that do not impact usability or understandability of the content. For example, if an extra space appears after a full stop, this may be considered an error, but does not render the text difficult to use or problematic (even if it should be corrected). If the typical reader/user is able to correct the error reliably and it does not impact the usability of the content, it SHOULD be classified as minor. Since minor errors do not impact the usability of the content, resolution of them is at the discretion of those responsible for the content.
major: 10. Major issues are issues that impact usability or understandability of the content but which do not render it unusable. For example, a misspelled word may require extra effort for the reader to understand the intended meaning, but do not make it impossible. If an error cannot be reliably corrected by the reader/user (e.g., the intended meaning is not clear) but it does not render the content unfit for purpose, it SHOULD be categorized as major. While it is generally advisable to fix major errors prior to use of the content, the inclusion of major errors may not, by themselves, render the text unfit for purpose.
critical: 100. Critical issues are issues that render the content unfit for use. For example, a particularly bad grammatical error that changes the meaning of the text would be considered critical. If the error prevents the reader/user from using the content as intended or if it presents incorrect information that could result in harm to the user it MUST be categorized as critical. In general, critical errors have to be fixed prior to use of the text since even a single critical error is likely to cause serious problems.
In this algorithm, each issue type has a weight assigned by the metric that is retrieved and used to determine the individual penalties. Penalties are cumulative. Note that if the source is examined, penalties against the source are effectively added to the overall score for the translation, reflecting the fact that they indicate problems in the source the translator had to deal with. If the source is not assessed, the source penalties are by definition 0 and do not count for or against the translation's quality score.
This algorithm can serve as a model for other systems, such as metrics with two severity levels or those with four. However, using other models will impede comparability of scores generated by various metrics.
Scores using these multipliers can be easily updated to reflect the new values simply by changing the multipliers in the formula. Similarly, new scores can be compared with old scores by using this values in place of the new ones. However, as the old multipliers are deprecated, they SHOULD NOT be used as the default model for any new implementations.
What they are assessing. Possible options include a translation product (e.g., a translated text or piece of software), a translation process, or a system for producing translation. Depending on what is being assessed, certain methods are more likely than others. Note that some possibilities, such as assessing a process, may be outside the scope of MQM.
Who does the assessment. Possibile options include expert translators, language scholars, community members, and end users. Some methods will be more suitable than others for potential classes of assessors.
Where (the context in which) the assessment will take place. This question helps users understand the requirements for assessment in the particular context. For example, in an academic or research environment, very detailed feedback may be needed that would not be possible to obtain if the assessment is to be done on texts published on a customer portal.
When the assessment will take place. This question asks users to consider the process step in which assessment will be done. Requirements for assessing an initial/draft translation before revision to determine suitability for further work may be different than those for assessing a translation thought to be ready for publication.
Why the assessment is being done. Assessment may be done for many different reasons. For example, it may be done to determine whether a translation is ready for publication, to fix problems in a translation, or to improve a system. Each of these options suggests different possibilities for assessment.
Analytic. Analytic approaches involve the identification of specific issues in text. These approaches are detail-oriented and are particularly suited for the detection and repair of individual errors. This approach is also time- and labor-intensive, although in some cases analytic approached may be partially or entirely automated. Analytic approaches typically require training and are best suited for expert assessors or cases where detailed information is needed to improve systems or processes. They are generally less suitable for assessment by end-user or community members.
Simple/mono-dimensional. Simple or mono-dimensional holistic approaches assess the text on a single criterion. For example, a mono-dimensional holistic approach might ask the assessors to rate the translated text on a scale from one to five based on how good a translation they find it, with no other criteria or aspects. These approaches are particularly suitable for community or end-user evaluation where more complex assessment methods would most likely be ignored.
Complex/multi-dimensional. In complex or multidimensional approaches, assessors are asked to evaluate the text on multiple criteria. Depending on the number of criteria, such assessment may be appropriate for various classes of evaluators, but the more criteria are features, the more training of assessors will be required.
Task-based testing. Task-based testing evaluates how well the translation serves to assist a users to accomplish a task. It is particularly useful for determining problems with textual verity. In a simple form it may be equivalent to a simple holistic approach (e.g., if users are asked "Did this (translated) text answer your question adequately?"). Complex task-based testing is a discipline in its own right and is not generally covered in MQM, although aspects of task-based testing may be related to MQM issue types.
Functional testing. Functional testing evaluates whether a translated produce functions as expected. It is most suitable for evaluating translated applications or other products that combine translation with other functions. Functional testing is beyond the scope of MQM, although, as with usage testing, it may relate to MQM issue types.
Note that the dimensions correspond to top-level branches in the MQM hierarchy.
Depending upon which dimensions are selected and the degree of granularity required for the assessment task, MQM issues are then selected to ensure that the required dimensions are adequately assessed. In the case of Internationalization (internationalization) it is likely that different assessment methods will be needed since internationalization cannot generally be assessed from examining texts (versus doing a code audit).
The following example will help clarify how the process works. The example is for a case in which a company that makes network diagnostic gear wishes to evaluate whether automatic (machine) translations into Japanese of user-generated forum content written in English is helping their Japanese users solve technical problems with their equipment.
What: The company wishes to assess a translation product (the forum content) and also the MT system they are using to translate the content.
Who: The company wants to use its customers to evaluate the translation since they are the only ones who can determine whether the content meets their needs.
Where: The assessment must be done on the user-to-user forum with end users who are not experts in translation or language and who cannot be trained in advance.
When: The assessment will take place after texts have already been published on the website. The texts will be raw MT output with no post-editing or other correction.
Why: The assessment will be used to determine if the MT system's results help users meet their needs or whether more manual processes (e.g., MT + post-editing) are required.
Based on these answers, the company decides to use a holistic assessment method with a low number of dimensions (no more than three).
Creating the specifications. The company fills out a worksheet to define the values for the parameters in their specification (described in section 8.2. Definition of MQM parameters below) and creates a full set of translation specifications.
Selection of Dimensions. Based on their translation specifications they determine that the following dimensions are relevant to this task: Accuracy, Fluency, and Verity. Because of the nature of the assessment method and the assessors, however, the company decides to limit assessment to three issues: Terminology, Fluency, and Verity. Although Accuracy is highly important, they cannot expect their users to understand English well enough to assess the accuracy of translated texts.
In addition, because the company realizes that their customers cannot assess some core aspects and help them evaluate their MT system, they decide to create a second, analytic metric for human assessors to check a subset of the output.
Although simple, this example, shows how it is possible to build customized metrics to meet specific requirements using MQM.
This parameter should specify geographical language variants where appropriate.
Needed to locate resources with the appropriate linguistic skills. For example, a translator who specializes in technical translations may not be ideal to translate a compilation of 12th-century religious poems.
This information is useful in helping the translator decide the appropriate manner in which to translate the text. In some cases the purpose of the translation may differ significantly from the purpose of the source text.
Information about the document's style.
This parameter provides information about the specific environments in which the text will be output and any limitations or special requirements they may impose.
May be generic or specific as to particular translation tools.
Production technology is included, even though it is not a product parameter, because specific technologies may have an impact on likely issues in the target texts they produce.
After the values for these parameters are fully specified, MQM implementers should verify that the selection of issue types will ensure that the requirements defined by the parameters are met. Note that parameters may override each other. For example, under Content correspondence the parameters might specify that a "gist" translation is acceptable, in which case Omission (omission) would not normally be assessed; however if Audience specifies that the target audience consists of young readers with low literacy, Style (style) might be assessed to assure that the "simple" style needed for the target audience is achieved.
At this stage in MQM development, there are no normative guidelines for selecting issues. Instead implementers are encouraged to go through each parameter to identify project-relevant issues that will enable them to verify whether the translation meets the requirements set out in those parameters. Future versions of MQM may provide a more formal approach to issue selection.
For the value of each parameter, consider what features of the text would be needed to verify that the text meets specifications and note these issue types down. Note that "doesn't matter" is an acceptable value for many parameters and if this value is chosen, the parameter may be skipped. (E.g., if Style is judged to be insignificant, then this parameter will be skipped in assessment.
After deciding what features need to be checked, determine which issue types can be used to assess that feature and note these types.
From the list of issue types, prioritize them based on the importance of each parameter and then make a selection of issue types based on this list and the priorities. (Note that it may be impractical to do fine-grained analysis of every potential issue type identified. Feedback from LSPs suggests that six to seven issue types is sufficient for most assessment tasks, although some use up to twenty.
If a score is to be assigned, assign weights to the issues. Assigning weights is a tricky process and should be done by assessing existing translations deemed to be acceptable, borderline acceptable, and unacceptable to see what impact each issue type has on that judgment. Note that some existing metrics, such as SAE J2450, have predefined weights that should be honored. The default issue weight in MQM is 1.0 and any positive decimal value may be used.
If the resulting metric is to be implemented in an MQM-compliant tool chain, it should be declared as described in Section 7.1. MQM metrics description.
Are there any requirements for compatibility with legacy systems or standard/semi-standard specifications? If so, choose issue types that correspond to those used by those systems/specifications. In most cases it is possible to emulate legacy metrics in MQM with little or no modification, although some might require the use of custom extensions.
Select the least granular issue types that allow assessment of whether the text meets specifications. For example, in many cases use of the category Grammar (grammar) would be sufficient because it is not particularly relevant to know what subcategory is used. On the other hand, when trying to diagnose problems generated by an MT system, finer-grained types might be necessary.
When possible, choose issues from the MQM Core. Using these issues helps ensure compatibility. However, the Core does not cover all cases, including common ones such as checking formatting, because it is focused on text translations.
Consider not just requirements for one set of specifications/parameters, but also for other likely sets. For example, if two types of translations are frequently assessed, it may make sense to develop one list of issues with different sets of weights and to use the single (master) set of issues. This practice is recommended to prevent the need to train evaluators on multiple metrics.
Holistic assessment methods are more flexible in some respects than error-count metrics. They are designed to provide an assessment of the translated text as a whole rather than a detailed accounting of all errors. As analytic assessment can be time consuming and is not needed in all cases (e.g., when the question is whether a text should be accepted or not), holistic methods may be more appropriate in some cases. Most of the MQM issue types can be easily used as either analytic types or holistic types that apply to the text as a whole. For example, the MQM Punctuation (punctuation) issue type can be used by asking assessors using a holistic tool whether the text is punctuated correctly. In this context some issues will be more useful than others. For example, the Pattern problem (pattern-problem) issue type is unlikely to be useful in most holistic assessments since it generally makes sense only with regard to very specific sections of a text. By contrast, categories like Grammar (grammar) can more readily be applied to entire texts.
Does the translated text meet expectations with regard to correct spelling?
Because the scoring for holistic systems is highly dependent on the type of assessment scale used, no specific scoring system is provided here. Users of MQM who wish to implement it in a holistic environment should tie holistic questions to specific MQM issue types and develop appropriate scoring systems. This version of MQM does not define a system for describing holistic scoring systems, although future versions may do so. However, by using the MQM issue types and associating specific holistic questions with them, implementers can make their metrics more transparent and tie them to project parameters in the same way that can be done with error-count metrics.
Use the highest-level issues that suffice to provide the needed assessment. For example, "Is the text translated accurately?" (assessing Mistranslation (mistranslation)) is more likely to be answered accurately than "Does the text show any problems related to 'false friends'?" (assessing False friend (false-friend)), especially as false friends are less likely to occur than generalized mistranslation. However, for some assessment purposes, fine-grained holistics may be appropriate.
Write holistic statements or questions that clearly address the desired issue type. For example, "Does the text comply with specified guidelines for style?" is more likely to obtain an accurate assessment for Style (style) than "Does the text read well?", which is vague in its intent.
Design holistic questions that allow assessors to give credit, not just penalties. Holistic assessment tools often allow assessors to indicate that a text outperforms expectations in order to give credit for jobs well done. Using scalars that give translators credit is in line with the MQM principle of fairness and is roughly analogous to the MQM practice of assigning credits to translators for errors detected in the source.
The TAUS DQF Error Typology is a recognized subset of MQM, developed and maintained by the Translation Automation User Society (TAUS) based on input from its members.
Previous versions of TAUS DQF and MQM were not compatible. As of revision 0.9, compatibility between the two has been achieved. The harmonization process required substantial modification to both MQM and DQF, but now DQF, with the exception of the "kudos" feature noted below, is a fully conformant subset of MQM.
Using these allows issues to be marked without counting negatively in the score of the translation.
Kudos, used to mark a positive item in the translation to give credit to the translator.
Kudos currently need to be noted outside of MQM mechanisms. Whether and how they impact an MQM score is currently undefined and represents a point of ongoing discussion as of June 2015.
This section contains informative mappings from existing metrics to MQM. Note that existing metrics are subject to update without notice. These mappings are provided as a courtesy and no guarantee is made of accuracy and completeness. Any implementations based on these mappings should carefully consider the metric to verify the accuracy of mappings.
The mapping from SAE J2450 is somewhat complex in that the distinction between severity levels is, in part, based on the whether the issue changes the meaning between target and source, meaning that—at least in principle—a minor error in J2450 would correspond to the Fluency branch in MQM and a major error would correspond to the Accuracy branch. Nevertheless, for most purposes, the following mapping should suffice.
Portions of this document were developed as part of the Coordination and Support Action "Preparation and Launch of a Large-scale Action for Quality Translation Technology (QTLaunchPad)", funded by the 7th Framework Programme of the European Commission through the contract 296347. Addition work was supported by the Coordination and Support Action "Quality Translation 21 (QT21)", funded by the EU's Horizon 2020 research and innovation programme under grant no. 645452.
Important change to license terms and restriction on use of name "Multidimensional Quality Metrics" and MQM for derivative works.
Removed extraneous definition of "metric" that should have been deleted earlier.
Added the "none" severity level for DQF compatibility.
Note: major jump in version number reflects major changes to MQM structure.
Major revision with new list of dimensions, new scoring model, improved terms and definitions, additional issue types, revision of mappings to other metrics, etc.
Added design to the core for compatibility with DQF.
Old default scoring model deprecated (see new section, 8.2. Default severity multipliers from versions earlier than 0.3.0 (deprecated)) and replaced with new default severity multipliers.
Fixed numerous errors in linking to issue types and added back-end mechanism to ensure that issue names and IDs are always correct and that any incorrect links are apparent.
Changed Style to Stylistics and split Style-guide out to resolve problem that Style included both mechanical and content-related issues.


text:
set -e

# Set IP address in /etc/hosts for localregistry
IP=$(ifconfig eth0|grep "inet addr:"| cut -d: -f2 | awk '{ print $1}')
echo "$IP localregistry" >> /etc/hosts

hostname=$1
if [ "$hostname" = "" ]; then
	hostname="localhost"
fi

mkdir -p /etc/docker/certs.d/$hostname:5011
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5011/ca.crt

mkdir -p /etc/docker/certs.d/$hostname:5440
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5440/ca.crt

mkdir -p /etc/docker/certs.d/$hostname:5441
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5441/ca.crt

mkdir -p /etc/docker/certs.d/$hostname:5442
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5442/ca.crt
cp ./nginx/ssl/registry-ca+client-cert.pem /etc/docker/certs.d/$hostname:5442/client.cert
cp ./nginx/ssl/registry-ca+client-key.pem /etc/docker/certs.d/$hostname:5442/client.key

mkdir -p /etc/docker/certs.d/$hostname:5443
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5443/ca.crt
cp ./nginx/ssl/registry-noca+client-cert.pem /etc/docker/certs.d/$hostname:5443/client.cert
cp ./nginx/ssl/registry-noca+client-key.pem /etc/docker/certs.d/$hostname:5443/client.key

mkdir -p /etc/docker/certs.d/$hostname:5444
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5444/ca.crt
cp ./nginx/ssl/registry-ca+client-cert.pem /etc/docker/certs.d/$hostname:5444/client.cert
cp ./nginx/ssl/registry-ca+client-key.pem /etc/docker/certs.d/$hostname:5444/client.key

mkdir -p /etc/docker/certs.d/$hostname:5447
cp ./nginx/ssl/registry-ca+client-cert.pem /etc/docker/certs.d/$hostname:5447/client.cert
cp ./nginx/ssl/registry-ca+client-key.pem /etc/docker/certs.d/$hostname:5447/client.key

mkdir -p /etc/docker/certs.d/$hostname:5448
cp ./nginx/ssl/registry-ca+ca.pem /etc/docker/certs.d/$hostname:5448/ca.crt

redpajama_set_name: RedPajamaGithub


The Cream Cheese Poppers and Stuffed Mushrooms are just a couple of the appetizers favorites offered from Chevvy's. If you've enjoyed their food, it's easy to see for yourself that this is not your average "bar food". Instead, it's actually really good. Whether stopping by on your usual Saturday night or enjoying a bite to eat on your lunch break, Chevvy's delivers that one of a kind Fort Wayne atmosphere. The Cream Cheese Poppers will give you a little crunch and then melt in your mouth. They have just the right kick. The Stuffed Mushrooms are soaked in butter and taste great when combined with a little bit of ranch. The only problem with the food menu from Chevvy's is that without a little karaoke to distract you, you might just end up wanting to eat everything in sight. The appetizers and entrees really are that good.


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Reminiscent of the suns warmth as it fades into the mountainous landscape, 'Sunset Dreamer' encapsulates the character and charm found in the magic of Morocco.
With a beautiful lush pile of super soft natural wool, this rug boasts subtle muted tones of blush, coral and golden apricot, sure to add warmth and comfort to any space. It's naturally aged patina and luxe deep textured pile is beautiful underfoot.
This stunning Beni M'guild is woven using traditional methods from the Middle Atlas Mountains of magical Morocco.
Measures 180cm wide x 300cm long.


Photo from European Southern Observatory website.
This telescope has been decommissioned from the European Southern Observatory and its current location is unknown.
The Telescope is still at La Silla Observatory…..the university of Bochum recently donate the Telescope to a Municipal observatory in Chile…..at the moment we are trying to find any Technical documentation that permit the dissembling of the Mount and Telescope and reassembling again at the Municipal observatory.


text:
02. It's all in the game 04:46
03. Young as you 04:24
04. Are you awake 04:52
05. Woman on fire 03:31
06. Warning signs 05:16
07. Let's humanize 04:25
08. Anyplace Anywhere Anytime 05:13
09. You don't know what love is 04:14
10. Auf Wiedersehn 03:36
Bonus (New Edition)
01. At the movies 02:58
02. Just a dream (Mega Dream Mix) 06:41
03. 99 red balloons (Club Mix) 04:41
04. It's all in the game (12 Inch Remix) 06:32
Recorded by Reinhold Heil at Spliff-Studio,Berlin • Mediterrano-Studio, Ibiza • Heil's Tonstudio, Berlin • Nick Ryan, Assisted by Heff Moraes at Sarm-West-Studio, London • Strings of the Deutsche Oper, Berlin • Recorded by Heiko Rüsse at Institut für Musikforschung, Berlin • Digitally Mixed by Stuart Bruce and Reinhold Heil at Audio-Studio, Berlin • Digital Editing by Siegbert Ernst at Sim-Studio, Berlin • Mastered by Joop NiggebruggeProduziert von Reinhold Heil
01. It's all in the game
It's all in the game: Arrangements – Uwe Fahrenkrog-Petersen • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Bass – Jürgen Dehmel • Drums – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA • Percussion – Frank Ricotti • Strings – Orchestra of the Deutsche Oper, Berlin • Strings Arrangements – Uwe Fahrenkrog-Petersen
Young as you: Arrangements – Uwe Fahrenkrog-Petersen • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Bass – Jürgen Dehmel • Drums – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA, Lisa Dalbello, Ramesh B. Weeratunga, Ron Randolph
Are you awake: Arrangements – Uwe Fahrenkrog-Petersen • Keyboards – Uwe Fahrenkrog-Petersen • Synthesizer Bass – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Acoustic Guitars – Carlo Karges • Drums-Percussion – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA
Woman on fire: Arrangements – Carlo Karges • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Bass – Jürgen Dehmel • Drums – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA, Lisa Dalbello
Warning signs: Arrangements – Uwe Fahrenkrog-Petersen • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Additional Guitars – Jürgen Dehmel • Bass – Jürgen Dehmel • Drums – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA • Additional Vocals – Lisa Dalbello, Gale Robinson • Percussion – Frank Ricotti • Strings – Orchestra of the Deutsche Oper, Berlin • String Arrangements – Uwe Fahrenkrog-Petersen, Reinhold Heil
Let's humanize: Arrangements – Jürgen Dehmel, Uwe Fahrenkrog-Petersen • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Jürgen Dehmel • Drums-Percussion – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA, Gale Robinson, Cosa Rosa, Ramesh B. Weeratunga, Ron Randolph • Percussion – Frank Ricotti
Anyplace Anywhere Anytime: Arrangements – Uwe Fahrenkrog-Petersen • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Bass – Jürgen Dehmel • Drums – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA
You don't know what love is: Arrangements – NENA • Keyboards – Uwe Fahrenkrog-Petersen • Guitars – Carlo Karges • Bass – Jürgen Dehmel • Drums – Rolf Brendel • Lead Vocals – NENA • Backing Vocals – NENA • Saxophone – David Sanborn
Auf Wiedersehn: Arrangements – Jürgen Dehmel • Keyboards – Uwe Fahrenkrog-Petersen • Synthesizer Bass – Uwe Fahrenkrog-Petersen • Bass – Jürgen Dehmel • The Stick – Jürgen Dehmel • Drums – Jürgen Dehmel • Lead Vocals – NENA • Backing Vocals – NENA • Strings – Orchestra of the Deutsche Oper, Berlin • String Arrangements – Reinhold Heil
When it was time for NENAs album no. three, everyone in the band wanted to do it again in a concept of "creative holidays" by writing songs, arranging, re-working and publishing them, just like the way they had worked on their last album "?". This time round, though, things worked out differently- which only goes to show that there is no planning creativivity………
It all began with Uwe's faible for France. Where, he thought, might the barometer be set fair for weather and inspiration in answer – The South of France. A house was soon located near Nice to take the whole team and it's equipment in January; but the visions of olive groves and palm treet which enhanced everybody's Christmas proved to be a mirage. When the band arrived, they opened the door onto a damp hovel whose most interesting features rage of bugs. It was here, at around 2.30 am on the first night, that NENA wrote her contribution to the LP – "Du kennst die Liebe nicht", in a few hours on Carlo's guitar. Her comment: " I work best under pressure!".
But there was no atmosphere. The creepies crawled over the floor, the spiders scuttled over the mixers – until finally NENA ("I love animals really!") could stand no more, and the band jetted back home.
There, safe inside the cosy, egg-box clad walls of the Spliff Studios in Moabit, they listened to Uwe's polished demos, Jürgen's playful computer tracks and Carlo's collected lyrics. Slowly the LP began to take shape.
Extra power touched down in the form of Lisa Dalbello, the avant-garde Canadian rock singer, who flew in specially to translate the NENA lyrics. Her sensitive English versions of their ideas delighted the band and open up a lot of new doors outside of Germany; she also contributed some of the most interesting choral passages on the record.
Along with Spliffer Reinhold Heil in the dual role of producer and sound engineer, the NENAs flew to Ibiza next, to work on the vocal parts. For NENA herself it was the chance to pull out everything she had learnt in the way of voice training, breathing technique and sheer physical power. In just ten days and nights of intense concentration, they had most of the songs on tape.
Then it was off to London, where the first mixing was done in the legendary Sarm Studios. Here, during night-time sessions, crack American saxophonist David Sanborn laid down his beautiful sax parts. When the studio time was up they returned to Berlin to do the final mixing in the Spliff and Audio Studios there. And finally – almost suddenly – there it was – "Feuer und Flamme", the new NENA LP in English, German and CD versions!!
The album is the most ambitious work ever recorded by a German pop group – stunningly fresh, musically mature and technically dazzling.
And now it's finished, how are the five NENAs spending the summer? You've guessed it – hard at work rehearsing a new stage show, with four guest musicians and a giant programme, for the big NENA TOUR, due to set light to Europe and Japan this autumn.
"Feuer und Flamme" – hot stuff indeed!
Young as you
Warning sings
Let's humanize
Anyplace Anywhere Anytime
You don't know what love is
Auf Wiedersehn
Just a dream (Mega Dream Mix)
99 red balloons (Club Mix)
It's all in the game (12 Inch Remix)

redpajama_set_name: RedPajamaCommonCrawl