The Structure of Style

Algorithmic Approaches to Understanding Manner and Meaning

Nonfiction, Computers, Advanced Computing, Engineering, Computer Vision, Database Management, Information Storage & Retrievel, General Computing
Cover of the book The Structure of Style by , Springer Berlin Heidelberg
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: ISBN: 9783642123375
Publisher: Springer Berlin Heidelberg Publication: September 13, 2010
Imprint: Springer Language: English
Author:
ISBN: 9783642123375
Publisher: Springer Berlin Heidelberg
Publication: September 13, 2010
Imprint: Springer
Language: English

Style is a fundamental and ubiquitous aspect of the human experience: Everyone instantly and constantly assesses people and things according to their individual styles, academics establish careers by researching musical, artistic, or architectural styles, and entire industries maintain themselves by continuously creating and marketing new styles. Yet what exactly style is and how it works are elusive: We certainly know it when we see it, but there is no shared and clear understanding of the diverse phenomena that we call style.

The Structure of Style explores this issue from a computational viewpoint, in terms of how information is represented, organized, and transformed in the production and perception of different styles. New computational techniques are now making it possible to model the role of style in the creation of and response to human artifacts—and therefore to develop software systems that directly make use of style in useful ways.

Argamon, Burns, and Dubnov organize the research they have collected in this book according to the three roles that computation can play in stylistics. The first section of the book, Production, provides conceptual foundations by describing computer systems that create artifacts—musical pieces, texts, artworks—in different styles. The second section, Perception, explains methods for analyzing different styles and gleaning useful information, viewing style as a form of communication. The final section, Interaction, deals with reciprocal interaction between style producers and perceivers, in areas such as interactive media, improvised musical accompaniment, and game playing.

The Structure of Style is written for researchers and practitioners in areas including information retrieval, computer art and music, digital humanities, computational linguistics, and artificial intelligence, who can all benefit from this comprehensive overview and in-depth description of current research in this active interdisciplinary field.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Style is a fundamental and ubiquitous aspect of the human experience: Everyone instantly and constantly assesses people and things according to their individual styles, academics establish careers by researching musical, artistic, or architectural styles, and entire industries maintain themselves by continuously creating and marketing new styles. Yet what exactly style is and how it works are elusive: We certainly know it when we see it, but there is no shared and clear understanding of the diverse phenomena that we call style.

The Structure of Style explores this issue from a computational viewpoint, in terms of how information is represented, organized, and transformed in the production and perception of different styles. New computational techniques are now making it possible to model the role of style in the creation of and response to human artifacts—and therefore to develop software systems that directly make use of style in useful ways.

Argamon, Burns, and Dubnov organize the research they have collected in this book according to the three roles that computation can play in stylistics. The first section of the book, Production, provides conceptual foundations by describing computer systems that create artifacts—musical pieces, texts, artworks—in different styles. The second section, Perception, explains methods for analyzing different styles and gleaning useful information, viewing style as a form of communication. The final section, Interaction, deals with reciprocal interaction between style producers and perceivers, in areas such as interactive media, improvised musical accompaniment, and game playing.

The Structure of Style is written for researchers and practitioners in areas including information retrieval, computer art and music, digital humanities, computational linguistics, and artificial intelligence, who can all benefit from this comprehensive overview and in-depth description of current research in this active interdisciplinary field.

More books from Springer Berlin Heidelberg

Cover of the book Beyond Elder Law by
Cover of the book Greece's Horizons by
Cover of the book Special Relativity in General Frames by
Cover of the book Copyright Collective Administration in Nigeria by
Cover of the book Haben Pflanzen ein Gedächtnis? by
Cover of the book Novelty, Information and Surprise by
Cover of the book 4D Modeling and Estimation of Respiratory Motion for Radiation Therapy by
Cover of the book Current Trends in Bone Grafting by
Cover of the book Repetitorium Krankenhaushygiene und hygienebeauftragter Arzt by
Cover of the book Engineering Geology for Infrastructure Planning in Europe by
Cover of the book Atlas of Pathological Computer Tomography by
Cover of the book Quantum Entanglement in Electron Optics by
Cover of the book Process-based Strategic Planning by
Cover of the book Nano-Antimicrobials by
Cover of the book Numerical Analysis of Heat and Mass Transfer in Porous Media by
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy