By Harold Cohen (auth.), Shlomo Argamon, Kevin Burns, Shlomo Dubnov (eds.)
Style is a primary and ubiquitous point of the human event: all people immediately and regularly assesses humans and issues in accordance with their person types, lecturers determine careers via studying musical, creative, or architectural kinds, and whole industries keep themselves via continually developing and advertising new kinds. but what precisely variety is and the way it really works are elusive: We definitely are aware of it once we see it, yet there's no shared and transparent figuring out of the various phenomena that we name style.
The constitution of favor explores this factor from a computational point of view, by way of how info is represented, geared up, and remodeled within the construction and notion of other kinds. New computational options are actually making it attainable to version the function of favor within the production of and reaction to human artifacts—and for this reason to enhance software program platforms that without delay utilize type in worthwhile methods.
Argamon, Burns, and Dubnov arrange the study they've got amassed during this ebook in line with the 3 roles that computation can play in stylistics. the 1st component of the e-book, creation, offers conceptual foundations via describing computers that create artifacts—musical items, texts, artworks—in various kinds. the second one part, belief, explains equipment for reading varied kinds and gleaning important info, viewing variety as a kind of communique. the ultimate part, interplay, bargains with reciprocal interplay among sort manufacturers and perceivers, in components equivalent to interactive media, improvised musical accompaniment, and online game playing.
The constitution of favor is written for researchers and practitioners in components together with info retrieval, machine artwork and track, electronic humanities, computational linguistics, and synthetic intelligence, who can all take advantage of this finished evaluate and in-depth description of present examine during this energetic interdisciplinary field.
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Variety is a primary and ubiquitous element of the human adventure: all people immediately and always assesses humans and issues in response to their person kinds, teachers identify careers by means of learning musical, inventive, or architectural types, and whole industries preserve themselves by means of continually growing and advertising new kinds.
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Additional resources for The Structure of Style: Algorithmic Approaches to Understanding Manner and Meaning
Taxonomies like mine are seductive—they’re easy to set up and have the ring of truth. Designs can be routine and non-routine, novel and original, anticipated and not, etc. There’s mimesis (imitation) and fantasia (imagination). But whatever truth these distinctions may hold is difficult to sustain with embedding—they’re apt to collapse when rules are tried. It seems that words fail in many ways when it comes to art and design. ) 2 Whose Style Is It? 35 There may, however, be some useful relationships in the rule x→y if x and y are expressed in common terms.
Should we conclude from that argument that any given configuration could have been the result of some number of alternative histories? A dubious conclusion: I have argued that AARON’s images result uniquely, not just from their making, but also from the long history of perceived goals and intentions, paths and detours, that resulted in the peculiarly idiosyncratic technology of their making. Given the key to this technology—my explanation of the microstructure, for example—it ought to be possible to generate an effective simulation.
Once they’re given to get things going, it’s best to wait and see what happens. There’s no reason for abstractions and formal arguments because experience takes care of what examples mean, not endless elaboration and explication ahead of time—it doesn’t help to be prescient. As a result, styles may be vague and their instances ambiguous. There’s always a chance to see things differently. This implies, at least it seems to, that no style stays the same for very long. The ultimate style, if there ever is one, will depend first on what I see and say, and on how this changes, and then more broadly on the ongoing experience of myriad others—artists and designers and their critics, and anyone else who wants to see more and look again.