The Structure of Style

Algorithmic Approaches to Understanding Manner and Meaning

  • Shlomo Argamon
  • Kevin Burns
  • Shlomo Dubnov

Table of contents

  1. Front Matter
    Pages i-xviii
  2. Production

    1. Front Matter
      Pages 1-1
    2. Harold Cohen
      Pages 3-20
    3. George Stiny
      Pages 21-43
    4. Roger B. Dannenberg
      Pages 45-57
    5. Ehud Reiter, Sandra Williams
      Pages 59-75
  3. Perception

  4. Interaction

    1. Front Matter
      Pages 197-197
    2. Sheldon Brown
      Pages 199-218
    3. Gerard Assayag, George Bloch, Arshia Cont, Shlomo Dubnov
      Pages 219-245
    4. Kevin Burns
      Pages 247-289
    5. Joseph A. Goguen†, D. Fox Harrell
      Pages 291-316
    6. Kevin Burns, Mark Maybury
      Pages 317-332
  5. Back Matter
    Pages 333-338

About this book

Introduction

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.

Keywords

Computer Art Computer Music algorithms artificial intelligence computational linguistics computer information retrieval intelligence linguistics natural language natural language processing perception

Editors and affiliations

  • Shlomo Argamon
    • 1
  • Kevin Burns
    • 2
  • Shlomo Dubnov
    • 3
  1. 1.Dept. Computer ScienceIllinois Institute of TechnologyChicagoUSA
  2. 2.MITRE CorporationBedfordUSA
  3. 3.Music DepartmentUniversity of California San DiegoLa JollaUSA

Bibliographic information

  • DOI https://doi.org/10.1007/978-3-642-12337-5
  • Copyright Information Springer-Verlag Berlin Heidelberg 2010
  • Publisher Name Springer, Berlin, Heidelberg
  • eBook Packages Computer Science
  • Print ISBN 978-3-642-12336-8
  • Online ISBN 978-3-642-12337-5
  • About this book