Style Guidelines for Naming and Labeling Ontologies in the Multilingual Web

In the context of the Semantic Web, natural language descriptions associated with ontologies have proven to be of major importance not only to support ontology developers and adopters, but also to assist in tasks such as ontology mapping, information extraction, or natural language generation. In the state-of-the-art we find some attempts to provide guidelines for URI local names in English, and also some disagreement on the use of URIs for describing ontology elements. When trying to extrapolate these ideas to a multilingual scenario, some of these approaches fail to provide a valid solution. On the basis of some real experiences in the translation of ontologies from English into Spanish, we provide a preliminary set of guidelines for naming and labeling ontologies in a multilingual scenario.

Influence of driving style on fuel consumption and Emissions in diesel-powered passenger car

This paper presents the main results of a study on the influence of driving style on fuel consumption and pollutant emissions of diesel passenger car in urban traffic. Driving styles (eco, normal or aggressive) patterns were based on the “eco-driving” criteria. The methodology is based on on-board emission measurements in real urban traffic in the city of Madrid. Five diesel passenger cars, have been tested. Through a statistical analysis, a Dynamic Performance Index was defined for diesel passenger cars. Likewise, the CO, NOX and HC emissions were compared for each driving style for the tested vehicles. Eco-driving reduces by 14% fuel consumption and CO2 emissions, but aggressive driving increase consumption by 40%. Aggressive driving increases NOX emission by more than 40%. CO and HC, show different trends, but being increased in eco-driving style.

Contradictio in terminis: dialéctica de la ambigüedad en la arquitectura contemporánea

The twentieth century brought a new sensibility characterized by the discredit of cartesian rationality and the weakening of universal truths, related with aesthetic values as order, proportion and harmony. In the middle of the century, theorists such as Theodor Adorno, Rudolf Arnheim and Anton Ehrenzweig warned about the transformation developed by the artistic field. Contemporary aesthetics seemed to have a new goal: to deny the idea of art as an organized, finished and coherent structure. The order had lost its privileged position. Disorder, probability, arbitrariness, accidentality, randomness, chaos, fragmentation, indeterminacy... Gradually new terms were coined by aesthetic criticism to explain what had been happening since the beginning of the century. The first essays on the matter sought to provide new interpretative models based on, among other arguments, the phenomenology of perception, the recent discoveries of quantum mechanics, the deeper layers of the psyche or the information theories. Overall, were worthy attempts to give theoretical content to a situation as obvious as devoid of founding charter. Finally, in 1962, Umberto Eco brought together all this efforts by proposing a single theoretical frame in his book Opera Aperta. According to his point of view, all of the aesthetic production of twentieth century had a characteristic in common: its capacity to express multiplicity. For this reason, he considered that the nature of contemporary art was, above all, ambiguous. The aim of this research is to clarify the consequences of the incorporation of ambiguity in architectural theoretical discourse. We should start making an accurate analysis of this concept. However, this task is quite difficult because ambiguity does not allow itself to be clearly defined. This concept has the disadvantage that its signifier is as imprecise as its signified. In addition, the negative connotations that ambiguity still has outside the aesthetic field, stigmatizes this term and makes its use problematic. Another problem of ambiguity is that the contemporary subject is able to locate it in all situations. This means that in addition to distinguish ambiguity in contemporary productions, so does in works belonging to remote ages and styles. For that reason, it could be said that everything is ambiguous. And that’s correct, because somehow ambiguity is present in any creation of the imperfect human being. However, as Eco, Arnheim and Ehrenzweig pointed out, there are two major differences between current and past contexts. One affects the subject and the other the object. First, it’s the contemporary subject, and no other, who has acquired the ability to value and assimilate ambiguity. Secondly, ambiguity was an unexpected aesthetic result in former periods, while in contemporary object it has been codified and is deliberately present. In any case, as Eco did, we consider appropriate the use of the term ambiguity to refer to the contemporary aesthetic field. Any other term with more specific meaning would only show partial and limited aspects of a situation quite complex and difficult to diagnose. Opposed to what normally might be expected, in this case ambiguity is the term that fits better due to its particular lack of specificity. In fact, this lack of specificity is what allows to assign a dynamic condition to the idea of ambiguity that in other terms would hardly be operative. Thus, instead of trying to define the idea of ambiguity, we will analyze how it has evolved and its consequences in architectural discipline. Instead of trying to define what it is, we will examine what its presence has supposed in each moment. We will deal with ambiguity as a constant presence that has always been latent in architectural production but whose nature has been modified over time. Eco, in the mid-twentieth century, discerned between classical ambiguity and contemporary ambiguity. Currently, half a century later, the challenge is to discern whether the idea of ambiguity has remained unchanged or have suffered a new transformation. What this research will demonstrate is that it’s possible to detect a new transformation that has much to do with the cultural and aesthetic context of last decades: the transition from modernism to postmodernism. This assumption leads us to establish two different levels of contemporary ambiguity: each one related to one these periods. The first level of ambiguity is widely well-known since many years. Its main characteristics are a codified multiplicity, an interpretative freedom and an active subject who gives conclusion to an object that is incomplete or indefinite. This level of ambiguity is related to the idea of indeterminacy, concept successfully introduced into contemporary aesthetic language. The second level of ambiguity has been almost unnoticed for architectural criticism, although it has been identified and studied in other theoretical disciplines. Much of the work of Fredric Jameson and François Lyotard shows reasonable evidences that the aesthetic production of postmodernism has transcended modern ambiguity to reach a new level in which, despite of the existence of multiplicity, the interpretative freedom and the active subject have been questioned, and at last denied. In this period ambiguity seems to have reached a new level in which it’s no longer possible to obtain a conclusive and complete interpretation of the object because it has became an unreadable device. The postmodern production offers a kind of inaccessible multiplicity and its nature is deeply contradictory. This hypothetical transformation of the idea of ambiguity has an outstanding analogy with that shown in the poetic analysis made by William Empson, published in 1936 in his Seven Types of Ambiguity. Empson established different levels of ambiguity and classified them according to their poetic effect. This layout had an ascendant logic towards incoherence. In seventh level, where ambiguity is higher, he located the contradiction between irreconcilable opposites. It could be said that contradiction, once it undermines the coherence of the object, was the better way that contemporary aesthetics found to confirm the Hegelian judgment, according to which art would ultimately reject its capacity to express truth. Much of the transformation of architecture throughout last century is related to the active involvement of ambiguity in its theoretical discourse. In modern architecture ambiguity is present afterwards, in its critical review made by theoreticians like Colin Rowe, Manfredo Tafuri and Bruno Zevi. The publication of several studies about Mannerism in the forties and fifties rescued certain virtues of an historical style that had been undervalued due to its deviation from Renacentist canon. Rowe, Tafuri and Zevi, among others, pointed out the similarities between Mannerism and certain qualities of modern architecture, both devoted to break previous dogmas. The recovery of Mannerism allowed joining ambiguity and modernity for first time in the same sentence. In postmodernism, on the other hand, ambiguity is present ex-professo, developing a prominent role in the theoretical discourse of this period. The distance between its analytical identification and its operational use quickly disappeared because of structuralism, an analytical methodology with the aspiration of becoming a modus operandi. Under its influence, architecture began to be identified and studied as a language. Thus, postmodern theoretical project discerned between the components of architectural language and developed them separately. Consequently, there is not only one, but three projects related to postmodern contradiction: semantic project, syntactic project and pragmatic project. Leading these projects are those prominent architects whose work manifested an especial interest in exploring and developing the potential of the use of contradiction in architecture. Thus, Robert Venturi, Peter Eisenman and Rem Koolhaas were who established the main features through which architecture developed the dialectics of ambiguity, in its last and extreme level, as a theoretical project in each component of architectural language. Robert Venturi developed a new interpretation of architecture based on its semantic component, Peter Eisenman did the same with its syntactic component, and also did Rem Koolhaas with its pragmatic component. With this approach this research aims to establish a new reflection on the architectural transformation from modernity to postmodernity. Also, it can serve to light certain aspects still unaware that have shaped the architectural heritage of past decades, consequence of a fruitful relationship between architecture and ambiguity and its provocative consummation in a contradictio in terminis. Esta investigación centra su atención fundamentalmente sobre las repercusiones de la incorporación de la ambigüedad en forma de contradicción en el discurso arquitectónico postmoderno, a través de cada uno de sus tres proyectos teóricos. Está estructurada, por tanto, en torno a un capítulo principal titulado Dialéctica de la ambigüedad como proyecto teórico postmoderno, que se desglosa en tres, de títulos: Proyecto semántico. Robert Venturi; Proyecto sintáctico. Peter Eisenman; y Proyecto pragmático. Rem Koolhaas. El capítulo central se complementa con otros dos situados al inicio. El primero, titulado Dialéctica de la ambigüedad contemporánea. Una aproximación realiza un análisis cronológico de la evolución que ha experimentado la idea de la ambigüedad en la teoría estética del siglo XX, sin entrar aún en cuestiones arquitectónicas. El segundo, titulado Dialéctica de la ambigüedad como crítica del proyecto moderno se ocupa de examinar la paulatina incorporación de la ambigüedad en la revisión crítica de la modernidad, que sería de vital importancia para posibilitar su posterior introducción operativa en la postmodernidad. Un último capítulo, situado al final del texto, propone una serie de Proyecciones que, a tenor de lo analizado en los capítulos anteriores, tratan de establecer una relectura del contexto arquitectónico actual y su evolución posible, considerando, en todo momento, que la reflexión en torno a la ambigüedad todavía hoy permite vislumbrar nuevos horizontes discursivos. Cada doble página de la Tesis sintetiza la estructura tripartita del capítulo central y, a grandes rasgos, la principal herramienta metodológica utilizada en la investigación. De este modo, la triple vertiente semántica, sintáctica y pragmática con que se ha identificado al proyecto teórico postmoderno se reproduce aquí en una distribución específica de imágenes, notas a pie de página y cuerpo principal del texto. En la columna de la izquierda están colocadas las imágenes que acompañan al texto principal. Su distribución atiende a criterios estéticos y compositivos, cualificando, en la medida de lo posible, su condición semántica. A continuación, a su derecha, están colocadas las notas a pie de página. Su disposición es en columna y cada nota está colocada a la misma altura que su correspondiente llamada en el texto principal. Su distribución reglada, su valor como notación y su posible equiparación con una estructura profunda aluden a su condición sintáctica. Finalmente, el cuerpo principal del texto ocupa por completo la mitad derecha de cada doble página. Concebido como un relato continuo, sin apenas interrupciones, su papel como responsable de satisfacer las demandas discursivas que plantea una investigación doctoral está en correspondencia con su condición pragmática.

Precise set sharin analysis for java-style programs (and proofs).

Finding useful sharing information between instances in object- oriented programs has recently been the focus of much research. The applications of such static analysis are multiple: by knowing which variables definitely do not share in memory we can apply conventional compiler optimizations, find coarse-grained parallelism opportunities, or, more importantly, verify certain correctness aspects of programs even in the absence of annotations. In this paper we introduce a framework for deriving precise sharing information based on abstract interpretation for a Java-like language. Our analysis achieves precision in various ways, including supporting multivariance, which allows separating different contexts. We propose a combined Set Sharing + Nullity + Classes domain which captures which instances do not share and which ones are definitively null, and which uses the classes to refine the static information when inheritance is present. The use of a set sharing abstraction allows a more precise representation of the existing sharings and is crucial in achieving precision during interprocedural analysis. Carrying the domains in a combined way facilitates the interaction among them in the presence of multivariance in the analysis. We show through examples and experimentally that both the set sharing part of the domain as well as the combined domain provide more accurate information than previous work based on pair sharing domains, at reasonable cost.

Precise set sharing and nullity analysis for java-style program

Finding useful sharing information between instances in object- oriented programs has been recently the focus of much research. The applications of such static analysis are multiple: by knowing which variables share in memory we can apply conventional compiler optimizations, find coarse-grained parallelism opportunities, or, more importantly,erify certain correctness aspects of programs even in the absence of annotations In this paper we introduce a framework for deriving precise sharing information based on abstract interpretation for a Java-like language. Our analysis achieves precision in various ways. The analysis is multivariant, which allows separating different contexts. We propose a combined Set Sharing + Nullity + Classes domain which captures which instances share and which ones do not or are definitively null, and which uses the classes to refine the static information when inheritance is present. Carrying the domains in a combined way facilitates the interaction among the domains in the presence of mutivariance in the analysis. We show that both the set sharing part of the domain as well as the combined domain provide more accurate information than previous work based on pair sharing domains, at reasonable cost.

Aesthetic appreciation: event-related field and time-frequency analyses

Improvements in neuroimaging methods have afforded significant advances in our knowledge of the cognitive and neural foundations of aesthetic appreciation. We used magnetoencephalography (MEG) to register brain activity while participants decided about the beauty of visual stimuli. The data were analyzed with event-related field (ERF) and Time-Frequency (TF) procedures. ERFs revealed no significant differences between brain activity related with stimuli rated as “beautiful” and “not beautiful.” TF analysis showed clear differences between both conditions 400 ms after stimulus onset. Oscillatory power was greater for stimuli rated as “beautiful” than those regarded as “not beautiful” in the four frequency bands (theta, alpha, beta, and gamma). These results are interpreted in the frame of synchronization studies.

Lateral orbitofrontal cortex involvement in initial negative aesthetic impression formation

It is well established that aesthetic appreciation is related with activity in several different brain regions. The identification of the neural correlates of beauty or liking ratings has been the focus of most prior studies. Not much attention has been directed towards the fact that humans are surrounded by objects that lead them to experience aesthetic indifference or leave them with a negative aesthetic impression. Here we explore the neural substrate of such experiences. Given the neuroimaging techniques that have been used, little is known about the temporal features of such brain activity. By means of magnetoencephalography we registered the moment at which brain activity differed while participants viewed images they considered to be beautiful or not. Results show that the first differential activity appears between 300 and 400 ms after stimulus onset. During this period activity in right lateral orbitofrontal cortex (lOFC) was greater while participants rated visual stimuli as not beautiful than when they rated them as beautiful. We argue that this activity is associated with an initial negative aesthetic impression formation, driven by the relative hedonic value of stimuli regarded as not beautiful. Additionally, our results contribute to the understanding of the nature of the functional roles of the lOFC.

Procesos configurativos: de la trama a la noción de campo en los "mat buildings"

La presente tesis aborda el estudio sobre los llamados mat buildings, que surgen entre los años cincuenta y sesenta del pasado siglo. Los mat buildings, también llamados “edificios esteras” o “edificios alfombras”, nacen en gran parte como consecuencia de los desacuerdos e insatisfacciones de los CIAM con el reduccionismo funcionalista y los principios de compartimentación funcional. Estos nuevos modelos remplazan el modelo de ciudad entendido como una colección de edificios individuales por una concepción de un patrón urbano. No es la suma de la longitud, la altura y el ancho sino más bien una densa alfombra bi-dimensional, con una configuración de formas que ofrece al mismo tiempo un orden repetitivo y una infinita diversidad de secuencias con infinitas posibilidades de adaptación donde el hombre vive y se desplaza. Estas características que irán apareciendo en la obras de muchos de los arquitectos que forman parte del grupo Team X son los que Alison Smithson empieza a revelar en su artículo, con la ambición de manifestar una nueva sensibilidad y una nueva forma de entender y ver la arquitectura. Los mat buildings y los cluster serán los códigos utilizados por diferentes miembros del Team X para pensar una arquitectura y un urbanismo alternativo al propuesto por los CIAM. Mediante ellos encuentran el camino para una nueva estética de la conexión con un desplazamiento desde una concepción determinista de la forma arquitectónica (una forma cerrada y en general definida a priori) hacia una actitud más libre, más abierta, fundamentada no tanto en la entereza de la forma global sino en cuanto a la intensidad de sus redes internas y de sus diferentes niveles de asociación. La tesis tiene como propósito final cuestionar si esta tipología de edificios, cuyo principio de base es siempre una matriz geométrica abierta (trama, retícula, malla), con crecimiento ilimitado, puede redefinir la frontera entre ciudad y edificio y, por tanto, entre público y privado, individual y colectivo, estructural e infraestructural, permanente y variable. Por ello, se presenta un estudio histórico y crítico en profundidad sobre los mat buildings, analizando detenidamente y por orden cronológico cinco de sus obras más paradigmáticas: el Orfanato en Ámsterdam de Aldo Van Eyck, la Universidad Libre en Berlín de Candilis, Josic y Woods, el Hospital de Venecia de Le Corbusier y Guillermo Jullián de la Fuente, el edificio administrativo de la Centraal Beheer en Apeldoorn de Herman Hertzberger, y por último el MUSAC en León, realizado por Mansilla y Tuñon. Las cuatro primeras obras pertenecen al periodo Team X y son precursoras de muchos otros proyectos que aparecerán a posteriori. La última obra analizada, el MUSAC, es estudiada conjuntamente con algunas obras del arquitecto japonés Sou Fujimoto y otros casos contemporáneos con la intención de manifestar cómo arquitectos de horizontes muy diferentes vuelven a recurrir a estos modelos de crecimientos ilimitados. Mediante el estudio de varios ejemplos contemporáneos se examinan las repercusiones, transformaciones y evoluciones que estos modelos han tenido. La exploración contrastada permite apreciar adecuadamente la pertinencia de estos modelos y los cambios de modalidades y de procesos que advienen con la aparición en el panorama contemporáneo de la noción de campo y los cambios de paradigma que conlleva. Estos nuevos modelos abren nuevos procesos y forma de abordar la arquitectura basada en las relaciones, flujos, movimientos y asociaciones que son caracterizados por diferentes patrones que vienen a alimentar todo el proceso del proyecto arquitectónico. El estudio de estos nuevos modelos nos indica las cualidades que puede ofrecer la revisión de estos métodos para empezar a tratar nuevas cuestiones que hoy en día parecen ser, permanentemente, parte de la condición urbana. XII ABSTRACT This thesis deals with the study of the so-called mat buildings which emerged between the fifties and sixties of the last century. Mat, or carpet, buildings appeared largely as a result of the CIAM’s disagreement and dissatisfaction with functionalist reductionism and the principles of functional compartmentalisation. These new models replaced the model of the city, seen as a collection of individual buildings, with the concept of an urban pattern. It is not the sum of the length, height and width but rather a dense, two- dimensional mat with a configuration of forms offering both a repetitive order and an infinite diversity of sequences with endless possibilities for adaptation, where man lives and circulates. These characteristics, which appeared in the works of many of the architects who formed part of Team X, are those that Alison Smithson started to reveal in her article with the aim of manifesting a new sensibility and a new way of understanding and seeing architecture. Mat buildings and clusters were the codes used by different members of Team X to plan an alternative architecture and urbanism to that proposed by the CIAM. With them, they found the path for a new aesthetic of connection, with a shift from a deterministic concept of the architectural form (closed and generally defined a priori) towards a more free, more open attitude based not so much on the integrity of the overall form but on the intensity of its internal networks and different levels of association. The end purpose of this thesis is to question whether this type of building, the basic principle of which is always an open geometric matrix (grid, recticle, network) with unlimited growth, can redefine the boundary between city and building and, thus, between public and private, individual and collective, structural and infrastructural, and permanent and variable. To this end, an in-depth historical and critical study of mat buildings is presented, analysing carefully and in chronological order five of the most paradigmatic works of this style: the Orphanage in Amsterdam, by Aldo Van Eyck; the Free University of Berlin, by Candilis, Josic and Woods; Venice Hospital, by Le Corbusier and Guillermo Jullián de la Fuente; the Centraal Beheer administration building in Apeldoorn, by Herman Hertzberger; and lastly, the MUSAC (Contemporary Art Museum) in León, designed by Mansilla and Tuñon. The first four works are from the Team X period and were the precursors to many other projects that would appear later. The last work analysed, the MUSAC, is studied together with some works by Japanese architect Sou Fujimoto and other contemporary cases to show how architects with very different perspectives revert to these models of limitless growth. Through the study of several contemporary examples we examine the repercussions, transformations and evolutions these models have had. The contrasted research XIII allows us to properly appreciate the importance of these models and the changes in forms and processes that came with the emergence of the idea of field in the contemporary arena and the paradigm shifts it entailed. These new models opened up new processes and a way of approaching architecture based on relationships, flows, movements and associations characterised by different patterns that feed the entire process of the architectural project. The study of these new models shows us the benefits that a review of these methods can contribute to addressing new issues that today appear to be a permanent part of the urban condition.

Towards an unsupervised speaking style voice building framework: multi-style speaker diarization

Current text-to-speech systems are developed using studio-recorded speech in a neutral style or based on acted emotions. However, the proliferation of media sharing sites would allow developing a new generation of speech-based systems which could cope with spontaneous and styled speech. This paper proposes an architecture to deal with realistic recordings and carries out some experiments on unsupervised speaker diarization. In order to maximize the speaker purity of the clusters while keeping a high speaker coverage, the paper evaluates the F-measure of a diarization module, achieving high scores (>85%) especially when the clusters are longer than 30 seconds, even for the more spontaneous and expressive styles (such as talk shows or sports).

Dynamics of brain networks in aesthetic appreciation

Neuroimage experiments have been essential for identifying active brain networks. During cognitive tasks as in, e.g., aesthetic appreciation, such networks include regions that belong to the default mode network (DMN). Theoretically, DMN activity should be interrupted during cognitive tasks demanding attention, as is the case for aesthetic appreciation. Analyzing the functional connectivity dynamics along three temporal windows and two conditions, beautiful and not beautiful stimuli, here we report experimental support for the hypothesis that aesthetic appreciation relies on the activation of two different networks, an initial aesthetic network and a delayed aesthetic network, engaged within distinct time frames. Activation of the DMN might correspond mainly to the delayed aesthetic network. We discuss adaptive and evolutionary explanations for the relationships existing between the DMN and aesthetic networks and offer unique inputs to debates on the mind/brain interaction.

Towards speaking style transplantation in speech synthesis

One of the biggest challenges in speech synthesis is the production of naturally sounding synthetic voices. This means that the resulting voice must be not only of high enough quality but also that it must be able to capture the natural expressiveness imbued in human speech. This paper focus on solving the expressiveness problem by proposing a set of different techniques that could be used for extrapolating the expressiveness of proven high quality speaking style models into neutral speakers in HMM-based synthesis. As an additional advantage, the proposed techniques are based on adaptation approaches, which means that they can be used with little training data (around 15 minutes of training data are used in each style for this paper). For the final implementation, a set of 4 speaking styles were considered: news broadcasts, live sports commentary, interviews and parliamentary speech. Finally, the implementation of the 5 techniques were tested through a perceptual evaluation that proves that the deviations between neutral and speaking style average models can be learned and used to imbue expressiveness into target neutral speakers as intended.

Heavyweight extensions to the UML metamodel to describe the C3 architectural style

UML is widely accepted as the standard for representing the various software artifacts generated by a development process. For this reason, there have been attempts to use this language to represent the software architecture of systems as well. Unfortunately, these attempts have ended in the same representations (boxes and lines) already criticized by the software architecture community.In this work we propose an extension to the UML metamodel that is able to represent the syntactics and semantics of the C3 architectural style. This style is derived from C2. The modifications to define C3 are described in section 4. This proposal is innovative regarding UML extensions for software architectures, since previous proposals where based on light extensions to the UML meta-model, while we propose a heavyweight extension of the metamodel. On the other hand, this proposal is less ambitious than previous proposals, since we do not want to represent in UML any architectural style, but only one: C3.

New experiments on speaker diarization for unsupervised speaking style voice building for speech synthesis

El uso universal de síntesis de voz en diferentes aplicaciones requeriría un desarrollo sencillo de las nuevas voces con poca intervención manual. Teniendo en cuenta la cantidad de datos multimedia disponibles en Internet y los medios de comunicación, un objetivo interesante es el desarrollo de herramientas y métodos para construir automáticamente las voces de estilo de varios de ellos. En un trabajo anterior se esbozó una metodología para la construcción de este tipo de herramientas, y se presentaron experimentos preliminares con una base de datos multiestilo. En este artículo investigamos más a fondo esta tarea y proponemos varias mejoras basadas en la selección del número apropiado de hablantes iniciales, el uso o no de filtros de reducción de ruido, el uso de la F0 y el uso de un algoritmo de detección de música. Hemos demostrado que el mejor sistema usando un algoritmo de detección de música disminuye el error de precisión 22,36% relativo para el conjunto de desarrollo y 39,64% relativo para el montaje de ensayo en comparación con el sistema base, sin degradar el factor de mérito. La precisión media para el conjunto de prueba es 90.62% desde 76.18% para los reportajes de 99,93% para los informes meteorológicos.

Development of a genre-dependent TTS system with cross-speaker speaking-style transplantation

One of the biggest challenges in speech synthesis is the production of contextually-appropriate naturally sounding synthetic voices. This means that a Text-To-Speech system must be able to analyze a text beyond the sentence limits in order to select, or even modulate, the speaking style according to a broader context. Our current architecture is based on a two-step approach: text genre identification and speaking style synthesis according to the detected discourse genre. For the final implementation, a set of four genres and their corresponding speaking styles were considered: broadcast news, live sport commentaries, interviews and political speeches. In the final TTS evaluation, the four speaking styles were transplanted to the neutral voices of other speakers not included in the training database. When the transplanted styles were compared to the neutral voices, transplantation was significantly preferred and the similarity to the target speaker was as high as 78%.

Differential elimination by differential specialization of Sylvester style matrices

Differential resultant formulas are defined, for a system $\cP$ of $n$ ordinary Laurent differential polynomials in $n-1$ differential variables. These are determinants of coefficient matrices of an extended system of polynomials obtained from $\cP$ through derivations and multiplications by Laurent monomials. To start, through derivations, a system $\ps(\cP)$ of $L$ polynomials in $L-1$ algebraic variables is obtained, which is non sparse in the order of derivation. This enables the use of existing formulas for the computation of algebraic resultants, of the multivariate sparse algebraic polynomials in $\ps(\cP)$, to obtain polynomials in the differential elimination ideal generated by $\cP$. The formulas obtained are multiples of the sparse differential resultant defined by Li, Yuan and Gao, and provide order and degree bounds in terms of mixed volumes in the generic case.