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.
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