Style-consistency in isogeneous patterns
职称英语新增文章B级:Style,NotFashion
职称英语考试/备考辅导2016职称英语新增文章B级:Style,Not FashionStyle goes way beyondfashion: It is the distinctive way we put ourselves together. It is a uniqueblend of spirit substance-personal identity imposed oil created throughthe wld of things. _____ (1) It is what people really want when they aspireto be fashionable. (if they aren't just adningthemselvesin status symbols).Through clothes, wereinvent ourselves every time we get dressed. Our wardrobe is our visual vocabulary. Style is ourdistinctive pattern of speech, our individual poetry.Fashion is the least of it.Style is, f starters, one part identity: self-awareness self-knowledge._____ (2) And style requires security-feeling at home in your body, physically mentally. Of course, like all knowledge, self-knowledge mustbe d as yougrow evolve; style takes ongoing self-assessment.Style is also one partpersonality: spirit: verve, attitude, wit, inventiveness. It dems the desire confidence to express whatever mood one wishes. Such variability is notonly necessary but a reflection of a person's unique complexity as a humanbeing. _____ (3) In der to wk, style must reflect the real self, thecharacter personality of the individual; anything less appears to be acostume?Lastly, style is one partfashion. It's possible to have lots of clothes not an ounce of style. Butit’s also possible to have very few clotheslots of style. Yes, fashion isthe means through which we express style, but it takes fewer clothes to bestylish than you might imagine.Whatever else it is, styleis optimism made visible. Style presumes that you are a person of interest:that the wld is a place of interest that life is wth making the efft f.It also shows thatyou are mally responsible. It shows that you don't buythings at the whim of the marketplace the urging of marketers. _____ (4) Styleexposes people's ambivalence over good looks. It always demonstrates that appearancesdo count. Deep down we suspect this, since we ourselves make judgments aboutothers from how they look.No one should be penalizedf not having style, of course, but those who have it are distinctive thusme memable. _____ (5) They announce to the wld that they are in commof themselves. 词汇:adn v.装饰,使更美观wardrobe n. (个人的)全部服装suspect v.怀疑,猜想wit n.风趣,说话风趣的人blend v.混在一起,混合ambivalence n.矛盾心理,矛盾心态注释:1.aspire to be fashionable:渴望赶上时尚潮流2.an ounce of style: 一丁点的风格3.atthe whim of:心血来潮(突发奇想)练习:A It is a way of capturing something vibrant,making a statement about ourselves in clothes.B Fashion is part of sty1e.C Rather, you focus on what is personallysuitable expressive.D You can’t have style until you have a senseof who you are.E They create a unique identity f themselves express it through grooming a few well-chosen clothes.F People want to be themselves to be seenas themselves. 答案与题解:A 第一段都在解释什么是风格,六个选项中A、B、D三项都涉及风格,根据文章内容和句式的排比可以看出答案是选项A。
Style is an essential part of literary works
Style is an essential part of literary works. It is the most important embodiment of the original text’s artistic life. Literary translation cannot go without the research of style. Is style translatable? This question, being in a long time argumentation in the translation field, has already found out its answer in a great deal of translation practice. A great many of scholars hold that style is not only translatable, but also has to be translated. The translation of literary works should be laid equal stress on the original style and contents. Those that don't reflect the original style are not real or faithful translations. In the domain of literary translation, there are many translated versions that are not only faithful to the original text in terms of content but also skillfully reproduce the original artistic style. These translations are the best exemplifications.风格是文学作品中不可或缺的一部分,是原著艺术生命最重要的体现。
英国服饰文化英文版
British Style
British refers to the Greater London area. British Style is generally originated from England Oxford, Cambridge and other famous universities of students in the usual costumes, mainly in stripes and grid-based. Compared to the elegance of Paris, luxury of Milan, simplicity in New York ,the British Style seems to always sided with the temperament. Rational trace of sensibility is the nature of British fashion.
bibliographystyle
bibliographystyle Bibliography Style: An Essential Guide for Academic WritingIntroductionIn the world of academic writing, citations and references play a crucial role in establishing the credibility and reliability of scholarly works. A well-organized bibliography not only provides proper credit to the original authors but also allows readers to further explore the topic by referring to the cited sources. However, creating a comprehensive and consistent bibliography can be a daunting task, especially for novice researchers. This is where bibliographystyle comes into play. In this document, we will explore what bibliographystyle is, its importance, and how to use it effectively in various writing styles.What is bibliographystyle?In simple terms, bibliographystyle is a predefined format or template that determines how citations and references are formatted in an academic paper. It is typically a set of rules and guidelines that dictate how to cite a wide range ofsources, including books, journal articles, websites, and more. There are several popular bibliographystyles available, each with its own specific requirements and conventions, such as APA (American Psychological Association), MLA (Modern Language Association), Chicago, and IEEE.Why is bibliographystyle important?Consistency: One of the primary reasons bibliographystyle is important is to maintain consistency throughout the document. By using a consistent style, it becomes easier for readers and researchers to identify and locate the cited sources. It also adds to the overall professionalism and credibility of the work.Credibility: Properly citing sources is essential to avoid plagiarism and to give credit to the original authors. When citations are formatted according to an established bibliographystyle, it demonstrates that the writer has done their due diligence in conducting thorough research. It also allows readers to independently verify the accuracy and validity of the information presented.Clarity: A well-structured bibliography helps readers navigate through complex academic papers. By following a specificbibliographystyle, the references are organized in a way that is easy to understand and follow. This ensures that readers can locate the cited sources and consult them in their own research.How to use bibliographystyle effectively?Understanding the requirements: Before starting to use a bibliographystyle, it is important to thoroughly understand the specific requirements and guidelines associated with that style. This includes understanding the formatting of citations, the order in which elements should appear, and any additional information that needs to be included, such as page numbers, edition numbers, and more.Using reference management software: To make the process of using bibliographystyle more efficient, it is highly recommended to use reference management software. These tools help in organizing and formatting references according to the selected bibliographystyle. Popular reference management software includes EndNote, Mendeley, and Zotero, each offering various features to simplify the citation management process.Following the appropriate bibliographystyle: Once you have knowledge of the requirements and have chosen a reference management software, it is vital to follow the selected bibliographystyle consistently throughout the entire document. This includes formatting both in-text citations and the reference list or bibliography.Editing and proofreading: Even when using bibliographystyle, it is critical to thoroughly edit and proofread the document to ensure that all citations and references are accurately formatted. Any inconsistencies or errors could undermine the credibility of the work.ConclusionIn the world of academic writing, a properly formatted bibliography is of utmost importance. Bibliographystyle plays a significant role in ensuring the consistency, credibility, and clarity of scholarly works. By adhering to the guidelines and using reference management software effectively, researchers can efficiently cite their sources and contribute to the overall professionalism and reliability of their work. Understanding and implementing bibliographystyle is a skill that every serious academic writer should possess.。
装修风格英语PPT课件
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Also known as modern European, use ivory and dark, mainly and supplemented by a light color. Compared to the European style of decoration has a strong European flavor, Jane European is more fresh and more in line with the restrained aesthetic ideas of the Chinese people.
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Japanese style
Hale Waihona Puke 112019/12/28
The elegant, concise as the main character, a strong Japanese national characteristics, with clear lines, elegant, clean room layout, there is a strong sense of geometry.
Rococo
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Rococo decorative art is pure court art, expressing characteristics common to the court art, focusing on decorative performance with obvious hedonism.
Mediterranean style is bright, bold, rich colors, simple, nationality and obvious characteristics.
考研英语作文精炼句子软件
When it comes to refining sentences for the postgraduate entrance English exam, a software can be a valuable tool. Here are some key features that such a software should possess to be effective:1. Syntax Analysis: The software should have the capability to analyze the syntax of a sentence to identify any grammatical errors or awkward phrasings.2. Vocabulary Enhancement: It should offer suggestions for more sophisticated vocabulary that could elevate the quality of the writing without compromising the original meaning.3. Cohesion and Coherence: The software should check for the flow of ideas and suggest ways to improve the cohesion and coherence of the text.4. Style Consistency: Ensuring that the writing style remains consistent throughout the essay, the software should flag any inconsistencies in tone or formality.5. Idiom and Phrase Usage: The program should recognize common idioms and phrases and suggest more idiomatic expressions where appropriate.6. Punctuation Correction: Proper punctuation is crucial for clear communication. The software should correct any punctuation errors or suggest improvements.7. Paragraph Structuring: It should provide guidance on how to structure paragraphs effectively, ensuring each one has a clear topic sentence and supporting details.8. Thesaurus Integration: For those looking to vary their word choice, the software should have a builtin thesaurus to find synonyms and related terms.9. Readability Score: Providing a readability score can help users understand the complexity of their writing and make adjustments to meet their target audiences comprehension level.10. Customizable Feedback: Users should be able to customize the type of feedback they receive, focusing on areas they feel need the most improvement.11. Example Sentences: The software could provide example sentences to illustrate how to correct or improve a particular sentence structure or choice of words.12. Interactive Learning: Incorporating interactive elements where users can practicesentence refinement in a simulated environment can be beneficial for learning.13. Export Options: Users should be able to export their refined essays in various formats for further use or review.14. UserFriendly Interface: The software should be easy to navigate, with a clean and intuitive interface that makes the sentence refinement process straightforward.15. Regular Updates: Language evolves, and so should the software. Regular updates to the database and algorithms will ensure the software remains effective and relevant.By incorporating these features, a sentence refinement software can significantly assist students preparing for the postgraduate entrance English exam, helping them to produce highquality, polished essays.。
有关style英语作文
有关style英语作文Of course, let's discuss writing an English composition on the topic of "style". 。
Style in writing is a multifaceted concept that encompasses various elements such as tone, vocabulary, sentence structure, and overall presentation. It's the unique way in which a writer expresses their thoughts and ideas, distinguishing their work from others. Crafting a distinct style is essential for effective communication and engaging readers.Firstly, let's delve into the importance of style in writing. A well-developed style not only enhances readability but also reflects the author's personality and voice. It sets the tone for the piece, whether it's formal, informal, persuasive, or descriptive. For instance, an academic essay demands a formal tone with precise language, while a personal narrative may benefit from a more conversational style to connect with the audience on anemotional level.Moreover, style contributes to the clarity and coherence of writing. A cohesive style ensures that ideas flow seamlessly from one paragraph to another, guiding readers through the narrative or argument effortlessly. This cohesiveness can be achieved through consistent use of transitions, parallel structure, and thematic coherence.Furthermore, style allows writers to evoke specific emotions and create vivid imagery in the minds of readers. Through carefully chosen words and descriptive language, writers can paint a picture, evoke empathy, or provoke thought. Consider the difference between "The tree was old" and "The ancient oak stood stoically, its gnarled branches reaching skyward like outstretched arms embracing the heavens." The latter not only provides a visual image but also conveys a sense of reverence and awe.However, developing a unique style requires practice and experimentation. Writers must be willing to explore different techniques, such as varying sentence lengths,playing with rhythm and cadence, and experimenting with figurative language. By studying the works of renowned authors across genres, writers can glean insights into various stylistic approaches and adapt them to their own writing.Additionally, it's essential to tailor style to the intended audience and purpose of the writing. For example, a marketing copy aimed at millennials may incorporate slang and pop culture references to resonate with the target demographic, whereas a legal document demands precision and clarity to avoid ambiguity.In conclusion, style plays a crucial role in shaping the effectiveness and impact of writing. It not only reflects the author's voice and personality but also enhances readability, clarity, and emotional resonance. By honing their stylistic skills and adapting them todifferent contexts, writers can captivate audiences and convey their message with clarity and conviction.。
language style英英解释
language style英英解释Language Style - English DefinitionLanguage style refers to the manner in which words and phrases are used to communicate information or express ideas. It plays a significant role in written and spoken communication, as it determines the tone, clarity, and formality of the message conveyed.In English, there are various language styles that can be employed, depending on the context and purpose of communication. Some common language styles are:1. Formal Style: This style is characterized by the use of professional and refined language, often seen in academic papers, business reports, or formal speeches. It avoids slang, colloquialisms, and contractions, and aims for precision and clarity in communication. For example, "In accordance with the regulations, this report presents a comprehensive analysis of the financial performance."2. Informal Style: This style is more casual and relaxed, commonly used in conversations among friends, social media posts, or personal emails. It embraces slang, colloquialisms, and contractions to create a friendly and familiar tone. For example, "Hey, wanna grab some pizza later? It'll be awesome!"3. Technical Style: This style is specific to a particular field or industry and incorporates technical jargon and terminology. It is often found in scientific papers, medical reports, or technical manuals. It is crucial for ensuring precision and accuracy within a specialized domain. For example, "The procedure involves calibrating the equipment using the specified parameters to obtain accurate measurements."4. Persuasive Style: This style aims to influence or persuade the audience towards a particular viewpoint or action. It employs rhetorical devices, emotional appeals, and strong language to build a compelling argument. It can be seen in advertising, political speeches, or opinion articles. For example, "Join us today and transform your life with our revolutionary product that guarantees instant success!"5. Literary Style: This style is present in literary works and focuses on the artistry of language. It often incorporates figurative language, vivid descriptions, and unique narrative techniques to create an aesthetic experience for the reader. It can be found in novels, poems, or short stories. For example, "The sun dipped below the horizon, casting hues of crimson and gold across the tranquil sea, as the protagonist embarked on a journey of self-discovery."In summary, language style refers to the specific manner in which words and phrases are used to convey ideas or information. Whether formal, informal, technical, persuasive, or literary, each style serves a distinct purpose and targets different audiences. It is important to adapt the language style appropriately to ensure effective communication in various contexts.。
服饰搭配艺术的英语
服饰搭配艺术的英语English:The art of fashion pairing involves a delicate balance of colors, patterns, textures, and styles to create harmonious and visually appealing ensembles. It's about understanding the principles of design and knowing how to mix and match different elements to achieve a desired look. This involves considering factors such as the occasion, personal style, body type, and current trends. A well-coordinated outfit not only enhances one's appearance but also communicates a message about one's personality and taste. Fashion pairing is a form of self-expression, allowing individuals to showcase their creativity and individuality through their clothing choices. It's a dynamic process that requires experimentation, confidence, and a keen eye for detail. Moreover, mastering the art of fashion pairing involves understanding the cultural and historical significance of certain garments and accessories, as well as staying informed about the latest developments in the fashion industry. Ultimately, it's about finding a balance between innovation and tradition, expressing oneself while also respecting the conventions of style and etiquette.中文翻译:服饰搭配艺术涉及一种细腻的平衡,即颜色、图案、质地和风格,以创建和谐、视觉上吸引人的装束。
构成时尚的要素 英语作文
构成时尚的要素英语作文英文回答:Fashion is a complex and ever-changing concept that is influenced by a variety of elements. In my opinion, there are several key components that make up fashion.First and foremost, I believe that individual style plays a crucial role in fashion. Each person has their own unique taste and preferences when it comes to clothing and accessories. Some people prefer a more classic and timeless look, while others may opt for bold and avant-garde pieces. Ultimately, it is this personal style that sets individuals apart and contributes to the overall diversity in fashion.Another important element of fashion is trends. Trends are constantly evolving and can be influenced by a variety of factors such as popular culture, social media, and even the runway shows of top designers. Keeping up with the latest trends can be a fun and exciting way to experimentwith new styles and looks.Additionally, I believe that creativity is a key component of fashion. Fashion designers and stylists are constantly pushing the boundaries and coming up with innovative and unique designs. Whether it's experimenting with new fabrics, silhouettes, or color combinations, creativity is what keeps fashion fresh and exciting.Lastly, I think that confidence plays a significant role in fashion. No matter how stylish or trendy your outfit may be, if you don't wear it with confidence, it will never truly look good. Confidence is the key to pulling off any look, whether it's a casual jeans and t-shirt ensemble or a glamorous evening gown.Overall, I believe that fashion is a combination of individual style, trends, creativity, and confidence. By embracing these elements, we can express ourselves through our clothing and create our own unique fashion identity.中文回答:时尚是一个复杂且不断变化的概念,受到各种因素的影响。
中西服装差异英文
One, patternChinese Traditional Costume main form is the former open-Dajin and Duijin style. Opening clothing originated in China, formed in the era of the Yellow emperor. Chinese clothing are two basic shapes, namely the coat and dress in order out, two shapes in China's history of several thousand years the use of the cross, compatible and harbour. Woman wearing a T-shirt xiachang style more, men wear one-piece gown.Western costume in the style of an evolution, ancient Greek clothing is draped wrapping type, ancient Rome to the middle ages, the style of the clothing to Phi wrap type non forming garment and open in the front half forming categories of clothing. In fourth Century, South Germanic peoples, Germanic limbs separated body type clothing gradually infiltrated into European garment basic pattern, begin from thirteenth Century up to now, body type clothing gradually occupied the main body status, its basic form is a man 's coat pants, one-piece dress.Two, shape featuresChinese traditional costumes stress vertical shape, since the beginning of the collar location natural droop, no exaggeration shoulder, common ground lines, handle the long-sleeve, tube dress gowns, vertical decorative such practices, dress is slender body, especially the limbs stretching. Many Asian countries have similar characteristics clothing.The Qing Dynasty clothing is comparatively more mast, cuffs, hem have outward expansion trend. However, the Chinese women that tall flag bun inches high and the flower shoes, and the vertical dress to foot, so that the Manchu women is slender in history.The slender appearance clothing is for people in the East is relatively short stature of make up, the sensory visual perception, in proportion to achieve perfect, harmonious. Natural slender dress makes men appear delicate, so that women appear slim. At the same time, smooth appearance clothing and Chinese facial soft contour lines.Western classical costumes stress horizontal shape feeling, often using horizontal expansion of the contour of the shoulder, a collar, round shaped collar, expansion of the sleeve type, huge panniers, overlapping lace and flowers and pulp yarn feeding and various parts of the lining, so that clothing lines have exaggerated and the effects of external radiotherapy.Western clothing and appearance characteristics Westerners passionate temperament, obviously undulating contours of the face and than Asians tall body suit.Three, structure characteristicsFrom the perspective of structure, Chinese clothing using Chinese traditional planar linear cutting method, both gowns, sweater, jacket, a short jacket, usually only the sleeve seam and side swinging a structure of connected lines, with no shoulder and sleeve part, the whole clothes can be tiled on the ground, simple structure stretch.Western clothing using the method of three-dimensional cutting, as the draping methods of human polyhedron is at least tetrahedron, human treated carefully from top to bottom, front to back every aspect of relations with theconvex-concave downs, pleated and wearing dart processing techniques, and the final three-dimensional human coincide with the three-dimensional effect of clothing.In four, local structural featuresFrom the local characteristics of clothing, Chinese clothing oblique collar, to open V collar, upright collar, hem, on both sides of a Qing Dynasty arrow Robe Type around four slits, as well as clothes double-breasted, collar, lapel, a Pipa lapel, are Oriental local details, is often the designer as a manifestation of Chinese clothing taste processing technique, in which Chinese collar and skirts on both sides of a more typical.American Apparel 's collar and round shaped collar ( like fan around the neck ) is used widely, round shaped collar successive pleat is fabric sizing ironing after forming, sometimes with a fine metal wire support. Garment modeling to be fond of using filler pad or support, such as the shoulder pad, pad, pad cuff, chest pad buttocks, panniers. As a result of Western-style clothing is not even the sleeve but batwing, so the shoulder design diversity. Sleeve style many changes, such as a leg cuff, bishop sleeve.Five, colorFrom the color of clothing, in ancient times, black is Chinese ancestors is thought to dominate the universe of God color, summer, business week, when Emperor Mianfu black. Later, along with feudal authoritarian development, people to worship God ( black ) to the earth ( yellow ) worship, so forming a "Huang Weigui " in the traditional sense. Yellow become the king 's special color, represents the ruler Supreme status.Color by wearing the traditional five elements of yin and Yang, green, red, black, white, yellow colored themselves. Green, red, black, white, yellow is regarded as normal, the remaining colors for color, color in most dynasties as classy society dedicated, said noble. In the folk, is divided into people's clothing matching love and the pursuit of color.From the color matching method, Gao Yandu, a strong contrast is the traditional Chinese color matching method. Strong contrast color in gold, silver, black, and white color neutral buffer with the clothing, filled with a magnificent, rich and generous atmosphere.Chinese traditional folk on the blue love, such as the blue calico, indigo dyeing and wax. Blue and yellow color matching, easy harmony, can produce soft color contrast effect.。
构成时尚的要素 英语作文
构成时尚的要素英语作文英文回答:Elements of Style.Fashion is a form of self-expression and creativity that encompasses a wide range of elements. These elements combine to create a unique and personal style thatотражает personality, mood, and lifestyle of the individual.Silhouette:The silhouette is the overall shape and outline of a garment or outfit. It can be structured, fluid, or asymmetrical, and it can create a variety of impressions, from elegant to casual.Color:Color is a powerful element of fashion that can conveya range of emotions and associations. From bold primariesto muted pastels, the colors chosen in an outfit can create a striking visual impact and communicate a message.Fabric:The fabric used in a garment affects its texture, drape, and overall appearance. From luxurious silks to cozy knits, the choice of fabric can enhance the silhouette and createa distinct aesthetic.Pattern:Patterns add visual interest and complexity to anoutfit. From stripes to florals, patterns can create a playful or sophisticated mood, depending on the design and scale.Texture:Texture is the tactile quality of a fabric or garment.From smooth satins to rough tweeds, texture can create a sense of luxury, warmth, or edginess.Accessories:Accessories, such as jewelry, scarves, and handbags, can complement an outfit and add a personal touch. They can provide a pop of color, texture, or pattern, and they can enhance the overall style and mood.Context:The context in which an outfit is worn also plays arole in shaping its style. Whether it's a formal event, a casual gathering, or a day at work, the occasion will influence the appropriateness of certain elements.Balance:Balance is achieved when the elements of an outfit work together harmoniously. This can be accomplished through the use of contrasting colors, textures, or patterns, or bycreating a visually appealing silhouette.Personal Style:Ultimately, fashion is a personal expression. It allows individuals to express their individuality, creativity, and mood through the choices they make about what to wear.中文回答:时尚的要素。
欧美风格注意事项英文
欧美风格注意事项英文Tips for a European and American style:1. Mix and match styles: European and American styles often combine different influences and time periods. Experiment with blending traditional and modern elements to create a unique look.2. Focus on quality: European and American styles value craftsmanship and high-quality materials. Invest in well-made furniture and decor pieces that will stand the test of time.3. Embrace neutral colors: Neutral color palettes are common in European and American interiors. Use shades of white, beige, gray, and brown as a base and add pops of color with accessories and artwork.4. Incorporate vintage pieces: Antique and vintage items can add character to your space and give it a sense of history. Mix them in with more modern elements to create a curated look.5. Use natural materials: European and American styles often take inspiration from nature. Incorporate natural materials like wood, stone, and leather to create a warm and inviting atmosphere.6. Pay attention to details: Small details can make a big difference in European and American style. Choose decorative accents like moldings, trimmings, and textured fabrics to add visual interest to your space.7. Create a cozy atmosphere: European and American interiors often focus on creating a cozy and inviting atmosphere. Use soft lighting, plush textiles, and comfortable seating to make your space feel warm and welcoming.8. Display personal items: European and American styles often showcase personal items and collections. Display family photographs, travel souvenirs, and other meaningful objects to inject personality into your space.9. Prioritize functionality: European and American styles value practicality and functionality. Choose furniture and storage solutions that are both stylish and useful.10. Pay attention to proportions: European and American styles often prioritize balance and symmetry. Ensure that the scale and proportionsof your furniture and decor items harmonize with each other and the space.。
Style-conscious quadratic field classifier
Style-conscious quadraticfield classifierSriharsha Veeramachaneni,Hiromichi Fujisawa,Cheng-Lin Liu and George Nagy Rensselaer Polytechnic Institute,Troy,NY,USAHitachi Central Research Laboratory,Tokyo,JapanE-mail:veeras@Abstract1When patterns occur in the form of groups generated by the same source,distinctions between sources can be ex-ploited to improve accuracy.We present a method for ex-ploiting such‘style’consistency using a quadratic discrim-inant.We show that under reasonable assumptions on the feature and class distributions,the estimation of style pa-rameters is simple and accurate.1.IntroductionIt is well known that an optical character recognition sys-tem which is tailored to a certain font(machine print)or personalized to a particular writer(handwriting)has higher accuracy on input drawn from the particular font or writer than one which is trained on multiple fonts or multiple writ-ers.Confusions between classes across fonts or writers cause this increase in error rate.If,during classification, the identity of the font or the writer is known,a mixed font/writer classifier can perform font/writer-specific clas-sification leading to higher accuracy.However,this infor-mation is often unknown and difficult to determine during operation time.Nevertheless,if the input patterns appear in the form of isogenousfields,that is,a group of multiple patterns(hence-forth called singlets)belonging to the same font or gener-ated by the same writer,classification accuracy can be im-proved.This dependence or correlation between features of co-occurring patterns is called style context.Style context can exist independently of linguistic context(dependence between class labels of co-occuring patterns)and hence can be exploited concurrently.Methods to utilize linguistic con-text to improve word recognition accuracy have been well studied[12][9].Many multi-source recognition methods at-tempt to improve accuracy by extracting features that are invariant to source-specific peculiarities such as size,slant, 1Submitted to ICPR’02skew,etc.[13].Bazzi et al.observe that due to the assumption that successive observations are statistically independent,HMM methods have higher error rate for infrequent styles[1]. They propose modifying the mixture of styles in the training data to overcome this effect.Cha and Srihari propose a dichotomizer that classifies a pair of documents into the categories‘same author’or‘dif-ferent author’[2].This is irrespective of the classes that appear on the documents,which is converse to our prob-lem where it is known that co-occurring patterns are from the same writer and the problem is to identify the class irre-spective of the writer.Nagy suggests that even in the absence of any linguis-tic context,spatial context,i.e.,the stationary nature of typeset,typeface and shape deformations over a long se-quence of symbols can be used to improve classification accuracy[9].Sarkar models styles by multi-modal distri-butions with two layers of hidden mixtures corresponding to styles and variants[11].The mixing parameters are es-timated using the EM algorithm.Although under the as-sumptions made,this approach is optimal,the complex EM estimation stage is prone to small-sample errors.Under es-sentially the same assumptions as ours,Kawatani attempts to utilize style consistency by identifying‘unnaturalness’in input patterns based on other patterns by the same writer [5].This is done byfinding the distance to other patterns classified into the same class or correlations with patterns classified into different classes.Our method combines the above heuristic criteria into one classification decision us-ing all the information available.Koshinaka et al.model style context as the dependence between subcategory labels of adjacent symbols[7].In many OCR applications quadratic discriminant meth-ods provide a robust yet versatile means for classification. In order to reduce the effect of small-sample estimation of covariance matrices on accuracy,various methods to smooth the estimates,such as the Modified Quadratic Dis-criminant Function[6]and Rectified Discriminant Function [10],have been proposed.2.Mathematical formulationConsider the problem of classifying an isogenousfield(each represents feature mea-surements for one of patterns in thefield)generated by one of sources(writers,fonts,etc.).Letbe the set of singlet-class labels.Let represent the identity of the pattern of thefield.We make the following assumptions on the class and fea-ture distributions.1..That is, any linguistic context is source independent.2..The features of each pat-tern in thefield are class-conditionally independent of the features of every other in the samefield.Under the above assumptions,we will show that for any function,we have for,.This result will be useful while deriving the formulae for thefield-class-conditional means and covari-ance matrices.(1)2.1.Expressions for means and covariancesUnder the assumption offield-class-conditionally nor-mally distributed features we can use a quadratic discrim-inant function forfield classification.We will now derive the formulae forfield-class-conditional means and covari-ance matrices.For now we set.Let be afield-class label.The mean vector for thefield class is given by(2)Thus thefield-class-conditional mean vector can be constructed by concatenating the component singlet-class-conditional mean vectors.Let us compute thefield-class-conditional covariance matrix for the class which we will denote by.(3)whereThus,can be written as a block matrix where the diagonal blocks are just the class-conditional singlet covari-ance matrices.Also,note that the above derivations can begeneralized to longerfields to yieldfield-class-conditional means and covariance matrices that can be constructedfrom the singlet-class-conditional means and from the blocks and the blocks (since).For example,thefield-feature mean and covariance matrix for class are given by;Hence the computation offield-class-conditional covari-ance matrices for longfields is no more complicated than for.2.2.Estimation of the covariance matricesAs mentioned previously the matrices are the class-conditional singlet covariance matrices.We have,from Equation1(4)Hence,the singlet covariance matrices can be computed from the weighted sum of the source-conditional‘power’matrices,and the singlet class means.In general,the accurate estimation of the off-diagonal matrices requires a large number offield-samples for eachfield-class.We will show that under assumptions made at the begin-ning of Section2the computation of the cross covariance matrices is simplified.We have(5)Thus,the cross covariance matrices can be computed from the source-specific singlet-class means() as follows.(6)Hence the estimates of the cross covariance matrices are believed to be accurate.2.3.ClassificationHaving obtained the estimates for thefield-class-specific means and covariance matrices,we can classify the input fields using a straightforward quadratic classifier.If all thefield classes are a priori equally likely, the quadratic discriminant function(QDF)forfield-class is given by(7)Thefield feature vector is assigned the class label which yields the minimum discriminant value.We will now show that when the off-diagonal blocks in thefield-class covariance matrices are zero matrices,i.e.,,the quadraticfield classifier is equivalent to the quadratic singlet classifier.Such a scenario results from the presence of only one source,or when the source-specific class means are same for all classes.(8)This implies that thefield-class that minimizes is the one formed by the singlet-classes that minimizeand respectively.Hence,any style information used to improve singlet classification is derived from the varia-tion in the class means between sources.This is intuitively appealing since within-source variation does not contribute any style information.We note that the quadraticfield classifier is computation-ally expensive due to the exponential increase in number of classes with and also because the discriminant computa-tion involves larger matrices and vectors.2.4.Covariance matrix smoothingIn the absence of sufficient training samples the estima-tion error of the covariance matrices degrades the accuracy of the QDF classifier.In order to alleviate the adverse effect of small-sample estimation on accuracy Friedman proposed the Regularized Discriminant Function(RDF)[3].In RDF, the covariance matrix of a class is an interpolation of the estimated covariance matrix and the identity matrix,(9) where,and.For thefield-class covariance matrices,RDF was gen-eralized as follows.The singlet-class covariance matrices(the diagonal blocks in thefield-covariance matrices)were modified according to Equa-tion9,and the off-diagonal blocks were modified according to.3.ExperimentsWe used the databases SD3and SD7,which are con-tained in the NIST Special Database SD19[4].The database contains handwritten numeral samples labeled by writer and class.SD3was the training data released for the First Census OCR Systems Conference and SD7was used as the test data.We constructed four datasets,two from each of SD3and SD7,as shown in Table1.Since we compute thefield class-conditional covariance matrices from source-specific class-conditional matrices we require that each writer have at least two samples for each singlet class.We therefore deleted all writers not satisfying this cri-terion from the training sets.Some of testfields are shown in Figure1along with their true class labels and the classi-fication results.Writers Number of samples SD3-Train0-399(395)42698SD7-Train2100-2199(99)11495SD3-Test400-799(399)42821SD7-Test2200-2299(100)11660Table1.Handwritten numeral datasetsWe extracted100blurred directional(chaincode)fea-tures from each sample[8].We then computed the principal components of the SD3-Train+SD7-Train data onto which the features of all samples were projected to obtain100 principal-component features for each sample.The sam-ples of each writer in the test sets were randomly permuted to simulatefields.True label (8,8)Singlet classification result (2,8)Field classification result (8,8)True label (2,3)Singlet classification result (2,5)Field classification result (2,3)True label (1,3)Singlet classification result (6,3)Field classification result (1,3)Figure 1.Some test fields with recognition resultsThe accuracy of the QDF and RDF classifiers was tested on various data sets for all 100and the top 50principal com-ponent (pca)features.The parameter for RDF was set to .The results are presented in Table 2.Test set FeaturesQDFRDFSD3-Test Top 50543528440427(42821)SD7-Test Top 50456448398388(11660)SD3-Test Top 50999976838815+SD7-Test SD3-Test All 100746712396372(42821)SD7-Test All 100551534369352(11660)SD3-Test All 10012971246765724+SD7-TestTable 2.Number of character errors for vari-ous experiments (Training set =SD3-Train +SD7-Train)The field classifier ()consistently outperforms the singlet classifier ().The results indicate that the reg-ularization of the covariance matrices improves accuracy.4.Discussion and future workWe have presented a model of style context in co-occurring patterns using second order correlations.We in-troduced a methodology to exploit such correlations to im-prove classification accuracy.We have demonstrated the ef-ficacy of the scheme on handwritten data.We have alsoshown that our classifier is easy to train and is a natu-ral extension of the widely used quadratic singlet classi-fier.As mentioned earlier,although the extension of the method to longer fields is theoretically possible,computa-tional and storage constraints restrict its application.We are currently studying schemes to extend the pair classifier to longer fields without the need to store or manipulate large field-covariance matrices.References[1]I.Bazzi,R.Schwartz,and J.Makhoul.An omnifont open-vocabulary OCR system for English and Arabic.IEEE Transactions on Pattern Analysis and Machine Intelligence ,PAMI-21(6):495–504,June 1999.[2]S.Cha and S.Srihari.Writer identification:Statistical anal-ysis and dichotomizer.In Proceedings of the International Workshop on Structural and Syntactical Pattern Recogni-tion ,pages 123–132,2000.[3]H.Friedman.Regularized discriminant analysis.Journal ofAmerican Statistical Association ,84(405):166–175,1989.[4]P.Grother.Handprinted forms and character database,NISTspecial database 19,March 1995.Technical Report and CDROM.[5]T.Kawatani.Character recognition performance improve-ment using personal handwriting characteristics.In Pro-ceedings of the Third International Conference on Docu-ment Analysis and Recognition ,volume 1,pages 98–103,1995.[6] F.Kimura,K.Takashina,S.Tsuruoka,and Y .Miyake.Mod-ified quadratic discriminant functions and the application to Chinese character recognition.IEEE Transactions on Pat-tern Analysis and Machine Intelligence ,PAMI-9(1):149–153,January 1987.[7]T.Koshinaka,D.Nishikawa,and K.Yamada.A stochasticmodel for handwritten word recognition using context de-pendency between character patterns.In Proceedings of the Sixth International Conference on Document Analysis and Recognition ,pages 154–158,2001.[8] C.Liu,H.Sako,and H.Fujisawa.Performance evaluation ofpattern classifiers for handwritten character recognition.In-ternational Journal on Document Analysis and Recognition ,in press 2002.[9]G.Nagy.Teaching a computer to read.In Proceedings of theEleventh International Conference on Pattern Recognition ,volume 2,pages 225–229,The Hague,1992.[10]M.Sakai,M.Yoneda,and H.Hase.A new robust quadraticdiscriminant function.In Proceedings of the Fourteenth In-ternational Conference on Pattern Recognition ,volume 1,pages 99–102,1998.[11]P.Sarkar and G.Nagy.Style consistency in isogenous pat-terns.In Proceedings of the Sixth International Conference on Document Analysis and Recognition ,pages 1169–1174,2001.[12]R.Shingal and G.Toussaint.Experiments in text recognitionwith the modified Viterbi algorithm.IEEE Transactions on Pattern Analysis and Machine Intelligence ,1(2):164–172,April 1979.[13]M.Shridhar and F.Kimura.Character recognition perfor-mance improvement using personal handwriting character-istics.In IEEE International Conference on Systems,Man and Cybernetics,volume3,pages2341–2346,1995.。
15 非文学翻译理念及工具
桌面电子词典 巴比伦 灵格斯翻译家 有道桌面词典 柯林斯电子词典
以平行文本弥补专业知识和语言能力 的不足
什么是平行文本 与原文内容相关(“平行”)的译入语参考资料 狭义:专题性文章,百科全书中的词条,词典中德 解释和例句 广义:与原文内容相似的译出语资料 平行文本的获得 平行文本的用途 获取专业知识 学习专业术语 借鉴表达方法 模仿写作风格
控制长度,多用小词(Keep it short and simple) in view of the fact that as… with respect to on… a certain number of some… the majority of… most…
以电子工具提高翻译质量和速度
电子工具的特点 检索方便 内容无限 更新及时 便于摘录 电子工具对翻译的意义
网站介绍 Google 1. 把中英文放在一起搜索 For instance, the “impossibility theorem”, according to which collective social welfare functions cannot be determined, is directed towards the destruction of this type of illusion. Distributive justice, however, can also be illusory because the perception we have of it does not mirror reality adequately.
其他资源 The Elements of Style (by William Strunk, Jr.) Style: Lessons in Clarity and Grace (Joseph Williams) Economist Style Guide (Economist) BBC News Style Guide How to Write Reports in Plain English (Plain English Campaign)
打扮方式英语作文
打扮方式英语作文Title: Dressing Styles: Expressing Identity and Personality。
Dressing style plays a significant role in how individuals present themselves to the world. It serves as a form of self-expression, reflecting one's identity, personality, and even cultural background. In this essay, we will delve into the importance of dressing styles and how they influence perceptions and interactions.First and foremost, dressing style is a powerful tool for self-expression. The clothes we choose to wear convey messages about who we are and what we value. For example, someone who prefers tailored suits and formal attire may be perceived as professional and serious, while another person who favors colorful and eclectic clothing might be seen as creative and outgoing. Each choice reflects a facet ofone's personality, allowing individuals to showcase their uniqueness and individuality.Moreover, dressing style can also serve as a form of cultural expression. Different cultures have distinct fashion norms and traditions that reflect their history, values, and societal norms. For instance, traditionalattire such as the kimono in Japan or the saree in Indianot only reflects cultural heritage but also symbolizes a sense of pride and identity. By embracing cultural clothing, individuals can celebrate their roots and heritage,fostering a sense of belonging and connection to their community.Furthermore, dressing style influences how others perceive and interact with us. Whether consciously or subconsciously, people form judgments based on appearance, including clothing choices. A well-dressed individual maybe perceived as confident, competent, and trustworthy, whereas someone with unkempt attire might be judged as careless or unprofessional. These initial impressions can significantly impact social interactions, influencing how others approach and engage with us.Additionally, dressing style can affect one's mood and confidence levels. Studies have shown that wearing clothes that make us feel good can boost self-esteem and enhance mood. Whether it's a favorite outfit that makes us feel stylish and empowered or dressing up for a special occasion, our clothing choices can positively impact our mindset and demeanor. Conversely, wearing uncomfortable or ill-fitting clothing can have the opposite effect, causing discomfort and self-consciousness.In today's diverse and rapidly changing world, there is no one-size-fits-all approach to dressing style. Instead,it is essential to embrace individuality and authenticityin one's fashion choices. Whether one prefers classic elegance, trendy streetwear, or bohemian chic, the key isto dress in a way that feels true to oneself. By doing so, individuals can exude confidence and authenticity, making a lasting impression on others while staying true to their personal style.In conclusion, dressing style is more than just putting on clothes; it is a form of self-expression, culturalidentity, and social communication. By carefully choosing our clothing, we can convey messages about our personality, heritage, and values. Moreover, dressing in a way that makes us feel good can positively impact our confidence and mood. Ultimately, embracing diversity and authenticity in dressing style allows individuals to showcase their uniqueness and make a memorable impression on the world.。
古典.欧式.文案
古典.欧式.文案1.摒弃了简约的呆板和单调,也没有古典的风格中的繁琐和严肃,让人感觉庄重与恬静,适度的装饰家居空间不乏活波的气息。
Abandoned the contracted inflexible and drab, also does not have theclassical style in the complicated and serious, solemn feeling lettinga personAnd quiet, modest decorative household space thering is nolack of live wave of the breath.2.古典风格具有轻盈、典雅的造型特点,热情、奔放、豪爽的气质,更显得大方气度。
Classical style is lightsome, elegant modelling characteristic, enthusiastic,bold and unrestrained, generous temperament, more generous tolerance.3.将古典风格的繁重雕塑感简化处理,以较为现代的样貌呈现出来,除古典风格直接联想的白色外,还结合了丰富的素材与色彩,在视觉上更有耳目一新的感觉。
To simplify the classical style of heavy sculpture processing, in orderto show a more modern appearance, in addition to the classical styleLenovo's white directly, but also combines the rich material and color,more refreshing feeling on the vision.4.追求高品位生活的消费者对家居的要求,不仅强调个性化,更关注它给居家生活带来的整体艺术性。
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Style-consistency in isogenous patternsPrateek Sarkar George NagyXerox Palo Alto Research Center Rensselaer Polytechnic Institute Palo Alto,CA94304,U.S.A Troy NY12180,U.S.A.psarkar@ nagy@AbstractIn many applications of pattern recognition,patterns ap-pear in groups(fields)that have a common origin.For ex-ample,a printed word is afield of character patterns printed in the same font.A common origin induces consistency of style among features measured on patterns.In the presence of multiple styles,the features of co-occurring patterns are statistically dependent through the underlying style.Mod-eling such dependence among constituent patterns of afield increases classification accuracy.Effects of style consis-tency on the distributions offield-features(concatenation of pattern features)are modeled by hierarchical mixtures. Eachfield derives from a mixture of styles,while within a field a pattern derives from a class-style conditional mixture of Gaussians.An optimal(least error)style-conscious clas-sifier processes entirefields of patterns rendered in a consis-tent but unknown style,based on the model.In a laboratory experiment style-conscious classification reduced errors on fields of printed digits by nearly25%over singlet classi-fiers.Longerfields favor our classification method,because they furnish more information about the underlying style.Keywords:Style,style consistency,style-conscious classification,isogenous patterns,field classification, mixture models1IntroductionApplications of pattern recognition often require the classification of groups of patterns having a common origin (isogenous patterns).For example,the character(bitmap) patterns in the image of a printed word are isogenous.They represent the same font,and are acquired by the same mech-anism(print quality,degradation,scanner parameters).We use the termfield to refer to such a group of isogenous pat-terns.Patterns exhibit traits of their origin,thereby inducing styles.Thus there are different styles of printed character patterns(Figure1),handwritten characters(owing to writ-ers,and writing and digitizing devices),and speech pat-terns(speaker,recording environment,recording device). Though patterns may be produced in a multitude of styles, patterns in afield exhibit consistency of style because they are isogenous.Such consistency induces statistical depen-dence between feature-measurements on different patterns in afield.Modeling inter-pattern feature dependence can improve classification of patterns[Sar00].We present a probabilistic model for style consistency in afield and demonstrate how the model can be used for improving classification accuracy.We explain the style-consistency model in Section2.We discuss style con-scious classification,and estimation of the model in Sec-tions3and4.In Section5we describe laboratory experi-ments on classification of printed numerals.2Probabilistic model of style consistencyLet=represent feature-measurementson patterns in afield.The concatenation of pattern-feature vectors()is called thefield-feature vector().Let represent the identity(pattern-class)of the th pat-tern of thefield.Thefield-class,=,is the con-catenation ofpattern-classes.denotes thefield-class conditionalfield-feature probability.In the presence of multiple styles,style-consistency in afield induces statistical dependence among different pat-terns in afield.In singlet models such inter-pattern-feature dependence is not modeled,and thefield-class conditional field-feature probability can be expressed as aproduct:(1)(a)Handwriting styles due towriters(b)Printing styles (typeface,typesize)(c)Styles due to printing,scanning mechanismFigure 1.Fields of handwritten and printed characters in different stylesThe final simplification in (1)is based on the assumption that the thpattern-feature,,depends on the class of the th pattern but is independent of all the other pattern-classes.This assumption is violated,for instance,by ligatures in handwriting and print (the shape of “i”is different in “six”and “fix”),and co-articulation in speech.In speech recog-nition,context trees model feature densities in the context of the field-class [Jel97].We shall adopt this simplifica-tion,although it is not central to the discussion of style-consistency,and may be avoided by more complex style-consistency models.In the presence of styles,the pattern-class conditional pattern-feature probability is a mixture density induced by different styles of patterns.Forstyles,where is the probability of occurrence ofstyle .The field-class conditional field-feature density is (substituting above in(1))While the above formula accounts for the presence of styles of patterns,it does not model the consistency of style within a field.Thus different patterns in a field are freeto derive from different styles.The salient feature of our style-consistency model is that although field-features have mixture distributions induced by styles,within a field all patterns come from the samestyle.The assumption is that the style of rendering a field is inde-pendent of the identity of the field being rendered().1Within each style we then apply the simplify-ing assumptions as in the singlet model to obtain our model of style-consistent class-conditional field-feature probabil-ity.(2)Equation (2)forms,for us,the basis of style-consistency modeling,and can be applied to different kinds of distri-butions,discrete or continuous.In our implementation and experiments we have used mixtures of Gaussian distribu-tions.For anystyle ,andpattern-class ,the pattern-featureprobability is a mixturedistribution.(3)where is the number of mixture components(variants)in the distribution forclass,style.classstylevariant is theclass,style,and variant conditional feature densityfunction.denotes one or more parameters of the density func-tion,and are the mixingparameters.In our experiments we use the following models.Style-bound variant(SBV)model:The class and styleconditional distribution is of theform(4)where the number of variants isfixed(for simplicity)for allclasses andstyles,.Thereare variantdistributions per class,each with a different parameterset,,andweight,.Style-shared variant(SSV)model:The class and styleconditional distribution is writtenas(5)where for simplicity.Here the variant dis-tributions(and their parameters)are not dependent on thestyle.However,for each class the same setof variants areweighted differently to obtain the distributionsfor styles.Note that for afixed number of variants the SSV model ismore general than the SBV model,albeit at the cost of moreparameters.Singlet(SNGL)model:Singlet modeling is the same asmodeling with only one style,with the appropriate numberof variants per class.We shall henceforth confine our discussions to SBV andSNGL models only.Please refer to[Sar00]for experimentsand discussions on SSV models.The expanded formulaefor the SBV and SNGL modelsare:SBV(6)SNGL(7)parison of SBV and SNGL mod-elsSBV(,)SNGL()Styleprobabilities3thus equivalent to ML classification of the patterns,one at a time,and juxtaposition of the assigned pattern-classes to obtain afield-class.This is why we call this model the sin-glet model.A maximum likelihood style-conscious classifier is ob-tained by inserting a style-consistency model for thefield-featureprobability.ML,SBV,LO(10)We call the above classifier a label only(LO)or top-labelclassifier since it identifies the top(most probable)label ofthefield.This is to distinguish it from the following sub-optimal approximation which identifies the topfield-labeland style.A suboptimal approximation:For afield oflengththereare competingfield labels for each of which thelikelihood function has to be computed for comparison in(10).Thus the computational cost of classification withlabel-only classifiers grows exponentially with the lengthof thefield.For a longfield,assuming that in(10)the termcorresponding to the true style of thefield will dom-inate the outermost summation over all styles,we can re-place this summation by a maximum.This approximationis,of course,sub-optimal,but leads to a substantial reduc-tion in computation.It is equivalent torunning style-specific pattern-classifiers,and choosing the output of theone that yields maximumfield-feature likelihood(weightedby the a priori styleprobability).We call such a classi-fier a top label-style(LS)classifier,since it picks out the topfield-label andstyle.ML,SBV,LSwhere(11)Note that all maximum likelihoodfield classifiers arealso easily transformed to the respective maximum a pos-teriori(MAP)classifiers since thefield-classprobability,,is provided by a model(such as alinguistic model)that is assumed to be independent of thestyle of rendition of thefield.MAP,field(12)ArialBookman OldStyleTimes NewRomanVerdanaTable 2.Error rates (%)of different classifiers for printed digit dataBest of 6mono-font classifiers34.2Multi-font singlet classifier (6Gaussians per class)16.5Multi-font style conscious classifier (fields of length 4)14.2where is 1if the pixel atcolumn ,row of the digit bitmap is black,and 0otherwise.and are the width and height of the bitmap inpixels.is the centroid of the bitmap,i.e.,.For these experiments,we have tried to keep the gen-eration process for pattern samples (printer,paper quality,scanner parameters)unchanged,so that we can expect that different styles derive only from fonts.For training,14430digit patterns (all fonts and equally represented)were ar-ranged in iso-font fields of length 13.The field-classes cy-cled through the digits (0123456789012,3456789012345,).2500new patterns per font (all classes equally repre-sented)were then randomly permuted and partitioned into iso-font fields oflength to obtain test-samples.Two test-sets were created correspondingto =2and =4.The following classifiers weretrained:6mono-font classifiers :Singlet classifiers with 1Gaussian variant per digit-class were trained for each font,from font-labeled digit samples.[10variants perclassifier].Multi-font singlet classifier (1Gaussian per class):[10variants].Multi-font singlet classifier (6Gaussians per class):A singlet classifier with 6variants per class,allowing for the possibility of a separate variant for each font:[variants].Multi-font style conscious classifier :A 6-style SBV classifier with 1Gaussian per class-style,obtained by style-unsupervised training (EM algorithm [Sar00]):[variants].Note that while the variant distributions in a model account for most of the parameters,the last two classi-fiers have exactly the same number of parameters (includ-ing style-probabilities and mixing parameters –see Ta-ble 1).Thus it is fair to compare the classification accuracy of the two classifiers to demonstrate the benefit of style-consistency modeling.Table 2lists the percentage of test-patterns misclassified by each classifier.Each of the six mono-font singlet classi-fiers was applied separately to the entire test set,and the best of them was in error on 43.5%of the samples.The multi-font singlet classifier with the same number of variants,but trained on all fonts,generalizes better and has an error rate of 34.2%.On allowing six variants per class to model the six styles,a singlet classifier can perform much bet-ter (19.8%)indicating the multi-modal nature of the class-conditional distributions.However,font-specific classifiers perform even better on the average (14.2%).This benchmark for style-conscious classification was obtained by applying,to each test field,the specific mono-font classifier corresponding to the font-label of the field.In practice,however,the style-label of a field is not available to the classifier.Our style-consistent top-label (LO)classifier lowers the error rates from the sin-glet rate (19.8%)towards the benchmark (14.2%).When classifying fields of length two and four,the error rates are 16.5%and 14.9%respectively.Longer fields favor style-conscious classification because more patterns can furnish more information about the style of the field.6Discussion and conclusionWe have presented the motivation,a terminology,and a mathematical formulation for style-consistency modeling.Consistency of style is represented in our hierarchical mix-ture model for the field-class conditional field-feature prob-ability;each field of patterns is rendered in a single style,and within a field each pattern-feature is generated inde-pendently according to a class-and-style conditional distri-bution.The parameters of the model can be estimated from fields of iso-style patterns even if they are not labeled by style.It has been known for long in pattern recognition com-munities that style-specific classifiers yield higher classifi-cation accuracy than multi-style classifiers.Methods have been presented to identify fonts of documents [ZI98],and to classify handwriting styles based on global characteris-tics [BVSE97].Tenenbaum and Freeman suggest a method for factorizing patterns into style and content [TF97].We do not attempt to identify features that describe styles,but concentrate on the effect of styles on field-feature probabil-ity distributions.A suboptimal style model is presented in [BSM99].Others have demonstrated methods and foundations for adapting classifiers to sufficiently long fields of characters [NJ66,BN94,XN99,Cas86,Bre01].The advantage of adaptation lies in the potential ability to generalize to a pre-viously unseen style.The strength of our method lies in unsupervised training to a large number of styles and po-tential application to possibly short style-consistent fields such as hand-written entries in forms,or speech-segmentsin directory assistance calls.Optimal style conscious classification is exponential in the length of the field and is impracticable for long fields.The sub-optimal approximation is howeveronly times as expensive as singlet classification,where is the num-ber of styles in the model.The above comments on time-complexity apply only to the number of comparisons for the respective maximization steps.Feature-measurement for each pattern,and computation of variant conditional prob-ability density functions induce identical computational overheads for style-conscious and singlet classifiers that have the same number of variants.In our experiments on machine-printed digit classifica-tion,style-consistency modeling reduces classification er-rors by nearly 25%.While error rates presented here do not represent the state of the art in digit recognition (we use only simple features -the first four central moments,and our Gaussian variants admit only diagonal covariance ma-trices),our experiments do demonstrate the benefit of style-consistency modeling to pattern classification,and home-grown data allow us to compute and compare the perfor-mance of other “comparable”models.In other experiments conducted on hand-written digit patterns,relative improvement due to style-consistency modeling held up at lower error rates (errors reduced from 5.5%to 4.6%)[Sar00].Our mathematical framework ap-plies readily to continuous and discrete valued features,where variants are represented by probability density func-tions and probability mass functions respectively.Style-consistency modeling may also be useful in other applica-tions such as compression.Acknowledgment.We thank Dr.H.Fujisawa and his group,at the Hitachi Central Research Laboratories,Japan,for suggesting and supporting this project.This work has been conducted in the New York State Center for Automation Technologies (CAT),which is partially supported by a block grant from the New York State Science and Technology Foundation.References[BN94]H.S.Baird and G.Nagy.A self-correcting 100-font classifier.In L.Vincent and T.Pavlidis,editors,Doc-ument Recognition,Proceedings of the SPIE ,volume 2181,pages 106–115,1994.[Bre01]T.Breuel.Modeling the sample distribution for clus-tering OCR.In Document Retrieval VIII,Proceedings of SPIE ,volume 4307,2001.[BSM99]I.Bazzi,R.Schwartz,and J.Makhoul.An omnifontopen-vocabulary OCR system for English and Arabic.IEEE Transactions on Pattern Analysis and Machine Intelligence ,PAMI-21(6):495–504,June 1999.[BVSE97]V .Bouletreau,N.Vincent,R.Sabourin,and H.Emp-toz.Synthetic parameters for handwriting classifica-tion.In Proceedings of the Fourth International Con-ference on Document Analysis and Recognition ,vol-ume 1,pages 102–106,Ulm,Germany,1997.[Cas86]R.G.Casey.Text OCR by solving a cryptogram.In Proceedings of the Eighth ICPR ,pages 349–351,Paris,1986.IEEE Computer Society Press.[Jel97] F.Jelinek.Statistical methods in speech recognition .The MIT Press,Cambridge,MA,1997.[NJ66]G.Nagy and G.L.Shelton Jr.Self-corrective charac-ter recognition system.IEEE Transactions on Infor-mation Theory ,IT-12(2):215–222,April 1966.[Sar00]P.Sarkar.Style consistency in pattern fields .PhD the-sis,Rensselaer Polytechnic Institute,Troy,NY ,USA,2000.[SN00]P.Sarkar and G.Nagy.Classification of style-constrained pattern-fields.In Proceedings of the fif-teenth ICPR ,pages 859–862,Barcelona,2000.IEEE Computer Society Press.[TF97]J.B.Tenenbaum and W.T.Freeman.Separating style and content.In M.C.Mozer,M.I.Jordan,and T.Petsche,editors,Advances in Neural Information Processing Systems 9.Morgan Kaufmann,San Mateo,CA,1997.[XN99]Y .Xu and G.Nagy.Prototype extraction and adap-tive OCR.IEEE Transactions on PAMI ,21(12):1280–1296,1999.[ZI98]A.Zramdini and R.Ingold.Optical Font Recognition using typograpgical features.IEEE Transactions on PAMI ,20(8),August 1998.。