A hybrid system for patent translation

This work presents a HMT system for patent translation. The system exploits the high coverage of SMT and the high precision of an RBMT system based on GF to deal with specific issues of the language. The translator is specifically developed to translate patents and it is evaluated in the English-French language pair. Although the number of issues tackled by the grammar are not extremely numerous yet, both manual and automatic evaluations consistently show their preference for the hybrid system in front of the two individual translators.Peer ReviewedPostprint (published version

A formal framework for specification-based embedded real-time system engineering

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Aeronautics and Astronautics, 2008.Includes bibliographical references (v. 2, p. 517-545).The increasing size and complexity of modern software-intensive systems present novel challenges when engineering high-integrity artifacts within aggressive budgetary constraints. Among these challenges, ensuring confidence in the engineered system, through validation and verification activities, represents the high cost item on many projects. The expensive nature of engineering high-integrity systems using traditional approaches can be partly attributed to the lack of analysis facilities during the early phases of the lifecycle, causing the validation and verification activities to begin too late in the engineering lifecycle. Other challenges include the management of complexity, opportunities for reuse without compromising confidence, and the ability to trace system features across lifecycle phases. The use of models as a specification mechanism provides an approach to mitigate complexity through abstraction. Furthermore, if the specification approach has formal underpinnings, the use of models can be leveraged to automate engineering activities such as formal analysis and test case generation. The research presented in this thesis proposes an engineering framework which addresses the high cost of validation and verification activities through specification-based system engineering. More specifically, the framework provides an integrated approach to embedded real-time system engineering which incorporates specification, simulation, formal verification, and test-case generation. The framework aggregates the state-of-the-art in individual software engineering disciplines to provide an end-to-end approach to embedded real-time system engineering. The key aspects of the framework include: * A novel specification language, the Timed Abstract State Machine (TASM) language, which extends the theory of Abstract State Machines (ASM).(cont.) The TASM language is a literate formal specification language which can be applied and multiple levels of abstraction and which can express the three key aspects of embedded real-time systems - function, time, and resources. * Automated verification capabilities achieved through the integration of mature analysis engines, namely the UPPAAL tool suite and the SAT4J SAT solver. The verification capabilities provided by the framework include completeness and consistency verification, model checking, execution time analysis, and resource consumption analysis. * Bi-directional traceability of model features across levels of abstraction and lifecycle phases. Traceability is achieved syntactically through archetypical refinement types; each refinement type provides correctness criteria, which, if met, guarantee semantic integrity through the refinement. * Automated test case generation capabilities for unit testing, integration testing, and regression testing. Unit test cases are generated to achieve TASM specification coverage through the rule coverage criterion. Integration test case generation is achieved through the hierarchical composition of unit test cases. Regression test case generation is achieved by leveraging the bi-directional traceability of model features. The framework is implemented into an integrated tool suite, the TASM toolset, which incorporates the UPPAAL tool suite and the SAT4J SAT solver. The toolset and framework are evaluated through experimentation on three industrial case studies - an automated manufacturing system, a "drive-by-wire" system used at a major automotive manufacturer, and a scripting environment used on the International Space Station.by Martin Ouimet.Ph.D

Programmiersprachen und Rechenkonzepte

Seit 1984 veranstaltet die GI-Fachgruppe "Programmiersprachen und Rechenkonzepte" regelmäßig im Frühjahr einen Workshop im Physikzentrum Bad Honnef. Das Treffen dient in erster Linie dem gegenseitigen Kennenlernen, dem Erfahrungsaustausch, der Diskussion und der Vertiefung gegenseitiger Kontakte. In diesem Forum werden Vorträge und Demonstrationen sowohl bereits abgeschlossener als auch noch laufender Arbeiten vorgestellt, unter anderem (aber nicht ausschließlich) zu Themen wie - Sprachen, Sprachparadigmen, - Korrektheit von Entwurf und Implementierung, -Werkzeuge, -Software-/Hardware-Architekturen, -Spezifikation, Entwurf, - Validierung, Verifikation, - Implementierung, Integration, - Sicherheit (Safety und Security), - eingebettete Systeme, - hardware-nahe Programmierung. In diesem Technischen Bericht sind einige der präsentierten Arbeiten zusammen gestellt

Un environnement générique et ouvert pour le traitement des expressions polylexicales

The treatment of multiword expressions (MWEs), like take off, bus stop and big deal, is a challenge for NLP applications. This kind of linguistic construction is not only arbitrary but also much more frequent than one would initially guess. This thesis investigates the behaviour of MWEs across different languages, domains and construction types, proposing and evaluating an integrated methodological framework for their acquisition. There have been many theoretical proposals to define, characterise and classify MWEs. We adopt generic definition stating that MWEs are word combinations which must be treated as a unit at some level of linguistic processing. They present a variable degree of institutionalisation, arbitrariness, heterogeneity and limited syntactic and semantic variability. There has been much research on automatic MWE acquisition in the recent decades, and the state of the art covers a large number of techniques and languages. Other tasks involving MWEs, namely disambiguation, interpretation, representation and applications, have received less emphasis in the field. The first main contribution of this thesis is the proposal of an original methodological framework for automatic MWE acquisition from monolingual corpora. This framework is generic, language independent, integrated and contains a freely available implementation, the mwetoolkit. It is composed of independent modules which may themselves use multiple techniques to solve a specific sub-task in MWE acquisition. The evaluation of MWE acquisition is modelled using four independent axes. We underline that the evaluation results depend on parameters of the acquisition context, e.g., nature and size of corpora, language and type of MWE, analysis depth, and existing resources. The second main contribution of this thesis is the application-oriented evaluation of our methodology proposal in two applications: computer-assisted lexicography and statistical machine translation. For the former, we evaluate the usefulness of automatic MWE acquisition with the mwetoolkit for creating three lexicons: Greek nominal expressions, Portuguese complex predicates and Portuguese sentiment expressions. For the latter, we test several integration strategies in order to improve the treatment given to English phrasal verbs when translated by a standard statistical MT system into Portuguese. Both applications can benefit from automatic MWE acquisition, as the expressions acquired automatically from corpora can both speed up and improve the quality of the results. The promising results of previous and ongoing experiments encourage further investigation about the optimal way to integrate MWE treatment into other applications. Thus, we conclude the thesis with an overview of the past, ongoing and future work

Sunken II Chords and Inwardness: A Correspondence Complex in Robert Schumann’s \u3ci\u3eLiederjahr\u3c/i\u3e Songs

This dissertation advances a new approach to text-music relationships with a view to identifying and exploring a specific, recurring text-music relationship in Schuman’s Liederjahr songs. Chapter 1 proposes to update and restructure the taxonomy of possible text-music relationships. I argue that there are four categories of text-music relationships: two conjunctions, viz., correspondences and Widersprüche; and two disjunctions, viz., Gleichgültigkeiten and Eigenständigkeiten. I am principally interested in exploring how structures and tonal archetypes native to Schenkerian theory may function as musical metaphors for themes, ideas, and imagery in the text; a survey of extant literature reveals that Schenkerian analysts typically assert such correspondences using the linguistic formulations of metaphor (some variation on “M in the music IS T in the text”) or analogy (some variation on “m1 IS TO m2 in the music AS t1 IS TO t2 in the text”). A novel feature of my approach is that text-music relationships are formally expressed using a special symbolic notation. Symbolic definitions often collapse the distinction between metaphorical and analogical prose definitions, allowing analysts to compare seemingly disparate relationships on a level playing field. In response to Agawu’s criticism that musico-poetic analyses of Lieder are usually ad hoc and one-off (1999), I argue for the possibility of families of recurring text-music relationships, which I call text-music complexes (we may further distinguish between correspondence and Widerspruch complexes). Text-music complexes are archetypes for how some element in the text is mapped onto some element in the music for the creation of musico-poetic meaning in song; text-music relationships are their individual instantiations. As text-music relationships are to individual songs, text-music complexes are to sets of songs whose membership is circumscribed in some predetermined manner (e.g., the songs in a collection or cycle, songs by a specific composer, songs written during a specific historical era, etc.). Chapter 2 investigates the hermeneutical implications of passages where major V is followed, and prolonged, by minor II. The seeming breach of tonal syntax creates a perceived ebb in the tonal flow and gives the impression that V has somehow turned inward. By analogy to origami, I call this family of V prolongations a dominant sink fold; the Oberquintteiler here is called a sunken II chord. Because of their special voice-leading properties and inward affect, sunken IIs possess unique potential for creating text-music correspondences. The central claim of this dissertation is for the existence of a correspondence complex in Schumann’s Liederjahr songs that is bound up with a sense of inwardness. This correspondence complex (ℂ) takes sunken II as its musical element (), and any form of involution in the semantic dimension of the text as its textual element (); in symbolic notation, it is formally defined by the expression ℂInwardness = Sunken II ⚭ Inwardness. As evidence for an inwardness correspondence complex, Chapters 3–5 present analyses of three Schumann Lieder in which a sunken II in the music is meaningfully coordinated with some form of inward turn, introspection, or heightened subjectivity in the text. The three songs are “Der Nussbaum” (op. 25, no. 3), “Ich hab’ in mich gesogen” (op. 37, no. 5), and “Berg’ und Burgen schau’n herunter” (op. 24, no. 7)

Desire and the drives: a new analytical approach to the harmonic language of Alexander Skryabin

The aims of this project are two-fold. Firstly, it aims to correlate the erotically charged philosophy of Alexander Skryabin with the progressive harmonic structures of his music. Secondly it proposes a new harmonic theory which is designed to offer a deeper understanding of the ways in which music can represent and embody the mechanisms of the human 'drive'. This involves unravelling the numerous strands of thought - both esoteric and mainstream ― that constructed Skryabin's idiosyncratic and highly eccentric world-view. To understand fully tills complex body of ideas it appeals to 20(^th) century psychoanalysis in the Freudian tradition. This vital link connects Skryabin's interest in psychology and philosophy to his compositional procedures whilst showing that certain of Freud's ideas were crystallised in writings on desire from the 1960ร which also brought the various contradictions betrayed in Skryabin's writings into the spotlight. In some cases, Skryabin's music itself offers safe paths out of his philosophical quagmire, where the formal propositions of his writings fail. Whilst the harmonic theory proposed is deeply rooted in the philosophy that Skryabin himself studied, it is equally grown from a correspondence between current trends of analytical thought in music and analytical trends that have been predominant in Russia. Whilst the first chapter outlays the philosophical basis of my theory, the following three chapters explore the intricacies of my analytical system in purely musical terms to present a line of inquiry termed drive analysis. The remaining three chapters pick up the philosophical thread and slowly draw my various strands together in a concluding analysis of Skryabin's Poem of Ecstasy

Theory and Applications for Advanced Text Mining

Due to the growth of computer technologies and web technologies, we can easily collect and store large amounts of text data. We can believe that the data include useful knowledge. Text mining techniques have been studied aggressively in order to extract the knowledge from the data since late 1990s. Even if many important techniques have been developed, the text mining research field continues to expand for the needs arising from various application fields. This book is composed of 9 chapters introducing advanced text mining techniques. They are various techniques from relation extraction to under or less resourced language. I believe that this book will give new knowledge in the text mining field and help many readers open their new research fields

Hearing the Tonality in Microtonality

In the late 1970s and 1980s, composer-pianist Easley Blackwood wrote a series of microtonal compositions exploring the tonal and modal behavior of a dozen non–twelve-tone equal temperaments, ranging from 13 to 24 tones per octave. This dissertation investigates a central paradox of Blackwood’s microtonal music: that despite being full of intervals most Western listeners have never heard before, it still seems to “make sense” in nontrivial ways. Much of this has to do with the music’s idiosyncratic approach to tonality, which I define as a regime of culturally conditioned expectations that guides one’s attentional processing of music’s gravitational qualities over time. More specifically, Blackwood configures each tuning’s unfamiliar elements in ways that correspond to certain schematic expectations Western listeners tend to have about how tonal music “works.” This is why it is still possible to hear the forest of tonality in this music, so to speak, despite the odd-sounding trees that comprise it. Because of its paradoxical blend of expectational conformance and expectational noncompliance, Blackwood’s microtonal music makes for a useful tool to snap most Western-enculturated listeners out of their ingrained modes of musical processing and reveal certain things about tonality that are often taken for granted. Accordingly, just as Blackwood writes conventional-sounding music in unconventional tunings, this dissertation rethinks several familiar music-theoretic terms and concepts through the defamiliarizing lens of microtonality. I use Blackwood’s microtonal music as a prism to shine a light on traditional theories of tonality, scale degrees, consonance and dissonance, and harmonic function, arguing that many of these theories rely on assumptions that are tacitly tied to twelve-tone equal temperament and common-practice major/minor music. By unhooking these terms and concepts from any one specific tuning or historical period, I build up a set of analytical tools that can allow one to engage more productively with the many modalities of tonality typically heard on a daily basis today. This dissertation proceeds in six chapters. The four interior chapters each center on one of the terms and concepts mentioned above: scale degrees (Chapter 2), consonance and dissonance (Chapter 3), harmonic function (Chapter 4), and tonality (Chapter 5). In Chapter 2, I propose a system for labeling scale degrees that can provide more nuance and flexibility when reckoning with music in any diatonic mode (and in any tuning). In Chapter 3, I advance an account of consonance and dissonance as expectational phenomena (rather than purely psychoacoustic ones), and I consider the ways that non-pitched elements such as meter and notation can act as “consonating” and/or “dissonating” forces. In Chapter 4, I characterize harmonic function as arising from the interaction of generic scalar position and metrical position, and I devise a system for labeling harmonic functions that is better attuned to affective differences across the diatonic modes. In Chapter 5, I synthesize these building blocks into a conception of fuzzy heptatonic diatonic tonality that links together not only all of Blackwood’s microtonal compositions but also more familiar musics that use a twelve-tone octave, from Euroclassical to popular styles. The outer chapters are less explicitly music-analytical in focus. Chapter 1 introduces readers to Blackwood’s compositional approach and notational system, considers the question of his intended audience, and discusses the ways that enculturation mediates the cognition of microtonality (and of unfamiliar music more generally). Chapter 6 draws upon archival documents to paint a more detailed picture of who Blackwood was as a person and how his idiosyncratic worldview colors his approach to composition, scholarship, and interpersonal interaction. While my nominal focus in these six chapters is Blackwood’s microtonal music, the repertorial purview of my project is far broader. One of my guiding claims throughout is that attending more closely to the paradoxes and contradictions of Blackwood’s microtonality can help one better understand the musics they are accustomed to hearing. For this reason, I frequently compare moments in Blackwood’s microtonal music to ones in more familiar styles to highlight unexpected analogies and point up common concerns. Sharing space with Blackwood in the pages that follow are Anita Baker, Ornette Coleman, Claude Debussy, and Richard Rodgers, among others—not to mention music from Curb Your Enthusiasm, Fortnite, Sesame Street, and Star Wars. Ultimately, this project is a testament to the value of stepping outside of one’s musical comfort zone. For not only can this reveal certain things about that comfort zone that would not be apparent otherwise, but it can also help one think with greater nuance, precision, and (self-)awareness when “stepping back in” to reflect upon the music they know and love