DEEP CONVOLUTIONAL NEURAL NETWORK USING A NEW DATASET FOR BERBER LANGUAGE

Currently, Handwritten Character Recognition (HCR) technology has become an interesting and immensely useful technology. It has been explored with highperformance in many languages. However, a few HCR systems are proposed for the Amazigh (Berber) language. Furthermore, the validation of any Amazighhandwritten recognition system remains a major challenge due to no availability of a robust Amazigh database. To address this problem, we first created two new datasets for Tifinagh and Amazigh Latin characters, by extending the well-known EMNIST database with the Amazigh alphabet. And then, we have proposed a handwritten character recognition system, which is based on a deep convolutional neural network to validate the created datasets. The proposed CNN has been trained and tested on our created datasets, and the experimental tests show that it achieves satisfactory results in terms of accuracy and recognition efficiency

The Archaeology of Fazzan, Volume 1

This book seeks to advance knowledge of human settlement and adaptation in the world's largest desert, the sahara. Previous studies focussed on the prehistoric phases but this study takes a wider historical and geographical perspective. It sets out to combine the results of several field campaigns, their histories and methodologies. We look at fieldwork, fortifications, funerary structures, irrigation, rock art and human occupation. The final summary looks at the current state of research and offers a platform for future investigations

Sawt, Bodies, Species. Sonic Pluralism in Morocco.

In Sawt, Bodies, Species, Gilles Aubry offers an account on sound and listening in Morocco across a wide domain of activities, including musical and artistic expression, sound archives, urban planning, building techniques, seismology, healing practices, industrial extractivism, and ecology. Sawt in Arabic literally means sound and voice. Sound in Morocco thus intimately relates to the body; it never quite corresponds with its modern Western counterpart as a phenomenon separable from the other senses. Sonic pluralism recapitulates Aubry's attempts to think sound and aurality together with modernity and (de-)coloniality. The transformative power of sonic pluralism is expressed in people's acts of listen- ing and sounding, aimed at questioning and shifting social conventions. On the level of ecology, sonic pluralism reveals extra-human agencies that mediate between people and their environment. Drawing on critical Sound Studies, ethnographic research, and artistic practice, Aubry's dense descriptions are complemented by audiovisual essays created in collaboration with local musicians, artists, and scientists

Tonal placement in Tashlhiyt: How an intonation system accommodates to adverse phonological environments

In most languages, words contain vowels, elements of high intensity with rich harmonic structure, enabling the  perceptual retrieval of pitch. By contrast, in Tashlhiyt, a Berber language, words can be composed entirely of voiceless segments. When an utterance consists of such words, the phonetic opportunity for the execution of intonational pitch movements is exceptionally limited. This book explores in a series of production and perception experiments how these typologically rare phonotactic patterns interact with intonational aspects of linguistic structure. It turns out that Tashlhiyt allows for a tremendously flexible placement of tonal events. Observed intonational structures can be conceived of as different solutions to a functional dilemma: The requirement to realise meaningful pitch movements in certain positions and the extent to which segments lend themselves to a clear manifestation of these pitch movements

Tonal placement in Tashlhiyt: How an intonation system accommodates to adverse phonological environments

In most languages, words contain vowels, elements of high intensity with rich harmonic structure, enabling the  perceptual retrieval of pitch. By contrast, in Tashlhiyt, a Berber language, words can be composed entirely of voiceless segments. When an utterance consists of such words, the phonetic opportunity for the execution of intonational pitch movements is exceptionally limited. This book explores in a series of production and perception experiments how these typologically rare phonotactic patterns interact with intonational aspects of linguistic structure. It turns out that Tashlhiyt allows for a tremendously flexible placement of tonal events. Observed intonational structures can be conceived of as different solutions to a functional dilemma: The requirement to realise meaningful pitch movements in certain positions and the extent to which segments lend themselves to a clear manifestation of these pitch movements

Tonal placement in Tashlhiyt: How an intonation system accommodates to adverse phonological environments

In most languages, words contain vowels, elements of high intensity with rich harmonic structure, enabling the  perceptual retrieval of pitch. By contrast, in Tashlhiyt, a Berber language, words can be composed entirely of voiceless segments. When an utterance consists of such words, the phonetic opportunity for the execution of intonational pitch movements is exceptionally limited. This book explores in a series of production and perception experiments how these typologically rare phonotactic patterns interact with intonational aspects of linguistic structure. It turns out that Tashlhiyt allows for a tremendously flexible placement of tonal events. Observed intonational structures can be conceived of as different solutions to a functional dilemma: The requirement to realise meaningful pitch movements in certain positions and the extent to which segments lend themselves to a clear manifestation of these pitch movements

Tonal placement in Tashlhiyt

In most languages, words contain vowels, elements of high intensity with rich harmonic structure, enabling the perceptual retrieval of pitch. By contrast, in Tashlhiyt, a Berber language, words can be composed entirely of voiceless segments. When an utterance consists of such words, the phonetic opportunity for the execution of intonational pitch movements is exceptionally limited. This book explores in a series of production and perception experiments how these typologically rare phonotactic patterns interact with intonational aspects of linguistic structure. It turns out that Tashlhiyt allows for a tremendously flexible placement of tonal events. Observed intonational structures can be conceived of as different solutions to a functional dilemma: The requirement to realise meaningful pitch movements in certain positions and the extent to which segments lend themselves to a clear manifestation of these pitch movements

The Nature of Writing – A Theory of Grapholinguistics [book cover]

Cover illustration: Purgatory: Canto VII – The Rule of the Mountain from A Typographic Dante (2008) by Barrie Tullett (also displayed in Barrie Tullett, Typewriter Art: A Modern Anthology, London: Laurence King Publishing, 2014, p. 167). With kind permission by Barrie Tullett. The text is taken from Dante. The Divine Comedy, translated by Dorothy L. Sayers, Harmondsworth­Middlesex: The Penguin Classics, 1949. On the lower part of the illustration, one can read the concluding verses of the Canto: But now the poet was going on before; “Forward!” said he; “look how the sun doth stand Meridian­high, while on the Western shore Night sets her foot upon Morocco’s strand.