Editor for this issue: Karen Milligan <karen
linguistlist.org>
>From this review it would seem that professor Sproat goes quickly from the most direct and obvious patterns of orthography to their computationally relevant import and processing. This raises a few questions: Are there many instances, other than in Hollywood 'Indian' movies and 'coming of age' facetiae, of messages which are written in a spiral and other patterns? These would not have a great impact on text to speech work but there is an extreme case scenario for the final outcome of any text to speech representation: How would you describe the text to a blind person--or one at a distance who receives only your verbal or written summation of the text being processed. A more common and relevant model is to be found in short message forms such as greeting cards, ad copy, short films, news broadcasts, weather charts and graffiti. How should text to speech work deal with positional, timing, font, size, texture and colour issues to which might be added accompanying sound, physical movements, gestures as well as aromatic components (Scratch and Sniff)? Efforts to get at some of these complications go back to Egypt but have modern examples in the Bauhaus, the Beat, and in Banner Ad applications. Perhaps a form of Markup Language, such as SMGL, is the answer, but the *Borgensian approach could be the Victor. >From the Committee on Insightful Humour, Mark L. Chamberlin, M.Ed., M.L.S. Masters Candidate in Uralic Languages Tartu University, Estonia malichiiMail to author|Respond to list|Read more issues|LINGUIST home page|Top of issuemail.com *For an example of his "Phonetic Pronunciation System" http://www.geocities.com/Vienna/1864/b-mus-1.htm http://www.geocities.com/Vienna/1864/puncsyst.ram