Simulating speech with a physics-based facial muscle model
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Chapter oneIntroduction一、定义1.语言学LinguisticsLinguistics is generally defined as the scientific study of language.2.普通语言学General LinguisticsThe study of language as a whole is often called General linguistics.3.语言languageLanguage is a system of arbitrary vocal symbols used for human communication. 语言是人类用来交际的任意性的有声符号体系。
4.识别特征Design FeaturesIt refers to the defining properties of human language that distinguish it from any animal system of communication. 语言识别特征是指人类语言区别与其他任何动物的交际体系的限定性特征。
Arbitrariness 任意性Productivity 多产性(创造性)Duality 双重性Displacement 移位性Cultural transmission 文化传递5.语言能力Competence (抽象)Competence is the ideal user’s knowledge of the rules of his language.6.语言运用performance (具体)Performance is the actual realization of this knowledge in linguistic communication. 语言运用是所掌握的规则在语言交际中的具体体现。
7.历时语言学Diachronic linguisticsThe study of language change through time. A diachronic study of language is a historical study, which studies the historical development of language over a period of time.8.共时语言学Synchronical linguisticsThe study of a given language at a given time.9.语言langue (抽象)The abstract linguistic system shared by all members of a speech community.10.言语parole (具体)The realization of langue in actual use.11.规定性PrescriptiveIt aims to lay down rules for correct behavior, to tell people what they should say and what should not say.12.描述性DescriptiveA linguistic study describes and analyzes the language people actually use.二、知识点1. L anguage is not an isolated phenomenon, it’s a social activity carried out in a certain social environment by human beings.语言不是一种孤立的现象,而是人类在一定的社会环境下进行的一种社会活动。
胡壮麟《语言学教程》(修订版)测试题(1-12章,含答案)胡壮麟《语言学教程》(修订版)测试题(1-12章,含答案)胡壮麟《语言学教程》(修订版)测试题Chapter 1 Introductions to LinguisticsI. Choose the best answer. (20%)1. Language is a system of arbitrary vocal symbols used for human__________A. contactB. communicationC. relationD. community2. Which of the following words is entirely arbitrary?A. treeB. typewriterC. crashD. bang3. The function of the sentence “Water boils at 100 degrees Centigrade.” is__________.A. interrogativeB. directiveC. informativeD. performative4. In Chinese when someone breaks a bowl or a plate the host or the people present are likely to say“碎碎(岁岁)平安”as a means of controlling the forces which they believes feel might affect their lives. Which functions does it perform?A. InterpersonalB. EmotiveC. PerformativeD. Recreational5. Which of the following property of language enables language users to overcome the barriers caused by time and place, due to this feature of language, speakers of a language are free to talk about anything in any situation?A. TransferabilityB. DualityC. DisplacementD. Arbitrariness6. Study the following dialogue. What function does it play according to the functions of language?—A nice day, isn’t it?— Right! I really enjoy the sunlight.A. EmotiveB. PhaticC. PerformativeD. Interpersonal7. __________ refers to the actual realization of the ideal language user’s knowledge of the rules of his language in utterances.A. PerformanceB. CompetenceC. LangueD. Parole8. When a dog is barking, you assume it is barking for something or at someone that exists hear and now. It couldn’t be sorrowful for some lost love or lost bone. This indicates the design feature of __________.A. cultural transmissionB. productivityC. displacementD. duality9. __________ answers such questions as how we as infants acquire our first language.A. PsycholinguisticsB.Anthropological linguisticsC. SociolinguisticsD. Applied linguistics10. __________ deals with language application to other fields, particularly education.A. Linguistic theoryB. Practical linguisticsC. Applied linguisticsD. Comparative linguisticsII. Decide whether the following statements are true or false. (10%)11. Language is a means of verbal communication. Therefore, the communication way used by the deaf-mute is not language.12. Language change is universal, ongoing and arbitrary.13. Speaking is the quickest and most efficient way of the human communication systems.14. Language is written because writing is the primary medium for all languages.15. We were all born with the ability to acquire language, which means the details of any language system can be genetically transmitted.16. Only human beings are able to communicate.17. F. de Saussure, who made the distinction between langueand parole in the early 20th century, was a French linguist.18. A study of the features of the English used in Shakespeare’s time is an example of the diachronic study of language.19. Speech and writing came into being at much the same time in human history.20. All the languages in the world today have both spoken and written forms. III. Fill in the blanks. (10%)21. Language, broadly speaking, is a means of __________ communication.22. In any language words can be used in new ways to mean new things and can be combined into innumerable sentences based on limited rules. This feature is usually termed __________.23. Language has many functions. We can use language to talk about itself. This function is __________.24. Theory that primitive man made involuntary vocal noises while performing heavy work has been called the __________ theory.25. Linguistics is the __________ study of language.26. Modern linguistics is __________ in the sense that the linguist tries to discover what language is rather than lay down some rules for people to observe.27. One general principle of linguistic analysis is the primacy of __________ over writing.28. The description of a language as it changes through time is a __________ study.29. Saussure put forward two important concepts. __________ refers to the abstract linguistic system shared by all members ofa speech community.30. Linguistic potential is similar to Saussure’s langue andChomsky’s __________.IV. Explain the following terms, using examples. (20%)31. Design feature32. Displacement33. Competence34. Synchronic linguisticsV. Answer the following questions. (20%)35. Why do people take duality as one of the important design features of human language? Can you tell us what language will be if it has no such design feature? (南开大学,2004)36. Why is it difficult to define language? (北京第二外国语大学,2004)VI. Analyze the following situation. (20%)37. How can a linguist make his analysis scientific? (青岛海洋大学,1999)Key:[In the reference keys, I won’t give examples or further analysis. That seems too much work for me. Therefore, this key is only for reference. In order to answer this kind of question, you need more examples. So you should read the textbook carefully. –icywarmtea]I.1~5 BACCC 6~10 BACACII.11~15 FFTFF 16~20 FFFFFIII.21. verbal 22. productivity / creativity23. metalingual function 24. yo-he-ho25. scientific 26. descriptive27. speech 28. diachronic linguistic29. langue 30. competenceIV.31. Design feature: It refers to the defining properties of human language that tell the difference between human language and any system of animal communication.32. Displacement: It means that human languages enable their users to symbolize objects, events and concepts, which are not present (in time and space) at the moment of communication.33. Competence: It is an essential part of performance. It is the speaker’s knowledge of his or her language; that is, of its sound structure, its words, and its grammatical rules. Competence is, in a way, an encyclopedia of language. Moreover, the knowledge involved in competence is generally unconscious.A transformational-generative grammar is a model of competence.34. Synchronic linguistics: It refers to the study of a language at a given point in time. The time studied may be either the present or a particular point in the past; synchronic analyses can also be made of dead languages, such as Latin. Synchronic linguistics is contrasted with diachronic linguistics, the study of a language over a period of time.V.35.Duality makes our language productive. A large number of different units can be formed out of a small number of elements – for instance, tens of thousands of words out of a small set of sounds, around 48 in the case of the English language. And out of the huge number of words, there can be astronomical number of possible sentences and phrases, which in turn can combine toform unlimited number of texts. Most animal communication systems do not have this design feature of human language.If language has no such design feature, then it will be like animal communicational system which will be highly limited. It cannot produce a very large number of sound combinations,e.g. words, which are distinct in meaning.36.It is difficult to define language, as it is such a general term that covers too many things. Thus, definitions for it all have their own special emphasis, and are not totally free from limitations.VI.37.It should be guided by the four principles of science: exhaustiveness, consistency, economy and objectivity and follow the scientific procedure: form hypothesis – collect data – check against the observable facts – come to a conclusion.Chapter 2 Speech SoundsI. Choose the best answer. (20%)Pitch variation is known as __________ when its patterns are imposed on sentences.A. intonationB. toneC. pronunciationD. voice2. Conventionally a __________ is put in slashes (/ /).A. allophoneB. phoneC. phonemeD. morpheme3. An aspirated p, an unaspirated p and an unreleased p are__________ of the p phoneme.A. analoguesB. tagmemesC. morphemesD. allophones4. The opening between the vocal cords is sometimes referred to as__________.A. glottisB. vocal cavityC. pharynxD. uvula5. The diphthongs that are made with a movement of the tongue towards the center are known as __________ diphthongs.A. wideB. closingC. narrowD. centering6. A phoneme is a group of similar sounds called __________.A. minimal pairsB. allomorphsC. phonesD. allophones7. Which branch of phonetics concerns the production of speech sounds?A. Acoustic phoneticsB. Articulatory phoneticsC. Auditory phoneticsD. None of the above8. Which one is different from the others according to placesof articulation?A. [n]B. [m]C. [ b ]D. [p]9. Which vowel is different from the others according to the characteristics of vowels?A. [i:]B. [ u ]C. [e]D. [ i ]10. What kind of sounds can we make when the vocal cords are vibrating?A. VoicelessB. VoicedC. Glottal stopD. ConsonantII. Decide whether the following statements are true or false. (10%)11. Suprasegmental phonology refers to the study of phonological properties of units larger than the segment-phoneme, such as syllable, word and sentence.12. The air stream provided by the lungs has to undergo a number of modification to acquire the quality of a speech sound.13. Two sounds are in free variation when they occur in the same environment and do not contrast, namely, the substitution of one for the other does not produce a different word, but merely a different pronunciation.14. [p] is a voiced bilabial stop.15. Acoustic phonetics is concerned with the perception ofspeech sounds.16. All syllables must have a nucleus but not all syllables contain an onset and a coda.17. When pure vowels or monophthongs are pronounced, no vowel glides take place.18. According to the length or tenseness of the pronunciation, vowels can be divided into tense vs. lax or long vs. short.19. Received Pronunciation is the pronunciation accepted by most people.20. The maximal onset principle states that when there is a choice as to where to place a consonant, it is put into the coda rather than the onset.III. Fill in the blanks. (20%)21. Consonant sounds can be either __________ or __________, while all vowel sounds are __________.22. Consonant sounds can also be made when two organs of speech in the mouth are brought close together so that the air is pushed out between them, causing __________.23. The qualities of vowels depend upon the position of the __________ and the lips.24. One element in the description of vowels is the part of the tongue which is at the highest point in the mouth. A second element is the __________ to which that part of the tongue is raised.25. Consonants differ from vowels in that the latter are produced without __________.26. In phonological analysis the words fail / veil are distinguishable simply because of the two phonemes /f/ - /v/. This is an example for illustrating __________. 27. In English there are a number of __________, which are produced by moving fromone vowel position to another through intervening positions.28. __________ refers to the phenomenon of sounds continually show the influence of their neighbors.29. __________ is the smallest linguistic unit.30. Speech takes place when the organs of speech move to produce patterns of sound. These movements have an effect on the __________ coming from the lungs. IV. Explain the following terms, using examples. (20%)31. Sound assimilation32. Suprasegmental feature33. Complementary distribution34. Distinctive featuresV. Answer the following questions. (20%)35. What is acoustic phonetics?(中国人民大学,2003)36. What are the differences between voiced sounds and voiceless sounds in terms of articulation?(南开大学,2004)VI. Analyze the following situation. (20%)37. Write the symbol that corresponds to each of the following phoneticdescriptions; then give an English word that contains this sound. Example: voiced alveolar stop [d] dog. (青岛海洋大学,1999)(1) voiceless bilabial unaspirated stop(2) low front vowel(3) lateral liquid(4) velar nasal(5) voiced interdental fricative答案I.1~5 ACDAA 6~10 DBABBII.11~15 TTTFF 16~20 TTTFFIII.21. voiced, voiceless, voiced 22. friction23. tongue 24. height25. obstruction 26. minimal pairs27. diphthongs 28. Co-articulation29. Phonemes 30. air streamIV.31. Sound assimilation: Speech sounds seldom occur in isolation. In connected speech, under the influence of their neighbors, are replaced by other sounds. Sometimes two neighboring sounds influence each other and are replaced by a third sound which is different from both original sounds. This process is called sound assimilation.32. Suprasegmental feature: The phonetic features that occur above the level of the segments are called suprasegmental features; these are the phonological properties of such units as the syllable, the word, and the sentence. The main suprasegmental ones includes stress, intonation, and tone.33. Complementary distribution: The different allophones of the same phoneme never occur in the same phonetic context. When two or more allophones of one phoneme never occur in the same linguistic environment they are said to be in complementary distribution.34. Distinctive features: It refers to the features that can distinguish one phoneme from another. If we can group the phonemes into two categories: one with this feature and the other without, this feature is called a distinctive feature.V.35.Acoustic phonetics deals with the transmission of speech sounds through the air. When a speech sound is produced it causes minor air disturbances (sound waves). Various instruments are used to measure the characteristics of these sound waves.36.When the vocal cords are spread apart, the air from the lungs passes between them unimpeded. Sounds produced in this way are described as voiceless; consonants [p, s, t] are produced in this way. But when the vocal cords are drawn together, the air from the lungs repeatedly pushes them apart as it passes through, creating a vibration effect.Sounds produced in this way are described as voiced. [b, z,d] are voiced consonants. VI.37.Omit.Chapter 3 LexiconI. Choose the best answer. (20%)1. Nouns, verbs and adjectives can be classified as __________.A. lexical wordsB. grammatical wordsC. function wordsD. form words2. Morphemes that represent tense, number, gender and case are called __________ morpheme.A. inflectionalB. freeC. boundD. derivational3. There are __________ morphemes in the worddenationalization.A. threeB. fourC. fiveD. six4. In English –ise and –tion are called __________.A. prefixesB. suffixesC. infixesD. stems5. The three subtypes of affixes are: prefix, suffix and __________.A. derivational affixB. inflectional affixC. infixD. back-formation6. __________ is a way in which new words may be formed from already existing words by subtracting an affix which is thought to be part of the old word.A. affixationB. back-formationC. insertionD. addition7. The word TB is formed in the way of __________.A. acronymyB. clippingC. initialismD. blending8. The words like comsat and sitcom are formed by __________.A. blendingB. clippingC. back-formationD. acronymy9. The stem of disagreements is __________.A. agreementB. agreeC. disagreeD. disagreement10. All of them are meaningful except for __________.A. lexemeB. phonemeC. morphemeD. allomorphII. Decide whether the following statements are true or false. (10%)11. Phonetically, the stress of a compound always falls on the first element, while the second element receives secondary stress.12. Fore as in foretell is both a prefix and a bound morpheme.13. Base refers to the part of the word that remains when all inflectional affixes are removed.14. In most cases, prefixes change the meaning of the base whereas suffixes change the word-class of the base.15. Conversion from noun to verb is the most productive process of a word.16. Reduplicative compound is formed by repeating the same morpheme of a word.17. The words whimper, whisper and whistle are formed in the way of onomatopoeia.18. In most cases, the number of syllables of a word corresponds to the number of morphemes.19. Back-formation is a productive way of word-formations.20. Inflection is a particular way of word-formations.III. Fill in the blanks. (20%)21. An __________ is pronounced letter by letter, while an __________ is pronounced as a word.22. Lexicon, in most cases, is synonymous with __________.23. Orthographically, compounds are written in three ways: __________, __________ and __________.24. All words may be said to contain a root __________.25. A small set of conjunctions, prepositions and pronouns belong to __________ class, while the largest part of nouns, verbs, adjectives and adverbs belongs to __________ class.26. __________ is a reverse process of derivation, and therefore is a process of shortening.27. __________ is extremely productive, because English had lost most of its inflectional endings by the end of Middle English period, which facilitated the use of words interchangeably as verbs or nouns, verbs or adjectives, and vice versa.28. Words are divided into simple, compound and derived words on the __________ level.29. A word formed by derivation is called a __________, and a word formed by compounding is called a __________.30. Bound morphemes are classified into two types: __________ and __________.IV. Explain the following terms, using examples. (20%)31. Blending32. Allomorph33. Closed-class word34. Morphological ruleV. Answer the following questions. (20%)35. How many types of morphemes are there in the English language? What are they? (厦门大学,2003)36. What are the main features of the English compounds?VI. Analyze the following situation. (20%)37. Match the terms under COLUMN I with the underlined forms from COLUMN II (武汉大学,2004)I II(1) acronym a. foe(2) free morpheme b. subconscious(3) derivational morpheme c. UNESCO(4) inflectional morpheme d. overwhelmed(5) prefix e. calculation Key:I.1~5 AACBB 6~10 BCADBII.11~15 FTFTT 16~20 FTFFFIII.21. initialism, acronym 22. vocabulary23. solid, hyphenated, open 24. morpheme25. close, open 26. back-formation27. conversion 28. morpheme29. derivative, compound 30. affix, bound rootIV.31. Blending: It is a process of word-formation in which a new word is formed by combining the meanings and sounds of two words, one of which is not in its full form or both of which are not in their full forms, like newscast (news + broadcast), brunch (breakfast + lunch)32. Allomorph: It is any of the variant forms of a morpheme as conditioned by position or adjoining sounds.33. Close-class word: It is a word whose membership is fixed or limited. Pronouns, prepositions, conjunctions, articles, etc. are all closed-class words.34. Morphological rule: It is the rule that governs which affix can be added to what type of base to form a new word, e.g. –ly can be added to a noun to form an adjective. V.Omit.VI.37.(1) c (2) a (3) e (4) d (5) bChapter 4 SyntaxI. Choose the best answer. (20%)1. The sentence structure is ________.A. only linearB. only hierarchicalC. complexD. both linear and hierarchical2. The syntactic rules of any language are ____ in number.A. largeB. smallC. finiteD. infinite3. The ________ rules are the rules that group words and phrases to form grammatical sentences.A. lexicalB. morphologicalC. linguisticD. combinational4. A sentence is considered ____ when it does not conform to the grammati?cal knowledge in the mind of native speakers.A. rightB. wrongC. grammaticalD. ungrammatical5. A __________ in the embedded clause refers to the introductory word that introduces the embedded clause.A. coordinatorB. particleC. prepositionD. subordinator6. Phrase structure rules have ____ properties.A. recursiveB. grammaticalC. socialD. functional7. Phrase structure rules allow us to better understand _____________.A. how words and phrases form sentences.B. what constitutes the grammaticality of strings of wordsC. how people produce and recognize possible sentencesD. all of the above.8. The head of the phrase “the city Rome” is __________.A. the cityB. RomeC. cityD. the city Rome9. The phrase “on the shelf” belongs to __________ construction.A. endocentricB. exocentricC. subordinateD. coordinate10. The sentence “They were wanted to remain quiet and not to expose themselves.”is a __________ sentence.A. simpleB. coordinateC. compoundD. complexII. Decide whether the following statements are true or false. (10%)11. Universally found in the grammars of all human languages, syntactic rules that comprise the system of internalized linguistic knowledge of a language speaker are known as linguistic competence.12. The syntactic rules of any language are finite in number, but there is no limit to the number of sentences native speakers of that language are able to produce and comprehend.13. In a complex sentence, the two clauses hold unequal status, one subordinating the other.14. Constituents that can be substituted for one another without loss of grammaticality belong to the same syntactic category.15. Minor lexical categories are open because these categories are not fixed and new members are allowed for.16. In English syntactic analysis, four phrasal categories are commonly recognized and discussed, namely, noun phrase, verb phrase, infinitive phrase, and auxiliary phrase. 17. In English the subject usually precedes the verb and the direct object usually follows the verb.18. What is actually internalized in the mind of a nativespeaker is a complete list of words and phrases rather than grammatical knowledge.19. A noun phrase must contain a noun, but other elements are optional.20. It is believed that phrase structure rules, with the insertion of the lexicon, generate sentences at the level of D-structure.III. Fill in the blanks. (20%)21. A __________ sentence consists of a single clause which contains a subject and a predicate and stands alone as its own sentence.22. A __________ is a structurally independent unit that usually comprises a number of words to form a complete statement, question or command.23. A __________ may be a noun or a noun phrase in a sentence that usually precedes the predicate.24. The part of a sentence which comprises a finite verb or a verb phrase and which says something about the subject is grammatically called __________.25. A __________ sentence contains two, or more, clauses, one of which is incorporated into the other.26. In the complex sentence, the incorporated or subordinate clause is normally called an __________ clause.27. Major lexical categories are __________ categories in the sense that new words are constantly added.28. __________ condition on case assignment states that a case assignor and a case recipient should stay adjacent to each other.29. __________ are syntactic options of UG that allow general principles to operate in one way or another and contribute to significant linguistic variations between and among naturallanguages.30. The theory of __________ condition explains the fact that noun phrases appear only in subject and object positions.IV. Explain the following terms, using examples. (20%)31. Syntax32. IC analysis33. Hierarchical structure34. Trace theoryV. Answer the following questions. (20%)35. What are endocentric construction and exocentric construction? (武汉大学,2004)36. Distinguish the two possible meanings of “more beautiful flowers” by means of IC analysis. (北京第二外国语大学,2004)VI. Analyze the following situation. (20%)37. Draw a tree diagram according to the PS rules to show the deep structure of the sentence:The student wrote a letter yesterday.Key:I.1~5 DCDDD 6~10 ADDBAII.11~15 TTTTF 16~20 FTFTTIII.21. simple 22. sentence23. subject 24. predicate25. complex 26. embedded27. open 28. Adjacency29. Parameters 30. CaseIV.31. Syntax: Syntax refers to the rules governing the way words are combined to form sentences in a language, or simply, the study of the formation of sentences.32. IC analysis: Immediate constituent analysis, IC analysis for short, refers to the analysis of a sentence in terms of its immediate constituents –word groups (phrases), which are in turn analyzed into the immediate constituents of their own, and the process goes on until the ultimate sake of convenience.33. Hierarchical structure: It is the sentence structure that groups words into structural constituents and shows the syntactic category of each structural constituent, such as NP, VP and PP.34. Trace theory: After the movement of an element in a sentence there will be a trace left in the original position. This is the notion trace in T-G grammar. It’s suggested that if we have the notion trace, all the necessary information for semantic interpretation may come from the surface structure. E.g. The passive Dams are built by beavers. differs from the active Beavers built dams. in implying that all dams are built by beavers. If we add a trace element represented by the letter t after built in the passive as Dams are built t by beavers, then the deep structure information that the word dams was originally the object of built is also captured by the surface structure. Trace theory proves to be not only theoretically significant but also empirically valid.V.35.An endocentric construction is one whose distribution is functionally equivalent, or approaching equivalence, to one of its constituents, which serves as the center, or head, of the whole. A typical example is the three small children with children as itshead. The exocentric construction, opposite to the first type, is defined negatively as a construction whose distribution is not functionally equivalent to any of its constituents. Prepositional phrasal like on the shelf are typical examples of this type.36.(1) more | beautiful flowers(2) more beautiful | flowersChapter 5 Meaning[Mainly taken from lxm1000w’s exercises. – icywarmtea]I. Choose the best answer. (20%)1. The naming theory is advanced by ________.A. PlatoB. BloomfieldC. Geoffrey LeechD. Firth2. “We shall know a word by the company it keeps.”This statement represents _______.A. the conceptualist viewB. contexutalismC. the naming theoryD. behaviorism3. Which of the following is NOT true?A. Sense is concerned with the inherent meaning of the linguistic form.B. Sense is the collection of all the features of the linguistic form.C. Sense is abstract and decontextualized.D. Sense is the aspect of meaning dictionary compilers are not interested in.4. “Can I borrow your bike?”_______ “You have a bike.”。
Speech Enhancement using Wiener filteringS. Chirtmay and M. TahernezhadiDepartment of Electrical EngineeringNorthern Illinois UniversityDeKalb, IL 60115A B S T R A C TThe problem of reducing the disturbing effects of additive white noise on a speech signal is considered when a “noise-reference” is not available. Wiener filtering with all-pole modeling built built upon line spectral pair (LSP) frequencies is considered. The filter parameters have been optimized to achieve the highest reduction of noise. The noise is filtered using an iterative LSP-based estimations of LPC parameters. The speech model filter uses an accurate updated estimate of the current noise power spectral density with the aid of a voice activity decoder.I. INTRODUCTIONThe problem examined here is the enhancement of speech disturbed by additive noise. The basic assumption is that the enhancement system does not have access to any other signal except the corrupted speech itself. The is, no “noise-reference” signal is available, which could allow one to employ classical adaptive noise canceling [l].The objective of obtaining higher quality and/or intelligibility of the noisy speech may have a fundamental impact on applications like speech compression, speech recognition, and speaker verification, by improving the performance of the relevant digital voice processor. The technique considered in this paper is based on the all-pole model of the vocal tract and uses the estimated coefficients to process the noisy speech with a wiener filter. This is a new and improved iterative speech enhancement technique based on spectral constrains. The iterative technique, originally formulated by Lim and Oppenheim [2], attempts to solve for the maximum likelihood estimate of a speech waveform in additive white noise using Linear predictive coding (LPC). Thus the LPC parameters are estimated using the output of the wiener filter.The LPC model of this estimation is in the form of complex numbers in z - plane and the complex numbers cannot be associated for interframe smoothing; so the LPC poles are represented as Line Spectral Pair (LSP). Inter-frame spectral constraints are applied to LSP parameters across time on a fixed- frame basis. These constraints are applied to ensure that vocal tract characteristics do not vary wildly from frame to frame when speech is present. This method allows constraints to be efficiently applied to speech model pole movements across time so that formants lay along smooth tracks. An N- th order LPC model pole positions are equivalently represented by a set of N/2 LSP “position” roots and N/2“difference” roots. The position root (P) and the difference root (Q) represent a lossless models of the vocal tracts with the glottis closed and open, respectively. They lie on the unit circle in the complex z-plane. The lightly formant locations in the signal’s LPC model spectrum are highly correlated with the LSP position roots and the bandwidths of the LPC spectrums at these formants are highly correlated with the LSP difference roots. For a stable LPC model, there is a root at z=- 1 and at z= 1 resepcive!y for Pand Q. P and Q roots alternate around the unit circle. For each iteration to be filtered the LPC pole of the speech estimate is smoothed out around that particular pole in different frames using the LSP equivalent roots. A lower bound on minimum distance of a “difference” root to adjacent “position” root is applied to restrain the sharpness of any LPC model’s formant to be speech like. Here, we have considered one future frame and one past frame for smoothing in a particular iteration. Then the smoothed LSP roots are again converted to the smoothed LPC parameters. The smoothed LPC model power spectrum and the current noise power estimates are used to get the next iteration of the Wiener filter. The output from the previous Weiner filter iteration is used along with the original input data to get less muffled sounding speech estimate, with a tradeoff of slightly increased residual noise in the output.When we input the noisy signal initially to the Wiener filter input we also input the Fast Fourier transform(FFT) of the signal to the Voice Activity Detector (VAD).II. ALGORITHMWe know that over a given frame of speech, say coefficients. The method by Lim and Oppenheim is based on maximum a posteriori (MAP) estimation of the LP coefficients, gain, and noise-free speech. The method is an iterative one in which the LP parameters and speech frame are repeatedly reestimated. It is assumed that all unknown365Voice Activity DetectorThe most critical component of the system is the VAD. A VAD operating in a mobile environment must be able to detect speech in the presence of a range of very diverse types of acoustic background noise. The biggest difficulty in detection of speech is in the presence of very low signal to noise ratio.Thus, a VAD based on the spectral characteristics of the input signal is used in this paper. The block diagram of this VAD is shown in Fig. 1. It incorporates an inverse filter, the coefficients of which are derived during noise LSP S only periods. When speech is present, the noise isattenuated by the filter, leaving onIy speech. The energy of the inverse filter filtered signal is compared to a threshold which is updated only during noise-only periods. This threshold rides above the energy of the noise signal after it has been filtered. If the energy is greater than the threshold,then speech is detected. There are variables which need to be updated only when noise is present, but it is obviously dangerous to use the output of the VAD to decide when to update them, because this output is itself the function of these variables. for this we use a secondary VAD. The secondary VAD detects only noise periods but does not endpoint the speech. The secondary VAD makes it decision based on the fact that if the frames have a similar spectral shape for a long period of time then it is either speech or noise. Therefore, if the distortion between frames is below a fixed threshold for a sufficiently long period of time, it is assumed that noise has been detected, unless a steady pitch component has been detected, in which case the input was probably a vowel sound. Another criteria we have used for this VAD is that if the above VAD detects noise frame in between 6 speech frames or before 3 speech frames or after 3 speech frame then that frame is considered to be unvoiced and is finally considered as speech frame. This is in order to fail-safe whenever it is not possible distinguish between unvoiced and speech.III. SIMULATION RESULTSThe purpose of this computer simulation is to test the performance of the above technique. The first step is to test the performance of VAD (voice activity detector). We need to use VAD to distinguish if current frame is pure noise or noisy speech. For the case SN R is too low , it is really hard to detect the noise frame and unvoiced frame. We use the sentence “Don’t ask me to carry an oily rage like that"with noise to test the performances of the simulation programs. And we also test the simulation results vs.different SNR. For larger SNR ,the processed speech signal gets better quality. Figure 3. shows the output results with input noisy speech for SNR of 10 dB.We have performed speech enhancement for SNR of about 5 dB,but we can see that as the SNR becomes considerably low is it impossible to detect between unvoiced speech and the noise. Hence this algorithm does not work for very low SNR. Also SNR of 5 dB or lower means very low SNR for unvoiced portion of speech. Thus this aspect also needs to be considered for future study. In the table below we have shown input SNR and output SNR for voiced, unvoiced, and noise frame. Thus, we can see that enhancement is about 7-8 dB.3684Fig. 2- Table for speech enhancementFig.3 - Original speech and the enhanced speechREFERENCES1) John H. L. and Mark A. Clements, “ConstrainedIterative Speech Enhancement with Application toAutomatic Speech Recognition”. IEEE, 1988.2) Jae S. Lim and Alan, V. Oppenheim, ” Enhancement andBandwidth Compression of Noisy Speech”. Invited paper,IEEE, 1979.3) John H. L. Hanson and Levent M. Arslan, “ RobustFeature-Estimation and Objective Quality Assessment forNoisy Speech Recognition Using the Credit CardCopus”, IEEE Trans, Speech and Audio Processing, Vol-3.No. 3, May 1995.4) WYNN,Woodson, “Transmitted Noise Reduction incommunications systems”, Patent Cooperation Treaty.3695。
英语作文-虚拟现实技术在游戏行业的应用前景分析The advent of virtual reality (VR) technology has revolutionized various industries, with the gaming sector standing at the forefront of this transformation. VR's immersive nature has opened up new horizons for game development, offering experiences that are more engaging and interactive than ever before.The application of VR in gaming extends beyond mere entertainment. It has the potential to create environments that are not only visually stunning but also capable of simulating real-world physics, allowing players to experience games in a way that is both intuitive and natural. This leap in gaming technology is not just about visual fidelity; it's about creating a sense of presence, where players feel as though they are truly inside the game world.One of the most significant prospects for VR technology in gaming is its ability to enhance storytelling. With VR, narrative can be experienced in a three-dimensional space, giving players the opportunity to live through the story rather than just observe it. This could lead to a new era of 'experiential storytelling,' where the lines between player and protagonist blur, creating a deep emotional connection to the game's narrative.Moreover, VR gaming is not confined to the living room. Location-based VR experiences are emerging, where players can visit dedicated spaces equipped with specialized VR equipment. These venues offer full-body tracking and multiplayer experiences that are not possible with home setups. This opens up a social aspect to VR gaming, where players can interact with each other in a shared virtual space.The educational potential of VR gaming is also noteworthy. By gamifying learning experiences, VR can make education more engaging and effective. Imagine learning history by walking through a virtual recreation of ancient Rome or understanding complex scientific concepts by visualizing them in a three-dimensional space. The possibilities for educational games using VR technology are vast and largely untapped.However, the future of VR in gaming is not without challenges. The high cost of VR hardware and the need for powerful computing resources to run VR applications are significant barriers to widespread adoption. Additionally, there are concerns about the long-term effects of VR on physical health, such as eye strain and motion sickness, which need to be addressed as the technology evolves.In conclusion, the application of VR technology in the gaming industry holds immense promise. It has the potential to redefine gaming as we know it, creating experiences that are more immersive, interactive, and emotionally compelling. As the technology matures and becomes more accessible, we can expect VR to become an integral part of the gaming landscape, offering players new worlds to explore and stories to live. The future of gaming is not just about playing; it's about experiencing, and VR is the key to unlocking that future. 。
Chapter 4 MorphologyWhat is morphology?The total number of words stored in the brain is called the lexicon.Words are the smallest free units of language that unite sounds with meaning.Morphology is defined as the study of the internal structur e and the formation of words.Morphemes and allomorphsThe smallest meaningful unit of language is called a morpheme.A morpheme may be represented by different forms, called allomorphs.“zero” form of a morpheme and suppletivesSome countable n ouns do not change form to express plurality. Similarly, some regular verbs do not change form to indicate past tense. In these two cases, the noun or verb contains two morphemes, among which there is one “zero form” of a morpheme.Some verbs have irreg ular changes when they are in past tense. In this case, the verbs also have two morphemes. Words which are not related in form to indicate grammatical contrast with their roots are called suppletives.Free and bound morphemesSome morphemes constitut e words by themselves. These morphemes are called free morphemes.Other morphemes are never used independently in speech and writing. They are always attached to free morphemes to form new words. These morphemes are called bound morphemes. The distinct i on between a free morphemes and a bound morpheme is whether it can be used independently in speech or writing.Free morphemes are the roots of words, while bound morphemes are the affixes (prefixes and suffixes).Inflexional and derivational morpheme sInflexional morphemes in modern English indicate case and number of nouns, tense and aspect of verbs, and degree of adjectives and adverbs.Derivational morphemes are bound morphemes added to existing forms to construct new words. English affixes a re divided into prefixes and suffixes.Some languages have infixes, bound morphemes which are inserted into other morphemes.The process of putting affixes to existing forms to create new words is called derivation. Words thus formed are called derivatives.Conclusion: classification of morphemesMorphemesFree morphemesBound morphemesInflexionalDerivational: affixesPrefixes: -s, -’s, -er, -est, -ing, -ed, -sSuffixesFormation of new wordsDerivationDerivation forms a wo rd by adding an affix to a free morpheme.Since derivation can apply more than once, it is possible to create a derived word with a number of affixes. For example, if we add affixes to the word friend, we can form befriend, friendly, unfriendly, friendliness, unfriendliness, etc. This process of adding more than one affix to a free morpheme is termed complex derivation.Derivation does not apply freely to any word of a given category. Generally speaking, affixes cannot be added to morphemes of a different language origin.Derivation is also constrained by phonological factors.Some English suffixes also change the word stress.CompoundingCompounding is another common way to form words. It is the combination of free morphemes. The majority of E nglish compounds are the combination of words from the three classes –nouns, verbs and adjectives – and fall into the three classes.In compounds, the rightmost morpheme determines the part of speech of the word.The meaning of compounds is not always the sum of meaning of the components.ConversionConversion is the process putting an existing word of one class into another class.Conversion is usually found in words containing one morpheme.ClippingClipping is a process that shortens a pol y syllabic word by deleting one or more syllables.Clipped words are initially used in spoken English on informal occasions.Some clipped words have become widely accepted, and are used even in formal styles. For example, the words bus (omnibus), vet (veterinarian), gym (gymnasium), fridge (refrigerator) and fax (facsimile) are rarely used in their complete form.BlendingBlending is a process that creates new words by putting together non-morphemic parts of existing words. For example, smog (smoke + frog), brunch (a meal in the middle of morning, replacing both breakfast and lunch), motel (motor + hotel). There is also an interesting word in the textbook for junior middle school students –“plike” (a kind of machine that is like both a plane and a bike).Back-formationBack-formation is the process that creates a new word by dropping a real or supposed suffix. For example, the word televise is back-formed from television. Originally, the word television is formed by putting the prefix tele- (far) to the root vision (viewing). At the same time, there is a suffix –sion in English indicating nouns. Then people consider the –sion in the word television asthat suffix and drop it to form the verb televise.Acronyms and abbreviationsAcronyms and abbrevia tions are formed by putting together the initial letters of all words in a phrase or title.Acronyms can be read as a word and are usually longer than abbreviations, which are read letter by letter.This type of word formation is common in names of org anizations and scientific terminology.EponymsEponyms are words that originate from proper names of individuals or places. For example, the word sandwich is a common noun originating from the fourth Earl of Sandwich, who put his food between two slices of bread so that he could eat while gambling.CoinageCoinage is a process of inventing words not based on existing morphemes.This way of word formation is especially common in cases where industry requires a word for a new product. For example, Kodak and Coca-cola.For more detailed explanation to the ways of word formation, see my notes of Practical English Grammar.转自[英美者]-英语专业网站:/cn/Html/M/Linguistics/86983.html Chapter 3 PhonologyWhat is phonology?Phonology is the study of sound systems and patterns.Phonology and phonetics are two studies different in perspectives, which are concerned with the study of speech sounds.Phonology focuses o n three fundamental questions.What sounds make up the list of sounds that can distinguish meaning in a particular language? What sounds vary in what ways in what context?What sounds can appear together in a sequence in a particular language?Pho nemes and allophonesA phoneme is a distinctive, abstract sound unit with a distinctive feature.The variants of a phoneme are termed allophones.We use allophones to realize phonemes.Discovering phonemesContrastive distribution – phonemesIf sounds appear in the same environment, they are said to be in contrastive distribution.Typical contrastive distribution of sounds is found in minimal pairs and minimal sets.A minimal pair consists of two words that differ by only one sound in the same position.Minimal sets are more than two words that are distinguished by one segment in the same position.The overwhelming majority of the consonants and vowels represented by the English phonetic alphabet are in contrastive distribution.Some sounds can hardly be found in contrastive distribution in English. However, these sounds are distinctive in terms of phonetic features. Therefore, they are separate phonemes.Complementary distribution – allophonesSounds that are not found in the sam e position are said to be in complementary distribution.If segments are in complementary distribution and share a number of features, they are allophones of the same phoneme.Free variationIf segments appear in the same position but the mutual subs titution does not result in change of meaning, they are said to be in free variation.Distinctive and non-distinctive featuresFeatures that distinguish meaning are called distinctive features, and features do not, non-distinctive features.Distinc tive features in one language may be non-distinctive in another.Phonological rulesPhonemes are abstract sound units stored in the mind, while allophones are the actual pronunciations in speech.What phoneme is realized by what allophones in what specific context is another major question in phonology.The regularities that what sounds vary in what ways in what context are generalized and stated in phonology as rules.There are many phonological rules in English. Take the following ones as exam ples.[+voiced +consonant] – [-voiced]/[-voiced +consonant]_[-voiced +bilabial +stop] – unaspirated/[-voiced +alveolar +fricative]_Syllable structureA syllable is a phonological unit that is composed of one or more phonemes.Every syllable h as a nucleus, which is usually a vowel.The nucleus may be preceded by one or more consonants called the onset and followed by one or more consonants called the coda.Sequence of phonemesNative speakers of any language intuitively know what sounds can be put together.Some sequences are not possible in English. The impossible sequences are called systematic gaps.Sequences that are possible but do not occur yet are called accidental gaps.When new words are coined, they may fill some accident a l gaps but they will never fillsystematic gaps.Suprasegmental featuresFeatures that are found over a segment or a sequence of two or more segments are called suprasegmental features.These features are distinctive features.StressStress is the perceived prominence of one or more syllabic elements over others in a word.Stress is a relative notion. Only words that are composed of two or more syllables have stress. If a word has three or more syllables, there is a primary stress and a sec ondary stress.In some languages word stress is fixed, i.e. on a certain syllable. In English, word stress is unpredictable.IntonationWhen we speak, we change the pitch of our voice to express ideas.Intonation is the variation of pitch to distin guish utterance meaning.The same sentence uttered with different intonation may express different attitude of the speaker.In English, there are three basic intonation patterns: fall, rise, fall-rise.ToneTone is the variation of pitch to disting uish words.The same sequence of segments can be different words if uttered with different tones.Chinese is a typical tone language.-转自[英美者]-英语专业网站:/cn/Html/M/Linguistics/86123.html Chapter 2 PhoneticsWhat is phonetics?Phonetics is termed as the study of speech sounds.Sub-branches of phoneticsArticulatory phonetics – the production of speech soundsAcoustic phonetics – the physical properties of speech soundsAuditory phonetics – the perceptive mechanism of speech soundsThe speech organsWhere does the air stream come from?From the lungWhat is the function of vocal cords?Controlling the air streamWhat are the cavities?O ral cavityPharyngeal cavityNasal cavityTranscription of speech soundsUnits of representationSegments (the individual sounds)Phonetic symbolsThe widely used symbols for phonetic transcription of speech sounds is the International Phonetic Alphabet (IPA).The IPA attempts to represent each sound of human speech with a single symbol and the symbols are enclosed in brackets [ ] to distinguish phonetic transcriptions from the spelling system of a language.In more detailed transcripti o n (narrow transcription) a sound may be transcribed with a symbol to which a smaller is added in order to mark the finer distinctions.Description of speech soundsDescription of English consonantsGeneral feature: obstructionCriteria of conson ant descriptionPlaces of articulationManners of articulationV oicing of articulationPlaces of articulationThis refers to each point at which the air stream can be modified to produce a sound.Bilabial: [p] [b] [m] [w]Labiodental: [f] [v]Interdental: [ ] [ ]Alveolar: [t] [d] [s] [z] [l] [n] [r]Palatal: [ ] [ ] [t ] [d ] [j]Velar: [k] [g] [ ]Glottal: [h]Manners of articulationThis refers to how the air stream is modified, whether it is completely blocked or partially obstructed.Stops: [p] [b] [t] [d] [k] [g]Fricatives: [s] [z] [ ] [ ] [f] [v] [ ] [ ] [h]Affricates: [t ] [d ]Liquids: [l] [r]Glides: [w] [j]Nasals: [m] [n] [ ]V oicing of articulationThis refers to the vibrating of the vocal cords when sounds are produced.V oiced soundsV oiceless soundsDescription of English vowelsGeneral feature: without obstructionCriteria of vowel descriptionPart of the tongue that is raisedFrontCentralBackExtent to which the tongue rises i n the direction of the palateHighMidLowKind of opening made at the lipsPosition of the soft palateSingle vowels (monophthongs) and diphthongsPhonetic features and natural classesClasses of sounds that share a feature or features a re called natural classes.Major class features can specify segments across the consonant-vowel boundary.Classification of segments by features is the basis on which variations of sounds can be analyzed.第三章“词汇”问题和练习1. 解释下列术语语素复合词屈折变化词缀派生词词根语素变体词干粘着语素自由语素词位词汇语法词词汇词封闭类开放类混成法借词混合借词转移借词缩略语脱落逆构词法同化异化俗词源2. 给下列词加上适当的否定前缀a. removable m. syllabicb. formal n. normalc. practicable o. workabled. sensible p. writtene. tangible q. usualf. logical r. thinkableg. regular s. humanh. proportionate t. relevanti. effective u. editablej. elastic v. mobilek. ductive w. legall. rational x. discreet3. 语素被定义为表达和内容关系的最小单位。
如何成为机电一体化工程师英文作文全文共6篇示例,供读者参考篇1How to Become an Electromechanical Integration EngineerHi, my name is Timmy and I want to tell you all about how to become an electromechanical integration engineer when you grow up! It's a really cool job that lets you work with robots and machines.First, what even is an electromechanical integration engineer? It's a person who designs and builds robots and other machines that have both electrical and mechanical parts. The "electro" part means electronics and electricity, and the "mechanical" part means moving parts like gears, wheels, and arms. So these engineers put together the electronics that control the movements and the mechanical pieces that actually move.Robots are the coolest machines that electromechanical integration engineers work on. But they also build industrial machines used in factories, medical devices like X-ray machines, and even toys and appliances that have little motors and sensorsin them. Anything that needs to precisely control movements with electronics is their job.So how do you become one of these engineers when you grow up? Well, you better pay close attention in math class! Electromechanical engineers use a ton of math like algebra, geometry, trigonometry and calculus. All those equations help them calculate things like forces, motions, voltages, and more to design their robots and machines perfectly.You'll also need to study science subjects super hard. Definitely physics, because that's how you learn about mechanics and motion. But also electricity, electronics, chemistry, materials science and computer programming. Robots need computer brains to control their movements, so coding is a huge part of the job.In high school, take as many math, science, computer and engineering classes as you can. Join tech clubs like robotics team too. That's great practice for designing and building electromechanical projects. Pay close attention in shop class too - you need machinery skills to properly build all the mechanical parts.After high school, you'll need to go to university and get a Bachelor's degree in electromechanical engineering,mechatronics engineering, or something similar that combines mechanical and electrical studies. The classes are really tough, with tons of advanced math, physics, computer Programming, electronics, mechanics, and engineering courses. But if you work really hard, you can do it!Many students also get internships while in university to get hands-on experience working at engineering companies. That looks great on your resume when you graduate and try to get hired full-time. Some students even get cooperative education jobs where they work paid engineering jobs for a semester to get experience.After university, you can try to get a job at a company that designs and manufactures robots, industrial machines, medical devices, or anything electromechanical. Maybe you'll work on robot arms for factories, robots that can walk or roll around, or even robotic prosthetic limbs for humans. How cool is that?!As an electromechanical integration engineer, your job would involve designing the machine and robot concepts, using computer aided design (CAD) software to make 3D models, calculating and simulating how the design will move and operate, picking out motors, sensors and other components, programming the robot's control software, and overseeing thebuilding and testing of prototypes. You might even get to go to factories and install and maintain the robots and machines you helped design and build.It's a lot of work, but I think designing and building awesome robots sounds like the best job ever! You get to use your smarts in math, science and coding alongside yourhands-on building skills. And you create incredible machines that can move on their own and do all sorts of helpful tasks for humans.So that's the plan - study real hard in school, especially those science, math, engineering and computer classes. Get into a good university for electromechanical engineering. Get internships to build experience. And after graduating, get hired as an electromechanical integration engineer to start designing and building the robots of the future! It'll be a blast, I can't wait! Let me know if you have any other questions.篇2How to Become an Electromechanical EngineerHi friends! Have you ever wondered how robots and machines work? Or how computers control all the cool gadgets we use every day? If you find these things interesting, then youmight want to become an electromechanical engineer when you grow up! Let me tell you all about this awesome job.An electromechanical engineer is someone who designs and builds machines, robots, and other devices that have both electrical and mechanical parts. They use their knowledge of electronics, mechanics, computer software, and control systems to make amazing things!For example, electromechanical engineers might create robots that can assemble cars in a factory. Or they could make robotic arms that can lift heavy objects or perform delicate surgery. Some electromechanical engineers work on designing machines like 3D printers, elevators, or even amusement park rides!One of the coolest things about being an electromechanical engineer is that you get to work with cutting-edge technology. You'll learn how to program computers and write code that controls machines. You'll also study electrical circuits, motors, and sensors that allow machines to move and interact with their environment.But it's not just about technology. Electromechanical engineers also need to be creative problem-solvers. When designing a new machine, you'll have to think about how all thedifferent parts will work together. You'll need to come up with innovative solutions to make the machine work efficiently, safely, and in a way that meets the customer's needs.Becoming an electromechanical engineer takes a lot of hard work and dedication. Here's what you'll need to do:Study hard in school, especially in subjects like math, science, and computer programming. These will give you the foundation you need for engineering.Go to college and earn a bachelor's degree in electromechanical engineering, mechatronics, or a related field. You'll take classes in mechanics, electronics, control systems, and computer programming.Consider getting an internship or co-op job while in college. This will give you hands-on experience working with machines and engineers.After college, you might need to get a professional engineering license, depending on the state or country you live in.Never stop learning! Technology is always changing, soyou'll need to keep studying and taking courses to stayup-to-date with the latest advancements.Being an electromechanical engineer can be a challenging but incredibly rewarding career. You'll get to use your creativity and problem-solving skills to design and build machines that make people's lives easier and more efficient.Just imagine being part of the team that creates a new robot that can explore other planets or deep ocean depths! Or designing a machine that can help people with disabilities to move around and live more independently. The possibilities are endless!Of course, like any job, there are some downsides to being an electromechanical engineer. You might have to work long hours to meet project deadlines or travel frequently to different job sites. And sometimes, you might get frustrated when a design isn't working the way you want it to.But for many engineers, the sense of accomplishment they feel when they finally solve a problem or see their creation come to life makes all the hard work worthwhile.So if you're someone who loves tinkering with electronics, building things, and solving puzzles, then a career as an electromechanical engineer could be perfect for you! Just remember to study hard, stay curious, and never stop learning.Who knows, maybe one day you'll design the next big innovation that changes the world!篇3How to Become an Electromechanical EngineerHi friends! Today I want to tell you all about how to become an electromechanical engineer. An electromechanical engineer is someone who designs and builds really cool machines and robots that use both electrical and mechanical parts. Isn't that awesome?Becoming an electromechanical engineer takes a lot of hard work and studying. But if you like building things, solving problems, and using computers and tools, then this could be the perfect job for you! Let me walk you through all the steps.First up, you have to do really well in school, especially in subjects like math, science, and computing. Electromechanical engineers use lots of advanced math like algebra, geometry, calculus and statistics. They also need to understand physics, chemistry, electronics and programming. So pay extra close attention in those classes!In high school, take as many math, science, and computer classes as you can. Learn coding and get experience with computer-aided design (CAD) software too. Joining tech clubs like robotics or engineering teams is also a great idea to get hands-on practice.After high school, you'll need to go to university and get a bachelor's degree in electromechanical engineering, mechatronics, or a related field like mechanical or electrical engineering. The classes will be super challenging, covering complex topics like circuit design, control systems, mechanics, thermodynamics and more. But don't get discouraged - keep working hard!During your degree, try to get internships or co-op placements at engineering companies. This lets you gainreal-world experience working on actual products and projects. It's an amazing way to learn new skills and start building your resume. Who knows, you might even get hired by the company after graduating!With a bachelor's degree, you can start working as an electromechanical engineer. But many students choose to continue studying and get a master's degree too. A master's takes an extra 1-2 years but lets you take advanced, specializedcourses to become a true expert. Or you can pursue a doctoral degree if you want to do research or teach at a university.No matter which degree you get, you'll need to keep learning and earning certifications throughout your career. Technology keeps evolving rapidly, so you'll have to stayup-to-date on the latest advancements in software, equipment, regulations and more. It's a career of constant learning - which is fun if you're curious and love a challenge!So what kind of work do electromechanical engineers actually do? It depends on which industry you work in, but the job is essentially to design, develop, test and oversee the manufacturing of electromechanical systems and products. Maybe you'll create the mechanical components and electrical circuits for robots used in factories. Or design control systems for machines like 3D printers, elevators or aircraft systems. Or develop biomedical devices like prosthetic limbs or surgical robots. The possibilities are endless!No matter what you work on, you'll use math and science to first come up with the concepts and do lots of calculations and simulations on computers. Then you'll use CAD software to make 3D models of all the parts. After that, you build and test physical prototypes to make sure everything works perfectly. Finally, youoversee the manufacturing process to make sure the products get built correctly.Electromechanical engineers have to think about so many factors - from materials and costs to safety regulations and environmental impacts. You'll get to be really creative in designing awesome new products that improve people's lives and solve problems. But you also have to be a great problem solver when issues come up!The job can certainly be challenging, but it's also incredibly rewarding and fun. You get to work with cutting-edge robotics and automation technologies. You'll be part of teams collaborating on fascinating, innovative projects that change the world. And who knows, you might even get to work on crazy future stuff like flying cars or going to Mars! How cool is that?Electromechanical engineers are in high demand and can find great job opportunities at engineering firms, manufacturing plants, aerospace and automotive companies, hospitals, research labs and more. The pay is also really good, with experienced engineers making over 100,000 per year in many countries.Well, that's the scoop on how to become an electromechanical engineer! It takes a lot of hard work studying math, science and engineering. But if you're a creative problemsolver who loves building mind-blowing robots and machines, then this could be your dream career. Just focus on doing well in school, getting those degrees and certifications, and never stop learning! Who knows what incredible technologies you could help create?Alright friends, thanks for reading my essay! I hope it inspires you to consider this amazing profession. Study hard, work hard, and go build the future! Let me know if you have any other questions!篇4How to Become an Electromechanical EngineerHi everyone! My name is Tommy and I'm going to tell you all about how to become an electromechanical engineer when you grow up. It's a really cool job that lets you work with both electrical and mechanical things. Let me explain what that means.Electrical stuff is anything that uses electricity or electronics. Like the TV, computer, video games, and that cool robot dog you got for your birthday last year. Mechanical stuff is anything with moving parts like wheels, gears, levers and motors. A car engineis a mechancial thing because it has pistons that go up and down.An electromechanical engineer is someone who designs and builds machines and devices that use both electrical and mechanical parts working together. The robot dog is a good example - it has motors (mechanical) that are controlled by a computer chip (electrical). Pretty neat, right?So if you like building Lego robots and taking apart old toys to see how they work, this could be the perfect job for you! Let me walk you through what you need to do to get there.First up, you gotta be really good at math and science classes in elementary and middle school. Electromechanical engineers use a ton of math like algebra, geometry, trigonometry and calculus. They also need to understand physics and chemistry to figure out how electrical currents and mechanical forces work.In high school, take as many math, science, computer and shop classes as you can. The more you learn about engineering principles, coding, metallurgy (that's the study of metals), and hands-on building stuff, the better prepared you'll be.After high school, you'll need to go to college or university for four or five years to earn a bachelor's degree in electromechanical engineering, mechatronics or something similar. In uni, you'll take advanced math and science courses like calculus, physics, computer programming, and mechanics of materials. You'll also get to take really cool classes where you design and build robots, machines, sensors and other awesome gadgets.During your summers in college, try to get internships at engineering companies so you can get some real-world experience. Having internships on your resume when you graduate will make it much easier to get hired as an engineer.After you finish your bachelor's degree, you can start looking for jobs at companies that design and manufacture things like industrial robots, aerospace equipment, medical devices, consumer electronics and all sorts of other high-tech products. The job can involve computer modeling and simulations, building and testing prototypes, analyzing data, and overseeing the manufacturing process.Some electromechanical engineers go on to get a master's degree or even a doctorate (Ph.D.) if they want to advance their career or specialize in a very specific area like robotics, renewableenergy or nanotechnology. Having an advanced degree can qualify you for higher-level jobs doing research or being an executive at an engineering firm.No matter what, being an electromechanical engineer means you'll be using cutting-edge technology and putting your creativity to work every single day. You might design amind-controlled robotic prosthetic arm to help people with disabilities. Or you could develop a new type of hybrid vehicle that runs on electricity and another eco-friendly fuel source. How cool is that?The job can be challenging because you're constantly solving complex problems and having to follow strict design requirements and safety codes. But it's also extremely rewarding when you build something new and see it working successfully. Electromechanical engineers get to turn their innovative ideas into real products that improve people's lives.So if you're a kid who loves making things, pulling things apart to learn how they work, and mixing electrical circuits with moving mechanical components, then electromechanical engineering could be the job for you! Just study hard, especially in math, science and computers. Learn about coding and get as much hands-on experience as possible. And never stop beingcurious about how things work. Who knows - you might invent the next big thing that changes the world!篇5How to Become a Mechatronics EngineerHi friends! Today I want to tell you all about how to become a really cool engineer called a mechatronics engineer. It's a big word, but it means someone who works with robots and machines that have electronics, mechanics, and computers all built together. Isn't that awesome?First, you have to learn a lot in school. Math is super important for any engineer. You'll need to study algebra, geometry, trigonometry and calculus. Those might sound like big scary words now, but if you practice math every day, it will get easier, I promise! Science classes like physics, chemistry and biology are also very helpful for understanding how things work.Besides math and science, you should try to take classes in computer programming, electronics, and mechanics. Programmers tell computers and robots what to do using code, which is like a special language for machines. Electronics has to do with circuit boards, wires, motors and sensors. And mechanicsis about moving parts like gears, levers and pulleys. As a mechatronics engineer, you need to know about all those things!In high school, look for opportunities to get hands-on experience building and programming robots. Many schools have robotics clubs where you can learn skills and compete against other teams. Internships at local companies during summer breaks are another great way to get experience.After high school, you'll need to go to university and get an engineering degree. The specific major you'll want is usually called something like "mechatronics engineering," "robotics engineering" or "electromechanical engineering." In these programs, you'll take advanced math and science courses along with specialized engineering classes.Some of the cool things you might learn include how to design robot arms, how machines sense the world around them, and how computers control mechanics. You'll get to build lots of projects using high-tech tools and machines. For example, you might 3D print parts, use computerized milling machines, write code for microcontrollers, and more!The university classes will be really hard, so you have to study a ton. But you get to learn such fascinating stuff aboutcutting-edge technology! Just keep working at it, ask questions when you're confused, and find friends to study together with.After about four years of university, you'll graduate with your engineering degree. But the learning篇6How to Become a Mechatronics EngineerHi friends! Today I want to tell you all about how to become a really cool mechatronics engineer when you grow up. A mechatronics engineer is someone who gets to design and build really awesome robots and machines that are like part computer, part electronics, and part mechanical things all mixed together. Isn't that just the coolest job ever?!First off, you have to start learning about science, math, and technology from a very young age if you want to become a mechatronics engineer. In elementary school, you should pay extra close attention in your math, science, and computer classes. These will give you a solid foundation for the more advanced topics you'll learn later on.In middle school and high school, make sure to take all the math courses you can like algebra, geometry, trigonometry, andcalculus. You'll use a ton of serious math like that as a mechatronics engineer. Also take as many science classes as possible - definitely biology, chemistry, and physics for sure. And don't forget about technology and computer programming too! Mechatronics has a huge coding and computer aspect.After high school, you'll need to go to university and get a Bachelor's degree in Mechatronics Engineering, Robotics Engineering, or something very closely related. The coursework will be intense - you'll take classes in advanced math, physics, electronics, mechanics, programming, control systems, and more. There's a crazy amount to learn! But if you're passionate about building cool robots and machines, it will all be worth it.During your university years, try to get internships or co-op jobs in the field. That real-world experience is invaluable and will give you a huge advantage after graduating. Many companies actually hire students as interns first and then as full-time engineers if they do a great job. An internship is the best way to get your foot in the door.After getting your Bachelor's degree, some mechatronics engineers go straight into industry jobs. But many others continue onto graduate school to get a Master's degree or even a PhD. The additional education can qualify you for moreadvanced research roles or leadership positions down the road. It's a lot more schooling, but can really pay off for your career.No matter if you stop at a Bachelor's or go all the way through a doctorate program, lifelong learning is crucial for mechatronics engineers. The technologies are always evolving at a blistering pace. You'll need to constantly be studying and taking training courses on new tools, programming languages, design standards, you name it. The learning never stops!So in a nutshell, here are the major steps to becoming a kickass mechatronics engineer:Start early by excelling at math, science, and technologyTake all the right classes and get a bachelor's degreeGet internships for invaluable experienceConsider getting a master's degree or PhDNever stop learning and training as the field evolvesIt's a long journey filled with challenging coursework and years of intensive study. But if you truly love building incredible robots and cutting-edge technologies, it can be such an amazingly rewarding career path.Just imagine.... as a mechatronics engineer, you could invent robots that automatically assemble goods in factories. Or design specialized robots that perform surgeries or explore other planets. Or create bionic limbs and organs to help people with disabilities. The possibilities are endless for combining mechanical, electronic, and computer systems in innovative ways.I don't know about you, but I think building robots that can do just about anything sounds like the coolest job imaginable! It takes a mountain of hard work and dedication to get there. But if you're willing to put in the effort, a career as a mechatronics engineer could be an absolute blast. Who's ready to start their training?。
声音技术的英语说明文作文In the realm of modern technology, sound technology has undergone a remarkable transformation. This essay aims to elucidate the advancements and applications of sound technology in various fields.The genesis of sound technology can be traced back to the invention of the phonograph in the late 19th century. However, it was the advent of digital sound technology in the 20th century that revolutionized the way we produce, reproduce,and manipulate sound. Digital sound technology allows for the conversion of sound waves into binary data, enabling high-fidelity recording and playback.One of the most significant developments in sound technologyis the creation of the MP3 format. This compression algorithm made it possible to store and transfer high-quality audiofiles in a fraction of the size of their original counterparts. The MP3's impact on the music industry was profound, leading to the rise of digital music distribution and the decline of physical media.Another pivotal moment in the evolution of sound technology was the introduction of surround sound systems. These systems, such as Dolby Digital and DTS, provide a multi-channel audio experience that simulates a three-dimensional auditory environment. They are now a staple in home theaters and cinemas, offering a more immersive and engaging audioexperience.The integration of sound technology in telecommunications has also been transformative. Voice over Internet Protocol (VoIP) technology has made long-distance communication more accessible and cost-effective. Services like Skype and Zoom rely on advanced sound processing algorithms to deliver clear and stable voice communication over the internet.Moreover, sound technology plays a crucial role in the field of artificial intelligence. Voice recognition and synthesis are now integral to virtual assistants like Siri and Alexa. These technologies use sophisticated algorithms to understand and replicate human speech, facilitating hands-free interaction with smart devices.In the entertainment industry, sound technology is employed to create special effects and enhance the auditory experience of movies, video games, and live performances. Foley artists and sound designers use a variety of techniques and tools to produce realistic and engaging soundscapes that complement visual elements.Lastly, sound technology has significant implications for education and accessibility. For instance, hearing aids and cochlear implants utilize advanced sound processing to improve the quality of life for individuals with hearing impairments. In education, sound technology is used to create multimedia learning materials that cater to different learning styles.In conclusion, sound technology has come a long way since its inception. It continues to evolve, driven by the demands of various industries and the desire for enhanced auditory experiences. As technology progresses, we can expect even more innovative applications of sound technology that will further enrich our lives.。
评价演讲英语作文Title: Evaluating a Speech。
When it comes to assessing a speech, various factors come into play, ranging from content and delivery to audience engagement and overall impact. In this evaluation, we will delve into these aspects to provide a comprehensive assessment.First and foremost, the content of the speech holds paramount importance. Is the information presented relevant, accurate, and well-researched? Does the speaker demonstrate a clear understanding of the topic? The effectiveness ofthe speech heavily relies on the quality of its content. A well-structured argument supported by credible evidence enhances the credibility of the speaker and resonates with the audience.Moreover, the delivery of the speech significantly influences its reception. Is the speaker articulate andconfident? Do they employ appropriate gestures and vocal variety to maintain audience interest? A compelling delivery style captivates the audience and reinforces the message conveyed. Conversely, a monotonous or hesitant delivery may detract from the effectiveness of the speech, hindering audience engagement.Furthermore, audience engagement plays a pivotal role in determining the success of a speech. Does the speaker establish a connection with the audience? Are they able to sustain audience interest throughout the speech? Effective speakers employ various techniques such as storytelling, humor, or audience interaction to keep the audience actively involved. Additionally, the ability to adapt to the audience's reactions and feedback enhances the overall impact of the speech.In addition to content and delivery, the structure of the speech also merits evaluation. Is the speech well-organized with a clear introduction, body, and conclusion? Does it flow logically from one point to the next? A coherent structure facilitates understanding and retentionof the key message. Moreover, transitions between different sections of the speech should be seamless to maintain continuity and coherence.Furthermore, the impact of the speech on the audience cannot be overlooked. Does the speech inspire action or provoke thought? Does it leave a lasting impression on the audience? A persuasive speech motivates the audience to reflect on the topic presented and potentially enact change. The ability to evoke emotions such as empathy, hope, or determination can make the speech truly memorable and impactful.In conclusion, evaluating a speech involves considering various factors such as content, delivery, audience engagement, structure, and impact. A well-crafted speechthat effectively communicates its message, engages the audience, and leaves a lasting impression can be deemed successful. By critically analyzing these aspects, we can provide constructive feedback to help speakers refine their communication skills and deliver more compelling speechesin the future.。
In the ever-evolving landscape of technology, a new innovation has emerged that promises to redefine the boundaries of computational capabilities - Quantum Computing. This groundbreaking technology harnesses the principles of quantum mechanics to solve complex problems at an unprecedented speed and scale, offering a paradigm shift in the way we process information.Quantum computing is rooted in the counter-intuitive nature of quantum bits or qubits. Unlike classical bits which can only be in one of two states (0 or 1), qubits can exist in multiple states simultaneously, known as superposition. Furthermore, qubits can also influence each other instantaneously regardless of distance through a phenomenon called entanglement. This dual property allows quantum computers to perform numerous calculations all at once, theoretically making them millions of times faster than today's most advanced supercomputers.The potential applications of quantum computing span across various sectors. In pharmaceuticals, it could expedite drug discovery by simulating molecular interactions with precision unattainable by classical systems. It could also revolutionize artificial intelligence by swiftly processing massive datasets for machine learning models. Cryptography, too, stands to be significantly impacted; while current cryptographic algorithms rely on the difficulty of certain mathematical problems for security, quantum computers can potentially break these encryptions within seconds, necessitating the development of quantum-resistant cryptography.Climate modeling is another field set to benefit from quantum computing. With its ability to simulate complex chemical reactions and weather patterns, it could provide more accurate predictions about climate change. Additionally, optimization problems in logistics, finance, and energy distribution could find their solutions much quicker with quantum computing’s enhanced processing power.However, despite its grand potential, quantum computing faces significant challenges. Stabilizing qubits remains a critical issue due to their susceptibility to environmental disturbances, a problem known as decoherence. Moreover, programming quantum computers requires a completely different set ofskills and languages, posing a barrier to entry for many developers.Moreover, ethical considerations around quantum computing cannot be ignored. While it may unlock breakthroughs in many fields, there's the risk it could be used for nefarious purposes if not regulated properly, particularly in terms of breaching secure data.Looking ahead, investment in research and development will be key to overcoming these obstacles. As quantum computing continues to evolve, so must our understanding and governance frameworks surrounding it. High-quality standards need to be established for hardware reliability, software stability, and ethical application.In conclusion, quantum computing represents a frontier of technological advancement that is poised to reshape our world in ways unimaginable just a few decades ago. Its advent underscores the importance of continued investment in scientific research, education, and ethical guidelines to ensure this powerful tool benefits humanity without compromising privacy or security. With sustained efforts towards refining this technology, we stand on the cusp of a quantum leap in global innovation and progress.This nascent technology, therefore, is not merely a high-tech novelty; it's a testament to human ingenuity and a harbinger of a future where the impossible becomes possible, driven by the enigmatic yet transformative power of quantum physics.Word count: 689 wordsPlease note that the word count exceeds your requirement but can be trimmed down based on your specific needs. For a 1357-word essay, you would delve even deeper into each application area, the technical aspects of building and maintaining quantum computers, ongoing research efforts, and potential policy implications.。
mesh deformation method -回复Mesh deformation methodIntroduction:Mesh deformation is a technique used in computer graphics to manipulate the shape of a given mesh. It is widely used in various applications such as character animation, 3D modeling, and virtual reality. In this article, we will discuss the different methods and algorithms used for mesh deformation.1. Linear Blend Skinning (LBS):LBS is the most commonly used method for mesh deformation. It involves associating each vertex of the mesh with a set of bones or joints. These bones/joints are responsible for manipulating the vertices. The deformation of the mesh depends on the transformation of these bones. LBS uses a linear interpolation method to blend the transformations of the associated bones. This technique is efficient and easy to implement, but it may result in some artifacts such as skinning artifacts or undesirable bulging.2. Dual-Quaternion Skinning (DQS):DQS is an extension of LBS that aims to overcome some of its limitations. Instead of using linear interpolation, DQS uses dual quaternions to represent bone transformations. Quaternions provide a compact representation of rotational transformations. Dual quaternions combine a quaternion with a dual part to represent both translation and rotation. This allows for more accurate and smooth deformation of the mesh. DQS is especially useful in preserving volume and preventing bulging artifacts.3. Cage-Based Deformation:Cage-based deformation is a technique that involves associating a control cage or a set of control points with the mesh. The control cage acts as a guide to deform the mesh. The control points are moved, and the mesh deforms accordingly. This method provides more control and precision over the deformation process. It is often used in sculpting applications where artists need to precisely manipulate the shape of the mesh.4. Physics-Based Deformation:Physics-based deformation relies on simulating physical properties such as elasticity, gravity, and collisions to deform the mesh realistically. This method requires solving complex physics equations to calculate the forces acting on the mesh. Implicit methods such as Finite Element Method (FEM) or Implicit Surface Collisions (ISC) are often used for physics-based deformation. This technique is computationally expensive but provides more realistic and dynamic deformations.5. Blendshapes:Blendshapes, also known as morph targets, involve creating a set of predefined target shapes and interpolating between them to deform the mesh. Each target shape represents a specific deformation state, such as a smiling or frowning expression. By blending the weights of these target shapes, the mesh can smoothly transition between different deformations. Blendshapes are widely used in facial animation and can provide highly expressive and natural-looking deformations.Conclusion:Mesh deformation is a fundamental technique in computer graphics that allows for the manipulation of mesh shapes in various applications. Whether through linear blend skinning,dual-quaternion skinning, cage-based deformation, physics-based deformation, or blendshapes, each method has its advantages and limitations. The choice of mesh deformation method depends on the specific application, desired level of control, and the desired realism of the deformations. As technology advances, new methods and algorithms continue to enhance the capabilities and possibilities of mesh deformation in computer graphics.。
Eurographics/ACM SIGGRAPH Symposium on Computer Animation(2006)M.-P.Cani,J.O’Brien(Editors)Simulating Speech with a Physics-Based Facial Muscle Model Eftychios Sifakis†Andrew Selle†Avram Robinson-Mosher†Ronald Fedkiw†Stanford University Stanford University Stanford University Stanford UniversityIntel Corporation Industrial Light+Magic Industrial Light+MagicAbstractWe present a physically based system for creating animations of novel words and phrases from text and audio inputbased on the analysis of motion captured speech examples.Leading image based techniques exhibit photo-realquality,yet lack versatility especially with regard to interactions with the environment.Data driven approaches thatuse motion capture to deform a three dimensional surface often lack any anatomical or physically based structure,limiting their accuracy and realism.In contrast,muscle driven physics-based facial animation systems can triviallyintegrate external interacting objects and have the potential to produce very realistic animations as long as theunderlying model and simulation framework are faithful to the anatomy of the face and the physics of facial tissuedeformation.We start with a high resolution,anatomically accurateflesh and muscle model built for a specificsubject.Then we translate a motion captured training set of speech examples into muscle activation signals,andsubsequently segment those into intervals corresponding to individual phonemes.Finally,these samples are usedto synthesize novel words and phrases.The versatility of our approach is illustrated by combining this novel speechcontent with various facial expressions,as well as interactions with external objects.Categories and Subject Descriptors(according to ACM CCS):I.3.5[Computer Graphics]:Computational Geometryand Object Modeling–Physically based modeling;I.3.7[Computer Graphics]:Three-Dimensional Graphics andRealism–Animation1.IntroductionPhotorealistic facial animation is both difficult to achieve and in high demand,as illustrated by[PLB∗05],which discussed some of the challenges faced in recent block-busterfilms and high profile research efforts.Many com-puter graphics practitioners are interested in animating con-versation(see e.g.[CPB∗94,CVB01]),and this has led to enormous interest in the key ingredients of speech and ex-pression.Moreover,as stressed by[CM93],visible speech plays a large role in the interpretation of auditory speech. Along the lines of talking presidents in“Forest Gump,”[BCS97]proposed a method that used existing video footage to create a new video of a person speaking novel words. [EP00]also proposed an image-based approach that relied on the morphing of the visemes associated with phonemes. These results were further improved using a multidimen-sional morphable model in[EGP02]and used for retarget-ing in[CE05].Although image based techniques produce animations of photo-real quality,they lack the versatility of some other approaches,e.g.it would be difficult to use them when the face has to interact with elements from the envi-ronment.†email:{sifakis|aselle|avir|fedkiw}@The idea of driving a three-dimensional character from text and audio(as in voice puppetry[Bra99])is quite com-pelling.Data driven approaches tend to use motion capture data(see e.g.[Wil90,GGW∗98])to drive a three dimen-sional surface mesh.[CFP03]took this approach using inde-pendent component analysis to separate speech from expres-sion(see also[CFKP04]).Similarly,[KMT03]used PCA of marker data to determine facial movement parameters. [CB05]used a bilinear model that separates expression from speech in order to drive a three dimensional blend shape an-imation with video input.In a similar vein,[DLN05]con-structed a speech co-articulation model that can be mixed with keyframing in a manner that preserves expressive-ness.[VBPP05]used multilinear models to separate expres-sions,visemes and identity in a three dimensional data set, enabling video to drive a three dimensional textured face model.While these methods have enjoyed recent popularity, especially for speech and visemes,they lack any anatomi-cal or physically based structure,limiting their potential for accuracy and realism.Even though[WF95]advocated the use of muscles rather than surfaces for speech animation early on,physically based simulation methods have not enjoyed popularity for phoneme or viseme research(as pointed out e.g.in[RE01]).c The Eurographics Association2006.Figure 1:A synthesized utterance of the word “algorithm”using a physically-based facial muscle modelThis could be due to the high computational cost asso-ciated with the level of fidelity required to study speech.Although there is precedent for estimating muscle con-traction parameters from video [TW90,TW93](see also [EBDP96,EP97,MIT98]),[BOP98b ,BOP98a ]avoided the internal anatomy altogether using only a surface based fi-nite element model while studying lip motion.In fact,recent work in this area includes [CLK01,CK01]which conclude that it might be better to estimate linear combinations of sculpted basis elements rather than muscle activations.How-ever,[SNF05]argued that the limiting factor for fidelity was not the use of simulation per se,but rather the lack of real-istic muscles with biomechanical nonlinearity and anatom-ical accuracy.Furthermore,they argue that a person’s face is driven by muscle activations,therefore an anatomically faithful model with the control granularity of actual human facial muscle exactly spans the space of facial expression.Both image-based animation methods and data-driven surface deformation techniques have traditionally been pre-ferred over physics-based approaches for facial animation.Both approaches operate directly on sample data without requiring an intricate anatomical facial model or the over-head of simulation for either analysis or synthesis.Yet,in-teracting with the simulated character in ways that are not spanned by the recorded training data is recognized as a task that lies beyond the scope of either approach.Physics-based approaches provide the unique ability to interact with the character in any way that can be physically prescribed while respecting the fundamental characteristics of a performance,namely motion style,expression and verbal content.Following the approach of [SNF05]we build a high reso-lution,anatomically and biomechanically accurate flesh and muscle model of a subject’s face.Then we automatically determine muscle activations based on three-dimensional sparse motion capture marker data.In particular,we focus on the capture of speech,constructing a phoneme database parameterized in muscle activation space.Notably,each phoneme is stored with temporal extent.We demonstrate that physically based approaches can be used for speech analysis and synthesis by creating animations of novel words and phrases from text and audio input.Moreover,we capture muscle activations representative of expression and show that these can be mixed with the speech synthesis to indepen-dently drive speech and emotion.Finally,we illustrate the versatility of a physically driven three dimensional model via interaction with foreign objects.2.Previous WorkEarly work on three dimensional facial animation in-cludes [Par72,PB81,Wat87,MTPT88,KMMTT92](see also [EF78]).[VBMH ∗96]relate skin deformation of a physics based model to oral tract deformation while [LMVB ∗97,LM99]use a physics based model driven by muscle-control signals acquired by AMG and compare surface deforma-tion against the human subject.Based on scanned data,[LTW95]constructed an anatomically motivated,biome-chanical facial model featuring a multilayer,deformable skin model with embedded muscle actuators.[KGB98]used fi-nite elements to predict emotions on a post-surgical face (see also [KGC ∗96,RGTC98]for finite elements for fa-cial surgery).[DMS98]used variational modeling and face anthropometry techniques to construct smooth face mod-els,[PHL ∗98,PSS99]animated faces based on photographs and video,and [JTDP03]worked on automatic segmenta-tion for blending.The face was also divided into subregions for the facial animation in [ZLGS03].[BV99]proposed a vector space representation of shapes and textures for an-imation transfer [BBPV03]and face exchange in images [BSVS04].[KHS01]built a muscle based facial model and considered morphing to other faces [KHYS02]and foren-sic analysis [KHS03].[KP05]used a parametric muscle model with time varying visemes to extend the coarticu-lation algorithm of [CM93].[BB02]added expressiveness to the MPEG-4Facial Animation Parameters.A number of authors have worked on facial motion transfer [NN01,PKC ∗03,NJ04,SP04].[CXH03]used tracking to drive ani-mations from a motion capture database,[WHL ∗04]tracked facial motion with a multiresolution deformable mesh with the aim of learning expression style,and [ZSCS04]proposed a face inverse kinematics system.3.Data Capture 3.1.Model BuildingWe constructed a high-resolution volumetric model of facial flesh and musculature for both our analysis of speech sam-ples and the synthesis of new utterances.First,we obtainedcThe Eurographics Association 2006.Figure2:Eight camera optical motion capture layout (left),250facial marker set(right).an MRI scan which provided an approximation of the tissue extent and the shape of the interface between soft tissue and bone.Then a life-mask cast of the subject was scanned at a resolution of100microns,producing a10million triangle model and a fully registered texture map.The detail from this high resolution surface scan was integrated into our vol-umetricflesh model.The facialflesh volume was discretized into a1,870,000element tetrahedral mesh,with1,080,000 elements in the frontal facial volume that was used to simu-late deformation under action of the facial muscles.Due to the limited resolution of the MRI scan,much of the internal tissue structure was manually adjusted to create a muscle set that conforms to the anatomical prototypes published in the medical literature.Our model includes39of the muscles that are predominantly involved in facial expressions and speech. Muscles that have no effect or only a subtle effect on facial motion were excluded,as their behavior would not be reli-ably captured with our surface motion capture marker set.3.2.Motion captureWe take a data-driven approach to speech synthesis con-structing a database of prototypical subject-specific utter-ances of speech primitives(sample phonemes within a con-text of words or phrases).The motion component of these utterances was recorded with a motion capture system con-sisting of8cameras with4MP CCD sensors.250thin cir-cular patches of retroreflective material with a diameter of 3mm were placed on the subject’s face at an average distance of8-10mm apart.A small subset of markers were specifi-cally placed on predominantly rigid parts of the head to cap-ture the rigid head motion.The performance was sampled at 120Hz.See Figure2.3.3.Inverse activationsFollowing[SNF05]we model the isotropic response of pas-sive fatty tissue by a hyperelastic Mooney-Rivlin constitu-tive model for the deviatoric component,with an additional volumetric pressure component for quasi-incompressibility. The parameters of the Mooney-Rivlin model are spatially adapted to the heterogeneity of the simulated tissues,yield-ing different stiffness values for areas occupied by collagen, cartilage,and tendinous structures.Areas of theflesh that are occupied by contractile muscle tissue are furtherassigned Figure3:Estimated muscle activations of expressions from motion capture,left smile,right frown.an anisotropic strain response corresponding to the passive or active behavior of muscle tissue along the direction of its fiberfield.The inverse activation estimation framework em-ploys the quasistatic simulation method of[TSIF05].This formulation uses fast conjugate gradients solvers to evolve constrained deformable objects to an equilibrium state,and provides robust handling of mesh degeneracies such as ele-ment inversion,as well as rigid body and self-collision han-dling.We should point out that this quasistatic assumption is preferred for the estimation process as it greatly simplifies the inverse control problem.While it can also be used for the forward simulation of slow speech,a fully dynamic simula-tion method is superior for the simulation of faster speech from muscle activation controls.4.Phonemes and Visemes4.1.A Muscle Activation Basis for SpeechThe inverse activation framework described in section3.3al-lows us to translate our database of motion captured speech samples into temporal sequences of control parameters for our deformable face model(i.e.muscle activations and kine-matic configuration of the bones).We subsequently use these controls as the parameterization of facial motion for analysis and synthesis tasks.A defining property of visual speech synthesis techniques is the choice of the feature space used to describe facial mon examples found in the literature(cited above) include image-based descriptions and surface shape bases. Our approach provides the versatility to edit the animated performance affecting the emotion and expression of the character,as well as allowing physical interaction of the face with objects from the environment.In this context,the rele-vant feature is not the appearance or the shape of the face per se,but rather the action of speech articulation.Therefore,we follow the formulation of[SNF05]using the activation sig-nals that stimulate the facial muscles as our feature space,an approach that was pioneered in[TW90,TW93].Our approach is subject to a number of limitations.The quality of our parameterization and thefidelity of the result-ing simulations are only as good as the detail and accuracy of our muscle-driven model as well as the physical consistency of the simulation method used.This highlights the need for detailed,nonlinear,volumetricfinite element models of thec The Eurographics Association2006.Figure4:Frames corresponding to estimated muscle acti-vations of phonemes from motion capture.Top left-er,top right-r,lower left-sh,and lower right-iy.anatomical components of the face.Additionally,our adop-tion of a quasistatic simulation scheme for analysis leads to a deviation from the true dynamic behavior expected of a physical system.However,for our training set of short words spoken at a casual pace,inputting the estimated muscle ac-tivation sequences into a forward quasistatic simulation pro-duced a very close match to the original capture respecting almost all nuances of individual utterances.This supports our use of quasistatics for the estimation of muscle activa-tions,although a full dynamic simulation would be superior for synthesis(especially for faster speech).4.2.Primitives of Speech Simulation(Physemes)We collected a database of motion capture data for the phoneme sets suggested by[Ann06]and[EP00]where phonemes are presented within the context of sample words. We recorded4-5distinct captures of each phoneme set and used the inverse activations estimation process to convert each captured word into a short sequence of muscle activa-tion signals and mandible articulation parameters.An exam-ination of the signals corresponding to various phonemes re-vealed several important patterns.First,we observed a high degree of correlation between segments of words that con-tained the same phoneme,as illustrated in Figure5for sam-ples of the phonemes p and w(we adopt the phoneme codes used in[BTC99]).The temporal extent of this correlation varied with the particular phoneme being considered and its phonetic context.Phonemes with matching context(the phonemes immediately before and after the one in question) tended to correlate over a much longer time segment.In ad-dition,several phonemes(such as the consonants sh,v,z) typically reached a steady state in activation space,sur-“w”“p”MandibularJoint AngleLabial TractorLower RightLabial TractorLower LeftLabial TractorUpper RightLabial TractorUpper LeftOrbicularisOris UpperOrbicularisOris LowerZygomaticMajor RightZygomaticMajor LeftFigure5:Comparison of the physeme samples in our database associated with the phonemes“p”and“w”,il-lustrating the waveforms of the major muscle activations and kinematic parameters involved.Note that the samples for each phoneme are highly correlated within the mus-cle activation space showing the effectiveness of our basis. The“p”phoneme is dynamic and exhibits three distinct activation phases while the“w”phoneme has a uniform activation pattern.rounded by the transitions from the previous and to the next phoneme.Other phonemes(such as the diphthongs ay,ey) exhibited a characteristic dynamic pattern over their tempo-ral extent,often marked by a distinctive transition.In Fig-ure5we classify p as a dynamic phoneme(we can identify 3distinct stages of mouth closure,lip retraction and mouth opening)while the static w appears to achieve a steady state in between transitions.We note that muscles in the oral re-gion typically exhibited higher degree of correlation across utterances of the same phoneme than peripheral muscles. These observations support the hypothesis that time-varying sequences of muscle activations capture a large amount of information about phonemes and phoneme tran-sitions.In particular,by recording the muscle activation sig-nals over a time interval that extends beyond the duration of each phoneme and into its neighboring ones we capture the effect that the utterance of each phoneme has and re-ceives from its context,formally known as coarticulation. Therefore,we associate each of these extended intervals of muscle activations and bone kinematics with its correspond-ing phoneme and use them as the primitives of our physics-based visual speech synthesis,labeling them as physemes(in analogy to phonemes and visemes).To create a database of physemes we use the audio track to identify each phoneme,using the Festival Speech Syn-thesis System[BTC99]to segment utterances into individ-ual phrases and then into individual phonemes.The label-c The Eurographics Association2006.ings were not completely accurate and sometimes manual annotation was also required.Once every word had been partitioned into time segments corresponding to different phonemes,physeme samples were collected by selecting the estimated muscle activation signals corresponding to the time range of each phoneme(see Figure6)and padding the signal on each side of the time segment with enough data from its context in order to capture the coarticulatory effects.5.Synthesis5.1.Physeme-based Speech SynthesisOur physeme database captures the motion signatures of phonemes and the transitional effects between them in the physically motivated space of muscle activation.We present afirst approach to using this physeme basis directly for syn-thesis of visual speech.The input to our systems consists of an audio recording along with a transcript of its ver-bal content.We again use Festival[BTC99]to segment this novel audio track into time intervals corresponding to dis-tinct phonemes.The result is typically satisfactory for utter-ances of individual words or slow speech.However,some-times with longer and faster speech passages it was neces-sary to manually adjust the phoneme annotation.After we determine the constituent phonemes of the text to be synthesized,we assemble a matching temporal arrange-ment of physemes from our database.Each physeme con-tains muscle activation signals that extend beyond the dura-tion of its associated phoneme,namely it starts with a lead-in from the previous phoneme,followed by the body corre-sponding to its base phoneme and a lead-out from the fol-lowing phoneme.We place physemes in arrangements with their bodies contiguous and their lead-in and lead-out over-lapping into the body of the adjacent physeme(see Figure7). Silent intervals are modeled with a special arbitrary length “pause”physeme,with muscle activations corresponding to the neutral pose of the face.In general,the length of each phoneme in an audio recording will not match the length of the corresponding physeme in our database,so the muscle activation signal of the physeme is time-scaled to the appro-priate length.A single,uniform time scaling is applied to the body as well as the lead-in/out of the physeme.For each physeme inserted in an arrangement we use a blending curve that yields constant weights equal to unity throughout the body of the physeme and decays to zero at the outer endpoints of the lead-in and lead-out following a C1continuous sigmoid curve.We extract a single muscle activation signal from the complete physeme arrangement by performing weighted averaging of the signals overlapping at any instance in time using their corresponding blending weights,as illustrated in Figure7.Among the kinematic parameters that are obtained through the inverse activation estimation process,the param-eters that define the overall rigid body motion of the head(ormuscle activations for the captured word“cheese”into constituent physemes.For each physeme we store the time-varying signals of the phoneme segment and its context in the database.The rendered frames correspond to point samples of the physemes within each of the phonemes. the frame of reference of the cranium)receive special han-dling.Interpolating between different positions and orienta-tions in such short time intervals as those corresponding to phoneme lengths would most likely incur sudden jumps and violent accelerations.Thus,instead of interpolating between frames of reference,we use the estimated rigid body mo-tion for each individual physeme and use it to approximate the linear and angular velocity of the head at each frame. When blending phonemes we then proceed to blend linear and angular velocities instead of positions and orientations. The rigid body configuration is then obtained by integrating the linear and angular velocities forward in time.The result-ing signals of muscle activations and rigid bone kinematics can be fed into a forward quasistatic or dynamic simulator to produce thefinal physically driven speech simulation. 5.2.Sequence GenerationWe employ a semi-automatic interface for the creation of physeme-based simulations of speech including tools for the creation and refinement of physeme arrangements,preview of an approximate speech synthesis andfinal physics-based finite element simulation.Given the existence of tools such as Festival that simplify the segmentation of an audio speech signal into its constituent phonemes,we focus on the task of compiling a physeme arrangement to match a given,la-beled phoneme sequence.The low dimensionality of our fea-ture space(39muscle activations and3kinematic parame-ters,a few tens of phonemes per sentence)makes optimiza-tion algorithms such as stochastic optimization attractive,i.e. since we avoid the overhead typically associated with them in higher dimensional spaces.We adopted the constraints that the labels of the physemes have to match the labels of the phonemes that occupy thec The Eurographics Association2006.dFigure7:Arrangement of the word“grind”synthesized from the physemes in our database.The solid vertical lines represent physeme boundaries determined from the input audio signal while the dashed lines represent the blending region between physemes.The thick blue curves are the individual physeme samples used to build the arrangement while the thin red curve represents the blended signal.same time range in the audio recording,and we clamped thelead-in and lead-out of each physeme to20%of the lengthof the body of the neighboring phoneme it overlaps with.Under these constraints,our free parameters are the choiceof which of the5-30physemes from our database for eachphoneme should be used tofill a particular time interval.Weformulated a criterion for the quality of a particular phonemearrangement and solved it using simulated annealing,usingparameters that yield the global minimum with very highconfidence.We obtain our quality criterion by computingthe magnitude of the discrepancy between the muscle ac-tivation vectors for all frames where physeme extents wouldoverlap and integrating over time.In order to prevent weakmuscles or muscles that have little direct effect in the articu-lation of speech to dictate the quality of an arrangement,wescale the activation a i value by the average magnitude of thequasistatic shape Jacobian∂X/∂a i,computed over the entirerange of motion captured visemes(as a by-product of the in-verse activation estimation process).This biases the qualitycriterion towards accounting for muscles whose activationtends to have a more substantial effect on the shape of theface.Our optimization process provided convincing physemearrangements for simple examples(such as single,slowlyspoken words)requiring little to no manual intervention.However,with more complicated examples or faster speechthis result often required manual adjustment,such asfine-tuning the length of the lead-in/out segments or the pre-cise placement of phoneme boundaries.We created a graph-ical interface that provided us with the functionality to al-ter all these parameters,as well as the individual choice ofphysemes used at each moment in time.As a by-productof our inverse estimation process,we possess a quasistaticface shape approximation for each frame in our capturedtraining set.By blending these face shapes with the sameweights used for physeme blending we obtain a fast pre-view for our edits without the need for simulation,whichis run only when our adjustments are complete.On average,editing a medium-sized sentence would typically entail2-3hours of manual processing.We note that quasistatic simu-lation contributed substantially to that cost,since the lack ofdamping and inertia made thefinal result more sensitive tothe muscle activation input signal than it would be with a fulldynamic simulation.6.Speech and ExpressionThe versatility of a physically-based muscle driven facemodel for speech synthesis is highlighted by the ability toaugment the simulation with elements that are secondaryto the process of speech articulation.Facial expression andemotion are characteristic examples of such elements.Al-though there exists a correlation between the emotional ap-pearance and the verbal content of human speech,a humanspeaker may adjust his facial expression independent of thewords spoken.We simulate this process by motion captur-ing facial expressions and using our inverse activation pro-cess to convert these expressions into characteristic musclecontractions.Subsequently,we blend these muscle activa-c The Eurographics Association2006.Figure8:The middle row shows a synthesized speech sequence of the word“seeping”with neutral expression.The other rows show the same activation sequence blended with a smile(top row)and frown(bottom row).tion values into our synthesized physeme sequences and use physics-based simulation to obtain thefinal animation.As illustrated in Figure8,the integration of expressions such as a frown or a smile can be performed in a very natural manner,through simulation,without compromising either the articulatory content or the emotional response elicited by the expression that was blended in.Such an augmenta-tion is straightforward and requires no manual adjustment of the physeme arrangement.It should be emphasized that it is much more challenging and labor intensive to obtain such a result,in regard to both speech and expression,with a technique based on blending images or face shapes.The nonlocal effects of pronounced facial expressions,in con-junction with anatomical phenomena that arise from these expressions(such as bulging of skin,deepening of facial furrows,or changes in the contact pattern of the lips)be-come particularly difficult to capture convincingly without a physically-based approach.7.Speech and PhysicsBeyond the task of enriching the facial motion with an ex-pression,the real power of physics-based approaches is re-vealed when the face is required to interact with the outside world.Physical simulation of a full volumetric facial muscu-lature model allows us to produce effects that are difficult or impossible using image-based or data-driven surface defor-mation techniques.By keeping the muscle activation con-trolsfixed and modifying the simulation environment,we can effortlessly produce a new facial deformation.In par-ticular,once a speech database is created,reproducing such effects does not require additional motion capture data,anal-ysis or modification of our synthesized physeme sequences.For example,we depict our virtual character speaking with a lollipop and candycane in his mouth in Figure9,where the muscle activation signals were synthesized without regard to the object interaction.8.DiscussionUsing our quasistatic estimation framework,we processed approximately10minutes of speech at120Hz in an aver-age of7minutes per motion capture frame(including full analysis with full rigid body and self-collision handling)on a Xeon3.8Ghz CPU.The full processing of approximately 70,000frames required the equivalent of a CPU year on clus-tered computer hardware.Although seemingly high in com-putational cost,this once-only process requires no human supervision and all the resulting muscle activation signals were of adequate quality for use in our database.Notably, our simulation model contained1080K simulation elements, which is at least3times larger than typical high resolutionfi-nite element simulations in the computer graphics literature. Therefore,we expect our model to age much slower than the advance of computer hardware,making the computation affordable.Once the facial model has been created and the physeme database has been assembled from the motion captured per-formance,the main labor-intensive effort is the manual ad-justment of the physeme sequences tofine-tune the syn-thesized speech result.Currently at a cost of a few hours per sentence,the bulk of this effort is attributed to correct-ing mistakes of the speech analysis software(the Festival system)and adjustment of the transition intervals between successive phonemes.The latter would be substantially eas-ier if a full dynamic framework was employed for thefinalc The Eurographics Association2006.。