Computational Linguistics: Inverse Problems and Emerging Mathematical Concepts

2020 ◽  
pp. 345-356
Author(s):  
Sana A. Ansari ◽  
Masood Alam
Keyword(s):  
Inverse Problems ◽  
Computational Linguistics ◽  
Mathematical Concepts

Catch a Liar by the Tale: Computational Linguistics and Classifying Deception

2006 ◽  
Author(s):  
Wendy E. Chan ◽  
David M. Arney ◽  
Josh Morgan ◽  
Lauren Stevenson ◽  
Kevin Reimer ◽  
...  
Keyword(s):  
Computational Linguistics

INVERSE PROBLEMS OF IMMUNOLOGY AND EPIDEMIOLOGY

2017 ◽  
Vol 5 (2) ◽  
pp. 14-35
Author(s):  
S.I. Kabanikhin ◽  
◽  
O.I. Krivorotko ◽  
D.V. Ermolenko ◽  
V.N. Kashtanova ◽  
...  
Keyword(s):  
Inverse Problems

INVERSE PROBLEMS OF IMMUNOLOGY AND EPIDEMIOLOGY

2017 ◽  
Vol 5 (2) ◽  
pp. 14-35 ◽  
Author(s):  
S.I. Kabanikhin ◽  
O.I. Krivorotko ◽  
D.V. Ermolenko ◽  
V.N. Kashtanova ◽  
V.A. Latyshenko
Keyword(s):  
Inverse Problems

The Computational Sublime in Nick Montfort's ‘Round’ and ‘All the Names of God’

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 348-365 ◽  
Author(s):  
Mario Aquilina
Keyword(s):  
Computer Code ◽  
Computer Programs ◽  
Literary Text ◽  
Text Generation ◽  
Mathematical Concepts ◽  
Literary Space

What if the post-literary also meant that which operates in a literary space (almost) devoid of language as we know it: for instance, a space in which language simply frames the literary or poetic rather than ‘containing’ it? What if the countertextual also meant the (en)countering of literary text with non-textual elements, such as mathematical concepts, or with texts that we would not normally think of as literary, such as computer code? This article addresses these issues in relation to Nick Montfort's #!, a 2014 print collection of poems that presents readers with the output of computer programs as well as the programs themselves, which are designed to operate on principles of text generation regulated by specific constraints. More specifically, it focuses on two works in the collection, ‘Round’ and ‘All the Names of God’, which are read in relation to the notions of the ‘computational sublime’ and the ‘event’.

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