Accepted by_________________________________________________

the Space between the Spoken and the Written tara michelle graber rosenberger The advent of automated speech recognition opens up new possibilities for design of new typographic forms. Graphic designers have long been designing text to evoke the sound of a

PROSODIC FONT

the Space between the Spoken and the Written

Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning inPartial Fulfillment of the Requirements for the Degree of Master of Media Arts and Sciences at the

Massachusetts Institute of Technology.

M.S. Rensselaer Polytechnic Institute 1995

B.A. University of Waterloo 1993

tara michelle graber rosenberger

August 1998

Program in Media Arts and Sciences

August 7, 1998

Ronald L. MacNeilPrincipal Research AssociateMIT Media Laboratory

Stephen A. Benton

Chair, Departmental Committee on Graduate Students

Program in Media Arts and SciencesMassachusetts Institute of Technology

the Space between the Spoken and the Written tara michelle graber rosenberger The advent of automated speech recognition opens up new possibilities for design of new typographic forms. Graphic designers have long been designing text to evoke the sound of a

PROSODIC FONT

the Space between the Spoken and the Written

tara michelle graber rosenberger

ABSTRACT

The advent of automated speech recognition opens up new possibilities for design ofnew typographic forms. Graphic designers have long been designing text to evoke thesound of a voice saying the words. Some have even used sound to animate word unitswithin a computational environment. Yet, there is opportunity to use the expressivenessof a voice, found within the speech signal itself, in the design of basic typographic forms.These typographic forms would inherently assume a temporal, dynamic form.Prosody in this thesis represents the melody and rhythm people use in natural speech.Even unintentionally, prosody expresses the emotional state of the speaker, her attitudetowards whom she’s talking with and what she’s talking about, resolves linguisticambiguity, and points towards any new focus of linguistic information.

Prosodic Font is an experiment in designing a font that takes its temporal form fromcontinuous and discrete phonetic and phonological speech parameters. Each glyph – thevisual form of an alphabetic letter – is comprised of one or more font primitives calledstrokes. These strokes are placed within a grid space using two of four possible basicconstraints: independence or dependence, and simultaneity or consecutiveness. Over time and insystematic accordance with parameters from a piece of speech, these stroke primitivestransform shape, size, proportions, orientation, weighting and shade/tint.

Prosodic Font uses a combination of machine and human recognition techniques tocreate text descriptions of prosodic parameters from a sound corpus developed expresslyfor this thesis. The sound corpus is excerpted from two speakers – one male and onefemale – who are telling stories about four different emotional experiences. Becauseaffective extremes produce prosodic extremes, the corpus involves great prosodic varietyand voice range.

According to preliminary user testing results, people are able to identify systems ofgraphic transforms as representative of systems of prosodic variation. I found thatrhythmic variation and variations in vocal stress are extremely important in peoples’ability to match Prosodic Font files to speech audio files.

Thesis Supervisor: Ronald L. MacNeil

Principal Research AssociateMIT Media Laboratory

This work was performed at the MIT Media Laboratory. Support for this work was provided by the NationalEndowment for the Arts, the Digital Life and News in the Future corporate sponsor consortiums. The views

expressed herein do not necessarily reflect the views of the supporting sponsors.

the Space between the Spoken and the Written tara michelle graber rosenberger The advent of automated speech recognition opens up new possibilities for design of new typographic forms. Graphic designers have long been designing text to evoke the sound of a

MASTERS THESIS COMMITTEE

Ronald L. MacNeilPrincipal Research AssociateMIT Media Laboratory

Stephanie Seneff

Principal Research Scientist

Laboratory for Computer Science, MIT

Maribeth Back

Creative Documents Initiative

Sound Designer

Xerox Corporation @ PARC

the Space between the Spoken and the Written tara michelle graber rosenberger The advent of automated speech recognition opens up new possibilities for design of new typographic forms. Graphic designers have long been designing text to evoke the sound of a

CONTENTS

Abstract

Masters Thesis CommitteeContents

AcknowledgementsIntroductionMotivation1.

Why do this at the Media Laboratory?

Background2.

Prosody and Affect2.1Feature Set2.1.1Song2.1.2Rhythm

2.2Techniques in Feature Identification2.2.1Intonation2.2.2Pitch Range2.2.3Duration Patterns2.3Models of Prosody2.3.1Auto-Segmental Metrical School of Phonology2.3.2Phonetic Models of Prosody2.4Discourse and Affective Function2.4.1The Emotional Speaker2.4.2Syntax, Information Structure, and Mutual Belief3.

Typography

3.1Typographic Style3.1.1Perception of Glyph Balance and Proportion

Prosodic Font Design4.

Typographic Design System4.1Four Stroke System

4.2Expanded Stroke System: Consecutiveness/Simultaneity and Dependence/Independence5.

Prosodic Features

5.1Speech Corpus Development5.2Labeling Prosody in Speech5.2.1Tilt Phonological-Phonetic System5.2.2Linguistic Labeling5.2.3Phonemic Realization5.2.4Voice Quality

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