His informatics group built the reusable software platform for Stembook Despite the fact that we now have access to almost all peer reviewed (www.stembook.org), William Cohen exchanged and is orthogonal to any specific biomedical domain The growing size of the scientific literature has led to a number of ontology. We believe this approach will be extremely useful in attempts to automatically extract entities and relationships from drug discovery to break down information silos, increase information scientific papers, and then to populate databases with this extracted awareness and sharing, and integrate terminologies and information. In my group we have been exploring techniques data with documents and text, both public and private. We will for using this sort of extracted information for specific tasks, discuss applications we are currently developing in collaboration including "bootstrapping" to improve the coverage of an extraction with a major pharma.

This talk will analyze responses to funniness of five versions of 10 different jokes. The responses of one of them will then be compared to theoretical analysis and representation of the same joke based on Script-based Semantics Theory of Humor, General Theory of Verbal Humor, and Ontological Semantic Theory of Humor.

The notion of constructions, from Construction Grammar, is borrowed for use in joke recognition by a knowledge-based computational text analysis system. The joke recognizer is a proposed addition to an existing text analysis framework, Ontological Semantic Technology. Joke recognition is based upon calculation that the candidate text exhibits qualities similar to jokes already collected and represented in a taxonomy, with other processing input. Joke templates, based on constructions, provide semantic scripts against which texts are judged. With these scripts, meta-jokes, which conform almost but not completely to a known joke script, may also be recognized.

Creating an AI device that is both easy to control and comfortable to interact with will likely require algorithms for accurately interpreting conversational speech. Homonyms and homophones represent a particular challenge in this regard, thus the study of puns and other forms of humorous wordplay can be informative. Moving beyond the simple resolution of word uncertainty to an understanding of humor is, however, problematic. The Mutual Vulnerability Theory of Laughter identifies numerous variables involved in our differentiating humorous and nonhumorous stimuli. These include available information, type and degree of relationship with others, personal history, culture, and even mood. It also suggests there will be potential liabilities for AI users, retailers, and developers resulting from even successful attempts to identify, respond to, and create humor, as all require the highlighting of vulnerabilities.

In this article some formal, content-related and procedural considerations towards the sense of humor are articulated and the analysis of both everyday humor behavior and of comic styles leads to the initial proposal of a four factor-model of humor (4FMH). This model is tested in a new dataset and it is also examined whether two forms of comic styles (benevolent humor and moral mockery) do fit in. The model seems to be robust but further studies on the structure of the sense of humor as a personality trait are required.

This exercise in metatheory presents what any theory consists of and what properties it should have. It, then, adjust the general recipe to a theory of humor and computational humor. In this light, it reviews the state of the art in computational humor and suggests the main lines of development.

Based on recent experiences between a laughing virtual agent and a human user at the intersection AI and humor and laughter, this paper aims to highlight some of the psychological considerations, when conducting AI and humor experiments. The systematic and standardized approach outlined in this paper will demonstrate how to reduce error variance that may be caused by confound variables such as having poor experimental controls. From the necessity of cover stories, protocols and procedures, the differences to the pros and cons of measuring subjectively and objectively and what is required so that both give valid and reliable results are offered as solutions to achieving this goal. Furthermore, the psychological individual differences that need consideration, such as the appreciation of different types of humor, mood, personality variables, for example, trait and state cheerfulness, and gelotophobia- the fear of being laughed at are discussed.

Nearly all humor derives from some element of surprise, discrepancy, unexpectedness, pattern-breaking, or anomalous inference. This speculative paper will briefly discuss aspects of linguistic humor, from simple wordplay including shm-reduplication, punning, simple language games, simple humorous linguistic and textual genres (limericks, Pig Latin, “Name Game”), to more complex genres that go beyond humor into linguistic and textual artistic innovation such as modernism (Joyce’s Ulysses, Finnegan’s Wake), post-modernism (Theater of the Absurd, Beckett, John Barth’s Giles Goat Boy, Chimera), OuLiPo (Ouvroir de Litterature Potentielle, “workshop for potential literature”) (constraint-based postmodernism), and science fiction (world creation). In many cases, both humor and linguistic and textual innovation can be considered to have notions of friction or pressure within a constrained communicative channel, and more generally as breaking a common linguistic pattern based on implicit or explicit meta-linguistic constraints. My speculative approach includes developing a linguistic spectrum (from phono-morphological to discourse components and beyond) to describe the range of techniques used for humor, but also a very early foray into a theoretical account of humor and creativity that focuses on creating an object-level design space (structure and model) that is guided by meta-linguistic constraints.

This paper outlines a generative approach for creating structurally ambiguous humor. The approach builds upon a lexical set that has been derived through a script associated with a given situation. Each of these lexical entries would also contain one or more specified SAPs (“structural ambiguity potentials”), which serve to match the lexical item to designated formulas for creating structural ambiguity. As part of the approach, an additional phonological and morphological component would serve to generate additional lexical forms with their own SAPs and related formulas. The paper also illustrates how the resulting structural ambiguities can then be systematically integrated into a humorous context.

The humour found in short jokes and their often equivalent newspaper cartoons graphic representations are often de­pendent on the results of ambiguity in human speech. The ambiguities can be unexpected and funny. Sometimes well-known ambiguities cooperatively repeated can also be funny. Captioned cartoons often derive their humour from an unexpected ambiguity that can be understood by a lis­tener who can automatically use world knowledge to re­solve the ambiguity. The question considered here is whether the listener can be a computational device as well as a human and the pragmatic difficulty of applying lin­guistic pragmatics to do so. Computational analysis of nat­ural language statements needs to successfully resolve am­biguous statements. Computerized understanding of dia­logue must not only include syntactic and semantic analy­sis, but also pragmatic analysis. Pragmatics includes an un­der­standing of the speaker’s intentions, the context of the utter­ance, and social implications of human communica­tion, both polite and hostile. Computational techniques can use restricted world knowledge in re­solving ambiguous lan­guage use. This paper considers the prag­matic difficulties in recognizing humour in short jokes as well as their repre­sentation in cartoons.