The value of scientific digital-image libraries seldom lies in the pixels of images. For large collections of images, such as those resulting from astronomy sky surveys, the typical useful product is an online database cataloging entries of interest. We focus on the automation of the cataloging effort of a major sky survey and the availability of digital libraries in general. The SKICAT system automates the reduction and analysis of the three terabytes worth of images, expected to contain on the order of 2 billion sky objects. For the primary scientific analysis of these data, it is necessary to detect, measure, and classify every sky object. SKICAT integrates techniques for image processing, classification learning, database management, and visualization. The learning algorithms are trained to classify the detected objects and can classify objects too faint for visual classification with an accuracy level exceeding 90 percent. This accuracy level increases the number of classified objects in the final catalog threefold relative to the best results from digitized photographic sky surveys to date. Hence, learning algorithms played a powerful and enabling role and solved a difficult, scientifically significant problem, enabling the consistent, accurate classification and the ease of access and analysis of an otherwise unfathomable data set.

There are many different possible schemes for converting hand gestures to speech. The choice of scheme depends on the granularity of the speech that you want to produce. Figure 1 identifies a spectrum defined by possible divisions of speech based on the duration of the sound for each granularity. What is interesting is that in general, the coarser the division of speech, the smaller the bandwidth necessary for the user. In contrast, where the granularity of speech is on the order of articulatory musclemovements (i.e. the artificial vocal tract [AVT]) high bandwidth control is necessary for good speech. Devices which implement this model of speech production are like musical instruments which produce speech sounds.

This study explores the extent to which a network that learns the temporal relationships within and between the component features of Western tonal music can account for music theoretic and psychological phenomena such as the tonal hierarchy and rhythmic expectancies. Predicted and generated sequences were recorded as the representation of a 153-note waltz melody was learnt by a predictive, recurrent network. The network learned transitions and relations between and within pitch and timing components: accent and duration values interacted in the development of rhythmic and metric structures and, with training, the network developed chordal expectancies in response to the activation of individual tones. Analysis of the hidden unit representation revealed that musical sequences are represented as transitions between states in hidden unit space.

In recent years, NIPS has heard neural networks generate tunes and harmonize chorales. With a large amount of music becoming available in computer readable form, real data can be used to train connectionist models. At the beginning of this workshop, Andreas Weigend focused on architectures to capture structure on multiple time scales.

In recent years, NIPS has heard neural networks generate tunes and harmonize chorales. With a large amount of music becoming available in computer readable form, real data can be used to train connectionist models. At the beginning of this workshop, Andreas Weigend focused on architectures to capture structure on multiple time scales.

This study explores the extent to which a network that learns the temporal relationships within and between the component features of Western tonal music can account for music theoretic and psychological phenomena such as the tonal hierarchy and rhythmic expectancies. Predicted and generated sequences were recorded as the representation of a 153-note waltz melody was learnt by a predictive, recurrent network. The network learned transitions and relations between and within pitch and timing components: accent and duration values interacted in the development of rhythmic and metric structures and, with training, the network developed chordal expectancies in response to the activation of individual tones. Analysis of the hidden unit representation revealed that musical sequences are represented as transitions between states in hidden unit space.

Mozer, 1991; Bharucha, 1992), the models rarely explain the way in which musical representations are constructed and learned.

In recent years, NIPS has heard neural networks generate tunes and harmonize chorales. With a large amount of music becoming available in computer readable form, real data can be used to train connectionist models. At the beginning of this workshop, Andreas Weigend focused on architectures to capture structure on multiple time scales.

The first Robotics Exhibition and Competition sponsored by the Association for the Advancement of Artificial Intelligence was held in San Jose, California, on 14-16 July 1992 in conjunction with the Tenth National Conference on AI. This article describes the history behind the competition, the preparations leading to the competition, the threedays during which 12 teams competed in the three events making up the competition, and the prospects for other such competitions in the future.

In AAAI-93, pp. 676–682. In german, P. Z. Panini–Backus form suggested. CACM, 10. (3), 137