—it is impossible to dissociate the evolution of one’s architectural ideas from the development of his own system of representation
—architects author generic systems, strategies, algorithms that can be used to create whole families of architectural forms…….the primary author sets up a generic system while secondary authors or interactors specify the specific manifestations of what we call buildings……which are then the traceable features of language that can expose a stylistic fingerprint, an authorial uniqueness?
—how to measure style? Perhaps even more important, however, is the question of what to measure?
………….learned writing characteristics become the underlying method of our handwriting as we developed individual characteristics that are unique to us and distinguish our handwriting from someone else's……..……….cognitive science tells us that for fluency in writing as well as in speech, language production is largely unconscious….…….we are, in a way, blind to the process that gives rise to the utterances we make……….important aspects of style may indeed be governed by operations over which the author for the most part has no conscious control……these aspects, however, can then serve as reliable indicators of authorship………..
……….handwriting analysts must be able to accurately distinguish between style characteristics and individual characteristics………..the individual characteristics are what matter the most in determining authorship: letter form - curves, slants, the proportional size of letters (relationship between size of short and tall letters and between the height and width of a single letter), the slope of writing and the use and appearance of connecting lines (links) between letters (a person may form a letter differently depending on where the letter falls in a word - beginning, middle or end)………line form - includes how smooth and dark the lines are, which indicates how much pressure the writer applies while writing and the speed of the writing…….formatting - includes the placement of words on a line, the spacing between letters, the spacing between words, between lines and and the empty margins on a page…………
signature (n.) (marcar con un signo, distinguir, designar)
1530s in reference to a kind of document in Scottish law, from French signature (16c.) or directly from Medieval Latin signatura "signature, a rescript," in classical Latin "the matrix of a seal," from signatus, past participle of signare "to mark with a stamp, sign" The meaning "one's own name written in one's own hand" is from 1570s, fourteenth- and fifteenth-century authors already wrote about the special relationship between artists and their works in terms of style
style has only been recognized as a concept since the sixteenth century, the idea of individual style and theories about artistic authorship (maniera named change as something studied or acquired; aria proposed a natural, unavoidable relationship between a maker and an object) developed in relation to fourteenth- and fifteenth-century realism,
1 A style in architecture resembles a paradigm [a framework containing the basic assumptions, ways of thinking, and methodology]----participation in a paradigm is an immersion in a way of seeing that transcends particular acts of decision-making
2 This way of seeing limits a style in relation to its opposite or competing points of view.
3 Designing in a style follows exemplars rather than rules, in this process, the exemplary cases enforce both normalcy and the stability of the paradigm -------is something like an abiding general sense of the appropriateness of a decision in relation to a set of exemplars rather than resorting to a single formula. [due to the inherent difficulty of making design processes rule-based, Architectural education relies heavily on shared examples, these exemplars, then, are emulated again and again in design projects in the studio, in practice, by journals, office culture and professional meetings: what is acquired is not propositional knowledge, but tacit knowledge]
4 a style can not attain hegemony unless and until a community agrees to it, and then promotes it (vs inarticulate aesthetic considerations) ---------Wölfflin’s theory of how Renaissance style morphed to Baroque is an example: he suggests a communal sense about how material forms reflected the shift in the work of transitional architects
5 Do architectural styles progress?--------In architecture and in the arts in general, this reference to the constancy of empirical nature is generally absent. Design productions are essentially additions to, or reinterpretations of, that nature by way of plastic forms that largely come out of the creative imagination. Each in this sense is a standalone work. Subsequent stand-alone works can be said to be improvements of previous ones for any number of reasons. But considered as a body of work, and as bodies of work through time, these improvements or refinements do not add up to what can be regarded as progress in the scientific sense.
……….authorship entails two orders of intention: the first, ‘generative’ moment, involves the intentions that guide the actions that lead to the production of an artwork. The second moment is the evaluative moment, in which the artist decides whether or not to accept/claim the work. This second moment often goes unnoticed and unaccounted for in theories of authorship because it only becomes explicit when challenged………..
…………una cuestión de gradación: en qué grado un artista debe dejar su impronta en una obra de arte para ser considerado su autor; o dicho de otra manera, qué grado de control debe ejercitar sobre la obra para adquirir esa categoría de autor……….
—the process of writing is somehow affected by an unconscious personal stamp…the main problem, then, is to trace this stamp, this hypothesis of authorship, or stylistic fingerprint, which would be supported by STYLE MARKERS SUCH AS WORD ADJACENCY NETWORKS, a careful comparison of the usage of words within a corpus, or other plausible grammatical measures or syntactic features, specifically sentence syntax and word choice……when picking attributes for authorship attribution, pure syntactic models may not be effective by themselves and need to be used in combination with the understanding of the content of the underlying texts……
—AUTHORSHIP ATTRIBUTION techniques have two components: an indexing mechanism for extracting style markers from text, and a comparison mechanism for using the markers to determine probable authorship…..
………certain authors have a highly recognizable style……..language works in a combinatorial way relying on discrete and repeatable elements……….writers share a vocabulary and a set of grammatical rules, a more or less unlimited set of utterances can be created by varying selections from the common set, varying the ordering of common vocabulary items, through repetition and through suppression…………….statistical procedures are well adapted to summarise and differentiate profiles like these, can refract and focus patterns in a corpus and make them explicit and available for analysis……….the theoretical problems of computer-assisted authorship attribution deal with which traceable features of language such as the frequency of words, and difference in letter sequences…
