It is well known that the unpredictable speech production brought on by stress from the task at hand has a significant negative impact on the performance of speech processing algorithms. Speech therapy benefits from being able to detect stress in speech. Speech processing performance suffers noticeably when perceptually produced stress causes variations in speech production. Using the acoustic speech signal to objectively characterize speaker stress is one method for assessing production variances brought on by stress. Real-world complexity and ambiguity make (...) it difficult for decision-makers to express their conclusions with clarity in their speech. In particular, the Neutrosophic speech algorithm is used to encode the language variables because they cannot be computed directly. Neutrosophic sets are used to manage indeterminacy in a practical situation. Existing algorithms are used except for stress on Neutrosophic speech recognition. The creation of algorithms that calculate, categorize, or differentiate between different stress circumstances. Understanding stress and developing strategies to combat its effects on speech recognition and human-computer interaction system are the goals of this recognition. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

This sixth volume of Collected Papers includes 74 papers comprising 974 pages on (theoretic and applied) neutrosophics, written between 2015-2021 by the author alone or in collaboration with the following 121 co-authors from 19 countries: Mohamed Abdel-Basset, Abdel Nasser H. Zaied, Abduallah Gamal, Amir Abdullah, Firoz Ahmad, Nadeem Ahmad, Ahmad Yusuf Adhami, Ahmed Aboelfetouh, Ahmed Mostafa Khalil, Shariful Alam, W. Alharbi, Ali Hassan, Mumtaz Ali, Amira S. Ashour, Asmaa Atef, Assia Bakali, Ayoub Bahnasse, A. A. Azzam, Willem K.M. Brauers, Bui (...) Cong Cuong, Fausto Cavallaro, Ahmet Çevik, Robby I. Chandra, Kalaivani Chandran, Victor Chang, Chang Su Kim, Jyotir Moy Chatterjee, Victor Christianto, Chunxin Bo, Mihaela Colhon, Shyamal Dalapati, Arindam Dey, Dunqian Cao, Fahad Alsharari, Faruk Karaaslan, Aleksandra Fedajev, Daniela Gîfu, Hina Gulzar, Haitham A. El-Ghareeb, Masooma Raza Hashmi, Hewayda El-Ghawalby, Hoang Viet Long, Le Hoang Son, F. Nirmala Irudayam, Branislav Ivanov, S. Jafari, Jeong Gon Lee, Milena Jevtić, Sudan Jha, Junhui Kim, Ilanthenral Kandasamy, W.B. Vasantha Kandasamy, Darjan Karabašević, Songül Karabatak, Abdullah Kargın, M. Karthika, Ieva Meidute-Kavaliauskiene, Madad Khan, Majid Khan, Manju Khari, Kifayat Ullah, K. Kishore, Kul Hur, Santanu Kumar Patro, Prem Kumar Singh, Raghvendra Kumar, Tapan Kumar Roy, Malayalan Lathamaheswari, Luu Quoc Dat, T. Madhumathi, Tahir Mahmood, Mladjan Maksimovic, Gunasekaran Manogaran, Nivetha Martin, M. Kasi Mayan, Mai Mohamed, Mohamed Talea, Muhammad Akram, Muhammad Gulistan, Raja Muhammad Hashim, Muhammad Riaz, Muhammad Saeed, Rana Muhammad Zulqarnain, Nada A. Nabeeh, Deivanayagampillai Nagarajan, Xenia Negrea, Nguyen Xuan Thao, Jagan M. Obbineni, Angelo de Oliveira, M. Parimala, Gabrijela Popovic, Ishaani Priyadarshini, Yaser Saber, Mehmet Șahin, Said Broumi, A. A. Salama, M. Saleh, Ganeshsree Selvachandran, Dönüș Șengür, Shio Gai Quek, Songtao Shao, Dragiša Stanujkić, Surapati Pramanik, Swathi Sundari Sundaramoorthy, Mirela Teodorescu, Selçuk Topal, Muhammed Turhan, Alptekin Ulutaș, Luige Vlădăreanu, Victor Vlădăreanu, Ştefan Vlăduţescu, Dan Valeriu Voinea, Volkan Duran, Navneet Yadav, Yanhui Guo, Naveed Yaqoob, Yongquan Zhou, Young Bae Jun, Xiaohong Zhang, Xiao Long Xin, Edmundas Kazimieras Zavadskas. (shrink)