Copyright © 2012 W3C® (MIT, ERCIM, Keio), All Rights Reserved. W3C liability, trademark and document use rules apply.
CSS (Cascading Style Sheets) is a language that describes the rendering of markup documents (e.g. HTML, XML) on various supports, such as screen, paper, speech, etc. The Speech module defines aural CSS properties that enable authors to declaratively control the rendering of documents via speech synthesis, and using optional audio cues. Note that this standard was developed in cooperation with the Voice Browser Activity.
This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at http://www.w3.org/TR/.
This document was produced by the CSS Working Group as a Candidate Recommendation.
A Candidate Recommendation is a document that has been widely reviewed and is ready for implementation. W3C encourages everybody to implement this specification and return comments to the (archived) public mailing list<EMAIL_ADDRESS>(see instructions). When sending e-mail, please put the text “css3-speech” in the subject, preferably like this: “[css3-speech] …summary of comment…”
Publication as a Candidate Recommendation does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress.
This document was produced by a group operating under the 5 February 2004 W3C Patent Policy. W3C maintains a public list of any patent disclosures made in connection with the deliverables of the group; that page also includes instructions for disclosing a patent. An individual who has actual knowledge of a patent which the individual believes contains Essential Claim(s) must disclose the information in accordance with section 6 of the W3C Patent Policy.
This document is based on the Last Call Working Draft (18 August 2011) and includes changes that reflect the outcome of the disposition of comments.
Before the specification can progress to Proposed Recommendation, the CR exit criteria must be met. The specification will not become Proposed Recommendation before 20 September 2012. A test suite and an implementation report will be made during the Candidate Recommendation period.
The following features are at-risk and may be dropped at the
end of the Candidate Recommendation period if there has not been enough
interest from implementers: ‘voice-balance
’, ‘voice-duration
’, ‘voice-pitch
’,
‘voice-range
’, and ‘voice-stress
’.
Note that this section is informative.
The aural presentation of information is commonly used by people who are blind, visually-impaired or otherwise print-disabled. For instance, "screen readers" allow users to interact with visual interfaces that would otherwise be inaccessible to them. There are also circumstances in which listening to content (as opposed to reading) is preferred, or sometimes even required, irrespective of a person's physical ability to access information. For instance: playing an e-book whilst driving a vehicle, learning how to manipulate industrial and medical devices, interacting with home entertainment systems, teaching young children how to read.
The CSS properties defined in the Speech module enable authors to declaratively control the presentation of a document in the aural dimension. The aural rendering of a document combines speech synthesis (also known as "TTS", the acronym for "Text to Speech") and auditory icons (which are referred-to as "audio cues" in this specification). The CSS Speech properties provide the ability to control speech pitch and rate, sound levels, TTS voices, etc. These stylesheet properties can be used together with visual properties (mixed media), or as a complete aural alternative to a visual presentation.
Note that this section is informative.
The CSS Speech module is a re-work of the informative CSS2.1 Aural appendix, within which the "aural" media type was described, but also deprecated (in favor of the "speech" media type). Although the [CSS21] specification reserves the "speech" media type, it doesn't actually define the corresponding properties. The Speech module describes the CSS properties that apply to the "speech" media type, and defines a new "box" model specifically for the aural dimension.
Content creators can conditionally include CSS properties dedicated to
user agents with text to speech synthesis capabilities, by specifying the
"speech" media type via the media
attribute of the
link
element, or with the @media
at-rule, or
within an @import
statement. When styles are authored within
the scope of such conditional statements, they are ignored by user agents
that do not support the Speech module.
Note that this section is informative.
Some of the features in this specification are conceptually similar to functionality described in the Speech Synthesis Markup Language (SSML) Version 1.1 [SSML]. However, the specificities of the CSS model mean that compatibility with SSML in terms of syntax and/or semantics is only partially achievable. The definition of each property in the Speech module includes informative statements, wherever necessary, to clarify their relationship with similar functionality from SSML.
This specification follows the CSS property definition conventions from [CSS21]. Value types not defined in this specification are defined in CSS Value and Units Level 3 [CSS3VAL].
In addition to the property-specific values listed in their definitions, all properties defined in this specification also accept the inherit keyword as their property value. For readability it has not been repeated explicitly.
This example shows how authors can tell the speech synthesizer to speak
HTML headings with a voice called "paul", using "moderate" emphasis
(which is more than normal) and how to insert an audio cue (pre-recorded
audio clip located at the given URL) before the start of TTS rendering
for each heading. In a stereo-capable sound system, paragraphs marked
with the CSS class "heidi" are rendered on the left audio channel (and
with a female voice, etc.), whilst the class "peter" corresponds to the
right channel (and to a male voice, etc.). The volume level of text spans
marked with the class "special" is lower than normal, and a prosodic
boundary is created by introducing a strong pause after it is spoken
(note how the span
inherits the voice-family from its parent
paragraph).
h1, h2, h3, h4, h5, h6 { voice-family: paul; voice-stress: moderate; cue-before: url(../audio/ping.wav); voice-volume: medium 6dB; } p.heidi { voice-family: female; voice-balance: left; voice-pitch: high; voice-volume: -6dB; } p.peter { voice-family: male; voice-balance: right; voice-rate: fast; } span.special { voice-volume: soft; pause-after: strong; } ...
I am Paul, and I speak headings.

Hello, I am Heidi.

 Can you hear me ? I am Peter.

The CSS formatting model for aural media is based on a sequence of
sounds and silences that occur within a nested context similar to the visual box model, which we name the aural "box" model. The aural "canvas" consists of
a two-channel (stereo) space and of a temporal dimension, within which
synthetic speech and audio cues coexist. The selected element is
surrounded by ‘rest
’, ‘cue
’ and ‘pause
’ properties (from the innermost to
the outermost position). These can be seen as aural equivalents to
‘padding
’, ‘border
’ and ‘margin
’, respectively. When used, the
‘:before
’ and ‘:after
’ pseudo-elements [CSS21] get inserted between the
element's contents and the ‘rest
’.
The following diagram illustrates the equivalence between properties of the visual and aural box models, applied to the selected <element>:
voice-volume
’ property| Name: | voice-volume |
| Value: | silent | [[x-soft | soft | medium | loud | x-loud] || <decibel>] |
| Initial: | medium |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | ‘silent ’, or a keyword value
and optionally also a decibel offset (if not zero)
|
The ‘voice-volume
’ property allows authors to
control the amplitude of the audio waveform generated by the speech
synthesiser, and is also used to adjust the relative volume level of audio cues within the aural
box model of the selected element.
Note that although the functionality provided by this
property is similar to the volume
attribute of the prosody
element from the SSML markup
language [SSML], there
are notable discrepancies. For example, CSS Speech volume keywords and
decibels units are not mutually-exclusive, due to how values are inherited
and combined for selected elements.
Specifies that no sound is generated (the text is read "silently").
Note that this has the same effect as using negative
infinity decibels. Also note that there is a difference between an
element whose ‘voice-volume
’ property has a value of
‘silent
’, and an element whose
‘speak
’
property has the value ‘none
’.
With the former, the selected element takes up the same time as if it
was spoken, including any pause before and after the element, but no
sound is generated (descendants within the aural
box model of the selected element can override the ‘voice-volume
’
value, and may therefore generate audio output). With the latter, the
selected element is not rendered in the aural dimension and no time is
allocated for playback (descendants within the aural box model of the selected element can
override the ‘speak
’ value, and may therefore generate
audio output).
This sequence of keywords corresponds to monotonically non-decreasing
volume levels, mapped to implementation-dependent values that meet the
listener's requirements with regards to perceived loudness. These audio
levels are typically provided via a preference mechanism that allow
users to calibrate sound options according to their auditory
environment. The keyword ‘x-soft
’ maps to the user's minimum
audible volume level, ‘x-loud
’ maps to the user's maximum
tolerable volume level, ‘medium
’ maps to the user's
preferred volume level, ‘soft
’ and ‘loud
’ map to intermediary values.
A number immediately followed by "dB"
(decibel unit). This represents a change (positive or negative) relative
to the given keyword value (see enumeration above), or to the default
value for the root element, or otherwise to the inherited volume level
(which may itself be a combination of a keyword value and of a decibel
offset, in which case the decibel values are combined additively). When
the inherited volume level is ‘silent
’, this ‘voice-volume
’
resolves to ‘silent
’ too,
regardless of the specified <decibel> value. Decibels represent
the ratio of the squares of the new signal amplitude (a1) and the
current amplitude (a0), as per the following logarithmic equation:
volume(dB) = 20 log10 (a1 / a0)
Note that -6.0dB is approximately half the amplitude of the audio signal, and +6.0dB is approximately twice the amplitude.
Note that perceived loudness depends on various factors, such
as the listening environment, user preferences or physical abilities. The
effective volume variation between ‘x-soft
’ and ‘x-loud
’ represents the dynamic range (in terms
of loudness) of the audio output. Typically, this range would be
compressed in a noisy context, i.e. the perceived loudness corresponding
to ‘x-soft
’ would effectively be
closer to ‘x-loud
’ than it would
be in a quiet environment. There may also be situations where both
‘x-soft
’ and ‘x-loud
’ would map to low volume levels, such
as in listening environments requiring discretion (e.g. library,
night-reading).
voice-balance
’ property| Name: | voice-balance |
| Value: | <number> | left | center | right | leftwards | rightwards |
| Initial: | center |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | the specified value resolved to a <number> between
‘-100 ’ and ‘100 ’ (inclusive)
|
The ‘voice-balance
’ property controls the
spatial distribution of audio output across a lateral sound stage: one
extremity is on the left, the other extremity is on the right hand side,
relative to the listener's position. Authors can specify intermediary
steps between left and right extremities, to represent the audio
separation along the resulting left-right axis.
Note that the functionality provided by this property has no match in the SSML markup language [SSML].
A number between ‘-100
’ and ‘100
’ (inclusive). Values smaller than
‘-100
’ are clamped to ‘-100
’. Values greater than ‘100
’ are clamped to ‘100
’. The value ‘-100
’ represents the left side, and the value
‘100
’ represents the right side. The
value ‘0
’ represents the center point
whereby there is no discernible audio separation between left and right
sides (in a stereo sound system, this corresponds to equal distribution
of audio signals between left and right speakers).
Same as ‘-100
’.
Same as ‘0
’.
Same as ‘100
’.
Moves the sound to the left, by subtracting 20 from the inherited
‘voice-balance
’ value, and by clamping
the resulting number to ‘-100
’.
Moves the sound to the right, by adding 20 to the inherited ‘voice-balance
’ value, and by clamping
the resulting number to ‘100
’.
user agents may be connected to different kinds of sound systems, featuring varying audio mixing capabilities. The expected behavior for mono, stereo, and surround sound systems is defined as follows:
voice-balance
’ property has no effect.
voice-balance
’ property.
voice-balance
’ property should be
performed so that the listener perceives sound as if it was coming from a
basic stereo layout. For example, the center channel as well as the
left/right speakers may be used altogether in order to emulate the
behavior of the ‘center
’ value.
Future revisions of the CSS Speech module may include support for
three-dimensional audio, which would effectively enable authors to specify
"azimuth" and "elevation" values. In the future, content authored using
the current specification may therefore be consumed by user agents which
are compliant with the version of CSS Speech that supports
three-dimensional audio. In order to prepare for this possibility, the
values enabled by the current ‘voice-balance
’ property are designed to
remain compatible with "azimuth" angles. More precisely, the mapping
between the current left-right audio axis (lateral sound stage) and the
envisioned 360 degrees plane around the listener's position is defined as
follows:
0
’ maps to zero degrees
(‘center
’). This is in "front" of
the listener, not from "behind".
-100
’ maps to -40
degrees (‘left
’). Negative angles
are in the counter-clockwise direction (the audio stage is seen from the
top).
100
’ maps to 40 degrees
(‘right
’). Positive angles are in
the clockwise direction (the audio stage is seen from the top).
-100
’ to ‘100
’
map to the angles between -40 and 40 degrees in a numerically
linearly-proportional manner. For example, ‘-50
’ maps to -20 degrees.
Note that sound systems may be configured by users in such a
way that it would interfere with the left-right audio distribution
specified by document authors. Typically, the various "surround" modes
available in modern sound systems (including systems based on basic stereo
speakers) tend to greatly alter the perceived spatial arrangement of audio
signals. The illusion of a three-dimensional sound stage is often achieved
using a combination of phase shifting, digital delay, volume control
(channel mixing), and other techniques. Some users may even configure
their system to "downgrade" any rendered sound to a single mono channel,
in which case the effect of the ‘voice-balance
’ property would obviously
not be perceivable at all. The rendering fidelity of authored content is
therefore dependent on such user customizations, and the ‘voice-balance
’
property merely specifies the desired end-result.
Note that many speech synthesizers only generate mono sound,
and therefore do not intrinsically support the ‘voice-balance
’
property. The sound distribution along the left-right axis consequently
occurs at post-synthesis stage (when the speech-enabled user agent mixes
the various audio sources authored within the document)
speak
’ property| Name: | speak |
| Value: | auto | none | normal |
| Initial: | auto |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘speak
’
property determines whether or not to render text aurally.
Note that the functionality provided by this property has no match in the SSML markup language [SSML].
Resolves to a computed value of ‘none
’ when ‘display
’ is ‘none
’, otherwise resolves to a computed
value of ‘auto
’ which yields a
used value of ‘normal
’.
Note that the ‘none
’ value of the ‘display
’ property cannot be overridden
by descendants of the selected element, but the ‘auto
’ value of ‘speak
’ can however be overridden using
either of ‘none
’ or ‘normal
’.
This value causes an element (including pauses, cues, rests and actual content) to not be rendered (i.e., the element has no effect in the aural dimension).
Note that any of the descendants of the affected element
are allowed to override this value, so descendants can actually take
part in the aural rendering despite using ‘none
’ at this level. However, the pauses,
cues, and rests of the ancestor element remain "deactivated" in the
aural dimension, and therefore do not contribute to the collapsing of pauses or additive behavior
of adjoining rests.
The element is rendered aurally (regardless of its ‘display
’ value and the ‘display
’ and ‘speak
’ values of its
ancestors).
Note that using this value can result in the element being rendered in the aural dimension even though it would not be rendered on the visual canvas.
speak-as
’ property| Name: | speak-as |
| Value: | normal | spell-out || digits || [ literal-punctuation | no-punctuation ] |
| Initial: | normal |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘speak-as
’ property determines in what
manner text gets rendered aurally, based upon a predefined list of
possibilities.
Note that the functionality provided by this property is
conceptually similar to the say-as
element from the SSML markup language [SSML] (whose possible values are
described in the [SSML-SAYAS] W3C Note). Although
the design goals are similar, the CSS model is limited to a basic set of
pronunciation rules.
Uses language-dependent pronunciation rules for rendering the element's content. For example, punctuation is not spoken as-is, but instead rendered naturally as appropriate pauses.
Spells the text one letter at a time (useful for acronyms and abbreviations). In languages where accented characters are rare, it is permitted to drop accents in favor of alternative unaccented spellings. As as example, in English, the word "rôle" can also be written as "role". A conforming implementation would thus be able to spell-out "rôle" as "R O L E".
Speak numbers one digit at a time, for instance, "twelve" would be spoken as "one two", and "31" as "three one".
Speech synthesizers are knowledgeable about what a
number is. The ‘speak-as
’ property enables some level of
control on how user agents render numbers, and may be implemented as a
preprocessing step before passing the text to the actual speech
synthesizer.
Punctuation such as semicolons, braces, and so on is named aloud (i.e. spoken literally) rather than rendered naturally as appropriate pauses.
Punctuation is not rendered: neither spoken nor rendered as pauses.
pause-before
’ and ‘pause-after
’
properties| Name: | pause-before |
| Value: | <time> | none | x-weak | weak | medium | strong | x-strong |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
| Name: | pause-after |
| Value: | <time> | none | x-weak | weak | medium | strong | x-strong |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘pause-before
’ and ‘pause-after
’
properties specify a prosodic boundary (silence with a specific duration)
that occurs before (or after) the speech synthesis rendition of the
selected element, or if any ‘cue-before
’ (or ‘cue-after
’) is
specified, before (or after) the cue within the aural box model.
Note that although the functionality provided by this
property is similar to the break
element from the SSML markup language [SSML], the application of ‘pause
’ prosodic
boundaries within the aural box model of CSS
Speech requires special considerations (e.g. "collapsed" pauses).
Expresses the pause in absolute time units (seconds and milliseconds, e.g. "+3s", "250ms"). Only non-negative values are allowed.
Equivalent to 0ms (no prosodic break is produced by the speech processor).
Expresses the pause by the strength of the prosodic break in speech output. The exact time is implementation-dependent. The values indicate monotonically non-decreasing (conceptually increasing) break strength between elements.
Note that stronger content boundaries are typically accompanied by pauses. For example, the breaks between paragraphs are typically much more substantial than the breaks between words within a sentence.
This example illustrates how the default strengths of prosodic breaks for specific elements (which are defined by the user agent stylesheet) can be overridden by authored styles.
p { pause: none } /* pause-before: none; pause-after: none */
pause
’ shorthand
property| Name: | pause |
| Value: | <‘pause-before ’> <‘pause-after ’>?
|
| Initial: | N/A (see individual properties) |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | N/A (see individual properties) |
The ‘pause
’
property is a shorthand property for ‘pause-before
’ and ‘pause-after
’. If
two values are given, the first value is ‘pause-before
’
and the second is ‘pause-after
’. If only one value is given,
it applies to both properties.
Examples of property values:
h1 { pause: 20ms; } /* pause-before: 20ms; pause-after: 20ms */ h2 { pause: 30ms 40ms; } /* pause-before: 30ms; pause-after: 40ms */ h3 { pause-after: 10ms; } /* pause-before: unspecified; pause-after: 10ms */
The pause defines the minimum distance of the aural "box" to the aural "boxes" before and after it. Adjoining pauses are merged by selecting the strongest named break and the longest absolute time interval. For example, "strong" is selected when comparing "strong" and "weak", "1s" is selected when comparing "1s" and "250ms", and "strong" and "250ms" take effect additively when comparing "strong" and "250ms".
The following pauses are adjoining:
pause-after
’ of an aural "box" and the
‘pause-after
’ of its last child, provided
the former has no ‘rest-after
’ and no ‘cue-after
’.
pause-before
’ of an aural "box" and the
‘pause-before
’ of its first child,
provided the former has no ‘rest-before
’ and no ‘cue-before
’.
pause-after
’ of an aural "box" and the
‘pause-before
’ of its next sibling.
pause-before
’ and ‘pause-after
’ of
an aural "box", if the the "box" has a ‘voice-duration
’ of "0ms" and no ‘rest-before
’ or
‘rest-after
’ and no ‘cue-before
’ or
‘cue-after
’, or if the the "box" has no
rendered content at all (see ‘speak
’).
A collapsed pause is considered adjoining to another pause if any of its component pauses is adjoining to that pause.
Note that ‘pause
’ has been moved from between the
element's contents and any ‘cue
’ to outside the ‘cue
’. This is not
backwards compatible with the informative CSS2.1 Aural appendix [CSS21].
rest-before
’ and ‘rest-after
’
properties| Name: | rest-before |
| Value: | <time> | none | x-weak | weak | medium | strong | x-strong |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
| Name: | rest-after |
| Value: | <time> | none | x-weak | weak | medium | strong | x-strong |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘rest-before
’ and ‘rest-after
’
properties specify a prosodic boundary (silence with a specific duration)
that occurs before (or after) the speech synthesis rendition of an element
within the aural box model.
Note that although the functionality provided by this
property is similar to the break
element from the SSML markup language [SSML], the application of ‘rest
’ prosodic
boundaries within the aural box model of CSS
Speech requires special considerations (e.g. interspersed audio cues,
additive adjacent rests).
Expresses the rest in absolute time units (seconds and milliseconds, e.g. "+3s", "250ms"). Only non-negative values are allowed.
Equivalent to 0ms (no prosodic break is produced by the speech processor).
Expresses the rest by the strength of the prosodic break in speech output. The exact time is implementation-dependent. The values indicate monotonically non-decreasing (conceptually increasing) break strength between elements.
As opposed to pause properties, the rest is
inserted between the element's content and any ‘cue-before
’ or
‘cue-after
’ content. Adjoining rests are
treated additively, and do not collapse.
rest
’ shorthand
property| Name: | rest |
| Value: | <‘rest-before ’> <‘rest-after ’>?
|
| Initial: | N/A (see individual properties) |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | N/A (see individual properties) |
The ‘rest
’
property is a shorthand for ‘rest-before
’ and ‘rest-after
’. If
two values are given, the first value is ‘rest-before
’ and
the second is ‘rest-after
’. If only one value is given,
it applies to both properties.
cue-before
’ and ‘cue-after
’
properties| Name: | cue-before |
| Value: | <uri> <decibel>? | none |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
| Name: | cue-after |
| Value: | <uri> <decibel>? | none |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘cue-before
’ and ‘cue-after
’
properties specify auditory icons (i.e. pre-recorded / pre-generated sound
clips) to be played before (or after) the selected element within the aural box model.
Note that although the functionality provided by this
property may appear related to the audio
element from the SSML markup language [SSML], there are in fact major
discrepancies. For example, the aural box model
means that audio cues are associated to the selected element's volume
level, and CSS Speech's auditory icons provide limited functionality
compared to SSML's audio
element.
The URI designates an auditory icon resource. When a user agent is not able to render the specified auditory icon (e.g. missing file resource, or unsupported audio codec), it is recommended to produce an alternative cue, such as a bell sound.
Specifies that no auditory icon is used.
A number immediately followed by "dB"
(decibel unit). This represents a change (positive or negative) relative
to the computed value of the ‘voice-volume
’ property within the aural box model of the selected element (as a
result, the volume level of an audio cue changes when the ‘voice-volume
’
property changes). When omitted, the implied value computes to 0dB.
When the computed value of the ‘voice-volume
’ property is ‘silent
’, the audio cue is also set to
‘silent
’ (regardless of this
specified <decibel> value). Otherwise (when not ‘silent
’), ‘voice-volume
’
values are always specified relatively to the volume level keywords (see
the definition of ‘voice-volume
’), which map to a
user-calibrated scale of "preferred" loudness settings. If the inherited
‘voice-volume
’ value already contains a
decibel offset, the dB offset specific to the audio cue is combined
additively.
Decibels express the ratio of the squares of the new signal amplitude (a1) and the current amplitude (a0), as per the following logarithmic equation: volume(dB) = 20 log10 (a1 / a0)
Note that -6.0dB is approximately half the amplitude of the audio signal, and +6.0dB is approximately twice the amplitude.
Note that there is a difference between an audio cue whose
volume is set to ‘silent
’ and
one whose value is ‘none
’. In
the former case, the audio cue takes up the same time as if it had been
played, but no sound is generated. In the latter case, the there is no
manifestation of the audio cue at all (i.e. no time is allocated for the
cue in the aural dimension).
Examples of property values:
a { cue-before: url(/audio/bell.aiff) -3dB; cue-after: url(dong.wav); } h1 { cue-before: url(../clips-1/pop.au) +6dB; cue-after: url(../clips-2/pop.au) 6dB; } div.caution { cue-before: url(./audio/caution.wav) +8dB; }
Note that this section is informative.
The volume levels of audio cues and of speech synthesis within the aural box model of a selected element are related.
For example, the desired effect of an audio cue whose volume level is set
at +0dB (as specified by the <decibel> value) is that its perceived
loudness during playback is close to that of the speech synthesis
rendition of the selected element, as dictated by the computed value of
the ‘voice-volume
’ property. Note that a
‘silent
’ computed value for the
‘voice-volume
’ property results in audio
cues being "forcefully" silenced as well (i.e. regardless of the specified
audio cue ‘decibel
’ value)
The volume keywords of the ‘voice-volume
’ property are user-calibrated
to match requirements not known at authoring time (e.g. auditory
environment, personal preferences). Therefore, in order to achieve this
approximate loudness alignment of audio cues and speech synthesis, authors
should ensure that the volume level of audio cues (on average, as there
may be discrete variations of perceived loudness due to changes in the
audio stream, such as intonation, stress, etc.) matches the output of a
speech synthesis rendition based on the ‘voice-family
’
intended for use, given "typical" listening conditions (i.e. default
system volume levels, centered equalization across the frequency
spectrum). As speech processors are capable of directly controlling the
waveform amplitude of generated text-to-speech audio, and because user
agents are able to adjust the volume output of audio cues (i.e. amplify or
attenuate audio signals based on the intrinsic waveform amplitude of
digitized sound clips), this sets a baseline that enables implementations
to manage the loudness of both TTS and cue audio streams within the aural
box model, relative to user-calibrated volume levels (see the keywords
defined in the ‘voice-volume
’ property).
Due to the complex relationship between perceived audio characteristics (e.g. loudness) and the processing applied to the digitized audio signal (e.g. signal compression), we refer to a simple scenario whereby the attenuation is indicated in decibels, typically ranging from 0dB (i.e. maximum audio input, near clipping threshold) to -60dB (i.e. total silence). Given this context, a "standard" audio clip would oscillate between these values, the loudest peak levels would be close to -3dB (to avoid distortion), and the relevant audible passages would have average (RMS) volume levels as high as possible (i.e. not too quiet, to avoid background noise during amplification). This would roughly provide an audio experience that could be seamlessly combined with text-to-speech output (i.e. there would be no discernible difference in volume levels when switching from pre-recorded audio to speech synthesis). Although there exists no industry-wide standard to support such convention, different TTS engines tend to generate comparably-loud audio signals when no gain or attenuation is specified. For voice and soft music, -15dB RMS seems to be pretty standard.
cue
’ shorthand property| Name: | cue |
| Value: | <‘cue-before ’> <‘cue-after ’>?
|
| Initial: | N/A (see individual properties) |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | N/A (see individual properties) |
The ‘cue
’
property is a shorthand for ‘cue-before
’ and ‘cue-after
’. If two
values are given the first value is ‘cue-before
’ and the second is ‘cue-after
’. If
only one value is given, it applies to both properties.
Example of shorthand notation:
h1 { cue-before: url(pop.au); cue-after: url(pop.au); } /* ...is equivalent to: */ h1 { cue: url(pop.au); }
voice-family
’ property| Name: | voice-family |
| Value: | [[<name> | <generic-voice>],]* [<name> | <generic-voice>] | preserve |
| Initial: | implementation-dependent |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘voice-family
’ property specifies a
prioritized list of component values that are separated by commas to
indicate that they are alternatives (this is analogous to ‘
’ in visual style
sheets). Each component value potentially designates a speech synthesis
voice instance, by specifying match criteria (see the voice selection section on this topic).
font-family
<generic-voice> = [<age>? <gender> <integer>?]
Note that although the functionality provided by this
property is similar to the voice
element from the SSML markup language [SSML], CSS Speech does not provide an
equivalent to SSML's sophisticated voice language selection. This
technical limitation may be alleviated in a future revision of the Speech
module.
Values are specific voice instances (e.g., Mike, comedian, mary, carlos2, "valley girl"). Voice names must either be given quoted as strings, or unquoted as a sequence of one or more identifiers.
Note that as a result, most punctuation characters, or digits at the start of each token, must be escaped in unquoted voice names.
If a sequence of identifiers is given as a voice name, the computed value is the name converted to a string by joining all the identifiers in the sequence by single spaces.
Voice names that happen to be the same as the gender keywords
(‘male
’, ‘female
’ and ‘neutral
’) or that happen to match the
keywords ‘inherit
’ or
‘preserve
’ must be quoted to
disambiguate with these keywords. The keywords ‘initial
’ and ‘default
’ are reserved for future use and
must also be quoted when used as voice names.
Note that in [SSML], voice names are space-separated and cannot contain whitespace characters.
It is recommended to quote voice names that contain white space,
digits, or punctuation characters other than hyphens - even if these
voice names are valid in unquoted form - in order to improve code
clarity. For example: voice-family: "john doe", "Henry
the-8th";
Possible values are ‘child
’,
‘young
’ and ‘old
’, indicating the preferred age category
to match during voice selection.
Note that a recommended mapping with [SSML] ages is: ‘child
’ = 6 y/o, ‘young
’ = 24 y/o, ‘old
’ = 75 y/o. More flexible age ranges may
be used by the processor-dependent voice-matching algorithm.
One of the keywords ‘male
’,
‘female
’, or ‘neutral
’, specifying a male, female, or
neutral voice, respectively.
Note that the interpretation of the relationship between a person's age or gender, and a recognizable type of voice, cannot realistically be defined in a universal manner as it effectively depends on numerous criteria (cultural, linguistic, biological, etc.). The functionality provided by this specification therefore represent a simplified model that can be reasonably applied to a broad variety of speech contexts, albeit at the cost of a certain degree of approximation. Future versions of this specification may refine the level of precision of the voice-matching algorithm, as speech processor implementations become more standardized.
An integer indicating the preferred variant (e.g. "the second male child voice"). Only positive integers (i.e. excluding zero) are allowed. The value "1" refers to the first of all matching voices.
Indicates that the ‘voice-family
’ value gets inherited and
used regardless of any potential language change within the content
markup (see the section below about voice selection and language
handling). This value behaves as ‘inherit
’ when applied to the root element.
Note that descendants of the selected element
automatically inherit the ‘preserve
’ value, unless it is explicitly
overridden by other ‘voice-family
’ values (e.g. name, gender,
age).
Examples of invalid declarations:
voice-family: john/doe; /* forward slash character should be escaped */ voice-family: john "doe"; /* identifier sequence cannot contain strings */ voice-family: john!; /* exclamation mark should be escaped */ voice-family: john@doe; /* "at" character should be escaped */ voice-family: #john; /* identifier cannot start with hash character */ voice-family: john 1st; /* identifier cannot start with digit */
The ‘voice-family
’ property is used to guide
the selection of the speech synthesis voice instance. As part of this
selection process, speech-capable user agents must also take into account
the language of the selected element within the markup content. The
"name", "gender", "age", and preferred "variant" (index) are voice
selection hints that get carried down the content hierarchy as the
‘voice-family
’ property value gets
inherited by descendant elements. At any point within the content
structure, the language takes precedence (i.e. has a higher priority) over
the specified CSS voice characteristics.
The following list outlines the voice selection algorithm (note that the definition of "language" is loose here, in order to cater for dialectic variations):
voice-family
’ component values, the first
available voice instance (amongst those suitable for the language of the
selected content) must be used.
The speech synthesizer voice must be re-evaluated (i.e. the selection
process must take place once again) whenever any of the CSS voice
characteristics change within the content flow. The voice must also be
re-calculated whenever the content language changes, unless the
‘preserve
’ keyword is used (this
may be useful in cases where embedded foreign language text can be spoken
using a voice not designed for this language, as demonstrated by the
example below).
Note that dynamically computing a voice may lead to unexpected lag, so user agents should try to resolve concrete voice instances in the document tree before the playback starts.
Examples of property values:
h1 { voice-family: announcer, old male; } p.romeo { voice-family: romeo, young male; } p.juliet { voice-family: juliet, young female; } p.mercutio { voice-family: young male; } p.tybalt { voice-family: young male; } p.nurse { voice-family: amelie; } ...
 The French text below will be spoken with an English voice: Bonjour monsieur ! The English text below will be spoken with a voice different than that corresponding to the class "romeo" (which is inherited from the "p" parent element): Hello sir!

voice-rate
’
property| Name: | voice-rate |
| Value: | [normal | x-slow | slow | medium | fast | x-fast] || <percentage> |
| Initial: | normal |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | refer to default value |
| Media: | speech |
| Computed value: | a keyword value, and optionally also a percentage relative to the keyword (if not 100%) |
The ‘voice-rate
’ property manipulates the rate
of generated synthetic speech in terms of words per minute.
Note that although the functionality provided by this
property is similar to the rate
attribute of the prosody
element from the SSML markup
language [SSML], there
are notable discrepancies. For example, CSS Speech rate keywords and
percentage modifiers are not mutually-exclusive, due to how values are
inherited and combined for selected elements.
Represents the default rate produced by the speech synthesizer for the currently active voice. This is processor-specific and depends on the language, dialect and on the "personality" of the voice.
A sequence of monotonically non-decreasing speaking rates that are implementation and voice -specific. For example, typical values for the English language are (in words per minute) x-slow = 80, slow = 120, medium = between 180 and 200, fast = 500.
Only non-negative percentage values are allowed. This represents a change relative to the given keyword value (see enumeration above), or to the default value for the root element, or otherwise to the inherited speaking rate (which may itself be a combination of a keyword value and of a percentage, in which case percentages are combined multiplicatively). For example, 50% means that the speaking rate gets multiplied by 0.5 (half the value). Percentages above 100% result in faster speaking rates (relative to the base keyword), whereas percentages below 100% result in slower speaking rates.
Examples of inherited values:
 <e1> <e2> <e3> ... </e3> </e2> </e1>  body { voice-rate: inherit; } /* the initial value is 'normal' (the actual speaking rate value depends on the active voice) */ e1 { voice-rate: +50%; } /* the computed value is ['normal' and 50%], which will resolve to the rate corresponding to 'normal' multiplied by 0.5 (half the speaking rate) */ e2 { voice-rate: fast 120%; } /* the computed value is ['fast' and 120%], which will resolve to the rate corresponding to 'fast' multiplied by 1.2 */ e3 { voice-rate: normal; /* "resets" the speaking rate to the intrinsic voice value, the computed value is 'normal' (see comment below for actual value) */ voice-family: "another-voice"; } /* because the voice is different, the calculated speaking rate may vary compared to "body" (even though the computed 'voice-rate' value is the same) */
voice-pitch
’
property| Name: | voice-pitch |
| Value: | <frequency> && absolute | [[x-low | low | medium | high | x-high] || [<frequency> | <semitones> | <percentage>]] |
| Initial: | medium |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | refer to inherited value |
| Media: | speech |
| Computed value: | one of the predefined pitch keywords if only the keyword is specified by itself, otherwise an absolute frequency calculated by converting the keyword value (if any) to a fixed frequency based on the current voice-family and by applying the specified relative offset (if any) |
The ‘voice-pitch
’ property specifies the
"baseline" pitch of the generated speech output, which depends on the used
‘voice-family
’ instance, and varies across
speech synthesis processors (it approximately corresponds to the average
pitch of the output). For example, the common pitch for a male voice is
around 120Hz, whereas it is around 210Hz for a female voice.
Note that although the functionality provided by this
property is similar to the pitch
attribute of the prosody
element from the SSML markup
language [SSML], there
are notable discrepancies. For example, CSS Speech pitch keywords and
relative changes (frequency, semitone or percentage) are not
mutually-exclusive, due to how values are inherited and combined for
selected elements.
A value in frequency units (Hertz or
kiloHertz, e.g. "100Hz", "+2kHz"). Values are restricted to positive
numbers when the ‘absolute
’
keyword is specified. Otherwise (when the ‘absolute
’ keyword is not specified), a
negative value represents a decrement, and a positive value represents
an increment, relative to the inherited value. For example, "2kHz" is a
positive offset (strictly equivalent to "+2kHz"), and "+2kHz absolute"
is an absolute frequency (strictly equivalent to "2kHz absolute").
If specified, this keyword indicates that the specified frequency represents an absolute value. If a negative frequency is specified, the computed frequency will be zero.
Specifies a relative change (decrement or increment) to the inherited value. The syntax of allowed values is a <number> followed immediately by "st" (semitones). A semitone interval corresponds to the step between each note on an equal temperament chromatic scale. A semitone can therefore be quantified as the difference between two consecutive pitch frequencies on such scale. The ratio between two consecutive frequencies separated by exactly one semitone is the twelfth root of two (approximately 11011/10393, which equals exactly 1.0594631). As a result, the value in Hertz corresponding to a semitone offset is relative to the initial frequency the offset is applied to (in other words, a semitone doesn't correspond to a fixed numerical value in Hertz).
Positive and negative percentage values
are allowed, to represent an increment or decrement (respectively)
relative to the inherited value. Computed values are calculated by
adding (or subtracting) the specified fraction of the inherited value,
to (from) the inherited value. For example, 50% (which is equivalent to
+50%) with a inherited value of 200Hz results in 200 +
(200*0.5)
= 300Hz. Conversely, -50% results in
200-(200*0.5)
= 100Hz.
A sequence of monotonically non-decreasing pitch levels that are implementation and voice specific. When the computed value for a given element is only a keyword (i.e. no relative offset is specified), then the corresponding absolute frequency will be re-evaluated on a voice change. Conversely, the application of a relative offset requires the calculation of the resulting frequency based on the current voice at the point at which the relative offset is specified, so the computed frequency will inherit absolutely regardless of any voice change further down the style cascade. Authors should therefore only use keyword values in cases where they wish that voice changes trigger the re-evaluation of the conversion from a keyword to a concrete, voice-dependent frequency.
Computed absolute frequencies that are negative are clamped to zero Hertz. Speech-capable user agents are likely to support a specific range of values rather than the full range of possible calculated numerical values for frequencies. The actual values in user agents may therefore be clamped to implementation-dependent minimum and maximum boundaries. For example: although the 0Hz frequency can be legitimately calculated, it may be clamped to a more meaningful value in the context of the speech synthesizer.
Examples of property values:
h1 { voice-pitch: 250Hz; } /* positive offset relative to the inherited absolute frequency */ h1 { voice-pitch: +250Hz; } /* identical to the line above */ h2 { voice-pitch: +30Hz absolute; } /* not an increment */ h2 { voice-pitch: absolute 30Hz; } /* identical to the line above */ h3 { voice-pitch: -20Hz; } /* negative offset (decrement) relative to the inherited absolute frequency */ h4 { voice-pitch: -20Hz absolute; } /* illegal syntax => value ignored ("absolute" keyword not allowed with negative frequency) */ h5 { voice-pitch: -3.5st; } /* semitones, negative offset */ h6 { voice-pitch: 25%; } /* this means "add a quarter of the inherited value, to the inherited value" */ h6 { voice-pitch: +25%; } /* identical to the line above */
voice-range
’
property| Name: | voice-range |
| Value: | <frequency> && absolute | [[x-low | low | medium | high | x-high] || [<frequency> | <semitones> | <percentage>]] |
| Initial: | medium |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | refer to inherited value |
| Media: | speech |
| Computed value: | one of the predefined pitch keywords if only the keyword is specified by itself, otherwise an absolute frequency calculated by converting the keyword value (if any) to a fixed frequency based on the current voice-family and by applying the specified relative offset (if any) |
The ‘voice-range
’ property specifies the
variability in the "baseline" pitch, i.e. how much the fundamental
frequency may deviate from the average pitch of the speech output. The
dynamic pitch range of the generated speech generally increases for a
highly animated voice, for example when variations in inflection are used
to convey meaning and emphasis in speech. Typically, a low range produces
a flat, monotonic voice, whereas a high range produces an animated voice.
Note that although the functionality provided by this
property is similar to the range
attribute of the prosody
element from the SSML markup
language [SSML], there
are notable discrepancies. For example, CSS Speech pitch range keywords
and relative changes (frequency, semitone or percentage) are not
mutually-exclusive, due to how values are inherited and combined for
selected elements.
A value in frequency units (Hertz or
kiloHertz, e.g. "100Hz", "+2kHz"). Values are restricted to positive
numbers when the ‘absolute
’
keyword is specified. Otherwise (when the ‘absolute
’ keyword is not specified), a
negative value represents a decrement, and a positive value represents
an increment, relative to the inherited value. For example, "2kHz" is a
positive offset (strictly equivalent to "+2kHz"), and "+2kHz absolute"
is an absolute frequency (strictly equivalent to "2kHz absolute").
If specified, this keyword indicates that the specified frequency represents an absolute value. If a negative frequency is specified, the computed frequency will be zero.
Specifies a relative change (decrement or increment) to the inherited value. The syntax of allowed values is a <number> followed immediately by "st" (semitones). A semitone interval corresponds to the step between each note on an equal temperament chromatic scale. A semitone can therefore be quantified as the difference between two consecutive pitch frequencies on such scale. The ratio between two consecutive frequencies separated by exactly one semitone is the twelfth root of two (approximately 11011/10393, which equals exactly 1.0594631). As a result, the value in Hertz corresponding to a semitone offset is relative to the initial frequency the offset is applied to (in other words, a semitone doesn't correspond to a fixed numerical value in Hertz).
Positive and negative percentage values
are allowed, to represent an increment or decrement (respectively)
relative to the inherited value. Computed values are calculated by
adding (or subtracting) the specified fraction of the inherited value,
to (from) the inherited value. For example, 50% (which is equivalent to
+50%) with a inherited value of 200Hz results in 200 +
(200*0.5)
= 300Hz. Conversely, -50% results in
200-(200*0.5)
= 100Hz.
A sequence of monotonically non-decreasing pitch levels that are implementation and voice specific. When the computed value for a given element is only a keyword (i.e. no relative offset is specified), then the corresponding absolute frequency will be re-evaluated on a voice change. Conversely, the application of a relative offset requires the calculation of the resulting frequency based on the current voice at the point at which the relative offset is specified, so the computed frequency will inherit absolutely regardless of any voice change further down the style cascade. Authors should therefore only use keyword values in cases where they wish that voice changes trigger the re-evaluation of the conversion from a keyword to a concrete, voice-dependent frequency.
Computed absolute frequencies that are negative are clamped to zero Hertz. Speech-capable user agents are likely to support a specific range of values rather than the full range of possible calculated numerical values for frequencies. The actual values in user agents may therefore be clamped to implementation-dependent minimum and maximum boundaries. For example: although the 0Hz frequency can be legitimately calculated, it may be clamped to a more meaningful value in the context of the speech synthesizer.
Examples of inherited values:
 <e1> <e2> <e3> <e4> <e5> <e6> ... </e6> </e5> </e4> </e3> </e2> </e1>  body { voice-range: inherit; } /* the initial value is 'medium' (the actual frequency value depends on the current voice) */ e1 { voice-range: +25%; } /* the computed value is ['medium' + 25%] which resolves to the frequency corresponding to 'medium' plus 0.25 times the frequency corresponding to 'medium' */ e2 { voice-range: +10Hz; } /* the computed value is [FREQ + 10Hz] where "FREQ" is the absolute frequency calculated in the "e1" rule above. */ e3 { voice-range: inherit; /* this could be omitted, but we explicitly specify it for clarity purposes */ voice-family: "another-voice"; } /* this voice change would have resulted in the re-evaluation of the initial 'medium' keyword inherited by the "body" element (i.e. conversion from a voice-dependent keyword value to a concrete, absolute frequency), but because relative offsets were applied down the style cascade, the inherited value is actually the frequency calculated at the "e2" rule above. */ e4 { voice-range: 200Hz absolute; } /* override with an absolute frequency which doesn't depend on the current voice */ e5 { voice-range: 2st; } /* the computed value is an absolute frequency, which is the result of the calculation: 200Hz + two semitones (reminder: the actual frequency corresponding to a semitone depends on the base value to which it applies) */ e6 { voice-range: inherit; /* this could be omitted, but we explicitly specify it for clarity purposes */ voice-family: "yet-another-voice"; } /* despite the voice change, the computed value is the same as for "e5" (i.e. an absolute frequency value, independent from the current voice) */
voice-stress
’ property| Name: | voice-stress |
| Value: | normal | strong | moderate | none | reduced |
| Initial: | normal |
| Applies to: | all elements |
| Inherited: | yes |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘voice-stress
’ property manipulates the
strength of emphasis, which is normally applied using a combination of
pitch change, timing changes, loudness and other acoustic differences. The
precise meaning of the values therefore depend on the language being
spoken.
Note that the functionality provided by this property is
similar to the emphasis
element from the SSML markup language [SSML].
Represents the default emphasis produced by the speech synthesizer.
Prevents the synthesizer from emphasizing text it would normally emphasize.
These values are monotonically non-decreasing in strength. Their
application results in more emphasis than what the speech synthesizer
would normally produce (i.e. more than the value corresponding to
‘normal
’).
Effectively the opposite of emphasizing a word.
Examples of property values, with HTML sample:
.default-emphasis { voice-stress: normal; } .lowered-emphasis { voice-stress: reduced; } .removed-emphasis { voice-stress: none; } .normal-emphasis { voice-stress: moderate; } .huge-emphasis { voice-stress: strong; } ...
This is a big car.

This is a big car.

This car is massive!

This car is massive!

This is a big car!

This is a big car!!!

voice-duration
’ property| Name: | voice-duration |
| Value: | auto | <time> |
| Initial: | auto |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | speech |
| Computed value: | specified value |
The ‘voice-duration
’ property specifies how
long it should take to render the selected element's content (not
including audio cues,
pauses and rests ). Unless the value
‘auto
’ is specified, this property
takes precedence over the ‘voice-rate
’ property, and should be used
to determine a suitable speaking rate for the voice. An element for which
the ‘voice-duration
’ property value is not
‘auto
’ may have descendants for
which the ‘voice-duration
’ and ‘voice-rate
’
properties are specified, but these must be ignored. In other words, when
a ‘time
’ is specified for the
‘voice-duration
’ of a selected element, it
applies to the entire element subtree (children cannot override the
property).
Note that the functionality provided by this property is
similar to the duration
attribute of the prosody
element from the SSML markup
language [SSML].
Resolves to a used value corresponding to the duration of the speech
synthesis when using the inherited ‘voice-rate
’.
Specifies a value in absolute time units (seconds and milliseconds, e.g. "+3s", "250ms"). Only non-negative values are allowed.
The ‘
’ property of [CSS21] specifies three
types of list item markers: glyphs, numbering systems, and alphabetic
systems. The values allowed for this property are also used for the
counter() function of the ‘list-style-type
content
’ property. The CSS Speech module
defines how to render these styles in the aural dimension, using speech
synthesis. The ‘
’ property of [CSS21] is ignored, and
instead the ‘list-style-image
’ is used.
list-style-type
Note that the speech rendering of new features from the CSS Lists and Counters Module Level 3 [CSS3LIST] is not covered in this level of CSS Speech, but may be defined in a future specification.
For these list item styles, the user agent defines (possibly based on user preferences) what equivalent phrase is spoken or what audio cue is played. List items with graphical bullets are therefore announced appropriately in an implementation-dependent manner.
For these list item styles, corresponding numbers are spoken as-is by the speech synthesizer, and may be complemented with additional audio cues or speech phrases in the document's language (i.e. with the same TTS voice used to speak the list item content) in order to indicate the presence of list items. For example, when using the English language, the list item counter could be prefixed with the word "Item", which would result in list items being announced with "Item one", "Item two", etc.
These list item styles are spelled out letter-by-letter by the speech
synthesizer, in the document language (i.e. with the same TTS voice used
to speak the list item content). For example, ‘lower-greek
’ in English would be read out as
"alpha", "beta", "gamma", etc. Conversely, ‘upper-latin
’ in French would be read out as
/a/, /be/, /se/, etc. (phonetic notation)
Note that it is common for user agents such as screen readers to announce the nesting depth of list items, or more generally, to indicate additional structural information pertaining to complex hierarchical content. The verbosity of these additional audio cues and/or speech output can usually be controlled by users, and contribute to increasing usability. These navigation aids are implementation-dependent, but it is recommended that user agents supporting the CSS Speech module ensure that these additional audio cues and speech output don't generate redundancies or create inconsistencies (for example: duplicated or different list item numbering scheme).
Note that this entire section is informative.
Sometimes, authors will want to specify a mapping from the source text
into another string prior to the application of the regular pronunciation
rules. This may be used for uncommon abbreviations or acronyms which are
unlikely to be recognized by the synthesizer. The ‘content
’
property can be used to replace one string by another. The functionality
provided by this property is similar to the alias
attribute of the sub
element from the SSML markup
language [SSML].
In this example, the abbreviation is rendered using the content of the title attribute instead of the element's content.
/* This replaces the content of the selected element by the string "World Wide Web Consortium". */ abbr { content: attr(title); } ... W3C
In a similar way, text strings in a document can be replaced by a previously recorded version.
In this example - assuming the format is supported, the file is available and the UA is configured to do so - a recording of Sir John Gielgud's declamation of the famous monologue is played. Otherwise the UA falls back to render the text using synthesized speech.
.hamlet { content: url(./audio/gielgud.wav); } ...
 To be, or not to be: that is the question:

Furthermore, authors (or users via a user stylesheet) may add some
information to ease the understanding of structures during non-visual
interaction with the document. They can do so by using the ‘::before
’ and ‘::after
’ pseudo-elements. Note that different
stylesheets can be used to define the level of verbosity for additional
information spoken by screen readers.
This example inserts the string "Start list: " before a list and the string "List item: " before the content of each list item. Likewise, the string "List end: " gets inserted after the list to inform the user that the list speech output is over.
ul::before { content: "Start list: "; } ul::after { content: "List end. "; } li::before { content: "List item: "; }
Detailed information can be found in the CSS3 Generated and Replaced Content module [CSS3GENCON].
Note that this entire section is informative.
CSS does not specify how to define the pronunciation (expressed using a well-defined phonetic alphabet) of a particular piece of text within the markup document. A "phonemes" property was described in earlier drafts of this specification, but objections were raised due to breaking the principle of separation between content and presentation (the "phonemes" authored within aural CSS stylesheets would have needed to be updated each time text changed within the markup document). The "phonemes" functionality is therefore considered out-of-scope in CSS (the presentation layer) and should be addressed in the markup / content layer.
The "pronunciation"
rel
value allows importing pronunciation lexicons in HTML
documents using the link
element (similar to how CSS
stylesheets can be included). The W3C PLS (Pronunciation Lexicon
Specification) [PRONUNCIATION-LEXICON]
is one format that can be used to describe such a lexicon.
Additionally, an attribute-based mechanism can be used within the markup to author text-pronunciation associations. At the time of writing, such mechanism isn't formally defined in the W3C HTML standard(s). However, the EPUB 3.0 specification allows (x)HTML5 documents to contain attributes derived from the [SSML] specification, that describe how to pronounce text based on a particular phonetic alphabet.
| Property | Values | Initial | Applies to | Inh. | Percentages | Media |
|---|---|---|---|---|---|---|
| cue | <‘cue-before’> <‘cue-after’>? | N/A (see individual properties) | all elements | no | N/A | speech |
| cue-after | <uri> <decibel>? | none | none | all elements | no | N/A | speech |
| cue-before | <uri> <decibel>? | none | none | all elements | no | N/A | speech |
| pause | <‘pause-before’> <‘pause-after’>? | N/A (see individual properties) | all elements | no | N/A | speech |
| pause-after | <time> | none | x-weak | weak | medium | strong | x-strong | none | all elements | no | N/A | speech |
| pause-before | <time> | none | x-weak | weak | medium | strong | x-strong | none | all elements | no | N/A | speech |
| rest | <‘rest-before’> <‘rest-after’>? | N/A (see individual properties) | all elements | no | N/A | speech |
| rest-after | <time> | none | x-weak | weak | medium | strong | x-strong | none | all elements | no | N/A | speech |
| rest-before | <time> | none | x-weak | weak | medium | strong | x-strong | none | all elements | no | N/A | speech |
| speak | auto | none | normal | auto | all elements | yes | N/A | speech |
| speak-as | normal | spell-out || digits || [ literal-punctuation | no-punctuation ] | normal | all elements | yes | N/A | speech |
| voice-balance | <number> | left | center | right | leftwards | rightwards | center | all elements | yes | N/A | speech |
| voice-duration | auto | <time> | auto | all elements | no | N/A | speech |
| voice-family | [[<name> | <generic-voice>],]* [<name> | <generic-voice>] | preserve | implementation-dependent | all elements | yes | N/A | speech |
| voice-pitch | <frequency> && absolute | [[x-low | low | medium | high | x-high] || [<frequency> | <semitones> | <percentage>]] | medium | all elements | yes | refer to inherited value | speech |
| voice-range | <frequency> && absolute | [[x-low | low | medium | high | x-high] || [<frequency> | <semitones> | <percentage>]] | medium | all elements | yes | refer to inherited value | speech |
| voice-rate | [normal | x-slow | slow | medium | fast | x-fast] || <percentage> | normal | all elements | yes | refer to default value | speech |
| voice-stress | normal | strong | moderate | none | reduced | normal | all elements | yes | N/A | speech |
| voice-volume | silent | [[x-soft | soft | medium | loud | x-loud] || <decibel>] | medium | all elements | yes | N/A | speech |
The following properties are defined in other modules or specifications:
The following definitions are provided by other modules or specifications:
The following terms and abbreviations are used in this module.
A program that reads and/or writes CSS style sheets on behalf of a user in either or both of these categories: programs whose purpose is to render documents (e.g., browsers) and programs whose purpose is to create style sheets (e.g., editors). A UA may fall into both categories. (There are other programs that read or write style sheets, but this module gives no rules for them.)
A tree-structured document with elements and attributes, such as an SGML or XML document [XML11].
Conformance requirements are expressed with a combination of descriptive assertions and RFC 2119 terminology. The key words "MUST", "MUST NOT", "REQUIRED", "SHALL", "SHALL NOT", "SHOULD", "SHOULD NOT", "RECOMMENDED", "MAY", and "OPTIONAL" in the normative parts of this document are to be interpreted as described in RFC 2119. However, for readability, these words do not appear in all uppercase letters in this specification. All of the text of this specification is normative except sections explicitly marked as non-normative, examples, and notes. [RFC2119]
Examples in this specification are introduced with the words "for
example" or are set apart from the normative text with
class="example"
, like this:
This is an example of an informative example.
Informative notes begin with the word "Note" and are set apart from the
normative text with class="note"
, like this:
Note, this is an informative note.
Conformance to the CSS3 Speech module is defined for three classes:
A style sheet is conformant to the CSS3 Speech module if all of its declarations that use properties defined in this module have values that are valid according to the generic CSS grammar and the individual grammars of each property as given in this module.
A renderer is conformant to the CSS3 Speech module if, in addition to interpreting the style sheet as defined by the appropriate specifications, it supports all the properties defined by CSS3 Speech module by parsing them correctly and rendering the document accordingly. However the inability of a UA to correctly render a document due to limitations of the device does not make the UA non-conformant. (For example, a UA is not required to render color on a monochrome monitor.)
An authoring tool is conformant to CSS3 Speech module if it writes syntactically correct style sheets, according to the generic CSS grammar and the individual grammars of each property in this module.
As described in the W3C process document, a Candidate Recommendation (CR) is a specification that W3C recommends for use on the Web. The next stage is "Recommendation" when the specification is sufficiently implemented.
For this specification to be proposed as a W3C Recommendation, the following conditions shall be met. There must be at least two independent, interoperable implementations of each feature. Each feature may be implemented by a different set of products, there is no requirement that all features be implemented by a single product. For the purposes of this criterion, we define the following terms:
A minimum of sixth months of the CR period must have elapsed. This is to ensure that enough time is given for any remaining major errors to be caught.
Features will be dropped if two or more interoperable implementations are not found by the end of the CR period.
Features may/will also be dropped if adequate/sufficient (by judgment of CSS WG) tests have not been produced for those feature(s) by the end of the CR period.
The editors would like to thank the members of the W3C Voice Browser and Cascading Style Sheets working groups for their assistance in preparing this specification. Special thanks to Ellen Eide (IBM) for her detailed comments, and to Elika Etemad (Fantasai) for her thorough reviews.
Note that the previous Working Draft includes its own list of changes, which - for succinctness - is not repeated here.
This document was updated to address the issues listed in the Last Call Working Draft (18 August 2011) Disposition Of Comments.
voice-rate
’
percentages.
span
’ to ‘em
’ to illustrate the use of ‘voice-stress
’.


NYCAASC 2017 Workshops
<< Back to NYCAASC 2017Track 3
Envisioning Creative Futures: Immigrant & Youth Resistance in Chinatown
Room 361
Description: Building from our work in New York City’s Chinatown with the WOW Project and from conducting oral history interviews, we plan to explore how long-time residents, small businesses, and tenants organize in the wake of displacement through various on the ground, digital media, and art strategies. Our workshop will be interactive with participants who wish to learn more about resistance and how to address the gentrification happening in immigrant neighborhoods across the city.
Speakers
Mei Lum
Wing on Wo & Co (W.O.W)
Mei Lum is the 5th generation owner-in-training of her family's porcelain shop, Wing on Wo & Co (W.O.W) and founder and director of W.O.W's community initiative, The W.O.W Project. Inspired by her family's pivotal moment in deciding whether or not to fold their 92-year-old porcelain ware small business, Mei founded The W.O.W Project to engage community members -- youth, elders, business owners and concerned residents -- in conversation and innovative idea generation about the future of their neighborhood. Mei is working hard on building a socially-minded business model for W.O.W that supports the future growth of The W.O.W Project.
Diane Wong
Diane Wong is a doctoral candidate at Cornell University where she writes on race, gender and the gentrification of Chinatowns. As a scholar activist and educator, her research stems from a place of revolutionary praxis and love for community. As a first generation Chinese American woman born and raised in New York City her research is intimately tied to Chinese diaspora and the immigrant experience. Her current dissertation research explores how gentrification impacts low-income immigrants and how Chinese residents with limited resources mobilize to fight for their homes, shifting away from the narrative of immigrants as non-political. Outside of graduate school and research, she also works as a community organizer with groups like Asians4BlackLives-NYC, 18 Million and Rising, and CAAAV: Organizing Asian Communities.


Class Folder
Describes a Folder in Oqtane
Inheritance
System.Object
Folder
Assembly: Oqtane.Shared.dll
Syntax
public class Folder : IAuditable
Properties
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Capacity
Maximum folder capacity (in bytes)
Declaration
public int Capacity { get; set; }
Property Value
| Type |
Description |
| System.Int32 |
|
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CreatedBy
Username of the creator of this Object.
Declaration
public string CreatedBy { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
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View Source
CreatedOn
Created Timestamp for this Object.
Declaration
public DateTime CreatedOn { get; set; }
Property Value
| Type |
Description |
| System.DateTime |
|
|
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View Source
DeletedBy
Declaration
public string DeletedBy { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
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DeletedOn
Declaration
public DateTime? DeletedOn { get; set; }
Property Value
| Type |
Description |
| System.Nullable<System.DateTime> |
|
|
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FolderId
ID to identify the folder
Declaration
public int FolderId { get; set; }
Property Value
| Type |
Description |
| System.Int32 |
|
|
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View Source
HasChildren
Information if this folder has sub-items like more Folder or File objects
Declaration
[NotMapped]
public bool HasChildren { get; set; }
Property Value
| Type |
Description |
| System.Boolean |
|
|
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View Source
ImageSizes
List of image sizes which can be generated dynamically from uploaded images (ie. 200x200,x200,200x)
Declaration
public string ImageSizes { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
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View Source
IsDeleted
Declaration
public bool IsDeleted { get; set; }
Property Value
| Type |
Description |
| System.Boolean |
|
|
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IsSystem
Folder is a dependency of the framework and cannot be modified or removed
Declaration
public bool IsSystem { get; set; }
Property Value
| Type |
Description |
| System.Boolean |
|
|
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View Source
Level
Folder Depth
TODO: todoc Where does this start, so Depth 0 or 1 is where in the file system?
Declaration
[NotMapped]
public int Level { get; set; }
Property Value
| Type |
Description |
| System.Int32 |
|
|
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View Source
ModifiedBy
Username of the last user who modified this Object.
Declaration
public string ModifiedBy { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
Improve this Doc
View Source
ModifiedOn
Modified Timestamp for this Object.
Declaration
public DateTime ModifiedOn { get; set; }
Property Value
| Type |
Description |
| System.DateTime |
|
|
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View Source
Name
Declaration
public string Name { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
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View Source
Order
Sorting order of the folder
Declaration
public int Order { get; set; }
Property Value
| Type |
Description |
| System.Int32 |
|
|
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ParentId
Reference to the parent Folder, if it has a parent folder.
Declaration
public int? ParentId { get; set; }
Property Value
| Type |
Description |
| System.Nullable<System.Int32> |
|
|
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Path
Path to the folder
TODO: document from where the path starts
Declaration
public string Path { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
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Permissions
TODO: todoc what would this contain?
Declaration
[NotMapped]
public string Permissions { get; set; }
Property Value
| Type |
Description |
| System.String |
|
|
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SiteId
Declaration
public int SiteId { get; set; }
Property Value
| Type |
Description |
| System.Int32 |
|
|
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View Source
Type
Folder type - based on FolderTypes
Declaration
public string Type { get; set; }
Property Value
| Type |
Description |
| System.String |
|
Implements
Extension Methods


TEST:
This is an email link:Send Mail
Address: 4802 N. Broadway Street, Suite 201B, Chicago, Illinois 60640


Allief Vinicius
Dashboard
+ Add Employee
Employee List
Management
Others
Basic Info
Employee Code
Designation
Phone Number
Joining Date
1
Jimmy Henderson
<EMAIL_ADDRESS>CA009
Angular Developer
(11) 92343-5942
Mar 27,2020
2
Jimmy Henderson
<EMAIL_ADDRESS>CA009
Angular Developer
(11) 92343-5942
Mar 27,2020
3
Jimmy Henderson
<EMAIL_ADDRESS>CA009
Angular Developer
(11) 92343-5942
Mar 27,2020


Billy Rintamaki
Website Coding
Assignments
Assignment 1
Assignment 2
Assignment 3
Assignment 4
Assignment 5
Assignment 6
Assignment 7
Assignment 8
Assignment 9
Assignment 10
Assignment 11
Assignment 12
Website Reviews
Github Website Review
Reddit Website Review
Liquid and Jello page design Review
CSS Zengarden Review
BattleMetrics Review
Heroku
Amazon


Welcome to the Food Store!
Player, you have 50 food.
Purchase Additional Life
20 Food
Change Snake Skin
100 Food
Change Snake Skin
10 Food


I am so grateful that I can celebrate Mother’s Day with my mother this year. Yet,
while I honor her, I also recognize, that because of you, every day is Mother’s
Day.
 May I suggest a tribute gift which includes a gift membership (and
Welcome Kit) to new members ($35 minimum)?
You might also be inspired to sponsor five copies of “Raising Kids on a Shoestring”
and have us send it to a Pregnancy Resource Center, pastoral or campus counselors.
Let us know where you wish them to go, and we will let them know of your thoughtfulness.
This Saturday is also Birthmother’s Day. We honor and support birthmothers too [http://r20.rs6.net/tn.jsp?f=001ycHQ3IFGyfdggwIUjGFi4w5xX54mXGCPZGUbs89blckwGgMT7CCgxFpB660JEehUcLfoBa4rdZyJ6cg7RRW76JuYISmYgXn8_0PO9mIlKZfYOQne3665OMnQe3aKzEihJ9XOTXezCWFBnViCgBvUyt7Ff4cz89WHgXo9MftsSLB3Ynr9M8qq3dAVtSo1SllF5vt094aqO-gBywLHXkr_TCsxB8b9Vx9G&c=THBbtGIz0bfE0CQAql023G6gLgIgmqQTMuy-77i7GnolC0MNlhAzQQ==&ch=NxJAulTJj2nHRofV92D9rcKKYUEnJhzz6OZb5PriErEcXZ7tcARNCw==].
Thanks to all who give to make life better. [http://r20.rs6.net/tn.jsp?f=001ycHQ3IFGyfdggwIUjGFi4w5xX54mXGCPZGUbs89blckwGgMT7CCgxCtHbLQlPmQ0Bkrz3FfyjEKW7kXvQThpD0vtbbirl9rVE6IYH-GWx2WeBny9HHgk3HZfZF0fatiCmGmwmiswMrPgqahBI58z-OEpObQvI-6djp2SNYdIOuj3nDsi1tmvjDbAmgM7KbyYI15lM7gp-_Q=&c=THBbtGIz0bfE0CQAql023G6gLgIgmqQTMuy-77i7GnolC0MNlhAzQQ==&ch=NxJAulTJj2nHRofV92D9rcKKYUEnJhzz6OZb5PriErEcXZ7tcARNCw==]
Because women deserve better,
Serrin M. Foster
President
Feminists for Life of America is a nonsectarian, nonpartisan 501©3 nonprofit organization.
All donations are tax-deductible to the extent allowed by law.
For more information, go to http://www.feministsforlife.org/support/ [http://r20.rs6.net/tn.jsp?f=001ycHQ3IFGyfdggwIUjGFi4w5xX54mXGCPZGUbs89blckwGgMT7CCgxCtHbLQlPmQ0Bkrz3FfyjEKW7kXvQThpD0vtbbirl9rVE6IYH-GWx2WeBny9HHgk3HZfZF0fatiCmGmwmiswMrPgqahBI58z-OEpObQvI-6djp2SNYdIOuj3nDsi1tmvjDbAmgM7KbyYI15lM7gp-_Q=&c=THBbtGIz0bfE0CQAql023G6gLgIgmqQTMuy-77i7GnolC0MNlhAzQQ==&ch=NxJAulTJj2nHRofV92D9rcKKYUEnJhzz6OZb5PriErEcXZ7tcARNCw==]
Women Deserve Better is a registered trademark of Feminists for Life of America.
www.feministsforlife.org [http://r20.rs6.net/tn.jsp?f=001ycHQ3IFGyfdggwIUjGFi4w5xX54mXGCPZGUbs89blckwGgMT7CCgxMyEWyHukWPB6wXTdUfFHjEhPMBYld4NPx2U_nP41dhuEte_HXAuchAAypbqm_AOvOcJt5iuDn860czDHduw0CKOU2Lp


Baldwin asks DOD to investigate Wisconsin discharge decision
MADISON, Wis. - U.S. Sen. Tammy Baldwin wants the Department of Defense to investigate whether a Wisconsin National Guard sergeant is being discharged in retaliation for complaining about sexual misconduct in his unit.
Master Sgt. Jay Ellis' complaints about sexual assault and harassment within the 115th Fighter Wing last year has sparked two federal investigations. He said last week he had been told that he will receive a medical discharge. He believes his commanders want to deny him retirement benefits in retaliation for his complaints.
Baldwin sent a letter Friday to the Wisconsin Guard's top commander, Donald Dunbar, and the National Guard Bureau urging them to halt the process.
She sent a letter Wednesday to the DOD's inspector general's office requesting an investigation, saying Ellis is a whistleblower and should be protected.


| PERSONAL DATA AND HISTORY |
1. Date of Preparation
{1}
|
|
2. Name
{2}
|
3. UPP
{3}
|
|
4. Noble Title
{4}
|
5. Military Rank
{5}
|
6. Birthdate
{6}
|
|
7. Age Modifiers (+ for drugs; - for sleep)
{7}
|
8. Birthworld
{8}
|
| SERVICE HISTORY |
Personal service data produced from appropriate historical and personal records. |
|
9. Service
{9}
|
10. Branch
{10}
|
11. Dischargeworld
{11}
|
|
12. Terms Served
{12}
|
13. Final Rank
{13}
|
14a. Retired?
{14,choice,0#No|0
|
14b. Retirement Pay
{14,choice,0#|0
|
|
15. Special Assignments
{15}
|
|
16. Awards and Decorations (include Combat Commands, Commendations, Medals, etc.)
{16}
|
|
17. Equipment Qualified On
{17}
|
|
18a. Primary Skill
|
18b. Secondary Skill
|
|
18c. Additional Skills
{18}
|
|
19a. Preferred Weapon
{19}
|
19b. Preferred Pistol
|
19c. Preferred Blade
|
20. TAS Member?
{20,choice,0#No|0
|
| PSIONICS |
Warning: Information regarding an individual's psionic ability is confidential, and may not be released without consent. |
|
21. Date of Test
|
22. PSR
|
23a. Trained?
|
23b. Date Completed
|
|
24. Talents and Current Levels
|


This is the first website I worked on as an exercise while learning how to set up a webpage. HTML and CSS only.
This is my own independent project during pre-prep at Moringa School and it was about travel agency which used HTML and CSS only.
Was an exercise website while learning it involves cookie recipe and I used HTML and CSS only.
(Project names are linked to their various github links and can be accessed when clicked.)


This HIT will involve 3 short tasks, all involving pictures of flowers. It should take approximately 12-15 minutes to do all 3 tasks.
During the first task, you will see one flower at a time and have to determine whether or not it is an avlonia. Avlonias are a particular species of flower. They are different from all other flowers in one simple way -- and your job is to find out what that is. For example, it could be that avlonias all have 4 petals, but no other flowers do. Or avlonias could be the only flowers that have a pink center; or a round petal shape; or a heart in their center.
As you can see from these examples, the flowers in this experiment will differ in a number of ways: (1) the number of petals, (2) the color of the petals, (3) the shape of the petals, (4) the shape of their center, (5) the color of their center, (6) the shape of the hole inside their center, and (7) the number of sepals (the black ovals between the petals). One of these features will determine what is and is not an avlonia.
In the first task, you'll be shown a single flower, and then be asked if it is or is not an avlonia (press 'y' if yes, 'n' if no). An avlonia is a flower that has . At first, you'll have to guess. Eventually, though, you'll figure out what makes something an avlonia. You will have 0 flowers to judge. Do your best to determine what makes something an avlonia.
By answering the following questions, you are participating in a study being performed by psychologists in the Duke Department of Psychology and Neuroscience. If you have questions about this research, please contact Felipe De Brigard at<EMAIL_ADDRESS>Your participation in this research is voluntary. You may decline to answer any or all of the following questions. You may decline further participation, at any time, without adverse consequences. Your anonymity is assured; the researchers who have requested your participation will not receive any personal information about you.
Great job!
During the second task, you will have to remember flowers. You'll be shown 0 flowers, one at a time, for just a few seconds each. Do your best to remember these flowers as well as you can. If you remember a large number of them successfully, you'll likely get bonus pay.
Some of the flowers you have to remember might be avlonias and some might not.
Great job!
During the third and final task, you will have to say which flowers you saw in the previous part and which you didn't. You'll be shown 0 flowers, one at a time. Some you will have seen before, and some you won't have seen. For each flower, you have to say whether you saw it before. If you did see it, press the 'y' key. If you didn't, press the 'n' key. Please do your best!


Access Your Account
Email address
Password
Remember me for 30 days.
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Home
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| Warning | Class form_in_table parent application not found |
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| Warning |
duplicate class element "list_records" in file /home/mitarbeiter/sven/public_html/tmp/caroshi/doc/tutorial/de/08_delete.php will be ignored.
Use an @ignore tag on the original if you want this case to be documented. |
| Warning | Class list_records parent application not found |
| Warning |
duplicate class element "list_records" in file /home/mitarbeiter/sven/public_html/tmp/caroshi/doc/tutorial/de/07_form_create.php will be ignored.
Use an @ignore tag on the original if you want this case to be documented. |
| Warning |
duplicate class element "list_records" in file /home/mitarbeiter/sven/public_html/tmp/caroshi/doc/tutorial/de/09_delete_group.php will be ignored.
Use an @ignore tag on the original if you want this case to be documented. |
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| S | stats toolbox needed | I | interactive (user input required) |
| B | bioinformatics toolbox needed | M | matlab needed (will not work in octave) |
| O | optimization toolbox needed | W | windows needed (will not work in linux) |
| X | currently broken | * | slow (two stars indicates very slow) |
| File Name | Brief Description | Page Number(s) | Tags |
|---|---|---|---|
| biasVarModelComplexity3 | Illustration of the bias variance trade off as we vary the L2 regularizer. | 198 | |
| bootstrapDemoBer | Bootstrap demo for the MLE for a Bernoulli | 186 | |
| hingeLossPlot | Hinge Loss Plot | 205, 538 | |
| linregPolyVsRegDemo | Ridge regression: visualize effect of changing lambda and selecting it with CV and EB | 202, 219, 220, 233 | |
| riskFnGauss | Reproduce Figure B.1 p447 from Bernardo94 | 192 | |
| samplingDistGaussShrinkage | Plot the sampling distribution of mean shrinkage estimators | 197 |


ACCOUNT
change password
MY LOCATIONS
In order to start collecting data at your locations you have to download and install Aropay POS application on your point of sale computer


This Page is under construction
Having a conversation with your computer might sound like the script of a science fiction movie. After all, the members of the Enterprise on Star Trek regularly talked with their computer. In fact, the computer often talked back. However, with the rise of Apple’s Siri (http://www.apple.com/ios/ siri/) and other interactive software, perhaps you really don’t find a conversation so unbelievable. Asking the computer for information is one thing, but providing it with instructions is quite another. This website considers why you want to instruct your computer about anything and what benefit you gain from it. You also discover the need for a special language when performing this kind of communication and why you want to use Python to accomplish it. However, the main thing to get out of this site is that programming is simply a kind of communication that is akin to other forms of communication you already have with your computer.


Index Page
This is my index page that is very simple.
Item1
Item2
Item3
The home page
Sample text
Colors,
Boxes


Photo Stories
Add Story
Action
Another action
Something else here
Settings
Activity Log
Logout
All Stories
Add Story
View Users
Ready to Leave?
×
Select "Logout" below if you are ready to end your current session.
add new Story
×
Title of your Story
Location
Select Image
Comment
Edit Story
×
Title of your Story
Location
Select Image
Comment


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Update the namespace for autocompletion and calltips. Return True if updated, False if there was an error. |
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| Generated by Epydoc 3.0.1 on Mon Nov 22 14:59:39 2010 | http://epydoc.sourceforge.net |


Falcon Face Match
Upload image and video to compare
Image Url
Video Url
Match : {{result["Match"]}}
Total Screenshots : {{result["Total Screenshots"]}}
Matched Screenshots : {{result["Matched Screenshots"]}}


Year-to-year differences of summer minimum (here, September mean) sea ice area (SIA) and autumn (September through November mean) surface air temperature (SAT) anomalies (with respect to the 1960–1980 mean) averaged over the Arctic Ocean (here, the area north of 70°N) and globally are computed from CMIP5 model output which is smoothed with a 30-year boxcar filter. Year-to-year differences are displayed in Fig. 4c as time series and in Fig. SI7 as scatter plots. The scatter diagram of Arctic SIA versus SAT is used to compute a normalized distance d from the origin for each year T, as follows (Fig. SI7):
The algorithm is applied to the CMIP5 model realizations combining the historical runs and RCP8.5 climate projections and to the multi-model mean (black vertical dashed lines in Fig. 4b–d; black × in Fig. SI7).
We use a 30-year running mean to low-pass filter the CMIP5 sea-ice area and surface air temperature records. The intention is to focus on the trend forced by the increase of greenhouse gases (RCP8.5 scenario) and to reduce the impact of interannual to decadal internal variability. This procedure does not fully eliminate internal variability, however, which differs between models 52.


To start a python script with pdb, just run python -mpdb [script].
Inside pdb, you can us:
l [line #] to list code at a line
n to step forward
c to continue
b [line #] to set break points.
You can also enter ![python command] to run a command, including interacting with variables and functions.


Geolocation API allows application to take a one-shot reading of the current position.
Get Geolocation
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Latitude:
No data
Longitude:
No data
Accuracy:
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