On-line recognition of English and numerical characters.

by Cheung Wai-Hung Wellis.Thesis (M.Sc.)--Chinese University of Hong Kong, 1992.Includes bibliographical references (leaves 52-54).ACKNOWLEDGEMENTSABSTRACTChapter 1 --- INTRODUCTION --- p.1Chapter 1.1 --- CLASSIFICATION OF CHARACTER RECOGNITION --- p.1Chapter 1.2 --- HISTORICAL DEVELOPMENT --- p.3Chapter 1.3 --- RECOGNITION METHODOLOGY --- p.4Chapter 2 --- ORGANIZATION OF THIS REPORT --- p.7Chapter 3 --- DATA SAMPLING --- p.8Chapter 3.1 --- GENERAL CONSIDERATION --- p.8Chapter 3.2 --- IMPLEMENTATION --- p.9Chapter 4 --- PREPROCESSING --- p.10Chapter 4.1 --- GENERAL CONSIDERATION --- p.10Chapter 4.2 --- IMPLEMENTATION --- p.12Chapter 4.2.1 --- Stroke connection --- p.12Chapter 4.2.2 --- Rotation --- p.12Chapter 4.2.3 --- Scaling --- p.14Chapter 4.2.4 --- De-skewing --- p.15Chapter 5 --- STROKE SEGMENTATION --- p.17Chapter 5.1 --- CONSIDERATION --- p.17Chapter 5.2 --- IMPLEMENTATION --- p.20Chapter 6 --- LEARNING --- p.26Chapter 7 --- PROTOTYPE MANAGEMENT --- p.27Chapter 8 --- RECOGNITION --- p.29Chapter 8.1 --- CONSIDERATION --- p.29Chapter 8.1.1 --- Delayed Stroke Tagging --- p.29Chapter 8.1.2 --- Bi-gram --- p.29Chapter 8.1.3 --- Character Scoring --- p.30Chapter 8.1.4 --- Ligature Handling --- p.32Chapter 8.1.5 --- Word Scoring --- p.32Chapter 8.2 --- IMPLEMENTATION --- p.33Chapter 8.2.1 --- Simple Matching --- p.33Chapter 8.2.2 --- Best First Search Matching --- p.33Chapter 8.2.3 --- Multiple Track Method --- p.35Chapter 8.3 --- SYSTEM PERFORMANCE TUNING --- p.37Chapter 9 --- POST-PROCESSING --- p.38Chapter 9.1 --- PROBABILITY MODEL --- p.38Chapter 9.2 --- WORD DICTIONARY APPROACH --- p.39Chapter 10 --- SYSTEM IMPLEMENTATION AND PERFORMANCE --- p.41Chapter 11 --- DISCUSSION --- p.43Chapter 12 --- EPILOG --- p.47Chapter APPENDIX I - --- PROBLEMS ENCOUNTERED AND SUGGESTED ENHANCEMENTS ON THE SYSTEM --- p.48Chapter APPENDIX II - --- GLOSSARIES --- p.51REFERENCES --- p.5

A Syntactic Omni-Font Character Recognition System

The author introduces a syntactic omni-font character recognition system that recognizes a wide range of fonts, including handprinted characters. A structural pattern-matching approach is used. Essentially, a set of loosely constrained rules specify pattern components and their interrelationships. The robustness of the system is derived from the orthogonal set of pattern descriptors, location functions, and the manner in which they are combined to exploit the topological structure of characters. By virtue of the new pattern description language, PDL, the user may easily write rules to define new patterns for the system to recognize. The system also features scale-invariance and user-definable sensitivity to tilt orientation. The system has achieved a 95. 2% recognition rate

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A Study Of The Effects Of Computer Animated Character Body Style On Perception Of Facial Expression

This study examined if there is a difference in viewer perception of computer animated character facial expressions based on character body style, specifically, realistic and stylized character body styles. Participants viewed twenty clips of computer animated characters expressing one of five emotions: sadness, happiness, anger, surprise and fear. They then named the emotion and rated the sincerity, intensity, and typicality of each clip. The results indicated that for recognition, participants were more slightly more likely to recognize a stylized character although it was not a significant difference. Stylized characters were on average rated higher for sincerity and intensity and realistic characters were on average rated higher for typicality. A significant difference in ratings was shown with fear (within sincerity and typicality) having realistic characters rated higher, happiness (within sincerity and intensity) having stylized characters rated higher and stylized being rated higher once for anger (stylized) and realistic (typicality) being rated once for anger. Other differences were also noted within the dependent variables. Based on the data collected in this study, overall there was not a significant difference in participant ratings between the two character styles

Translation as Experimentalism

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Remarks on deixis

The prevailing conception of deixis is oriented to the idea of 'concrete' physical and perceptual characteristics of the situation of speech. Signs standardly adduced as typical deictics are I, you, here, now, this, that. I and you are defined as meaning "the person producing the utterance in question" and "the person spoken to", here and now as meaning "where the speaker is at utterance time" and "at the moment the utterance is made" (also, "at the place/time of the speech exchange"); similarly, the meanings of this and that are as a rule defined via proximity to speaker's physical location. The elements used in such definitions form the conceptual framework of most of the general characterisations of deixis in the literature. [...] There is much in the literature, of course, that goes far beyond this framework . A great variety of elements, mostly with very abstract meanings, have been found to share deictic characteristics although they do not fit into the personnel-place-time-of-utterance schema. The adequacy of that schema is also called into question by many observations to the effect that the use of such standard deictics as here, now, this, that cannot really be accounted for on its basis, and by the far-reaching possibilities of orienting deictics to reference points in situations other than the situation of speech, to 'deictic centers' other than the speaker. [...] Analyses along the lines of the standard conception regularly acknowledge the existence of deviations from the assumed basic meanings. One traditional solution attributes them to speaker's "subjectivity", or to differences between "physical" and "psychological" space or time; in a similar vein, metaphorical extensions may be said to be at play, or a distinction between prototypical and non-prototypical meanings invoked. Quite apart from the question of the relative merits of these explanatory principles, which I do not wish to discuss here, the problem with all such accounts is that the definitions of the assumed basic meanings themselves are founded on axiom rather than analysis of situated use. The logical alternative, of course, is to set out for more abstract and comprehensive meaning definitions from the start. In fact, a number of recent, discourse-oriented, treatments of the demonstratives proceed this way; they view those elements as processing instructions rather than signs with inherently spatial denotation (Isard 1975, Hawkins 1978, Kirsner 1979, Linde 1979 , Ehlich 1982.

Hearing the Tonality in Microtonality

In the late 1970s and 1980s, composer-pianist Easley Blackwood wrote a series of microtonal compositions exploring the tonal and modal behavior of a dozen non–twelve-tone equal temperaments, ranging from 13 to 24 tones per octave. This dissertation investigates a central paradox of Blackwood’s microtonal music: that despite being full of intervals most Western listeners have never heard before, it still seems to “make sense” in nontrivial ways. Much of this has to do with the music’s idiosyncratic approach to tonality, which I define as a regime of culturally conditioned expectations that guides one’s attentional processing of music’s gravitational qualities over time. More specifically, Blackwood configures each tuning’s unfamiliar elements in ways that correspond to certain schematic expectations Western listeners tend to have about how tonal music “works.” This is why it is still possible to hear the forest of tonality in this music, so to speak, despite the odd-sounding trees that comprise it. Because of its paradoxical blend of expectational conformance and expectational noncompliance, Blackwood’s microtonal music makes for a useful tool to snap most Western-enculturated listeners out of their ingrained modes of musical processing and reveal certain things about tonality that are often taken for granted. Accordingly, just as Blackwood writes conventional-sounding music in unconventional tunings, this dissertation rethinks several familiar music-theoretic terms and concepts through the defamiliarizing lens of microtonality. I use Blackwood’s microtonal music as a prism to shine a light on traditional theories of tonality, scale degrees, consonance and dissonance, and harmonic function, arguing that many of these theories rely on assumptions that are tacitly tied to twelve-tone equal temperament and common-practice major/minor music. By unhooking these terms and concepts from any one specific tuning or historical period, I build up a set of analytical tools that can allow one to engage more productively with the many modalities of tonality typically heard on a daily basis today. This dissertation proceeds in six chapters. The four interior chapters each center on one of the terms and concepts mentioned above: scale degrees (Chapter 2), consonance and dissonance (Chapter 3), harmonic function (Chapter 4), and tonality (Chapter 5). In Chapter 2, I propose a system for labeling scale degrees that can provide more nuance and flexibility when reckoning with music in any diatonic mode (and in any tuning). In Chapter 3, I advance an account of consonance and dissonance as expectational phenomena (rather than purely psychoacoustic ones), and I consider the ways that non-pitched elements such as meter and notation can act as “consonating” and/or “dissonating” forces. In Chapter 4, I characterize harmonic function as arising from the interaction of generic scalar position and metrical position, and I devise a system for labeling harmonic functions that is better attuned to affective differences across the diatonic modes. In Chapter 5, I synthesize these building blocks into a conception of fuzzy heptatonic diatonic tonality that links together not only all of Blackwood’s microtonal compositions but also more familiar musics that use a twelve-tone octave, from Euroclassical to popular styles. The outer chapters are less explicitly music-analytical in focus. Chapter 1 introduces readers to Blackwood’s compositional approach and notational system, considers the question of his intended audience, and discusses the ways that enculturation mediates the cognition of microtonality (and of unfamiliar music more generally). Chapter 6 draws upon archival documents to paint a more detailed picture of who Blackwood was as a person and how his idiosyncratic worldview colors his approach to composition, scholarship, and interpersonal interaction. While my nominal focus in these six chapters is Blackwood’s microtonal music, the repertorial purview of my project is far broader. One of my guiding claims throughout is that attending more closely to the paradoxes and contradictions of Blackwood’s microtonality can help one better understand the musics they are accustomed to hearing. For this reason, I frequently compare moments in Blackwood’s microtonal music to ones in more familiar styles to highlight unexpected analogies and point up common concerns. Sharing space with Blackwood in the pages that follow are Anita Baker, Ornette Coleman, Claude Debussy, and Richard Rodgers, among others—not to mention music from Curb Your Enthusiasm, Fortnite, Sesame Street, and Star Wars. Ultimately, this project is a testament to the value of stepping outside of one’s musical comfort zone. For not only can this reveal certain things about that comfort zone that would not be apparent otherwise, but it can also help one think with greater nuance, precision, and (self-)awareness when “stepping back in” to reflect upon the music they know and love

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