Typewritten Text Research Articles

Questions of Address: For Meaghan Morris

In beginning to prepare this tribute to Meaghan Morris’s work I went to the bulging folder that contains the letters and postcards and draft papers she sent me over a period of about twenty years, from the early 1980s to the early 2000s (more recently we’ve communicated almost entirely by email). One of the things that strikes me, looking through these pages with their typewritten text full of crossings-out and handwritten marginalia, is the enormous care Meaghan gives to her intellectual relationships, in my case with someone she didn’t know all that well, who lived on the other side of the country, and with whom there were significant points of intellectual difference. One of the letters I’m going to quote from is ten closely typed pages long, and to write it she would first have to have read, closely and carefully, a dense and abstruse paper of mine, set in what looks like 8-point font and to me today almost unreadable. Now consider that I was just one of Meaghan’s correspondents. I don’t know how many people received letters like this from her, but I’m pretty sure she had ongoing written conversations with a number of other people in Australia and elsewhere. Meaghan was and is a teacher: she takes intellectual debate as seriously as anyone I’ve ever known, and she conducts it with care, with tact, and with passion.

Another Dimension: Sweeney Reed's Visual Poetics

Another Dimension:Sweeney Reed's Visual Poetics Brian Reed (bio) The Heide Museum's 2011 exhibition Born to Concrete offered a rare opportunity to survey the history of visual poetry—a "hybrid genre … in which linguistic structures support pictorial structures and vice versa"—in Australia from the late 1960s onward (Bohn 100). It included a range of mixed and multimedia pieces, including typewritten texts, collages, prints, sculptures, and found objects, and it featured such figures as Ruth Cowen, Aleks Danko, Jas H. Duke, Peter Murphy, ΠO, Alan Riddell, Alex Selenitsch, and Richard Tipping. While some of these individuals are well known in other contexts, Danko for instance as a conceptual artist, the exhibition spotlighted a corpus of lively, creative text-based work largely excluded from surveys of Australian literary history. Reviewing the show for Jacket2, Michael Farrell reported that he felt as if he had entered "another dimension," viewing material that, "despite the overlap with poetry in verse," seemed to "operate" in ways entirely otherwise than Australian literature studied in the academy. Indeed, although the bibliography on visual poetics in other national traditions is extensive, one will find no mention of visual poetry as a genre or practice in field-defining monographs such as Andrew Taylor's Reading Australian Poetry (1987), Paul Kane's Australian Poetry (1996), Martin Harrison's Who Wants to Create Australia? (2004), and Philip Mead's Networked Language (2008).1 Farrell also commented that he found Born to Concrete timely and compelling because it spoke to quite contemporary issues and debates within the Australian literary world: "As visual aspects of poetry become more popular there's a real excitement in discovering the visual aspects of poetry's heritage." Subsequent events support this claim. An expanded version of Born to Concrete was put on by the University of Queensland Art Museum in 2013. This second exhibition sought greater regional diversity, for example, showcasing the role of Brisbane's Nicholas Zurbrugg, and it added other important individuals such as Vernon Ah Kee, Eugene Carchesio, Gordon Hookey, and Grant Stevens. A selection of pieces from the revamped Born to Concrete then appeared in a 2014 issue of Australian Poetry Journal along with essays and reminiscences by insider-practitioners. Jaya Savige positively reviewed both the Queensland show and the special journal issue in the Australian, commending them for publicizing a "remarkable," "diverse and energetic" body of work. [End Page 195] This essay continues this process of reassessment and recovery by discussing three works by a central figure in Australian visual poetics, Sweeney Reed (1945–79). Today's younger poets have grown up surrounded by digital technologies, and they are accustomed to communicating multimodally, that is, freely blending text, image, and sound. Unsurprisingly, they no longer feel swayed by once-common arguments that visual poetry is gimmicky or unserious, that, as Wallace Stevens once proclaimed, typographical play and other forms of visual experiment have "nothing to do with being alive," "nothing to do with the conflict between the poet and that of which his poems are made" (168). Reed's poetry may predate the internet era by a quarter century, but it unequivocally demonstrates that the deep attention that humanists have long devoted to print-based texts is just as crucial—and just as rewarding—when applied to hybrid visual-verbal forms of expression.2 ________ The son of the modernist painters Joy Hester and Albert Tucker, Sweeney Reed was adopted at an early age by John and Sunday Reed, art patrons and founders of the Heide Museum. A year spent in London in 1964–65 was transformative. He befriended Ian Hamilton Finlay and Bob Cobbing, participants in the international Concrete Poetry movement, and he worked at the Institute of Contemporary Art during Jasia Reichardt's influential show Between Painting and Poetry. After returning to Australia, he began energetically promoting visually expressive poetry and text-based visual art via galleries that he ran in Melbourne, first in Carlton and later in Fitzroy. He held exhibitions, organized poetry readings, and published broadsides, catalogues, and books under his own imprint. Reed himself was not prolific. As Linda Short explains, his finished works were often the outcome of "long gestation" and "continued notation and...

O “Tantum ergo virado acalanto”: o vigor da brasilidade

“Fonte Boa/ Foi aqui que ouvi um Tantum ergo virado acalanto que relatei no Compêndio”. Esse é o conteúdo de um lembrete autógrafo de Mário de Andrade, fixado ao texto datiloscrito do dia 14 de junho nos originais de O Turista Aprendiz. A análise da inserção desse lembrete no corpo da obra acima mencionada e a análise da narrativa dessa experiência de viagem do autor, presente na primeira e na segunda edições do Compêndio da história da música, permitiram identificar o lugar central, para Mário de Andrade, do acalanto no universo da cultura oral. Este artigo é resultado da pesquisa realizada para a tese Canção de ninar brasileira: aproximações, apresentada ao Departamento de Teoria Literária e Literatura Comparada da Faculdade de Filosofia, Letras e Ciências Humanas – FFLCH/USP, em 2012. O livro com o mesmo título da tese está no prelo da Edusp.

Philip P. Betancourt (ed.). Temple University Aegean Symposium: a compendium

This work forms a compilation of the typewritten texts prepared by the speakers and copied, to be bound into volumes for distribution to attendees at the Aegean Symposium held annually at Temple University, Philadelphia, from 1976 to 1985. Thus they vary somewhat in font and spacing on the page, and since the texts could not be edited minor errors like typos are noticeable, but they are not common. Some are the equivalent of articles, but others are so short that one imagines they can only have been intended as guides to what the speaker was going to say. Usually there are bibliographies, and often footnotes, and some are illustrated with line drawings, which may be reproductions of previously published illustrations and plans, or prepared for the seminar paper.

Bleu Notes: A Conversation with Warren Lehrer

[ILLUSTRATION OMITTED] Warren Lehrer is one of only a handful of makers of past few decades who have consistently created longer-form works claimed as part of fledgling field that is sometimes called books. His projects might more aptly be described as what Fluxus artist and Something Else Press publisher Dick Higgins called intermedia--works of art between media or genre. Lehrer's works fall between theater and design, fiction and musical notation, and oral history and poetry. Illuminated is what he calls his most recent project, A Life in Books: The Rise and Fall of Bleu Mobley (2013), published by Goff Books, and over past year Lehrer has been giving performative readings of excerpts synced to animations, video, sound effects, and theatrical lighting. A Life in Books tells story of fictional writer, designer, raconteur, entrepreneur, and eventual prisoner Bleu Mobley, and 101 books he created in his lifetime. After reading novel and attending one of Lehrer's readings, I wrote questions below and he responded via email following his two performances as a visiting artist with VSW in late 2014. TATE SHAW: A Life in Books: The Rise and Fall of Bleu Mobley relies upon what you call Design plays a pivotal role in novel's storylines and illuminations, as well as in written descriptions of novel in press releases and marketing blurbs. What is authorship? WARREN LEHRER: Most historians agree that began in early years of twentieth century out of revolutionary artistic, literary, cultural, and political movements. Writers like Stephane Mallarme, Guillaume Apollinaire, and Futurist and Dada artist/writers like Filippo Tommaso Marinetti and Tristan Tzara are cited as pioneer thinkers and practitioners that spawned modern(ist) typography and graphic design (coined as a term in 1922). Over time, what we generally think of as evolved into a professional practice that mostly serves corporate, industrial, and commercial masters. Yet throughout past century there have been people (albeit on fringes) who continued to use tools and methodologies of to create their own art and literary works. In 1980s, term authorship was coined to describe a growing movement of people around world who write, design, and produce their own books, zines, products, installations, performances, and multimedia works. Over past two decades, influence of artists' books, text-based art, activism, digital technology, rise of entrepreneurship, and all manner of interdisciplinary crossovers have inspired numerous articles, symposia, and books on authorship. There are even graduate programs, including MEA Designer as Author program at School of Visual Arts in New York City, of which I'm a founding faculty member. TS: What is your writing process like? Are you designing as you go, or is writing separate from design--is it all one process or done in different stages? WL: Writing and have always been organically intertwined for me, starting from when I was a kid doodling word-pictures in margins of textbooks and penning letters that spiraled, zigzagged, and careened across pages (or bunches of postcards). Bleu Mobley--my protagonist in A Life In Books--says he composes his books, mostly because he began writing with aid of a in letterpress shop of his junior high school. For Mobley, act of composing a text was part and parcel of printing process, especially after he discovered the real power of composing stick one day, after he forgot to bring in typewritten text of an article he had written for school newspaper. So I grabbed a composing stick, opened up a drawer of nine-point Garamond type, and began plucking out letters, and letters formed words, and words formed sentences, and before he knew it, Mobley had composed his first fictional story, based on a true story, morphed by forgetfulness, imagination, and a burgeoning relationship with materials of print and book craft. …

Body of Evidence

Materializing Lucy R. Lippard and the Emergence of Conceptual Brooklyn Museum Brooklyn, New York September 14, 2012-February 17, 2013 Published in 1973, Lucy Lippard's Six Years: The Dematerialization of Size Object became one of the earliest indispensable overviews of art now generally categorized as conceptual. Like the compact volume itself, this exhibition constituted a crash course on a period when manually produced art objects were disparaged and banished, leaving only residual evidence in the form of writings, photographs, printed matter of all kinds, film, nascent video, announcements, declarations, notebooks, schematics, ephemera, and a few actual things. Through her oft-mentioned mentorship with artist Sol LeWitt and marriage to proto-minimalist painter Robert Ryman, Lippard was an insider to the territorial world of post-pop downtown art. Following painter Frank Stella's blunt statements on how a painting gets made, LeWitt's comments on art were a game changer; his nearly biblical Sentences on Conceptual Art appeared in the Anglo-American publication & Lartguage (1969) and a great deal of what was presented at the Brooklyn Museum, stylistically and philosophically, evolved out of this set, of reductive declarations. Minimalist art stalled in the late 1960s, allowing openings for artists recast as information age linguists enthralled by language more common to Frankfurt School academics than to art bar raconteurs. Shown chronologically, much of the work exhibited at the Brooklyn Museum was unfamiliar and not illustrated in Lipparcfs book. Attention was required for the grainy videos and detailed inspection of vitrines among the occasional physical object. Engaging the 173 displayed pieces immersed the viewer in a delirium of names cross-refereneed like Russian nesting dolls within other period shows, publications, and group projects. Lippard's circle, while wide and international, was not inclusive or especially permissive; a puritanical design aesthetic dominated the typewritten text on white surfaces and black-and-white 35mm photographs or snapshots. Eminently transportable, words and instructions could travel in any form through the mail (Aspen Magazine or On Kawara's 1969 .1 Got up postcard series) or over the telephone. The minimalist grid, in the form of readymade graph paper, provided a clinical template for all manner of notations. Photography was frugally employed as proof an event occurred, as in John Baldessari's Cremation Project (1970), a set of color images witnessing the solemn incineration of the artisi's work previous to 1967. Those new to this art may appreciate a Monty Pythonesque absurdity in the documentation (the majority of which was recently reprinted) of actions like Robert Smithson's Glue Pour (1970), Bas Jan Ader's fall from a roof (1970), or Robert Kinmont's 1969 handstand series. …

Handwritten Text Image Authentication Using Back Propagation

Authentication is the act of confirming the truth of an attribute of a datum or entity. This might involve confirming the identity of a person, tracing the origins of an artefact, ensuring that a product is what it's packaging and labelling claims to be, or assuring that a computer program is a trusted one. The authentication of information can pose special problems (especially man-in-the-middle attacks), and is often wrapped up with authenticating identity. Literary can involve imitating the style of a famous author. If an original manuscript, typewritten text, or recording is available, then the medium itself (or its packaging - anything from a box to e-mail headers) can help prove or disprove the authenticity of the document. The use of digital images of handwritten historical documents has become more popular in recent years. Volunteers around the world now read thousands of these images as part of their indexing process. Handwritten text images of old documents are sometimes difficult to read or noisy due to the preservation of the document and quality of the image [1]. Handwritten text offers challenges that are rarely encountered in machine-printed text. In addition, most problems faced in reading machine- printed text (e.g., character recognition, word segmentation, letter segmentation, etc.) are more severe, in handwritten text. In this paper we Here in this paper we proposed a method for authenticating hand written text images using back propagation algorithm..

Hausdorff Distances for Searching in Binary Text Images

Hausdorff distance (HD) seems the most efficient instrument for measuring how far two compact non-empty subsets of a metric space are from each other. This paper considers the possibilities provided by HD and some of its modifications used recently by many authors for resemblance between binary text images. Summarizing part of the existing word image matching methods, relied on HD, we investigate a new similar parameterized method which contains almost all of them as particular cases. Numerical experiments for searching words in binary text images are carried out with 333 pages of old Bulgarian typewritten text, 200 printed pages of Bulgarian Chrestomathy from year 1884, and 200 handwritten pages of Slavonic manuscript from year 1574. They outline how the parameters must be set in order to use the advantages of the proposed method for the purposes of word matching in scanned document images.

The Text Called Szmul Rozensztajn’s Diary

The text called Szmul Rozensztajn’s Diary, catalogue number 302/115, can be found in the Memoirs collection of the Archives of the Jewish Historical Institute. This is a typewritten text in Yiddish, 161 pages long, compiled on the basis of a manuscript written in the Łódź Ghetto. Daily entries cover the period from 20 February 1941 to 21 November 1941. This is no doubt part of a larger whole. Both the immediate post-war scholars of Jewish literature from the Łódź Ghetto – Ber Mark and Iszaja Trunk – and the contemporary editors of fragments of Szmul Rozensztajn’s Diary translated into English – Alan Adelson and Robert Lapides – say that the original of the Diary is kept at the Jewish Historical Institute in Warsaw, while the typewritten text is in Yad Vashem Archives in Jerusalem. But the inventory of the Jewish Memoirs collection of the Jewish Historical Institute published in 1994 mentions only a typewritten copy. The whereabouts of the original are unknown. We do not know which part of the copy is available to us.

Region growing based segmentation algorithm for typewritten and handwritten text recognition

This paper presents a new technique of high accuracy to recognize both typewritten and handwritten English and Arabic texts without thinning. After segmenting the text into lines (horizontal segmentation) and the lines into words, it separates the word into its letters. Separating a text line (row) into words and a word into letters is performed by using the region growing technique (implicit segmentation) on the basis of three essential lines in a text row. This saves time as there is no need to skeletonize or to physically isolate letters from the tested word whilst the input data involves only the basic information—the scanned text. The baseline is detected, the word contour is defined and the word is implicitly segmented into its letters according to a novel algorithm described in the paper. The extracted letter with its dots is used as one unit in the system of recognition. It is resized into a 9 × 9 matrix following bilinear interpolation after applying a lowpass filter to reduce aliasing. Then the elements are scaled to the interval [0,1]. The resulting array is considered as the input to the designed neural network. For typewritten texts, three types of Arabic letter fonts are used—Arial, Arabic Transparent and Simplified Arabic. The results showed an average recognition success rate of 93% for Arabic typewriting. This segmentation approach has also found its application in handwritten text where words are classified with a relatively high recognition rate for both Arabic and English languages. The experiments were performed in MATLAB and have shown promising results that can be a good base for further analysis and considerations of Arabic and other cursive language text recognition as well as English handwritten texts. For English handwritten classification, a success rate of about 80% in average was achieved while for Arabic handwritten text, the algorithm performance was successful in about 90%. The recent results have shown increasing success for both Arabic and English texts.

Tekst zwany 'Dziennikiem Szmula Rozensztajna'

Tekst zwany Dziennikiem Szmula Rozensztajna oznaczony sygnaturą 302/115 znajduje się w zbiorze Pamiętników Archiwum Żydowskiego Instytutu Historycznego. Jest to maszynopis w języku żydowskim, liczący 161 stron, sporządzony na podstawie rękopisu powstałego w getcie łódzkim. Zapisy dzienne obejmują okres od 20 lutego 1941 do 27 listopada 1941 roku. To niewątpliwie tylko część większej całości. Zarówno tuż powojenni badacze żydowskiego piśmiennictwa z getta łódzkiego – Ber Mark i Iszaja Trunk – jak i współcześni edytorzy tłumaczonych na angielski fragmentów Dziennika Szmula Rozensztajna – Alan Adelson i Robert Lapides, wspominają, że oryginał Dziennika znajduje się Żydowskim Instytucie Historycznym w Warszawie, a maszynopis w Archiwum Instytutu Yad Vashem w Jerozolimie. Tymczasem w wydanym w 1994 roku inwentarzu zbioru Pamiętników Żydów przechowywanych w ŻIH odnotowano jedynie maszynowy odpis. Gdzie znajduje się dziś oryginał – nie wiadomo. Nie wiadomo też, jaką częścią zapisu dysponujemy.

Where Ordinary Activities Lead to War

Where Ordinary Activities Lead to War

A Central Asian Cinderella: The Tale of Bibi Seshambe

A Central Asian tale found in a typewritten risola guild text of the early 20th century parallels the well-known story of Cinderella. In Central Asia, the telling of this story often takes place in the context of an exclusively female ritual feast honoring a patron known as Bibi Seshambe.

Relationship between orthographic‐motor integration and computer use for the production of creative and well‐structured written text

Orthographic-motor integration refers to the way in which orthographic knowledge is integrated with fine-motor demands of handwriting. A strong relationship has shown to exist between orthographic-motor integration and students' ability to produce creative and well-structured written text (De La Paz & Graham, 1995). This relationship is thought to be due to the cognitive load resulting from lack of automaticity in orthographic-motor integration so that writers do not have sufficient resources to accomplish the more demanding aspects of writing. Interventions to improve children's orthographic-motor integration result in improved written text (Jones & Christensen, 1999). This study first extended findings related to handwritten text to the relationship between typing and the length and quality of computer-based written text. Second, it examined the efficacy of an intervention to develop proficiency in typing skills on the length and quality of students' written language. Participants in the first study were 276 Grade 8 and 9 students. In the second study 35 students in Grades 8 and 9 who exhibited very low levels of proficiency in typing were the participants. In Study 1, orthographic-motor integration related to typing as well as handwriting was assessed for all students. They were asked to complete a piece of handwritten and computer-based text. Students in the intervention study completed the same measures as Study 1, at pre- and post-test. During the intervention half the students completed a daily typed journal and half completed a program designed to facilitate their typing skills. There was a significant relationship between orthographic-motor integration -- handwriting and the length and quality of handwritten text, and a stronger relationship between orthographic-motor integration -- typing and length and quality of computer-based text. Both intervention groups in the second study showed significant differences in writing skills from pre- to post-test. However, the typing skills group showed significantly better scores on typing and quality of typewritten text than the journal group at post-test. The impact of the intervention was specific to typewritten text. There was no difference in length or quality of handwritten text. It is suggested that developing proficiency in orthographic-motor integration related to typing allows writers to employ their cognitive resources more flexibly when working on a computer, so that they can devote attention to higher-order processes involved in ideation, syntactic and semantic monitoring and pragmatic awareness.

Hypergraphia in the age of computers.

In 1974 Waxman and Geschwind1 described hypergraphia, a tendency toward extensive and compulsive writing, in seven patients with temporal lobe epilepsy. The excessive writings were also described as meticulous and pedantic, at times containing moral and religious overtones. The authors attributed this interictal phenomenon to a “deepening of the emotional response in the presence of preserved intellectual function.”1 We describe a case of hypergraphia in a patient with temporal lobe dysfunction whereby handwritten text is augmented by the use of computer technology to generate excessive and extraneous graphs, tables, and typewritten text and publication of a comprehensive Web site. We propose that the era is a determining factor in the hypergraphia phenotype observed in patients with nondominant temporal lobe dysfunction. A previously healthy right-handed man aged 31 years was hospitalized on three occasions during a 4-month period for complaints of headache, focal weakness, sensory complaints, and transient language …

The Quest for the Grail: Arthurian Legend in British Art 1840-1920 by Christine Poulson (review)

REVIEWS135 Westminster Manuscript the leitet O is in blue, the ornamental pen-work flourishes in red, the text written in brown ink. It would be advisable for Garland to drop the —, appropriate in typewritten text, but not for printed typescript in published books, which instead use en and em dashes. Garland could also investigate a better font than the one awarded Brant Pelphrey's fine use of Greek. JULIA BOLTON HOLLOWAY Hermit of the Holy Family, Fiesole, Italy Christine poulson, The Questfor the Grail: Arthurian Legend in British Art 1840— 1920. Manchester and New York: Manchester University Press and St. Martin's Press, 1999. Pp. xix, 268. isbn: 0-7190-5379-?. $79.95 (cloth), isbn: 0-7190-5537-7. $29.95 (paper). The Industrial Revolution in Britain created a demand for a new definition of 'gentleman,' one that went beyond landowners, Anglican clergy, military officers and men of law to include an increasingly large and wealthy middle class. A suitable model, combining ideals ofservice, courtesy, fellowship, piety, fidelity and devotion to a monarch, was found in medieval knighthood, especially as depicted in Malory's Morte Darthur. In The Questfor the Grail, Christine Poulson chooses a particular chivalric adventure as a basis for surveying eighty years of art. The exemplary role ofArthurian chivalry was confirmed early in Queen Victoria's reign when William Dyce was commissioned to decorate the Queen's Robing Room in the new Palace of Westminister with frescoes based on Malory, despite the fact that the adulterous courtly love and Catholic religion were subjects 'scarcely appropriate for such an apartment,' as Dyce reminded Prince Albert. Poulson discusses Dyce's strategies in adapting the material for a respectable Protestant society. Malory was also the source for another programmatic series, the Oxford Union murals, begun in 1857. The artists, who came to be known as Pre-Raphaelites and among whom were D.G. Rossetti, Edward Burne-Jones and William Morris, being Anglo-Catholic in sympathy, were so attracted to the Grail legend that they continued to represent it in painting, stained glass and tapestries for the next forty years. An alternate source for Arthurian art was Tennyson's poetry—the early works such as 'The Lady ofShalott,' 'Sir Galahad' and 'Morte d'Arthur' (1842) and the extensive IdylL· ofthe King. Tennyson 'sieved out the undesirable elements and reworked what remained' so that 'the legends could be a useful source of didactic and sentimental subjects.' A significant development ofthe Grail legend's hero by way ofOF. Watts's painting 'Sir Galahad' (1862)—attached to the Quest by its title alone—was the knight's transformation from a lonely contemplative to a memorial figure commemorating young men who had died in war or in peacetime acts ofcourage. To Poulson's substantial list of memorials could be added the window in Moberley's parish church honouring George Mallory, who died in 1924 while trying to conquer Mt. Everest and whose body was recently discovered on the frozen slopes. 136ARTHURIANA The addition of angels in Grail art Poulson attributes to afin de siècle interest in the occult as expressed in Freemasonry, Theosophy and Spiritualism. But as the motif appeared much earlier in Rossetti's and Burne-Jones's art, its source is more likely the medieval iconology retrieved to decorate the numerous Gothic Revival Churches. The second part ofthis study shows the difficulty ofencompassing British Arthurian art under the Grail Quest umbrella when Arthur, Tristan, Merlin, the Fays and the courtly ladies (except Perceval's sister) were not participants. Burne-Jones's personal myth was the non-Christian story of Merlin's enchantment while Morris's was the romance ofTristram and Isoud. The most popular subjects, however, from 1850 to 1914 were Tennyson's women, here discussed in the context of current feminist criticism. WH. Hunt and J.W Waterhouse, we are told, presented the Lady ofShalott as a fallen woman who, because she has stepped out from her appointed sphere and surrendered to sexual temptation, is exposed to judgement and punishment. When King Arthur is the subject, it is his death that interests painters, allowing them to commemorate Prince Albert and to create autumnal sunsets or winter nights, not, I think, influenced...

PROFESSIONAL NOTICES SECTION

Classified advertising is available in NEUROLOGY for those recruiting personnel, for those interested in obtaining positions, or wishing to announce meetings, post-graduate courses, or other events. Display space is also available for those desiring greater visibility or more space for their message. Classified ad copy, like other advertising copy, will be reviewed for approval prior to publication. Submitted copy must be written in a style without regard to race, color, sex, religion, national origin or age. Classified Line Rates: $68 per 50 words or portion thereof per month. ALL words are included in this charge. Minimum charge $68.00 Box Numbers: Replies may be directed via Box # to Lippincott-Raven Publishers, at an extra charge per insertion of $12.50 to cover handling costs in forwarding such replies to the advertiser. How to Order: Pre-payment is not required. Send typewritten text copy for the ad to: NEUROLOGY c/o Lippincott-Raven Publishers Attn: Michelle A. Laramee 227 East Washington Square Philadelphia, PA 19106-3780 (215) 238-4224 FAX (215) 238-4461 Deadline: Copy received by the 15th of the month will run in the second following month's issue; e.g., November 15 is the date copy is due for insertion in the January issue. Ads received after the 15th will run in the next available issue. Display space: Dimensions: 1 insertion Rate Less rates apply if display space runs 3, 6, 12 insertions within a 12 month period. NO CANCELLATIONS WILL BE ACCEPTED AFTER ISSUE CLOSING DATE. ### Academic General and Subspecialty Neurologists, Albany Medical Center; Albany, New York. The Department of Neurology at Albany Medical Center, in Albany, New York, has openings for board certified general neurologists or individuals with special interests in either stroke …

A binary-tree-based OCR technique for machine-printed characters

This paper describes the structure of an optical character recognition (OCR) system for printed documents. This system is trained for Latin and Greek typewritten text, but it can be easily adapted to any typewritten character set. The proposed method is divided into two main stages. In the first stage suitable binary features are extracted, most of which are independent of the scaling and rotation of the characters. After that, a binary tree classification technique is used, and an optimal tree classifier is constructed. In the second stage, the characters at the end-nodes of the binary tree are classified by using a new template-matching technique. By setting a suitable threshold for the matching, a decision can be reached for the greatest part of the characters. For those characters that the binary tree cannot recognize with great confidence, a secondary minimum distance, classifier trained with the Zernike moments of the characters, is used. Experimental results show that the performance of the proposed OCR system is high, and the recognition rate can exceed 99.5%.

Typewritten text identification using joint transform correlator

We describe some new results on the analysis of typewritten text using a joint transform correlator. The characters we consider are almost identical and binary (i.e. black on white) and we show that small differences, e.g. single pixel differences, cannot necessarily be detected from the correlation peak, but that the mean value of several pixels in the vicinity of the peak provides a discrimination measure.

CHARACTER RECOGNITION BY SIGNATURE APPROXIMATION

This paper describes a new method for character recognition of typewritten text. The proposed approach is based on the approximation of character signatures by rational functions. Specifically, after the preprocessing operation, a separation procedure is applied to each character and its one-dimensional signatures are derived. These signatures are then approximated by rational functions via a linear programming technique and according to the minimax criterion. The values of the approximation errors for each signature are specified as character features. Through this technique only six powerful features are derived for each character. The classification technique employed is simple, adapted to the features selected and is based on features’ similarities in combination with the minimum Euclidean distance classifier.