scholarly journals We Live in a Motorized Civilization: Robert Moses Replies to Robert Caro

2017 ◽  
Author(s):  
Geoff Boeing
Keyword(s):  
New York ◽  
New York City ◽  
Character Recognition ◽  
Optical Character Recognition ◽  
City Planning ◽  
Public Image ◽  
Planning History ◽  
Optical Character ◽  
Lincoln Center ◽  
Master Builder

In 1974, Robert Caro published The Power Broker, a critical biography of Robert Moses’s dictatorial tenure as the “master builder” of mid-century New York. Moses transformed the urban fabric and transportation system of New York in a profound way, producing the Brooklyn Battery Tunnel, the Verrazano Narrows Bridge, the Westside Highway, the Cross-Bronx Expressway, the Lincoln Center, the UN headquarters, Shea Stadium, Jones Beach State Park and many other projects. However, The Power Broker did lasting damage to his public image and today he remains one of the most polarizing figures in city planning history. On August 26, 1974, Moses issued a 23-page typed statement denouncing Caro’s work as “full of mistakes, unsupported charges, nasty baseless personalities, and random haymakers.” The statement went on to gainsay several of Caro’s assertions one at a time. Robert Moses’s typewritten response survives today as a grainy photocopy from the New York City Parks Department archive. To better preserve and disseminate it, I have extracted and transcribed its text using optical character recognition, and edited the result to correct transcription errors.

A Structured Method for the Recognition of Complex Historical Tables

1997 ◽  
Vol 9 (1-3) ◽  
pp. 58-77
Author(s):  
Vitaly Kliatskine ◽  
Eugene Shchepin ◽  
Gunnar Thorvaldsen ◽  
Konstantin Zingerman ◽  
Valery Lazarev
Keyword(s):  
Nineteenth Century ◽  
Character Recognition ◽  
Optical Character Recognition ◽  
Complex Structure ◽  
Source Material ◽  
Historical Sources ◽  
Tax Assessment ◽  
Optical Character ◽  
Algorithmic Model ◽  
Machine Readable

In principle, printed source material should be made machine-readable with systems for Optical Character Recognition, rather than being typed once more. Offthe-shelf commercial OCR programs tend, however, to be inadequate for lists with a complex layout. The tax assessment lists that assess most nineteenth century farms in Norway, constitute one example among a series of valuable sources which can only be interpreted successfully with specially designed OCR software. This paper considers the problems involved in the recognition of material with a complex table structure, outlining a new algorithmic model based on ‘linked hierarchies’. Within the scope of this model, a variety of tables and layouts can be described and recognized. The ‘linked hierarchies’ model has been implemented in the ‘CRIPT’ OCR software system, which successfully reads tables with a complex structure from several different historical sources.

CNN-based Rain Reduction in Street View Images

2020 ◽  
Vol 2020 (1) ◽  
pp. 78-81
Author(s):  
Simone Zini ◽  
Simone Bianco ◽  
Raimondo Schettini
Keyword(s):  
Character Recognition ◽  
Optical Character Recognition ◽  
State Of The Art ◽  
Weather Conditions ◽  
Specific Interest ◽  
Optical Character ◽  
Street View ◽  
In The Wild ◽  
Bad Weather ◽  
Detection And Recognition

Rain removal from pictures taken under bad weather conditions is a challenging task that aims to improve the overall quality and visibility of a scene. The enhanced images usually constitute the input for subsequent Computer Vision tasks such as detection and classification. In this paper, we present a Convolutional Neural Network, based on the Pix2Pix model, for rain streaks removal from images, with specific interest in evaluating the results of the processing operation with respect to the Optical Character Recognition (OCR) task. In particular, we present a way to generate a rainy version of the Street View Text Dataset (R-SVTD) for "text detection and recognition" evaluation in bad weather conditions. Experimental results on this dataset show that our model is able to outperform the state of the art in terms of two commonly used image quality metrics, and that it is capable to improve the performances of an OCR model to detect and recognise text in the wild.

Pengantar dan Survey Tentang Optical Music Recognition

2014 ◽  
Vol 6 (1) ◽  
pp. 36-39
Author(s):  
Kevin Purwito
Keyword(s):  
Character Recognition ◽  
Optical Character Recognition ◽  
Optical Music Recognition ◽  
Optical Character ◽  
Digital Format ◽  
Music Recognition ◽  
Index Terms ◽  
The Many ◽  
Further Development ◽  
Music Symbol

This paper describes about one of the many extension of Optical Character Recognition (OCR), that is Optical Music Recognition (OMR). OMR is used to recognize musical sheets into digital format, such as MIDI or MusicXML. There are many musical symbols that usually used in musical sheets and therefore needs to be recognized by OMR, such as staff; treble, bass, alto and tenor clef; sharp, flat and natural; beams, staccato, staccatissimo, dynamic, tenuto, marcato, stopped note, harmonic and fermata; notes; rests; ties and slurs; and also mordent and turn. OMR usually has four main processes, namely Preprocessing, Music Symbol Recognition, Musical Notation Reconstruction and Final Representation Construction. Each of those four main processes uses different methods and algorithms and each of those processes still needs further development and research. There are already many application that uses OMR to date, but none gives the perfect result. Therefore, besides the development and research for each OMR process, there is also a need to a development and research for combined recognizer, that combines the results from different OMR application to increase the final result’s accuracy. Index Terms—Music, optical character recognition, optical music recognition, musical symbol, image processing, combined recognizer  

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

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