Abstract: This paper presents final results of ICDAR 2019 Scene Text Visual Question Answering competition (ST-VQA). ST-VQA introduces an important aspect that is not addressed
by any Visual Question Answering system up to date, namely the incorporation of scene text to answer questions asked about an image. The competition introduces a new dataset comprising 23, 038 images annotated with 31, 791 question / answer pairs where the answer is always grounded on text instances present in the image. The images are taken from 7 different public computer vision datasets, covering a wide range of scenarios.
The competition was structured in three tasks of increasing difficulty, that require reading the text in a scene and understanding it in the context of the scene, to correctly answer a given question. A novel evaluation metric is presented, which elegantly assesses both key capabilities expected from an optimal model: text recognition and image understanding. A detailed analysis of results from different participants is showcased, which provides insight into the current capabilities of VQA systems that can read. We firmly believe the dataset proposed in this challenge will be an important milestone to consider towards a path of more robust and general models that
can exploit scene text to achieve holistic image understanding.

Abstract: Pretraining has proven successful in Document Intelligence tasks where deluge of documents are used to pretrain the models only later to be finetuned on downstream tasks. One of the problems of the pretraining approaches is the inconsistent usage of pretraining data with different OCR engines leading to incomparable results between models. In other words, it is not obvious whether the performance gain is coming from diverse usage of amount of data and distinct OCR engines or from the proposed models. To remedy the problem, we make public the OCR annotations for IDL documents using commercial OCR engine given their superior performance over open source OCR models. The contributed dataset (OCR-IDL) has an estimated monetary value over 20K US$. It is our hope that OCR-IDL can be a starting point for future works on Document Intelligence. All of our data and its collection process with the annotations can be found in this https URL.

Abstract: The analysis and recognition of historical document images has attracted growing interest in the last years. Mass digitization and document image understanding allows the preservation, access and indexation of this artistic, cultural and technical heritage. The analysis of handwritten documents is an outstanding subfield. The main interest is not only the transcription of the document to a standard format, but also, the identification of the author of a document from a set of writers (namely writer identification).
Writer identification in handwritten text documents is an active area of study, however, the identification of the writer of graphical documents is still a challenge. The main objective of this thesis is the identification of the writer in old music scores, as an example of graphic documents. Concerning old music scores, many historical archives contain a huge number of sheets of musical compositions without information about the composer, and the research on this field could be helpful for musicologists.
The writer identification framework proposed in this thesis combines three different writer identification approaches, which are the main scientific contributions. The first one is based on symbol recognition methods. For this purpose, two novel symbol recognition methods are proposed for coping with the typical distortions in hand-drawn symbols. The second approach preprocesses the music score for obtaining music lines, and extracts information about the slant, width of the writing, connected components, contours and fractals. Finally, the third approach extracts global information by generating texture images from the music scores and extracting textural features (such as Gabor filters and co-occurence matrices).
The high identification rates obtained in the experimental results demonstrate the suitability of the proposed ensemble architecture. To the best of our knowledge, this work is the first contribution on writer identification from images containing graphical languages.

Abstract: 0,405JCR
The analysis of music scores has been an active research field in the last decades. However, there are no publicly available databases of handwritten music scores for the research community. In this paper we present the CVC-MUSCIMA database and ground-truth of handwritten music score images. The dataset consists of 1,000 music sheets written by 50 different musicians. It has been especially designed for writer identification and staff removal tasks. In addition to the description of the dataset, ground-truth, partitioning and evaluation metrics, we also provide some base-line results for easing the comparison between different approaches.

Abstract: This book constitutes the thoroughly refereed post-conference proceedings of the 12th International Workshop on Graphics Recognition, GREC 2017, held in Kyoto, Japan, in November 2017.
The 10 revised full papers presented were carefully reviewed and selected from 14 initial submissions. They contain both classical and emerging topics of graphics rcognition, namely analysis and detection of diagrams, search and classification, optical music recognition, interpretation of engineering drawings and maps.

Abstract: The analysis and recognition of music scores has attracted the interest of researchers for decades. Optical Music Recognition (OMR) is a classical research field of Document Image Analysis and Recognition (DIAR), whose aim is to extract information from music scores. Music scores contain both graphical and textual information, and for this reason, techniques are closely related to graphics recognition and text recognition. Since music scores use a particular diagrammatic notation that follow the rules of music theory, many approaches make use of context information to guide the recognition and solve ambiguities. This chapter overviews the main Optical Music Recognition (OMR) approaches. Firstly, the different methods are grouped according to the OMR stages, namely, staff removal, music symbol recognition, and syntactical analysis. Secondly, specific approaches for old and handwritten music scores are reviewed. Finally, online approaches and commercial systems are also commented.