# A TEI-based Layout Annotation System for a Deeper Automatic Encoding of Documents

Juliette Janes, Sarah Bénière, Benoît Sagot, Thibault Clérice

► To cite this version:

Juliette Janes, Sarah Bénière, Benoît Sagot, Thibault Clérice. A TEI-based Layout Annotation System for a Deeper Automatic Encoding of Documents. TEI 2025 - New Territories - TEI Conference and Members' Meeting 2025, Sep 2025, Krakow, Poland. hal-05232691

HAL Id: hal-05232691

https://inria.hal.science/hal-05232691v1

Submitted on 1 Sep 2025

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<figure><img src="image_1.png" /></figure>

Distributed under a Creative Commons Attribution 4.0 International License
# A TEI-based Layout Annotation System for a Deeper Automatic Encoding of Documents

Juliette Janès, Research & Development Engineer, ALMAnaCH (Inria)

Sarah Bénière, Research & Development Engineer, ALMAnaCH (Inria)

Benoît Sagot, Research Director, ALMAnaCH (Inria)

Thibault Clérice, Researcher, ALMAnaCH (Inria)
Context and Groundwork

<figure><img src="image_2.png" /></figure>
<figure><img src="image_3.png" /></figure>

# Institutional Context

<figure><img src="image_4.png" /></figure>

## Corpus et Outils pour les Langues de France (COLaF)

* French project

* Led by Inria

* "Contribute to the development of free corpora and tools for French and other languages of France"

<figure><img src="image_5.png" /></figure>

## Advancing fronTier Research In the arts and hUmanities (ATRIUM)

* European project

* Led by DARIAH, partnering with Inria

* "Facilitating access to digital research infrastructures and advancing frontier knowledge in the arts and humanities — across disciplines, languages and media"

Association with mass textual corpora production projects like **Persée**

<figure><img src="image_6.png" /></figure>
# A Basic ATR Pipeline

<figure><img src="image_7.png" /></figure>

<figure><img src="image_8.png" /></figure>

<figure><img src="image_9.png" /></figure>

1 644

2 CHATITRE DIXIEME.

3 réelle Ae, en unc ligne a, aë: alors le poids II' XSuTI.AEE'A

4 de la surcharge partielle portée par le voussoir dont il s'agit

5 se remplace par le poids égal II — surt. «EB' x». Le calcul des

6 0

7 r

8 29

9

10 F.

11 FIE. 90.

12 poids des divers voussoirs et de leurs surcharges se trouve

13 ainsi ramené à la mesure de surfaces proportionnelles à ces

14 poids; on emploiera pour ceule mesure les moyens connus.

15 et nous n'avons rien de particulier à en dire.

16 Après avoir déterminé le poids d'un voussoir, il faut con-

17 naître son point d'application, et pour cela on est conduit à

18 déterminer le centre de gravité d'un quadrilatère, car il est

19 permis de confondre approximativement les ares EE, II' avec

20 des lignes droites. Voici une construction qui permet de l'ob-

21 tenir très simplement. On divise le quadrilatère donné ABCD

22 (ig. 10°) en deux uiliangles ARC. DAC; on joint B et D au

23 milieu de AC et l'on prend EF — EB, EG=JED. Les points E

24 et G étant les centres de gravité des deux triangles ARC, DAC,

25 le centre de gravité de leur cusement est sur FG en un
# An ATR Pipeline with Document Layout Analysis (DLA)

<figure><img src="image_10.png" /></figure>
<figure><img src="image_11.png" /></figure>

* Controlled vocabulary for Layout Analysis

* Generic labels for the description of multiple types of document

* Label syntax ➔ Type:Subtype

* Widely used in DH projects (standardisation)

<table><caption>Table 1. SegmOnto's zones.
Labels syntax should be Region(:subtype)?</caption><thead><tr><th>Region</th><th>Suggested subtype</th></tr></thead><tbody><tr><td>CustomZone</td><td></td></tr><tr><td>DamageZone</td><td>corrosion; hole; mold ...</td></tr><tr><td>DigitazationArtefactZone</td><td>ruler; colorTarget...</td></tr><tr><td>DropCapitalZone</td><td>historiated; flourished...</td></tr><tr><td>GraphicZone</td><td>illustration; headpiece...</td></tr><tr><td>MainZone</td><td>column; block</td></tr><tr><td>MarginTextZone</td><td>upper; lower; note...</td></tr><tr><td>MusicZone</td><td>stave; neums</td></tr><tr><td>NumberingZone</td><td>page; folio; item...</td></tr><tr><td>QuireMarksZone</td><td>signature; catchwords...</td></tr><tr><td>RunningTitleZone</td><td></td></tr><tr><td>SealZone</td><td></td></tr><tr><td>StampZone</td><td>postal; curatorial...</td></tr><tr><td>TableZone</td><td></td></tr><tr><td>TitlePageZone</td><td>header; column</td></tr></tbody></table>

<figure><img src="image_12.png" /></figure>

Gabay, Simon, Ariane Pinche, Kelly Christensen, and Jean-Baptiste Camps. "SegmOnto: A Controlled Vocabulary to Describe and Process Digital Facsimiles." *Journal of Data Mining and Digital Humanities* (2024). https://hal.science/hal-04343404v2

<figure><img src="image_13.png" /></figure>

<figure><img src="image_14.png" /></figure>

Lámaba was typical of all African irrigation systems in this particular respect; it only reflected its own environment. The more isolated Tripolitanian wadi settlements, like the village attended in the Tabletes *Aberitani*, would have been closer to the parallel of the Jabal Amrān, a more restricted physical environment scarcer resources, greater isolation and lesser external influence, and hence a tendency to a closed property regime.

The relationships between the large and small proprietors in the system are not, of course, specified on our inscription. But we can make some probable deductions about their social and labour relations. Most of the plots were rather small and were probably worked by peasant family units. Columella does give an estimate of the labour requirements for the process of abląqueaito described above; he remarks that one man could easily cope with 50-80 trees, depending on their size<fnref n="1" />. Given family units of production, there is no reason why plots in the median range of 500-600 K could not be worked without recourse to external sources of labour. Proprietors holding up to 4000 K could not have provided all the labour they needed even for this one operation alone, and must have acquired it by means of relations of dependence within the community itself. As stated above, some of the potential for dependence was inherent in the extreme polarization of land itself. But this polarization reflects two different trends. On the one hand, properties are fragmented and dispersed through the irrigation system as a form of insurance. Economic protection is afforded for families by owning some properties on scalarie close to the source and others located further away. This would tend to minimize upstream' 'downstream' irrigation conflict. The trend towards decentralization of holdings, however, is counteracted by the grouping of properties into familial blocks, a process of consolidation of property by intermarriage. In fact, at Lámaba a dozen families controlled nearly three-quarters (72%) of all the land in the system as recorded.

MainZone

<table><caption>TABLE 10
FAMILIAL GROUPINGS OF PROPERTY AT LAMASA</caption><thead><tr><th>No.</th><th>Family</th><th>Amount of Property</th><th>Order (1 = the largest)</th></tr></thead><tbody><tr><td>1.</td><td>Aclili</td><td>1 113 K*</td><td>7</td></tr><tr><td>2.</td><td>Aemuli</td><td>3 231 K</td><td>2</td></tr><tr><td>3.</td><td>Apulei</td><td>707 K</td><td>11</td></tr><tr><td>4.</td><td>Caculili</td><td>854 K</td><td>9</td></tr><tr><td>5.</td><td>Denitili</td><td>640 K</td><td>12</td></tr><tr><td>6.</td><td>Fufucii</td><td>1 125 K</td><td>6</td></tr><tr><td>7.</td><td>Germanili</td><td>4 015 K</td><td>1</td></tr><tr><td>8.</td><td>Iali</td><td>1 905 K</td><td>4</td></tr><tr><td>9.</td><td>Manuli</td><td>1 650 K</td><td>5</td></tr><tr><td>10.</td><td>Marili</td><td>902 K</td><td>8</td></tr><tr><td>11.</td><td>Sextili</td><td>850 K</td><td>10</td></tr><tr><td>12.</td><td>Vaterili</td><td>1 913 K</td><td>3</td></tr></tbody><tfoot><tr><td colspan="3">Total = 19 005 K</td><td></td></tr></tfoot></table>

*Assuming a half interest of Aelius Victor and Valeria Fortunata in Col. IV. 17.

TableZone

MarginTextZone

<footnote n="1">¹ CF Columella, R.R. 11.2.40. *Arbores quosque tempus est abląqueaitas circundiferem, et operare: una opera novellus circundiferem arbores cincinigatae, mediocres LEX, magnas quinqueaginta. CF 11.2182. Duo operare ira operae comode recobantur. arboresque quos intererunt abląqueabuntur.*</footnote>
* "Layout Analysis Dataset with SegmOnto"

* Both a set of guidelines and a dataset

* Guidelines derived from SegmOnto with TEI-inspired subzones

* Backward compatibility with SegmOnto

<table><caption>Table 2. LADaS subtypes.
Zones in Italics are new to SegmOnto.</caption><thead><tr><th>Zones Type</th><th>LADaS Subtypes</th></tr></thead><tbody><tr><td>FormZone</td><td>Head, P, Lg, Sp, List, Entry, Date, Signature, Maths, Other</td></tr><tr><td>MarginTextZone</td><td>Notes, ManuscriptAddendum</td></tr><tr><td>FigureZone</td><td>Head, Figdesc</td></tr><tr><td>GraphicZone</td><td>Head, Figdesc, TextualContent, Part, Decoration</td></tr><tr><td>TableZone</td><td>Head</td></tr><tr><td>PageTitleZone</td><td>Index</td></tr><tr><td>StampZone</td><td>Sticker</td></tr></tbody></table>

<figure><img src="image_15.png" /></figure>

Clérice, Thibault, Juliette Janès, Hugo Scheithauer, Sarah Bénière, Laurent Romary, and Benoît Sagot. "Layout Analysis Dataset with SegmOnto." DH2024 - Reinvention & Responsibility, Washington, D.C., United States, 2024. https://inria.hal.science/hal-04513725.

Lamasha was typical of all African irrigation systems in this particular respect; it only reflected its own environment. The more isolated Tripolitanian wadi settlements, like the village of MainZone-Continued Albertini, would have been closer to the parallel of the Jabal Amār, a more restricted physical environment, scarcer resources, greater isolation and lesser external influence, and hence a tendency to a closed property regime.

The relationships between the large and small proprietors in the system are not, of course, specified on our inscription. But we can make some probable deductions about their social and labour relations. Most of the plots were rather small and were probably worked by peasant family units. Columella does give an estimate of the labour requirements for the process of ablaqueatio described above; he remarks that one man could easily cope with 50-80 trees, depending on their size<fnref n="1" />. Given family units of production, there is no reason why plots in the median range of 500-600 K could not be worked without recourse to external sources of labour. But proprietors holding up to 4000 K could not have provided all the labour they needed even for this one operation alone, and must have acquired it by means of relations of dependence within the community. MainZone-Continued Albertini, would have been the potential for dependence was inherent in the extreme polarization of land itself. But this polarization reflects two different trends. On the one hand, properties are fragmented and dispersed through the irrigation system as a form of insurance. Economic protection is afforded for families by owning some properties on scalae close to the source and others located further away. This would tend to minimize 'upstream' - 'downstream' irrigation conflict. The trend towards decentralization of holdings, however, is counteracted by the grouping of properties into familial blocks, a process of consolidation of property by intermarriage. In fact, at Lamasha a dozen families controlled nearly three-quarters (72%) of all the land in the system as recorded.

<table><caption>TABLE 10
FAMILIAL GROUPINGS OF PROPERTY AT LAMASHA</caption><thead><tr><th>No.</th><th>Family</th><th>Amount of Property</th><th>Order (1) = the largest</th></tr></thead><tbody><tr><td>1.</td><td>Aeili</td><td>1 113 K*</td><td>7</td></tr><tr><td>2.</td><td>Aemili</td><td>3 231 K</td><td>2</td></tr><tr><td>3.</td><td>Apalei</td><td>707 K</td><td>11</td></tr><tr><td>4.</td><td>Caecili</td><td>834 K</td><td></td></tr><tr><td>5.</td><td>Destili</td><td>640 K</td><td></td></tr><tr><td>6.</td><td>Fuficii</td><td>1 125 K</td><td>6</td></tr><tr><td>7.</td><td>Germani</td><td>4 015 K</td><td>1</td></tr><tr><td>8.</td><td>Iulii</td><td>1 905 K</td><td>4</td></tr><tr><td>9.</td><td>Mandii</td><td>1 650 K</td><td>5</td></tr><tr><td>10.</td><td>Marii</td><td>902 K</td><td>8</td></tr><tr><td>11.</td><td>Sextilii</td><td>850 K</td><td>10</td></tr><tr><td>12.</td><td>Valerii</td><td>1 913 K</td><td>3</td></tr></tbody><tfoot><tr><td colspan="3">Total = 19 005 K</td><td></td></tr></tfoot></table>

TableZone-Head

TableZone

<footnote>*Assuming a half interest of Aelius Victor and Valeria Fortunata in Col IV. 17</footnote>

<footnote n="1">¹ CT, Columella, R.R., 11.2.40. Arbore quoque tempus est ablaqueatus circumfodere, et operire: una opera novellas circumfudit arbore octuaginta, mediocres LXV. magnas quinquaginta. CT 11.2182. Duo iugera tres operae commode occahunt, arboreque quam intererunt ablaqueabunt.</footnote>
# The LADaS Dataset

<figure><img src="image_16.png" /></figure>

<figure><img src="image_17.png" /></figure>

<figure><img src="image_18.png" /></figure>

<figure><img src="image_19.png" /></figure>

<figure><img src="image_20.png" /><figcaption>Table 3. LADaS' subsets. F/NF stands for Fiction/Non-fiction, A/NA for Academic/Non-Academic.</figcaption></figure>

<table><thead><tr><th>Subset</th><th>Provenance</th><th>Acquisition</th><th>Status</th><th>Fiction</th><th>Academic</th><th>Century</th><th>Pages</th></tr></thead><tbody><tr><td>Admin. Rep.</td><td>Various</td><td>Harvested</td><td>Mixed</td><td>NF</td><td>NA</td><td>19-21</td><td>229</td></tr><tr><td>Catalogues</td><td>INHA-BNF</td><td>Donation</td><td>Digitised</td><td>NF</td><td>NA</td><td>19-20</td><td>1437</td></tr><tr><td>Fingers</td><td></td><td>Donation</td><td>Digitised</td><td>Mix.</td><td>NA</td><td>21</td><td>125</td></tr><tr><td>Magazines Tech</td><td></td><td>Harvested</td><td>Digitised</td><td>NF</td><td>NA</td><td>20-21</td><td>522</td></tr><tr><td>Monographies</td><td>Gallica</td><td>Harvested</td><td>Digitised</td><td>Mix.</td><td>NA</td><td>17-20</td><td>1992</td></tr><tr><td>Others</td><td></td><td>Production</td><td>Digitised</td><td>NF</td><td>NA</td><td>21</td><td>6</td></tr><tr><td>Persée</td><td>Persée</td><td>Harvested</td><td>Digitised</td><td>NF</td><td>A</td><td>20</td><td>1437</td></tr><tr><td>Picard</td><td>ARLP</td><td>Donation</td><td>Mixed</td><td>F</td><td>NA</td><td>21</td><td>97</td></tr><tr><td>Romans 19</td><td>Gallica</td><td>Harvested</td><td>Digitised</td><td>F</td><td>NA</td><td>19</td><td>240</td></tr><tr><td>Theatre</td><td>Gallica</td><td>Harvested</td><td>Digitised</td><td>F</td><td>NA</td><td>17-20</td><td>1337</td></tr><tr><td>Thèses</td><td>Theses</td><td>Harvested</td><td>Dig. Born</td><td>NF</td><td>A</td><td>21</td><td>772</td></tr><tr><td>Typewriter</td><td>DAHN-EHRI</td><td>Donation</td><td>Digitised</td><td>NF</td><td>NA</td><td>20</td><td>98</td></tr></tbody><tfoot><tr><td>All</td><td></td><td></td><td></td><td></td><td></td><td></td><td>8287</td></tr></tfoot></table>
From LADaS 1.0 to LADaS 2.0

* Confusion in the construction of the labels (graphical and semantic criteria)

* Zones not defined precisely enough ↩ inconsistent annotations between the annotators

* Leading to confusion of the YOLO models in detecting and labelling zones correctly

* Result: automatic TEI encoding not valid

<figure><img src="image_21.png" /></figure>
Building the LADaS Annotation Guidelines

<figure><img src="image_22.png" /></figure>
# LADaS 2.0 — A Two-Level Annotation System

<figure><img src="image_23.png" /></figure>

## Level-1

* Semantic description of the page layout

* Derived from SegmOnto (relying on *Codicologia*)

* New zones for more recent types of document components (e.g. code, forms)

## Level-2

* Developed by LADaS with a systematic comparison with other DLA datasets

* More detailed and graphical description of the page layout (e.g. headings, paragraphs)

* Based on the TEI Guidelines (*labels and definitions*) and Cambridge Online Dictionary (*definitions*)

## Label syntax

* Structure: **Level1-Level2**

* Level-2 labels depend on Level-1 labels
# Consistent Description of the Labels

* Definition

* [Level-1] MUST/MAY be specified by

* [Level-2] MUST/MAY specify

* Special case(s)

* Potential post-processing

* Suggested TEI mapping

* Example(s)

## 1.1.1 Main Body of Text (MainZone)

**Definition:** The MainZone is the main area containing the text. It excludes any paratext and can either be a single block or multiple columns. (Fig. 2, 3)

**MUST be specified by:** N/A

**MAY be specified by:** -Head, -P, -PLabelled, -PStructured, -PQuoted, -PStarred, -Item, -Lg, -Address, -Signed, -Ab, -Continued, -Maths

**Special case(s):** N/A

**Potential post-processing:** N/A

**Suggested TEI mapping:** N/A

<figure><img src="image_24.png" /><figcaption>Figure 2. MainZone example</figcaption></figure>

## 2.1.3 Paragraphs (P)

**Definition:** A (prose) paragraph is a short part of text, consisting of at least one sentence and beginning on a new line, which can be indented. The classic P paragraph is not numbered. (Fig. 16)

**MUST specify:** N/A

**MAY specify:** MainZone, MarginTextZone, TitlePageZone, GraphicZone

**Special case(s):** According to our annotation criteria, prose poetry is made up of continuous text blocks with few line breaks. It is not as visually distinct from a standard paragraph P as Lg, which consists of text segments with frequent line breaks. Therefore, prose poetry is annotated as prose—usually with the P tag, or PQuoted when indentation applies. Additional post-processing will be necessary to insert TEI <1> tags in documents identified as prose poetry.

**Potential post-processing:** N/A

**Suggested TEI mapping:** <p>

Les discours directement convaincus l'image d'un locuteur distinct et singulier, que le narrateur décrit dans un paragraphe solo, situé dans le premier tour du récit, lorsque il arrive en Toscane dans la maison où se trouve Valda et ses amés:

> Si l'amour de son épreuve était unOLS ou unQP il aurait fait paraître la même, le contexte de l'ouïe, le chansonnage de sonOLS et les dispositions de sonOLS qui le parlaient, se distinguerait de la même way of speaking, de même qu'en l'ayant lu, il aurait fait paraître le même contexte qu'en l'ayant lu, il aurait fait paraître le même chansonnage qu'en l'ayant lu, il aurait fait paraître le même contexte qu'en l'ayant lu, il aurait fait paraître le même chansonnage qu'en l'ayant lu, et aussi tout le reste qui s'y inscrit.

> Ce passage évoque bien que la langue et la cause de l'émotion du narrateur, qui précitent la fin du déroulement quand il accepte d'établir un paragraphe constant.

> Cependant, après avoir établi et renoncé au discours direct des paragraphe constants dans la continuité de son texte, le narrateur promettra une ultime paragraphe constante qui paraîtra pour Valda, dont devient inapplicable, il le lui avoit, après qu'il ait commencé la lecture, une fois pour l'once de l'once à la fin de l'once.

<caption>Figure 16. -P example</caption>
# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. <p> and -P)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

<figure><img src="image_25.png" /></figure>

-P
# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. <p> and -P)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

<figure><img src="image_26.png" /></figure>

Les discours directs construisent l'image d'un locuteur distingué et singulier, que le narrateur décrit dans un paragraphe isolé, situé dans le premier tiers du roman, lorsqu'il arrive en Toscane dans la maison où se trouve Yalda et ses amis :

> Si l'annonce de ma venue avait dans un premier temps suscité quelque intérêt parmi la maisonnée, les costumes de lin noir, les chemises de coton blanc et les chaussures de ville que je portais constamment m'attirèrent d'emblée une image d'individu guindé, de poseur, de snob, dont la façon soutenue et plutôt châtiée avec laquelle j'ai toujours eu costume de m'exprimer ne viendrait nullement modifier les contours, le sérieux des propos que j'émettais en accentuant au contraire davantage le trait, que ne ferait qu'épaissir plus encore l'air détaché, voire consterné, avec lequel j'accueillais invariablement les facéties et farces dont la villa était le perpétuel théâtre. On finit très vite par me battre froid.¹⁸⁷

Ce passage montre bien que la langue est la cause de l'isolement du narrateur, qui prendra fin dans le dénouement quand il acceptera d'utiliser un parler courant.

-PQuoted
<figure><img src="image_27.png" /></figure>

# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. <p> and -P)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

<figure><img src="image_28.png" /></figure>

-PStarred
<figure><img src="image_29.png" /></figure>

# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. <p> and -P)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

BOSSUET, Jacques-Bénigne. Sermon du mauvais riche (Carême du Louvre, 1662, 219.

(82) Mais disons les choses par ordre. **Premièrement**, chrétiens, c'est une fausse imagination des âmes simples et ignorantes, qui n'ont pas expérimenté la fortune, que la possession des

-PStructured
# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. <p> and -P)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

<figure><img src="image_30.png" /></figure>

-PLabelled
# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. `<p>` and `-P`)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

Numbered
Starts with an
<u>uppercase</u> letter
Ends with a <u>full stop</u>

Numbered
Can start with a
<u>lowercase</u> letter
Semicolons and full
stops
Consecutive
elements

DRAFT AGREEMENT BETWEEN THE UNITED
NATIONS AND THE INTERNATIONAL MONET-
TARY FUND

Article 1
GENERAL

1. This agreement, which is entered into by the United Nations pursuant to the provisions of Article 63 of its Charter, and by the International Monetary Fund (hereinafter called the Fund) pursuant to the provisions of article X of its Articles of Agreement, is intended to define the terms on which the United Nations and the Fund shall be brought into relationship.

2. The Fund is a specialized agency established by agreement among its member Governments and having wide international responsibilities, as defined in its Articles of Agreement, in economic and related fields within the meaning of Article 57 of the Charter of the United Nations. By reason of the nature of its international responsibilities and the terms of its Articles of Agreement, the Fund is, and is required to function as, an independent international organization.

-PLabelled

Mais Antoine Prost met en garde, et insiste sur les abattements et les dangers qui menacent « les nouveaux visages de l'histoire. Nos contemporains invoquent à tout propos un devoir de mémoire qui peut passer pour un triomphe de l'histoire », trompant les historiens qui en « retiennent parfois le sentiment flâtreur d'une plus grande utilité sociale » (Prost, 2000: 4). Quatre raisons sont avancées pour montrer combien il est énorme d'inscrire l'histoire dans cette dynamique mémorée :

1. L'histoire ne se contente pas d'accumuler des faits, des événements, il existe et raconte cette histoire qu'il travaille :

2. L'histoire a consciencieusement qu'aucun événement, plus qu'un autre, mérite au détriment de l'histoire d'être sauvé : faire de l'histoire, faire œuvre d'histoire, c'est organiser un passé en vue d'en rendre perceptible la cohérence.

3. L'histoire ne peut se permettre d'être sous cette emprise affective terrestre du devoir de mémoire. Il est un homme de science, du côté de la connaissance et du savoir. Il y a « mise à distance, rationalisation, volonté de comprendre et d'expliquer. Ce qui est trivolalement incompressible avec la mémoire » (Prost, 2000: 5-6).

4. L'histoire a en charge un devoir de mémoire, qui repose sur une affirmation identitaire qui « vise un événement comme fondateur par un groupe. Par là, il exeut potentiellement ceux qu'il ne concerne pas directement » (Prost, 2000: 7).

Finalement, l'histoire, loin de l'affectif et du communautarisme, « ne consiste pas à cultiver le souvenir d'un passé lourd de ressentiment ou d'identités (...) : elle est effort pour comprendre ce qui s'est passé et pourquoi cela s'est

-Item
<figure><img src="image_31.png" /></figure>

# Methodology for Constructing the LADaS Level-2

## Use Case: Paragraph-like Elements from the Main Body of Text

* Choosing which zones and labels to create:

* Analysis of the whole LADaS 1.0 corpus and labels

* Matching LADaS Level-2 to TEI elements (e.g. <p> and -P)

* Set of differentiating criteria:

* Position of the text on the page

* Indentation

* Line break

* Typography (e.g. bold, italics, letter case)

* Punctuation marks

* Entry-like internal structuring

<figure><img src="image_32.png" /></figure>

Vie confinée, sins liberté !
Réduit à pieau de chagrin,
El lonque énée deux mille vingt
Masquée, viciée sa débinée.

Em liberte s est involee !
Pour prindre l'air, sortir ech' quien,
Dins s'poque, fallot pour témoin
Un bout d' papier, daté, siné.

Cesux qui voulaient s'arbiller,
Qui s'éloignotent gramint trop loin,
D'un kilomète ou un tio peu moins,
Bin, y payotent un bon P-V.

-Lg

Vie confinée, sins liberté ! (ch'ti)
<figure><img src="image_33.png" /></figure>

# The Continued Case

* Non TEI element for interrupted textual content

* Annotation for cut text in specific contexts:

* At the top of a page or column

* Interrupted by another zone

→ Impossible to determine the exact Level-2 element to which it belongs

* Post-processing:

* Associate each text portion with its preceding zone

→ Reconstruct the document in TEI as accurately as possible

> l'époque. Le caricaturiste dépeignit avec élégance et audace les modifications du contexte urbain de Rio de Janeiro au début du XXᵉ siècle et le rapport de ses habitants à la modernité, les évolutions sociales et de mœurs, les innovations technologiques et la vie politique nationale.

> Autre dessinateur extrêmement prolixe, également peintre, écrivain et chroniqueur, Benedito Bastos Barreto, dit Belmonte, publia inlassablement au cours de la première moitié du XXᵉ siècle. Il créa dans les années 1920 le personnage de Juca Pato, archétype masculin de
# LADaS 2.0 Labels

<table><caption>Table 4. LADaS Level-1.</caption><thead><tr><th>Classification</th><th>Labels</th><th>Short Definition</th></tr></thead><tbody><tr><td rowspan="3">Primary Text Zones</td><td>MainZone</td><td>Main area containing text</td></tr><tr><td>MarginTextZone</td><td>Any text in the margins</td></tr><tr><td>TitlePageZone</td><td>Entire page with document bibliographic informations</td></tr><tr><td rowspan="5">Media</td><td>GraphicZone</td><td>Non textual content</td></tr><tr><td>FigureZone</td><td>Various different textual elements (code snippets...)</td></tr><tr><td>TableZone</td><td>Tables</td></tr><tr><td>FormZone</td><td>Forms</td></tr><tr><td>MusicZone</td><td>Sheet Music</td></tr><tr><td rowspan="5">Material Zones</td><td>DigitisationArtefactZone</td><td>Elements external to the document</td></tr><tr><td>NumberingZone</td><td>Numberings</td></tr><tr><td>RunningTitleZone</td><td>Running Titles</td></tr><tr><td>StampZone</td><td>Stamps</td></tr><tr><td>QuireMarksZone</td><td>Quire signature, catchwords...</td></tr></tbody></table>

<table><caption>Table 5. LADaS Level-2.</caption><thead><tr><th>Classification</th><th>Labels</th></tr></thead><tbody><tr><td rowspan="11">Text</td><td>Head</td></tr><tr><td>HeadStructured</td></tr><tr><td>P</td></tr><tr><td>PLabelled</td></tr><tr><td>PStructured</td></tr><tr><td>PQuoted</td></tr><tr><td>PStarred</td></tr><tr><td>PStarred</td></tr><tr><td>Item</td></tr><tr><td>Lg</td></tr><tr><td>Dateline</td></tr><tr><td>Address</td></tr><tr><td>Signed</td></tr><tr><td>Ab</td></tr><tr><td>Continued</td></tr><tr><td rowspan="6">Media and Other</td><td>Part</td></tr><tr><td>Decoration</td></tr><tr><td>Maths</td></tr><tr><td>ManuscriptAddendum</td></tr><tr><td>Field</td></tr><tr><td>DropCapital</td></tr></tbody></table>
# Examples of Fully Annotated Pages

<figure><img src="image_34.png" /></figure>

NumberingZone

RunningTitleZone

CHAPITRE 2. L'PAINTING - ÉTAT DE L'ART ET LIMITES

31

<figure><img src="image_35.png" /><figcaption>FIGURE 2.10 - Copulation par une méthode basée patch locale en fonction de la taille du patch. De gauche à droite et de bas en haut, nous avons des pGraphicZone-Head 15 patches.</figcaption></figure>

coherence de la copulation. Elles requièrent aussi plusieurs àd'interne une convergence et aîmi raffiner la partie imagerie.

Sauf et al. [2002] proposent de se séparer la propagation de la texture de la propagation de la structure. Pour cela, il aîmi d'abord l'ûtlasser à indiquer les structures incomplètes en les traçant. Ensuite, chaque pixel appartenant au traç est MainZone-Head 5 requis un label correspondant à un pixel commu du traç ; l'attribution du patch est la même énergie à minimiser. La texture est ensuite complète par une approuve glottale (CPTVOL de la section précédente).

WEXLER et al. [WS87] proposent une copulation en calculant, pour un pixel du masque, une moyenne pondérée des pixels provenant de plusieurs patches qui se superposent. Ils définissent également une fonction de coherance globale qui MainZone-Head-F chaque pixel, la similitud entre les patches qui le recouvent et les patches de la zone continue :

Coherence = 1 - MainZone-Maths
(2.30)

0 si $\sum_{i=1}^{n} \sigma_{i}^{2}$ est une fonction de similarité coupMainZone-Continued
(2.31)

$\sum_{i=1}^{n} \sigma_{i}^{2}$ = $\exp[\mathcal{M}^{2} \sum_{i=1}^{n} \sigma_{i}^{2}]$ = exp[MainZone-Maths
(2.31)

id est l'art-type du regard gassion et sim une fonction de similarité. L'unité de cette méthode multi-résolution est d'utiliser une image construite à une résolution donnée comme initialisation pour la résolution supérieure. Côté l'algèbrite, PatMatch est l'apprécie classique d'impédance [MainZone-Continued]. Mes veaux pour sa beauté font mutés, eg ma flame. Non plus que fon objet ne fort point de mon âme.

<figure><img src="image_36.png" /></figure>
Key Takeaways

<figure><img src="image_37.png" /></figure>
# ATR Pipeline Using LADaS 2.0

<figure><img src="image_38.png" /></figure>

<figure><img src="image_39.png" /></figure>

<figure><img src="image_40.png" /></figure>

<figure><img src="image_41.png" /></figure>
<figure><img src="image_42.png" /></figure>

Conclusion and Perspectives

* Currently in the process of reannotating all the LADaS dataset

* Enhancing and automating LADaS2TEI

* Investigating post-processing possibilities (e.g. making the distinction between <bibl> and <p type="structured">)

<footnote n="17">17. P. de Solerti, clerc. XIIIe siècle. Sceau rond de 27 mm en bronze. Un lion et un dragon à corps d'oiseau se combattant. (Nº 85.)</footnote>

<footnote n="18">18. Prieur des Carmes d'Aix. Fin du XIIIe siècle. Sceau en navette de 47 et 28 mm en bronze. Le Christ en croix entre la Vierge et saint Jean. (Nº 86.)</footnote>
<figure><img src="image_43.png" /></figure>

Useful Links

<figure><img src="image_44.png" /></figure>

Access the LADaS 1.0
dataset

<figure><img src="image_45.png" /></figure>

Read the LADaS
Annotation Guidelines

<figure><img src="image_46.png" /></figure>

Read more about the
LADaS 2.0 upgrade

<figure><img src="image_47.png" /></figure>

Check out LADaS2TEI

<figure><img src="image_48.png" /></figure>

Check out the LADaS
object detection model

<figure><img src="image_49.png" /></figure>

Slides and abstract of
this presentation
Thank you for your attention!

<figure><img src="image_50.png" /></figure>

Contact: juliette.janes@inria.fr / sarah.beniere@inria.fr