"An exploration of depictions and use of water within Renaissance Italy, and especially in the work of polymath Leonardo da Vinci. Both a practical necessity and a powerful symbol, water presents one of the most challenging problems in visual art due to its formlessness, clarity, and mutability. In Renaissance Italy, it was a nearly inexhaustible subject of inquiry for artists, engineers, and architects alike: it represented an element to be productively harnessed and a force of untamed nature. Watermarks places the depiction and use of water within an intellectual history of early modern Italy, examining the parallel technological and aesthetic challenges of mastering water and the scientific and artistic practices that emerged in response to them. Focusing primarily on the wide-ranging work of Leonardo da Vinci (1452-1519)-at once an artist, scientist, and inventor-Leslie Geddes shows how the deployment of artistic media, such as ink and watercolor, closely correlated with the engineering challenges of controlling water in the natural world. For da Vinci and his peers, she argues, drawing was an essential form of visual thinking. Geddes analyses a wide range of da Vinci's subject matter, including machine drawings, water management schemes, and depictions of the natural landscape, and demonstrates how drawing-as an intellectual practice, a form of scientific investigation, and a visual representation-constituted a distinct mode of problem solving integral to his understanding of the natural environment. Throughout, Geddes draws important connections between works by da Vinci that have long been overlooked, the artistic and engineering practices of his day, and critical questions about the nature of seeing and depicting the almost unseeable during the early modern period"--

Watermarking techniques involve the concealment of information withina text or images and the transmission of this information to thereceiver with minimum distortion. This is a very new area ofresearch. The techniques will have a significant effect on defence, business, copyright protection and other fields where informationneeds to be protected at all costs from attackers.This book presents the recent advances in the theory andimplementation of watermarking techniques. It brings together, for thefirst time, the successful applications of intelligent paradigms(including comparisons with conventional methods) in many areas. Theaccompanying CD-Rom provides readers with source codes and executablesto put into practice general topics in watermarking

From Christy Ann Conlin, the critically acclaimed and award winning author of Heave, comes a breathtaking and unforgettable collection about how the briefest moment can shape us forever. In these evocative and startling stories, we meet people navigating the elemental forces of love, life, and death. An insomniac on Halifax’s moonlit streets. A runaway bride. A young woman accused of a brutal murder. A man who must live in exile if he is to live at all. A woman coming to terms with her eccentric childhood in a cult on the Bay of Fundy shore. A master of North Atlantic Gothic, Christy Ann Conlin expertly navigates our conflicting self-perceptions, especially in moments of crisis. She illuminates the personality of land and ocean, charts the pull of the past on the present, and reveals the wildness inside each of us. These stories offer a gallery of both gritty and lyrical portraits, each unmasking the myth and mystery of the everyday.

This book deals with digital watermarking, which is defined by the authors of this book as the art of hiding auxiliary information in digital data in a secure, robust and imperceptible fashion. Digital watermarking as a topic has a long history, but before 1995 publications in scientific literature were almost absent. From 1995 onwards however the number of publications on watermarking has been steadily increasing. Today a number of workshops and conferences on this topic exist; also a number of scientific journals on watermarking have been published. This renewed scientific interest in digital watermarking has led very quickly to industrial interest, as well. In 1996 the Copy Protection Technical Working Group, a voluntary consortium consisting of the movie industry, the IT industry and the consumer electronics industry, issued a call for watermarking technologies for the purpose of copy protection of DVD-Video. A few years later the Secure Digital Music Initiative issued a similar call, in this case focusing on copy protection of digital music. These two efforts have been only partially successful: copy protection based on digital watermarking is not (yet) implemented on a large scale in any type of consumer device. This current "failure" of watermarking, to live up to its expectations, finds its cause in a large number of reasons, ranging from legal considerations and system aspects to the relative immaturity of watermarking as a technology.

We are happy to present to you the proceedings of the 2nd International Workshop on Digital Watermarking, IWDW 2003. Since its modern re-appearance in the academic community in the early 1990s, great progress has been made in understanding both the capabilities and the weaknesses of digital watermarking. On the theoretical side, we all are now well aware of the fact that digital waterma- ing is best viewed as a form of communication using side information. In the case of digital watermarking the side information in question is the document to be wat- marked. This insight has led to a better understanding of the limits of the capacity and robustness of digital watermarking algorithms. It has also led to new and improved watermarking algorithms, both in terms of capacity and imperceptibility. Similarly, the role of human perception, and models thereof, has been greatly enhanced in the study and design of digital watermarking algorithms and systems. On the practical side, applications of watermarking are not yet abundant. The original euphoria on the role of digital watermarking in copy protection and copyright prot- tion has not resulted in widespread usage in practical systems. With hindsight, a n- ber of reasons can be given for this lack of practical applications.

This book constitutes revised selected papers from the 14th International Workshop on Digital-Forensics and Watermarking, IWDW 2015, held in Tokyo, Japan, in October 2015. The 35 papers presented in this volume were carefully reviewed and selected from 54 submissions. The contributions are organized in topical sections named: digital forensics; steganography and steganalysis; digital watermarking; reversible data hiding; and visual cryptography.

The 1st International Workshop on Digital Watermarking (IWDW), the con- rence covering all aspects of digital watermarking, was held at the Hotel Riviera situated along the beautiful Han River in Seoul, Korea from November 21 to 22, 2002. These proceedings contain 21 papers that were accepted for presentation at the conference. These papers were selected from 67 submissions including 3 invited papers. They went through a thorough review process by the Program Committee and were selected on the basis of excellence and novelty. The following is a brief description of the history of this conference and - viewing process: In August 2001 some members of the Special Interest Group on Multimedia Protection (SIGMP) of the Korea Institute of Information Security and Cryptology (KIISC) agreed to create the IWDW. In November 2001 we set up a Program Committee and solicited papers while asking Springer-Verlag to publish the proceedings of the workshop in their Lecture Notes in Computer Science series. In July 2002 we received 64 submissions from 14 countries using Microsoft’s conference management site (http://cmt. research. microsoft. com/ iwdw2002/). Each submission was assigned a number automatically by the c- ference management tool and the paper was sent to the Program Committee members for their review. We also encouraged di?erent sets of experts to join for fair reviews.