Identification and Exploitation of Inadvertent Spectral Artifacts in Digital Audio

We show that modulation products from local oscillators in a variety of commercial camcorders are coupled into the recorded audio track, creating narrow band time invariant spectral features. These spectral features, left largely intact by transcoding, compression and other forms of audiovisual post processing, can encode characteristics of specific camcorders used to capture the audio files, including the make and model. Using data sets both downloaded from YouTube and collected under controlled laboratory conditions we demonstrate an average probability of detection (Pd) approaching 0.95 for identification of a specific camcorder in a population of thousands of similar recordings, with a probability of false alarm (Pfa) of about 0.11. We also demonstrate an average Pd of about 0.93 for correct association of make and model of camcorder based on comparison of audio spectral features extracted from random YouTube downloads compared to a reference library of spectral features captured from known makes and models of camcorders, with a Pfa of 0.06. The method described can be used independently or synergistically with image plane-based techniques such as those based upon Photo Response Non-Uniformity

Multimedia Forensics

This book is open access. Media forensics has never been more relevant to societal life. Not only media content represents an ever-increasing share of the data traveling on the net and the preferred communications means for most users, it has also become integral part of most innovative applications in the digital information ecosystem that serves various sectors of society, from the entertainment, to journalism, to politics. Undoubtedly, the advances in deep learning and computational imaging contributed significantly to this outcome. The underlying technologies that drive this trend, however, also pose a profound challenge in establishing trust in what we see, hear, and read, and make media content the preferred target of malicious attacks. In this new threat landscape powered by innovative imaging technologies and sophisticated tools, based on autoencoders and generative adversarial networks, this book fills an important gap. It presents a comprehensive review of state-of-the-art forensics capabilities that relate to media attribution, integrity and authenticity verification, and counter forensics. Its content is developed to provide practitioners, researchers, photo and video enthusiasts, and students a holistic view of the field

Multimedia Forensics

This book is open access. Media forensics has never been more relevant to societal life. Not only media content represents an ever-increasing share of the data traveling on the net and the preferred communications means for most users, it has also become integral part of most innovative applications in the digital information ecosystem that serves various sectors of society, from the entertainment, to journalism, to politics. Undoubtedly, the advances in deep learning and computational imaging contributed significantly to this outcome. The underlying technologies that drive this trend, however, also pose a profound challenge in establishing trust in what we see, hear, and read, and make media content the preferred target of malicious attacks. In this new threat landscape powered by innovative imaging technologies and sophisticated tools, based on autoencoders and generative adversarial networks, this book fills an important gap. It presents a comprehensive review of state-of-the-art forensics capabilities that relate to media attribution, integrity and authenticity verification, and counter forensics. Its content is developed to provide practitioners, researchers, photo and video enthusiasts, and students a holistic view of the field

Digital Watermarking for Verification of Perception-based Integrity of Audio Data

In certain application fields digital audio recordings contain sensitive content. Examples are historical archival material in public archives that preserve our cultural heritage, or digital evidence in the context of law enforcement and civil proceedings. Because of the powerful capabilities of modern editing tools for multimedia such material is vulnerable to doctoring of the content and forgery of its origin with malicious intent. Also inadvertent data modification and mistaken origin can be caused by human error. Hence, the credibility and provenience in terms of an unadulterated and genuine state of such audio content and the confidence about its origin are critical factors. To address this issue, this PhD thesis proposes a mechanism for verifying the integrity and authenticity of digital sound recordings. It is designed and implemented to be insensitive to common post-processing operations of the audio data that influence the subjective acoustic perception only marginally (if at all). Examples of such operations include lossy compression that maintains a high sound quality of the audio media, or lossless format conversions. It is the objective to avoid de facto false alarms that would be expectedly observable in standard crypto-based authentication protocols in the presence of these legitimate post-processing. For achieving this, a feasible combination of the techniques of digital watermarking and audio-specific hashing is investigated. At first, a suitable secret-key dependent audio hashing algorithm is developed. It incorporates and enhances so-called audio fingerprinting technology from the state of the art in contentbased audio identification. The presented algorithm (denoted as ”rMAC” message authentication code) allows ”perception-based” verification of integrity. This means classifying integrity breaches as such not before they become audible. As another objective, this rMAC is embedded and stored silently inside the audio media by means of audio watermarking technology. This approach allows maintaining the authentication code across the above-mentioned admissible post-processing operations and making it available for integrity verification at a later date. For this, an existent secret-key ependent audio watermarking algorithm is used and enhanced in this thesis work. To some extent, the dependency of the rMAC and of the watermarking processing from a secret key also allows authenticating the origin of a protected audio. To elaborate on this security aspect, this work also estimates the brute-force efforts of an adversary attacking this combined rMAC-watermarking approach. The experimental results show that the proposed method provides a good distinction and classification performance of authentic versus doctored audio content. It also allows the temporal localization of audible data modification within a protected audio file. The experimental evaluation finally provides recommendations about technical configuration settings of the combined watermarking-hashing approach. Beyond the main topic of perception-based data integrity and data authenticity for audio, this PhD work provides new general findings in the fields of audio fingerprinting and digital watermarking. The main contributions of this PhD were published and presented mainly at conferences about multimedia security. These publications were cited by a number of other authors and hence had some impact on their works

Adaptive signal processing algorithms for noncircular complex data

The complex domain provides a natural processing framework for a large class of signals encountered in communications, radar, biomedical engineering and renewable energy. Statistical signal processing in C has traditionally been viewed as a straightforward extension of the corresponding algorithms in the real domain R, however, recent developments in augmented complex statistics show that, in general, this leads to under-modelling. This direct treatment of complex-valued signals has led to advances in so called widely linear modelling and the introduction of a generalised framework for the differentiability of both analytic and non-analytic complex and quaternion functions. In this thesis, supervised and blind complex adaptive algorithms capable of processing the generality of complex and quaternion signals (both circular and noncircular) in both noise-free and noisy environments are developed; their usefulness in real-world applications is demonstrated through case studies. The focus of this thesis is on the use of augmented statistics and widely linear modelling. The standard complex least mean square (CLMS) algorithm is extended to perform optimally for the generality of complex-valued signals, and is shown to outperform the CLMS algorithm. Next, extraction of latent complex-valued signals from large mixtures is addressed. This is achieved by developing several classes of complex blind source extraction algorithms based on fundamental signal properties such as smoothness, predictability and degree of Gaussianity, with the analysis of the existence and uniqueness of the solutions also provided. These algorithms are shown to facilitate real-time applications, such as those in brain computer interfacing (BCI). Due to their modified cost functions and the widely linear mixing model, this class of algorithms perform well in both noise-free and noisy environments. Next, based on a widely linear quaternion model, the FastICA algorithm is extended to the quaternion domain to provide separation of the generality of quaternion signals. The enhanced performances of the widely linear algorithms are illustrated in renewable energy and biomedical applications, in particular, for the prediction of wind profiles and extraction of artifacts from EEG recordings

navigating an intertwingularity: computational ambivalence in experimental music practice

This project offers a provisional, practitioner-oriented notion of ‘computational ambivalence’ in experimental music, addressing how many musicians sensitive to the non-neutrality of music technologies resist adopting a single overarching stance towards software, and therefore cannot extricate their technological questioning from music making itself. Computational ambivalence is established in relation to three idiosyncratically-defined ‘threads’ — experimental music, music computing, and critical cultural computing — and is exhibited in and through a ‘field guide’, speculative historical case studies on Iannis Xenakis’s Theraps and James Tenney’s Quintext, reflections on my own musical practice, and an accompanying portfolio of music and software