Steganography of vector graphics and typography in infrared security printing

The paper elaborates on linear graphics and typographic elements in the function of hiding information in security printing. Hidden information is introduced with the goal to protect the originality of the produced graphic designs so their counterfeiting would be impossible. Those graphic designs are made with programmed linear and typographical elements that have different response in the part of the spectrum visible to the human eye, and in the near infrared part of the spectrum observed with instruments. In order to have different response in the said spectrum parts, in each of the two designs colors are separated in two different ways. In order to achieve unique results, complex algorithms and random numbers are used for color separation. Unique graphic designs have been obtained by merging design and security against counterfeiting

Infrared steganography with individual screening shapes applied to postage stamps with security features

Dizajn poštanske marke zahtijeva smještanje grafičkih i zaštitnih elemenata u ograničen mali format pri čemu ni jedan od elemenata ne smije biti zapostavljen. Uvode se individualni rasterski oblici kao element zaštite u steganografiji dvostrukih slika u proširenom vizualnom i infracrvenom spektru od 700 do 1000 nm. Proširuje se CMYKIR teorija skrivanja infracrvene poruke u slici miješanjem procesnih bojila uz kontrolu spot blizanaca tonova u stanju X0 te X40. U sigurnosnom otisku su integrirane dvije slike, višebojna slika vidljiva golim okom, te druga skrivena slika vidljiva aparaturom za infracrveni spektar. CMYKIR metodi pridružuje se algoritam novog rasterskog elementa, koji služi za raspršivanje rubova skrivene slike nazvane "Z slika". Ovaj način steganografije primijenjen je u dizajnu i tisku poštanskih maraka u svrhu njihove zaštite na nov način.Designing a postage stamp requires positioning of graphic security elements in a limited small format, so the design is made for two states: for the visible spectrum and the infrared spectrum. Individual screening elements are introduced as security elements in the steganography of invisible pictures in the 700 to 1000 nm spectrum. The CMYKIR theory of hiding the infrared message in the picture is extended by mixing process inks with the control of spot twins of the same colour tone in the X0 and X40 states. Two pictures are integrated in the security print; a multicolour picture visible to the naked eye, and another hidden picture visible when illuminated with an IR detecting instrument. The CMYKIR method is joined with the new element’s algorithm used for dispersing of the hidden picture’s ("Z picture’s") fringes. This kind of steganography is applied in the design of postage stamps and it is a new way of securing them

Mathematical specification of hitomezashi designs

Two mathematical aspects of the centuries-old Japanese sashiko stitching form hitomezashi are discussed: the encoding of designs using words from a binary alphabet, and duality. Traditional hitomezashi designs are analysed using these two ideas. Self-dual hitomezashi designs related to Fibonacci snowflakes, which we term Pell persimmon polyomino patterns, are proposed. Both these designs and the binary words used to generate them appear to be new to their respective literatures.Comment: 25 pages; 21 figure

Robust image steganography method suited for prining = Robustna steganografska metoda prilagođena procesu tiska

U ovoj doktorskoj dizertaciji prezentirana je robustna steganografska metoda razvijena i prilagođena za tisak. Osnovni cilj metode je pružanje zaštite od krivotvorenja ambalaže. Zaštita ambalaže postiže se umetanjem više bitova informacije u sliku pri enkoderu, a potom maskiranjem informacije kako bi ona bila nevidljiva ljudskom oku. Informacija se pri dekoderu detektira pomoću infracrvene kamere. Preliminarna istraživanja pokazala su da u relevantnoj literaturi nedostaje metoda razvijenih za domenu tiska. Razlog za takav nedostatak jest činjenica da razvijanje steganografskih metoda za tisak zahtjeva veću količinu resursa i materijala, u odnosu na razvijanje sličnih domena za digitalnu domenu. Također, metode za tisak često zahtijevaju višu razinu kompleksnosti, budući da se tijekom reprodukcije pojavljuju razni oblici procesiranja koji mogu kompromitirati informaciju u slici [1]. Da bi se sačuvala skrivena informacija, metoda mora biti otporna na procesiranje koje se događa tijekom reprodukcije. Kako bi se postigla visoka razina otpornosti, informacija se može umetnuti unutar frekvencijske domene slike [2], [3]. Frekvencijskoj domeni slike možemo pristupiti pomoću matematičkih transformacija. Najčešće se koriste diskretna kosinusna transformacija (DCT), diskretna wavelet transformacija (DWT) i diskretna Fourierova transformacija (DFT) [2], [4]. Korištenje svake od navedenih transformacija ima određene prednosti i nedostatke, ovisno o kontekstu razvijanja metode [5]. Za metode prilagođene procesu tiska, diskretna Fourierova transformacija je optimalan odabir, budući da metode bazirane na DFT-u pružaju otpornost na geometrijske transformacije koje se događaju tijekom reprodukcije [5], [6]. U ovom istraživanju korištene su slike u cmyk prostoru boja. Svaka slika najprije je podijeljena u blokove, a umetanje informacije vrši se za svaki blok pojedinačno. Pomoću DFT-a, ???? kanal slikovnog bloka se transformira u frekvencijsku domenu, gdje se vrši umetanje informacije. Akromatska zamjena koristi se za maskiranje vidljivih artefakata nastalih prilikom umetanja informacije. Primjeri uspješnog korištenja akromatske zamjene za maskiranje artefakata mogu se pronaći u [7] i [8]. Nakon umetanja informacije u svaki slikovni blok, blokovi se ponovno spajaju u jednu, jedinstvenu sliku. Akromatska zamjena tada mijenja vrijednosti c, m i y kanala slike, dok kanal k, u kojemu se nalazi umetnuta informacija, ostaje nepromijenjen. Time nakon maskiranja akromatskom zamjenom označena slika posjeduje ista vizualna svojstva kao i slika prije označavanja. U eksperimentalnom dijelu rada koristi se 1000 slika u cmyk prostoru boja. U digitalnom okruženju provedeno je istraživanje otpornosti metode na slikovne napade specifične za reprodukcijski proces - skaliranje, blur, šum, rotaciju i kompresiju. Također, provedeno je istraživanje otpornosti metode na reprodukcijski proces, koristeći tiskane uzorke. Objektivna metrika bit error rate (BER) korištena je za evaluaciju. Mogućnost optimizacije metode testirala se procesiranjem slike (unsharp filter) i korištenjem error correction kodova (ECC). Provedeno je istraživanje kvalitete slike nakon umetanja informacije. Za evaluaciju su korištene objektivne metrike peak signal to noise ratio (PSNR) i structural similarity index measure (SSIM). PSNR i SSIM su tzv. full-reference metrike. Drugim riječima, potrebne su i neoznačena i označena slika istovremeno, kako bi se mogla utvrditi razina sličnosti između slika [9], [10]. Subjektivna analiza provedena je na 36 ispitanika, koristeći ukupno 144 uzorka slika. Ispitanici su ocijenjivali vidljivost artefakata na skali od nula (nevidljivo) do tri (vrlo vidljivo). Rezultati pokazuju da metoda posjeduje visoku razinu otpornosti na reprodukcijski proces. Također, metoda se uistinu optimizirala korištenjem unsharp filtera i ECC-a. Kvaliteta slike ostaje visoka bez obzira na umetanje informacije, što su potvrdili rezultati eksperimenata s objektivnim metrikama i subjektivna analiza

Machinic Eyes: New and Post-Digital Aesthetics, Surveillance, and Resistance

This work concerns the rise of the New Aesthetic, an art project developed by James Bridle in 2012. The New Aesthetic, as envisioned by Bridle, was chiefly concerned with the overlapping of physical and digital realities through both the artifacts produced by this overlapping and the systems involved therein. I introduce the advent of the New Aesthetic and present the major criticisms: the lack of a robust theoretical and scholarly framework, the lack of a historical framework, the privileging of artifacts over systems as new Aesthetic, and the fragmented scholarly outlook on the New Aesthetic. Upon further examination, I discovered that the New Aesthetic is less of an art project but a metaphor for a global surveillance apparatus that is the result of clandestine partnerships between multinational technology corporations and intelligence agencies associated the Five Eyes consortium. In this dissertation, I critique the New Aesthetic from a scholarly viewpoint, offer a historical precedent of how the New Aesthetic came to be from cultural and technological perspectives, examine the rise of the global surveillance apparatus within the New Aesthetic, and offer ideas of how to resist surveillance as a result of our reliance upon computational technologies

New Postage Stamp Design With Tone Gradation in Infrared Design Technology

This paper deals with the application of new steganographic methods in postage stamp printing technology with the goal of securing them against counterfeiting. Postage stamp designs are presented which contain double information in the visible and in the infrared spectrum area. New methods include printing with process printing inks that have a continuous response in the infrared area of the spectrum. The infrared Z image cannot be produced with conventional CMYK separation in such a way that the hidden picture does not show through when looking at the print. This is the reason for introducing CMYKIR separation, with mathematical relations that respect printing ink characteristics in the RGB to CMYKIR system conversion. A mathematical model with targeted separation characteristics is proposed, with seven independent variables. It has been created as the result of optimal regression model developed on the basis of colour tone measuring for the visual and infrared spectrum. A technological procedure has been elaborated for producing and printing based on such designs. It is possible to detect the infrared image with the help of a device – the infrared ZRGB camera. Counterfeiting is impossible due to the irreversible conversion of the CMYKIR separation into the RGB system applied in contemporary scanners or cameras

Rabelais, Pantagruélion & Utopia

This thesis addresses the problems of intoxication and utopia in Gargantua and Le Tiers Livre, maintaining that progress towards a utopian future is made through the positive consequences of collective intoxication. Through a close examination of relevant episodes leading up to the foundation of the abbey of Thélème, this thesis argues that Rabelais's utopia is significantly dependent on the pacifying effects of the symposion. Next, a survey of sources contemporary to Rabelais demonstrates his knowledge of both cannabis intoxication and the plant's widespread use and exchange throughout the Mediterranean. Finally, an analysis of enigmatic imagery in the Pantagruélion episode illustrates Rabelais's attempt to improve diplomatic relations with his neighbors in the Middle East and India through an increase in maritime exploration, mercantile exchange, and collective intoxication