To protect the copyright of the image as well as the image quality, a kind of image zero-watermark method based on the Krawtchouk moment invariants and timestamp is proposed. A method is used to protect the image, in ...To protect the copyright of the image as well as the image quality, a kind of image zero-watermark method based on the Krawtchouk moment invariants and timestamp is proposed. A method is used to protect the image, in which features are drawn out from the image as the watermarking. The main steps of the method are presented. Firstly, some low-order moment invariants of the image are extracted. Secondly, the moment invariants and the key are registered to a fair third party to gain the timestamp. Finally, the timestamp can be used to prove who the real owner is. The processing method is simple, only with a few low-order moment invariants to be computed. Experimental results are obtained and compared with those of the method based on geometric moment invariants. Results show that the scheme can well withstand such geometrical attacks as rotating, scaling, cropping, combined attack, translating, removing lines, filtering, and JPEG lossy compression.展开更多
Based on original archival and codicological research, this paper in- vestigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of...Based on original archival and codicological research, this paper in- vestigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of one surprisingly complex debate poem, Le Songe de la Pucelle （The Dream of the Virgin）. Our debate relates the choice that a female narrator must make between the respective appeals of two personifications, Love and Shame, who appear to her in a dream- vision. The manuscript tradition invariably collects the poem with other fifteenth- century debates and moral texts, while the early printed copies tended to have experienced a prior separate circulation and often remain as monotextual pamphlets. Manuscript and printed copies of the same poem seem, then, to target different audiences. My paper investigates this curious divergence in the transmission pattern of the manuscript and printed versions of the Songe and seeks possible answers in the very different sets of images accompanying the text in manuscript and printed versions.展开更多
文摘To protect the copyright of the image as well as the image quality, a kind of image zero-watermark method based on the Krawtchouk moment invariants and timestamp is proposed. A method is used to protect the image, in which features are drawn out from the image as the watermarking. The main steps of the method are presented. Firstly, some low-order moment invariants of the image are extracted. Secondly, the moment invariants and the key are registered to a fair third party to gain the timestamp. Finally, the timestamp can be used to prove who the real owner is. The processing method is simple, only with a few low-order moment invariants to be computed. Experimental results are obtained and compared with those of the method based on geometric moment invariants. Results show that the scheme can well withstand such geometrical attacks as rotating, scaling, cropping, combined attack, translating, removing lines, filtering, and JPEG lossy compression.
文摘Based on original archival and codicological research, this paper in- vestigates the transformations and negotiations between manuscript and printed versions of fifteenth-century poetry through the specific example of one surprisingly complex debate poem, Le Songe de la Pucelle （The Dream of the Virgin）. Our debate relates the choice that a female narrator must make between the respective appeals of two personifications, Love and Shame, who appear to her in a dream- vision. The manuscript tradition invariably collects the poem with other fifteenth- century debates and moral texts, while the early printed copies tended to have experienced a prior separate circulation and often remain as monotextual pamphlets. Manuscript and printed copies of the same poem seem, then, to target different audiences. My paper investigates this curious divergence in the transmission pattern of the manuscript and printed versions of the Songe and seeks possible answers in the very different sets of images accompanying the text in manuscript and printed versions.
