In order to optionally regulate embedding capacity and embedding transparency according to user's requirements in voice-over-IP(VoIP) steganography,a dynamic matrix encoding strategy(DMES) was presented.Differing ...In order to optionally regulate embedding capacity and embedding transparency according to user's requirements in voice-over-IP(VoIP) steganography,a dynamic matrix encoding strategy(DMES) was presented.Differing from the traditional matrix encoding strategy,DMES dynamically chose the size of each message group in a given set of adoptable message sizes.The appearance possibilities of all adoptable sizes were set in accordance with the desired embedding performance(embedding rate or bit-change rate).Accordingly,a searching algorithm that could provide an optimal combination of appearance possibilities was proposed.Furthermore,the roulette wheel algorithm was employed to determine the size of each message group according to the optimal combination of appearance possibilities.The effectiveness of DMES was evaluated in StegVoIP,which is a typical covert communication system based on VoIP.The experimental results demonstrate that DMES can adjust embedding capacity and embedding transparency effectively and flexibly,and achieve the desired embedding performance in any case.For the desired embedding rate,the average errors are not more than 0.000 8,and the standard deviations are not more than 0.002 0;for the desired bit-change rate,the average errors are not more than 0.001 4,and the standard deviations are not more than 0.002 6.展开更多
The purpose of this paper is to show that autobiographical works like Gabrielle Roy's Enchantment and Sorrow (1988) and R6gine Robin's La Qudbdcoite (1983), do not succeed in anchoring the self and eliminating p...The purpose of this paper is to show that autobiographical works like Gabrielle Roy's Enchantment and Sorrow (1988) and R6gine Robin's La Qudbdcoite (1983), do not succeed in anchoring the self and eliminating past traumatic experiences. These writers realize that they cannot reincarnate their former 'T' as time has passed and their lives have changed. The self does not let itself be reduced to a definite being but on the contrary mirrors itsef in all its surroundings. Writing the fragmentation of the self makes these authobiographies appear on one hand, fictional as the "I" always eludes itself. But on the other hand, they best describe the postmodern 'T' who is conscious of the permeability of one's own self as well inwards by the influences, the collages of others on the Self as outwards by the projection of the self onto others, like rhizome connecting to others and forming a web of exchanges like in cyberspace展开更多
基金Project(2009AA01A402) supported by the National High-Tech Research and Development Program of ChinaProject(NCET-06-0650) supported by Program for New Century Excellent Talents in University Project(IRT-0725) supported by Program for Changjiang Scholars and Innovative Research Team in Chinese University
文摘In order to optionally regulate embedding capacity and embedding transparency according to user's requirements in voice-over-IP(VoIP) steganography,a dynamic matrix encoding strategy(DMES) was presented.Differing from the traditional matrix encoding strategy,DMES dynamically chose the size of each message group in a given set of adoptable message sizes.The appearance possibilities of all adoptable sizes were set in accordance with the desired embedding performance(embedding rate or bit-change rate).Accordingly,a searching algorithm that could provide an optimal combination of appearance possibilities was proposed.Furthermore,the roulette wheel algorithm was employed to determine the size of each message group according to the optimal combination of appearance possibilities.The effectiveness of DMES was evaluated in StegVoIP,which is a typical covert communication system based on VoIP.The experimental results demonstrate that DMES can adjust embedding capacity and embedding transparency effectively and flexibly,and achieve the desired embedding performance in any case.For the desired embedding rate,the average errors are not more than 0.000 8,and the standard deviations are not more than 0.002 0;for the desired bit-change rate,the average errors are not more than 0.001 4,and the standard deviations are not more than 0.002 6.
文摘The purpose of this paper is to show that autobiographical works like Gabrielle Roy's Enchantment and Sorrow (1988) and R6gine Robin's La Qudbdcoite (1983), do not succeed in anchoring the self and eliminating past traumatic experiences. These writers realize that they cannot reincarnate their former 'T' as time has passed and their lives have changed. The self does not let itself be reduced to a definite being but on the contrary mirrors itsef in all its surroundings. Writing the fragmentation of the self makes these authobiographies appear on one hand, fictional as the "I" always eludes itself. But on the other hand, they best describe the postmodern 'T' who is conscious of the permeability of one's own self as well inwards by the influences, the collages of others on the Self as outwards by the projection of the self onto others, like rhizome connecting to others and forming a web of exchanges like in cyberspace