Watermarking of audio signals using independent component analysis

A novel approach to watermarking of audio signals using Independent Component Analysis (ICA) is proposed. It exploits the statistical independence of components obtained by practical ICA algorithms to provide a robust watermarking scheme with high information rate and low distortion. Numerical simulations have been performed on audio signals, showing good robustness of the watermark against common attacks with unnoticeable distortion, even for high information rates. An important aspect of the method is its domain independence: it can be used to hide information in other types of data, with minor technical adaptations.

High-quality audio system

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Guidelines for audio-enhancement of graphical user Interface widgets

Audio feedback remains little used in most graphical user interfaces despite its potential to greatly enhance interaction. Not only does sonic enhancement of interfaces permit more natural human-computer communication but it also allows users to employ an appropriate sense to solve a problem rather than having to rely solely on vision. Research shows that designers do not typically know how to use sound effectively; subsequently, their ad hoc use of sound often leads to audio feedback being considered an annoying distraction. Unlike the design of purely graphical user interfaces for which guidelines are common, the audio-enhancement of graphical user interfaces has (until now) been plagued by a lack of suitable guidance. This paper presents a series of empirically substantiated guidelines for the design and use of audio-enhanced graphical user interface widgets.

Re-visualising international relations:audio-visual projects and direct encounters with the political in security studies

In this paper we discuss how an innovative audio-visual project was adopted to foster active, rather than declarative learning, in critical International Relations (IR). First, we explore the aesthetic turn in IR, to contrast this with forms of representation that have dominated IR scholarship. Second, we describe how students were asked to record short audio or video projects to explore their own insights through aesthetic and non-written formats. Third, we explain how these projects are understood to be deeply embedded in social science methodologies. We cite our inspiration from applying a personal sociological imagination, as a way to counterbalance a ‘marketised’ slant in higher education, in a global economy where students are often encouraged to consume, rather than produce knowledge. Finally, we draw conclusions in terms of deeper forms of student engagement leading to new ways of thinking and presenting new skills and new connections between theory and practice.