REVIEW: "Information Hiding Techniques for Steganography and Dig
- BKIHTSDW.RVW 20000504
"Information Hiding Techniques for Steganography and Digital
Watermarking", Katzenbeisser/Petitcolas, 2000, 1-58053-035-4
%E Stefan Katzenbeisser
%E Fabien A. P. Petitcolas
%C 685 Canton St., Norwood, MA 02062
%I Artech House/Horizon
%O U$69.00 800-225-9977 fax: 617-769-6334 artech@...
%P 220 p.
%T "Information Hiding Techniques for Steganography and Digital
Steganography can be used for sending encrypted messages, but the
primary emphasis in this volume is in the use of techniques for
detecting forgery, theft of intellectual property, and modification of
a digital object. Digital watermarking is probably best known to the
general public from the transparent logos used on cable channels to
try and prevent, or at least identify, illegally taped copies of
programs. Chapter one gives us a definition of steganography and
digital watermarking, some history, and some editorial on the
counterintuitive links between the technical partnership of encryption
and digital signatures.
Part one outlines secret writing and steganography, the latter being
the art of hiding a message in plain sight. Chapter two deals with
the principles of steganography. Unfortunately, while the general
principles are explained, the details require some number theory. The
formal definitions that are used, for example, refer to axioms that
are not presented in the text. Most of the techniques explained in
chapter three are graphical, but a few are applicable to text.
Steganalysis is, of course, dependent upon the techniques being used,
and various products are analyzed in chapter four.
Part two looks at watermarking and copyright. Chapter five examines
watermarking principles and evaluation criteria. Techniques are
described in chapter six. Chapter seven deals with the reasons that
copyright marking technologies require highly robust algorithms and
systems. Chapter eight reviews digital fingerprinting, for individual
identification. Legal considerations are discussed in chapter nine,
in regard to watermarking, the Internet, and copyright.
A common problem in many collective works is that the various
submissions have differing styles and tend to overlap and repeat
topics. While there are certainly stylistic differences between the
chapters in this book, the authors/editors have kept repetition and
duplication to a minimum.
copyright Robert M. Slade, 2000 BKIHTSDW.RVW 20000504
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