Invisible Characters Research Articles

Robust Watermarking Algorithm for Building Information Modeling Based on Element Perturbation and Invisible Characters

With the increasing ease of building information modeling data usage, digital watermarking technology has become increasingly crucial for BIM data copyright protection. In response to the problem that existing robust watermarking methods mainly focus on BIM exchange formats and cannot adapt to BIM data, a novel watermarking algorithm specifically designed for BIM data, which combines element perturbation and invisible character embedding, is proposed. The proposed algorithm first calculates the centroid of the enclosing box to locate the elements, and establishes a synchronous relationship between the element coordinates and the watermarked bits using a mapping mechanism, by which the watermarking robustness is effectively enhanced. Taking into consideration both data availability and the need for watermark invisibility, the algorithm classifies the BIM elements based on their mobility, and perturbs the movable elements while embedding invisible characters within the attributes of the immovable elements. Then, the watermark information after dislocation is embedded into the data. We use building model and structural model BIM data to carry out the experiments, and the results demonstrate that the signal-to-noise ratio and peak signal-to-noise ratio before and after watermark embedding are both greater than 100 dB. In addition, the increased information redundancy accounts for less than 0.15% of the original data., which means watermark embedding has very little impact on the original data. Additionally, the NC coefficient of watermark extraction is higher than 0.85 when facing attacks such as translation, element addition, element deletion, and geometry–property separation. These findings indicate a high level of imperceptibility and robustness offered by the algorithm. In conclusion, the robust watermarking algorithm for BIM data fulfills the practical requirements and provides a feasible solution for protecting the copyright of BIM data.

Defamiliarisation, invisible characters, and laboured connections

ABSTRACT This article argues that the post-war experimental British novel helps theorise a response towards the aesthetics of representation and ethics of connection with ‘invisible,' migrant characters through the aesthetic of defamiliarisation. Turning to Christine Brooke-Rose's 1964 avant-garde novel Out, I contend that the novel provides a defamiliarising, non-sentimental response to what Lyndsey Stonebridge calls the ‘placeless condition' of the mid-twentieth century. Through a close reading of Out's estranging practices, I demonstrate that the novel's narrative choices become both a modality of non-sympathetic representation and a politically potent critique of the placeless condition through the narratological foregrounding of typically unnoticeable non-human entities. That these narrative choices, in fact, enable an engagement with the character's perspective, suggests that the process of ‘staying with the estranging' also constitutes an ethical practice of acknowledgement and connection with an ‘invisible' character, away from emotional identification. By centring my analysis on defamiliarisation, I also trace a trajectory between Viktor Shklovsky's Formalist thinking and Brooke-Rose’s literary work, investigating more specifically the heretofore unexamined, yet crucial, imbrication of labour and affective estrangement as readerly practices that defamiliarisation encourages.

Inferential emotion tracking (IET) reveals the critical role of context in emotion recognition.

The ability to recognize others' emotions is critical for social interactions. It is widely assumed that recognizing facial expressions predominantly determines perceived categorical emotion, and contextual information only coarsely modulates or disambiguates interpreted faces. Using a novel method, inferential emotion tracking, we isolated and quantified the contribution of visual context versus face and body information in dynamic emotion recognition. Even when faces and bodies were blurred out in muted videos, observers inferred the emotion of invisible characters accurately and in high agreement based solely on visual context. Our results further show that the presence of visual context can override interpreted emotion categories from face and body information. Strikingly, we find that visual context determines perceived emotion nearly as much and as often as face and body information does. Visual context is an essential and indispensable element of emotion recognition: Without context, observers can misperceive a person's emotion over time. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Tunable ultraviolet-B full-spectrum delayed luminescence of bismuth-activated phosphors for high-secure data encryption and decryption

The ultraviolet-B (UVB) delayed luminescence materials, holding great potential in the field of phototherapy, sterilization, photocatalysis and anti-counterfeiting, however, lack of spectral tunability study and restricted to limited persistent time. In this paper, a series of Bi3+-doped garnet phosphors were successfully synthesized and the Bi3+ emission is for the first time tuned controllably and finely within UVB full-spectrum. The continuous replacement of Ga3+ by Al3+ ions gives rise to a fine blue-shift of Bi3+ emission from 313 to 302 nm due to the greater covalency of the GaO bond. Driven by the increased symmetry of the dodecahedron, it is further shifted to a much shorter wavelength step-by-step and finally approached to 298 nm with the progressive substitution of Y3+ by Lu3+ ions. The developed Bi3+-doped phosphors show delayed UVB luminescence, of which the persistent time can be optimized to more than 72 h by the effective combination of bandgap engineering and trap engineering strategies. Moreover, excellent optically stimulated luminescence that the UVB persistent luminescence of the pre-irradiated phosphor can be repeatedly revitalized by a low-energy 870 nm near-infrared (NIR) LED light source. As a proof-of-concept, invisible characters of UV write-in and NIR read-out for high-secure data encryption and decryption application using 8-bit ASCII binary codes were implemented. This work not only offers the path for the development of novel UVB phosphors with desired emission wavelength but also extends the applications of UVB delayed luminescence materials.

Unseeing People: Towards a Clear View of Invisible Characters in Narrative Fiction

This article proposes a critical mapping of invisible characters in narrative fiction that accentuates the complex relationship between literary and social invisibility. It argues that the emerging field of invisibility studies needs to come to terms with the motifs and forms of invisibility as they appear in literary history before and after the critical juncture of Ralph Ellison’s Invisible Man (1952), also drawing on H.G. Wells’s The Invisible Man (1897) and Virginia Woolf’s Mrs Dalloway (1925) as primary examples. It maintains that invisible characters emerge in a literary field structured by 1) the socio-political opposition between power and powerlessness; 2) the continuum of realist and non-realist genres; and 3) the form of narration as such, particularly in what narratologists define as focalisation. In such fashion, an analysis of literary ‘unseeing’ in the sense developed in China Miéville’s novel The City & The City (2009) will enable a deeper understanding of social invisibilisation.

How Many Sisters Had Celestina?: The Function of the Invisible Characters

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Métodos electrónicos para obtención de direcciones IP a través de webmail y redes sociales

La obtención de datos es una etapa fundamental en un proceso de seguridad informática tanto para identificar infractores o para detectar vulnerabilidades en un determinado sistema. Para tareas como investigación o inteligencia, entre la infor-mación más importante que se puede levantar de un ente están las direcciones IP de personas importantes, sospechosas u objetivos de investigación. Obtener esta información con fines legales y éticos, actualmente es más complejo debido a que los proveedores de servicios enmascaran este dato a fin de proteger la identidad de sus usuarios. Para obtener la dirección IP se pretende aplicar diferentes técnicas electrónicas y automatizadas que sirvan para modificar documentos y encubrirlos de modo que, al ser abiertos por el destinatario, nos revelen su dirección IP, la cual quedará registrada automáticamente en los logs del servidor web que se implementa en esta investigación. Se tomará en cuenta estos enfoques: el enviar directamente un enlace HTTP de invitación y enviar un documento de Office con caracteres invisibles. El ámbito de aplicación del trabajo descrito es importante, pues abarca técnicas propuestas para la detección de una dirección IP mediante varios métodos evaluando la eficiencia y efectividad de cada prueba. Esto permitirá al analista forense o investigador, obtener la ubicación posible de una persona al consultarla con los proveedores de internet.

Inaudible Voices in Sleep It Off Lady

The article deals with crises of transmission in some of Jean Rhys's stories included in Sleep It Off Lady (1976), more specifically ‘Pioneers, Oh, Pioneers’, ‘Fishy Waters’, ‘Good-bye Marcus, Good-bye Rose’ and ‘Sleep It Off Lady’. Their voiceless characters are discussed through the lens of precariousness, the argument relying on Guillaume Le Blanc's and Judith Butler's essays on precarious lives (Guillaume Le Blanc, Vies ordinaires, vies précaires, 2007; Judith Butler, Precarious Life: The Powers of Mourning and Violence, 2004). I shed light on the correlations between social precariousness, invisibility and linguistic vulnerability which make the transmission of the experience of dispossession precarious itself. The stories stage ghostly, invisible characters who cannot give an account of themselves but who, on the other hand, are held accountable by society. This oppressive type of accountability based on punishment or revenge contributes something to the crisis of transmission to which Jean Rhys's fiction obsessively returns. Caught within this coercive system of accountability, the precarious self remains untransmissible, while the stories bear witness to the processes which obstruct voice, and tell tales of precariousness.

Children Demonstrate Selfishness in the Presence of Their Personified Objects

The audience effect causes people to change their behavior in the presence of another person. It can lead to better motor performance and greater generosity. Both human entities and invisible characters can induce this effect in young children and adults. In this study, we examined whether children’s imaginary companions can induce this effect. Accordingly, 49 children, aged 4 to 6 years, who had personified objects were subjected to a simple motor task (dropping marbles as fast as possible within 2 minutes) and moral task (deciding how many stickers to take from anonymous children) across three conditions: alone, in the presence of a human adult, and personified object, respectively. Performance on the simple motor task did not differ across conditions. However, children took more stickers in the presence of their personified objects than in the human conditions. These results are discussed in relation to children’s recognition of their personified objects.

Features of using Invisible Signs in the Word Environment for Hiding Data

Considered digital steganography is the direction of classical steganography based on concealing or introducing additional information into digital objects, while causing some distortions of these objects. At the same time, images, audio, video, network packets, etc. can be used as objects or containers. Recently, there has been a lot of publication in the field of information hiding in a text container. To embed a secret, steganographic methods rely on redundant information about the used covering media or properties that the human perception system cannot distinguish. Since text documents are widely used in organizations, using a text document as a storage medium may be the preferred choice in such an environment. On the other hand, the choice of using a text document as a storage medium is the most difficult, since it contains less redundant information. In this article, we present textual steganography using invisible characters in a word processor.

Tracking the affective state of unseen persons

Emotion recognition is an essential human ability critical for social functioning. It is widely assumed that identifying facial expression is the key to this, and models of emotion recognition have mainly focused on facial and bodily features in static, unnatural conditions. We developed a method called affective tracking to reveal and quantify the enormous contribution of visual context to affect (valence and arousal) perception. When characters' faces and bodies were masked in silent videos, viewers inferred the affect of the invisible characters successfully and in high agreement based solely on visual context. We further show that the context is not only sufficient but also necessary to accurately perceive human affect over time, as it provides a substantial and unique contribution beyond the information available from face and body. Our method (which we have made publicly available) reveals that emotion recognition is, at its heart, an issue of context as much as it is about faces.

USAGE OF THE STEGANOGRAPHIC ALGORITHMS FOR TEXT INFORMATION HIDING

Today cryptographic and steganographic systems provide the best information security of society. Cryptography transforms information into the incomprehensible form with using the cryptographic keys and algorithms. Steganography hides the secret information in unknown place of object.
 The steganographic algorithms, which hide message in text container, are researched in the article.
 For process of hiding are used the text file-container properties. The hide message converts to the binary numbers system. User puts ones or zeros into the defined places of text file-container. These places have special characteristics.
 There may be two types of hiding: insertion and replacement.
 In case of insertion the hiding message adds to file-container with using invisible characters in viewing mode of text file. Then the size of full container with hided message is bigger than size of empty container.
 If used the replacing method then the characters of file-container replace to other characters that are almost the same as the first ones. For example, anyone is possible replacement of characters that have the same appearance in different languages. In this case the sizes of the empty and filled container remain the same.
 One of the simplest hiding methods is insertion the variable quantity of the space characters between words of text file. Suppose, that zero of hidden message is coded by one space character and one - is coded by two space characters. Therefore, depending on hidden message one or two space characters are located in different places of the text.
 Also, the author considers another hiding type, which uses the same view of some characters of different languages. If you look at the characters in Ukrainian and English, than the 18 characters in the each language is the same – 'a','c','e','i','o','p','x','A','B','C','E','H','I','K','O','P','T','X'. When hiding for the values of zeros in hidden message the file-container remains the same, and for the values of ones in hidden message the characters of language file-container replace to the same characters of another language (Ukrainian-English).The results of the algorithm work show us, that when using characters from different languages in the hiding process, the full file-container is much smaller than when encoding the space characters.
 The last algorithm which is considered in work uses tail space characters. It forms a filled container with enlarged text strings depending on the number of space characters which the hidden message determines. One character of hidden message is written in two file-container text strings. In particular the binary representation of each character is divided into two parts with four bits, and at the end of each text string is written no more than 15 space characters. The number of space characters corresponds to the decimal value of each part. To ensure hiding of secret message full container has the form aligned to the left edge of the text.
 Considered algorithms of hiding message in text container are used for the confidential information defense. Algorithms, which use insertion of invisible characters, allow hiding the amount of information that corresponds to the number of space characters with certain characteristics. The most of replacement algorithms hide more information than insertion algorithms. Also replacement algorithms do not change file-container size. For example, algorithm, which replace characters of different alphabets, hides such amount of information, which depends on the statistics of used languages.
 The most problem of using text containers is providing its steganographic defense. In particular, if user enables the unprintable character view in a text editor, then could see the some statistic of location invisible symbols added by the insertion methods. Therefore decoding of hidden message is simplified. The hidden message with using replacement algorithms is more defensible, but using of compression algorithms to the full container deletes the hidden information.

Embodying the Invisible: Materiality and Subjectivity in Cavendish, Manley, and Haywood

This article tracks the development of the invisible character over the long eighteenth century. Invisible characters, I argue, are rarely simply immaterial. The minimal materiality of the invisible character marks a specific mode of subjectivity that recent work on literary matter often neglects. Through an analysis of Margaret Cavendish’s The Blazing World (1666), Delarivier Manley’s The New Atalantis (1709), and Eliza Haywood’s The Invisible Spy (1750), I demonstrate how the minimal materiality of the invisible character is reflected in the fascinating textual materiality that emerges in the margins of these narratives. Ultimately, the invisible character articulates a key aspect of early modern and eighteenth-century feminine subjectivity that remains unseen when invisibility is unreflectively interpreted as social allegory

Ensuring the Security of Text-Based Information Transmission by Utilizing Invisible ASCII Characters

Ensuring the Security of Text-Based Information Transmission by Utilizing Invisible ASCII Characters

Unconscious Grouping of Chinese Characters: Evidence from Object-based Attention

To show that, in reading, a fundamental and unconscious perceptual process occurs beyond the current fixation, we examined whether peripherally presented characters of Chinese words in such extreme viewing conditions could be grouped when some characters were rendered invisible while others were visible. We presented a pair of two-character Chinese words and indexed whether the visible and invisible characters that formed a word could be grouped together by the effect of same-object advantage- an index used to indicate the formation of perceptual grouping and the basis for attentional selection (i.e. object-based attention). Results revealed a difference in the judgments of prior entry that would otherwise be equivalent between two concurrent targets in a cued temporal-order judgment task: the target that appeared in the cued word was judged to appear first more frequently than the other target that appeared in the uncued word. The results suggest that a perceptual grouping was formed for two-character words between visible and invisible constituent characters. While grouping within two-character words occurred, the invisible characters remained invisible in most of the trials, suggesting that this grouping occurred unconsciously. This implies that, in reading, characters presented in the peripheral region can be grouped into words even without the readers' awareness of all the constituent characters, and such unconscious grouping can facilitate fluent reading by aggregating the texts into fewer meaningful units and thus reduce the number of fixations needed.

A Novel Approach of Secret Hiding in Webpage by Bit Grouping Technology

Web pages are used popularly and frequently today because the message in the pages can be fast spreading all over the world in real-time. A kind of new approach is constructed for the webpage information hiding. The hiding data is composed of the length of secret, the checksum and the secret data. The secret message is required for modification using forward transform technology before hiding. A kind of grouping 5-bit scheme and algorithm are proposed to convert the hiding data into some invisible characters. It can hide 10 bits in each end tag of page line. In the extracting process, the message is recomposed as the coupling relationship. The hiding process and algorithms are stated in detail. The experiments are implemented with some well-known homepages of portal websites. The results show that the new approach can not only keep the hiding effects, but also increase the hiding capacity largely. It will be suitable for large-scale message transmission through the Internet.

‘'Er Indoors’: The invisible other in sitcom by Chris Ritchie

ABSTRACTComedy has always used invisible characters, but in certain sitcoms these characters give indications of the protagonist's sexual and social shortcomings, such as Captain Mainwaring's wife in Dad's Army, the mother-in-law in The Fall and Rise Of Reginald Perrin, 'Er Indoors in Minder, Norm's wife in Cheers and Niles' wife in Frasier. These five invisible characters are there (or not) for comic effect, but there is rank underlying misogyny involved. The reactions given by these protagonists when discussing these invisible others simultaneously suggest their innate unhappiness and admits a failure to organize a fulfilling coherent relationship. In another example, Mrs Slocombe's discussions of her ‘pussy’ in Are You Being Served? are an integral part of her comic identity that again illustrates social and sexual failures and amplifies her naivety. In Friends (Warners 2004), Ugly Naked Guy who lives opposite the ‘stick insects’ Rachel and Monica points up their bodily concerns. More positively in Seinfeld, given changes in everyday life and comedy, Kramer has a friend called Bob Sacamano who indicates a richer social life outside the confines of the sitcom's usual quartet, and in the British sitcom Miranda the protagonist's mother continually refers to her husband and their somewhat adventurous sex life — much to the horror of Miranda. In this latter example, the Invisible Other gives the mother a fuller sexual identity denied most mature sitcom characters. This article will discuss the positive and negative aspects (though mostly negatives) of the Invisible Other.

Gender in Ancient Cyprus: Narratives of Social Change on a Mediterranean Island

Chapter 1 Foreword Chapter 2 Preface and Acknowledgements Chapter 3 List of Figures and Tables Chapter 4 Abbreviations Chapter 5 Chapter 1: Introduction: Facing the Cypriot Past Chapter 6 Chapter 2: Setting the Scene: Gender and Domestic Space Chapter 7 Chapter 3: Working Actors: Gender, Technology and Labor Chapter 8 Chapter 4: Performing Gender: Figurines, Ritual and Social Identity Chapter 9 Chapter 5: Invisible Characters: Children and Adolescents Chapter 10 Chapter 6: Endings: Gender and Mortuary Ritual 11 Chapter 7: Denouement: Themes and Threads 12 Chapter 8: Epilogue: Cypriot Archaeology, Who Tells the Story? 13 Appendix 1: Cypriot Prehistory: A Brief Overview 14 Appendix 2: Gazetteer of Major Prehistoric Sites in Cyprus 15 References 16 About the Author 17 Index

The Visual Elegance of Ts'its'tsi'nako and the Other Invisible Characters in "Ceremony"

In his article Reader's Lessons in Ceremony, James Ruppert makes the observation about Leslie Silko's novel, [Ceremony] is not only a novel that presents a philosophical and cultural viewpoint, but a novel that teaches us how to read it and how to understand its special narrative structures (78). Later in the same article, while discussing the presence of formal constructions and their relationship to the absence of chapter breaks, he continues: This lack of expected breaking of the flow of the prose...discourages the reader from imposing a strict chronological order on the narrative, thus reinforcing the perception that the novel is a simultaneous, moment that circles out like the waves around a rock dropped in a quiet pond, rather than a linear progression of moments. (80) The understanding that Ceremony is circular rather than linear is easy to embrace given the evidence Ruppert presents in his article. However, Ruppert's circular-ring argument against a linear reading of ceremony still implies two-dimensionality; I would argue that the many stories and story-poems told by Silko's narrator and by the characters in the novel imply many more dimensions--of which only two (lack of organized chapter breaks and the unified moment) are explained by Ruppert. In fact, if one were to characterize the novel with visual imagery, the better image might be a collection of fragments from a number of seemingly unrelated objects. Using a more literary metaphor, one might describe the story as nearly coherent shards of stories mixed with fragments of color and light, fractured images, disjointed personalities, dismembered voices, and elements of incompatible realities segmented, then recombined in new juxtapositions; even so, this description only addresses the things in the story that are visible. It is arguable that there is even more happening in Ceremony beyond the visible; invisible characters seem to move through the text, carrying with them totems of goodwill and evil. These invisible characters and their roles in Ceremony are the ultimate purpose of this paper. Silko prefaces her novel with a brief story-poem told in stanzas. It is the story of Ts'its'tsi'nako, Thought Woman, the spider, namer and creator of all things in the universe. It ends with two stanzas that say Spider is thinking a story and the narrator is telling the story she is thinking. By implication, the narrator is saying that by telling the story she is creating a reality, an actual ceremony. The stanzas are an excellent, somewhat selfconscious, introduction into the novel, but they contain an interesting aberration. Silko's third stanza in the Thought-Woman story appears as:

First Report on the Inheritance of Visible and Invisible Characters in Silkworms.

First Report on the Inheritance of Visible and Invisible Characters in Silkworms.