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Detection of out-of-phase low visibility watermarks
The present invention relates to detecting digital watermarks. In a preferred embodiment, media is embedded with a digital watermark component. The media includes a cyan color plane, a magenta color plane, a yellow color plane, and a black color plane. The digital watermark component is embedded in the cyan, magenta, and yellow color planes. The digital watermark component is inverted and is embedded in the black color plane. The embedded media is illuminated with infrared light, which emphasizes the black color plane. An input device captures a digital image of the illuminated media. The digital watermark component is detected from the emphasized black plane.
[0001] This application is a continuation in part of U.S. patent application Ser. No. 09/898,901, filed Jul. 2, 2001, which is a continuation in part of U.S. patent application Ser. No. 09/553,084, filed Apr. 19, 2000. Application Ser. No. 09/553,084 is a continuation-in-part of U.S. patent application Ser. No. 09/503,881, filed Feb. 14, 2000, which is a continuation in part of application Ser. No. 09/186,962, filed Nov. 5, 1998, which is a continuation of application Ser. No. 08/649,419, filed May 16, 1996, now U.S. Pat. No. 5,862,260. Application Ser. No. 08/649,419 is a continuation in part of PCT/US96/06618, filed May 7, 1996, U.S. application Ser. No. 08/637,531, filed Apr. 25, 1996 (now U.S. Pat. No. 5,822,436), U.S. application Ser. No. 08/534,005, filed Sep. 25, 1995 (now U.S. Pat. No. 5,832,119), and U.S. application Ser. No. 08/436,102, filed May 8, 1995 (now U.S. Pat. No. 5,748,783).
[0002] The present invention relates to digital watermarking systems and methods, and is particularly illustrated with reference to fragile and low-visibility watermarks.
[0003] In color image processing applications, it is useful to understand how humans perceive colors. By understanding the human visual system and its sensitivity to certain colors, one can more effectively create and manipulate images to create a desired visual effect. This assertion is particularly true in image processing applications that intentionally alter an image to perform a desired function, like hiding information in an image or compressing an image. In digital watermarking, for example, one objective is to encode auxiliary information into a signal, such as an image or video sequence, so that the auxiliary information is substantially imperceptible to humans in an output form of the signal.
[0004] Digital watermarking technology, a form of steganography, encompasses a great variety of techniques by which plural bits of digital data are hidden in some other object, preferably without leaving human-apparent evidence of alteration.
[0005] Digital watermarking may be used to modify media content to embed a machine-readable code into the media content. The media may be modified such that the embedded code is imperceptible or nearly imperceptible to the user, yet may be detected through an automated detection process.
[0006] Most commonly, digital watermarking is applied to media signals such as images, audio, and video signals. However, it may also be applied to other types of media, including documents (e.g., through line, word or character shifting, through texturing, graphics, or backgrounds, etc.), software, multi-dimensional graphics models, and surface textures of objects.
[0007] There are many processes by which media can be processed to encode a digital watermark. Some techniques employ very subtle printing, e.g., of fine lines or dots, which has the effect slightly tinting the media (e.g., a white media can be given a lightish-green cast). To the human observer the tinting appears uniform. Computer analyses of scan data from the media, however, reveals slight localized changes, permitting a multi-bit watermark payload to be discerned. Such printing can be by ink jet, dry offset, wet offset, xerography, etc. Other techniques vary the luminance or gain values in a signal to embed a message signal. The literature is full of other well-known digital watermarking techniques.
[0008] The encoding of a document can encompass artwork or printing on the document, the document's background, a laminate layer applied to the document, surface texture, etc. If a photograph or image is present, it too can be encoded.
[0009] Printable media—especially for security documents (e.g., banknotes) and identity documents (e.g., passports)—is increasingly fashioned from synthetic materials. Polymeric films, such as are available from UCB Films, PLC of Belgium, are one example. Such films may be clear and require opacification prior to use as substrates for security documents. The opacification can be affected by applying plural layers of ink or other material, e.g., by gravure or offet printing processes. (Suitable inks are available, e.g., from Sicpa Securink Corp. of Springfield, Va.) In addition to obscuring the transparency of the film, the inks applied through the printing process form a layer that is well suited to fine-line printing by traditional intaglio methods. Such an arrangement is more particularly detailed in laid-open PCT publication WO98/33758.
[0010] Digital watermarking systems typically have two primary components: an embedding component that embeds the watermark in the media content, and a reading component that detects and reads the embedded watermark. The embedding component embeds a watermark pattern by altering data samples of the media content. The reading component analyzes content to detect whether a watermark pattern is present. In applications where the watermark encodes information, the reading component extracts this information from the detected watermark. Previously mentioned U.S. patent application Ser. No. 09/503,881, filed Feb. 14, 2000, discloses various encoding and decoding techniques. U.S. Pat. Nos. 5,862,260 and 6,122,403 disclose still others. Of course, artisans know many other watermarking techniques that may be suitably interchanged with some aspects of the present invention.
[0011] One form of digital watermarks is a so-called "fragile" watermark. A fragile watermark is designed to be lost, or to degrade predictably, when the data set into which it is embedded is processed in some manner, such as signal processing, compression scanning/printing, etc. A watermark may be made fragile in numerous ways. One form of fragility relies on low watermark amplitude. That is, the strength of the watermark is only marginally above the minimum needed for detection. If any significant fraction of the signal is lost, as typically occurs in photocopying operations, the watermark becomes unreadable. Another form of fragility relies on the watermark's frequency spectrum. High frequencies are typically attenuated in the various sampling operations associated with digital scanning and printing. Even a high amplitude watermark signal can be significantly impaired, and rendered unreadable, by such photocopying operations. (Fragile watermark technology and various applications of such are even further disclosed, e.g., in assignee's U.S. patent application Ser. Nos. 09/234,780, 09/433,104, 09/498,223, 60/198,138, 09/562,516, 09/567,405, 09/625,577, 09/645,779, and 60/232,163.).
[0012] The present invention discloses a new fragile watermarking technique that is particularly well suited for color imaging applications. A watermark signal in one color plane (or channel) is applied to be out-of-phase with corresponding watermark signals in other color planes (or channels). An effect of the inventive out-of-phase watermarking technique is to greatly reduce watermark visibility by canceling perceived luminance change in local areas throughout the image. The disclosed watermark is also fragile, since signal-processing operations that combine the out-of-phase color channel with the other channels cancels the watermark signal. The wm can be detected using infrared detection methods described herein.
[0013] The foregoing and other features and advantages of the present invention will be more readily apparent from the following detailed description, which proceeds with reference to the accompanying drawings.
[0014] FIG. 1 is a diagram of a color space depicting how to scale a color vector to black to effect a change in luminance.
[0015] FIG. 2 is a diagram of a color space depicting how to scale a color vector to white to effect a change in luminance.
[0016] FIG. 3a is a diagram illustrating color data for a mid-gray image patch.
[0017] FIG. 3b illustrates the color data of FIG. 3a, embedded with a digital watermark signal.
[0018] FIG. 4 is a flow diagram illustrating an embedding process.
[0019] FIGS. 5 and 6 are diagrams regarding obtaining luminance values.
[0020] FIG. 7 is a flow diagram illustrating a detection method.
[0021] FIG. 8 is a flow diagram illustrating a detection method of data in a RGB color space.
[0022] FIG. 9 illustrates approximating a color saturation value in an RGB color space.
[0023] FIG. 10 is a flow diagram illustrating a luminance collection method according to the present invention.
[0024] FIGS. 11 and 12 are diagrams illustrating relative threshold values for the method shown in FIG. 8.
[0025] FIG. 13 is a diagram illustrating RGB and CMY common color gamuts, and out-of-gamut colors.
[0026] FIG. 14 is a functional diagram relating to an infrared detection technique for an out-of-phase digital watermark.
[0027] FIG. 15 is a graph illustrating characteristics of a typical IR-pass filter.
[0028] FIGS. 16a-16d are graphs illustrating transmission characteristics for magenta, yellow, cyan and black, respectively.
[0029] FIG. 17 illustrates an infrared detection apparatus.
[0030] Introduction
[0031] A watermark can be viewed as an information signal that is embedded in a host signal, such as an image, audio, video or some other media content. Watermarking systems typically include the following components: 1) an embedder that inserts a watermark signal in the host signal to form a combined signal; 2) a detector that determines the presence and orientation of a watermark in a potentially corrupted version of the combined signal; and 3) a reader that extracts a watermark message from the combined signal. In some implementations, the detector and reader are combined.
[0032] To encode a message, the watermark encoder analyzes and selectively adjusts the host signal to give it attributes that correspond to a desired message symbol or symbols to be encoded. There are many signal attributes that may encode a message symbol, such as a positive or negative polarity of signal samples or a set of samples, a given parity (odd or even), a given difference value or polarity of the difference between signal samples (e.g., a difference between selected spatial intensity values or transform coefficients), a given distance value between watermarks, a given phase or phase offset between different watermark components, a modulation of the phase of the host signal, a modulation of frequency coefficients of the host signal, a given frequency pattern, a given quantizer (e.g., in Quantization Index Modulation), etc.
[0033] The structure and complexity of a watermark signal can vary significantly, depending on the application. For example, the watermark may be comprised of one or more signal components, each defined in the same or different domains. Each component may perform one or more functions. Two primary functions include acting as an identifier to facilitate detection and acting as an information carrier to convey a message. In addition, components may be located in different spatial or temporal portions of the host signal, and may carry the same or different messages.
[0034] The host signal can vary as well. The host is typically some form of multidimensional media signal, such as an image, audio sequence or video sequence. In the digital domain, each of these media types is represented as a multi-dimensional array of discrete samples. For example, a color image has spatial dimensions (e.g., its horizontal and vertical components), and color space dimensions (e.g., CMYK, YUV, Lab or RGB). Some signals, like video, have spatial and temporal dimensions. Depending on the needs of a particular application, the embedder may insert a watermark signal that exists in one or more of these dimensions.
[0035] In the design of the watermark and its components, developers are faced with several design issues such as: the extent to which the mark is impervious to jamming and manipulation (either intentional or unintentional); the extent of imperceptibility; the quantity of information content; the extent to which the mark facilitates detection and recovery, and the extent to which the information content can be recovered accurately.
[0036] For certain applications, such as copy protection or authentication, the watermark should be difficult to tamper with or remove by those seeking to circumvent it. To be robust, the watermark should withstand routine manipulation, such as data compression, copying, linear transformation, flipping, inversion, etc., and intentional manipulation intended to remove the mark or make it undetectable. Some applications require the watermark signal to remain robust through digital to analog conversion (e.g., printing an image or playing music), and analog to digital conversion (e.g., scanning the image or digitally sampling the music). In some cases, it is beneficial for the watermarking technique to withstand repeated watermarking.
[0037] For other applications, such as forensic tracking, counterfeit detection, etc., the watermark should degrade predictably under routine manipulation. Such watermarks are referred to generally as "fragile" watermarks, as discussed above.
[0038] A variety of signal processing techniques may be applied to address some or all of these design considerations. One such technique is referred to as spreading. Sometimes categorized as a spread spectrum technique, spreading is a way to distribute a message into a number of components (chips), which together make up the entire message. Spreading makes the mark more impervious to jamming and manipulation, and makes it less perceptible.
[0039] Another category of signal processing technique is error correction and detection coding. Error correction coding is useful to reconstruct the message accurately from the watermark signal. Error detection coding enables the decoder to determine when the extracted message has an error.
[0040] Another signal processing technique that is useful in watermark coding is called scattering. Scattering is a method of distributing the message or its components among an array of locations in a particular transform domain, such as a spatial domain or a spatial frequency domain. Like spreading, scattering makes the watermark less perceptible and more impervious to manipulation.
[0041] Yet another signal processing technique is gain control. Gain control is used to adjust the intensity of the watermark signal. The intensity of the signal impacts a number of aspects of watermark coding, including its perceptibility to the ordinary observer, and the ability to detect the mark and accurately recover the message from it.
[0042] Gain control can impact the various functions and components of the watermark differently. Thus, in some cases, it is useful to control the gain while taking into account its impact on the message and orientation functions of the watermark or its components. For example, in a watermark system described below, the embedder calculates a different gain for orientation and message components of an image watermark.
[0043] Another useful tool in watermark embedding and reading is perceptual analysis. Perceptual analysis refers generally to techniques for evaluating signal properties based on the extent to which those properties are (or are likely to be) perceptible to humans (e.g., listeners or viewers of the media content). A watermark embedder can take advantage of a Human Visual System (HVS) model to determine where to place an image watermark and how to control the intensity of the watermark so that chances of accurately recovering the watermark are enhanced, resistance to tampering is increased, and perceptibility of the watermark is reduced. Similarly, audio watermark embedder can take advantage of a Human Auditory System model to determine how to encode an audio watermark in an audio signal to reduce audibility. Such perceptual analysis can play an integral role in gain control because it helps indicate how the gain can be adjusted relative to the impact on the perceptibility of the mark. Perceptual analysis can also play an integral role in locating the watermark in a host signal. For example, one might design the embedder to hide a watermark in portions of a host signal that are more likely to mask the mark from human perception.
[0044] Various forms of statistical analyses may be performed on a signal to identify places to locate the watermark, and to identify places where to extract the watermark. For example, a statistical analysis can identify portions of a host image that have noise-like properties that are likely to make recovery of the watermark signal difficult. Similarly, statistical analyses may be used to characterize the host signal to determine where to locate the watermark.
[0045] Each of the techniques may be used alone, in various combinations, and in combination with other signal processing techniques.
[0046] In addition to selecting the appropriate signal processing techniques, the developer is faced with other design considerations. One consideration is the nature and format of the media content. In the case of digital images, for example, the image data is typically represented as an array of image samples. Color images are represented as an array of color vectors in a color space, such as RGB or YUV. The watermark may be embedded in one or more of the color components of an image. In some implementations, the embedder may transform the input image into a target color space, and then proceed with the embedding process in that color space.
[0047] Color Image Processing
[0048] In image processing applications, it is sometimes useful to be able to change the colors of an image while reducing the visibility of these changes. Image watermarking is one application where it is desirable to alter image samples to encode information in a manner that is readily recoverable by an automated process, yet substantially imperceptible to human visual perception. Often, the aim of watermark encoding is to maximize a watermark signal without significantly affecting image quality. Since the eye is more sensitive to changes in memory colors such as flesh tones or blue sky, it is beneficial to have a method of selectively controlling strength of a watermark in certain color regions. Previously mentioned U.S. patent application Ser. No. 09/553,084 discloses various methods for such.
[0049] In one embodiment, a watermark encodes auxiliary information in an image by making changes to image samples. A color-masking framework maps a change in an image sample attribute to an equivalent yet less perceptible change in the color values of that image sample. This mapping can be used to obtain equal perceptual watermark changes to image samples in other areas of color space and to apply the change in the least visible color channels.
[0050] While the implementation details of watermark encoding schemes vary significantly, a class of watermarking schemes can be modeled as an array of changes to luminance values of a host image. The host image comprises an array of color vectors (e.g., an array of color such as RGB, CMY, CMYK, etc). The image sample maybe represented as a vector between black and the pixel color value. To encode a watermark, the luminance of the image sample may be increased or decreased as shown in FIG. 1. FIG. 1 shows a 3-dimensional color space with Cyan (C), Magenta (M) and Yellow (Y) axes. The bold axis between black and white represents luminance. To make an equivalent luminance change in an image sample of a given color vector (C1, M1, Y1), one may make a corresponding scale to black as shown.
[0051] An alternative method of obtaining the same luminance change is to scale the image sample like a vector between white and the sample's color value as shown in FIG. 2. To make an equivalent luminance change, one may make a corresponding scale to white as shown.
[0052] By using the scale to white method for colors with high yellow content such as yellow, red and green, and scale to black for blue, cyan and magenta a lower visibility watermark can be encoded with the same detectability.
[0053] Once the color vector entries are established, each of the entries is associated with a set of scale factors. The set includes a scale factor for each color component. The specific color components in the implementation depend on the color format of the image. For example, images in an RGB format have scale factors for each of the R, G and B color components. Similarly, images in a CMY format have scale factors for each of the C, M and Y components of each table entry. The scale factors for each entry are derived by rewriting the above mathematical expression and solving for each color's scale factor as a function of the known color component values.
[0054] Low Visibility Watermarks Using an Out-Of-Phase Color
[0055] Three-color components, such as Red, Green, Blue (RGB) or Luminance, color component "a" and color component "b" (Lab), can be combined to uniquely identify a particular color. In many cases, more than three-color components can be combined to specify (or approximate) the same particular color. Typically, four (4) color components, e.g., cyan, magenta, yellow and black (CMYK) are used in printing processes. Extra colors, sometimes referred to as "spot colors," can be added for more accurate color reproduction. A company logo, might include a particular shade of green, which is printed with a corresponding green ink (e.g., a green spot color). High fidelity color printing often uses more than four (4) color components. These additional color components expand the gamut of printing colors for very high quality printing, such as fine art reproduction. Security printing (e.g., bank notes, financial documents, certificates, etc.) also uses a plurality of inks, with fine lines, such as intaglio.
[0056] Printing processes with more than three (3) inks (or color component dimensions) have a built in redundancy, since more than three (3) color components (e.g., CMYK) are used to specify a color at a particular point in an image. This implies that many different combinations of four (4) or more printing inks (or components) can be used to represent a three (3)-component color. By way of example only, a point in the CMY color space (e.g., 61% cyan, 50% magenta, and 48% yellow) can be represented (or approximated) by a corresponding point in the CMYK color space (e.g., 51% cyan, 40% magenta, 38% yellow, and 22% black). This same 3-channel color point can also be represented in the CMYK color space as 32% cyan, 23% magenta, 22% yellow, and 43% black. Of course, this is but one of many possible color combinations. One aspect of the present invention utilizes this color redundancy, to reduce the human visibility of a digital watermark. For example, a watermark signal in one color channel, can be effectively counteracted (e.g., cancelled) in the other color (or black) channels, while still obtaining the desired color.
[0057] Another aspect of the present invention provides a fragile watermark. The watermark's fragility is due, at least in part, to its small-scale spatial variation within a media signal, making the watermark ideal to combat typical counterfeiting operations such as scanning/printing, digital manipulation and photocopying. Of course, the process described for "CMYK" media below, could also be applied in a similar manner to other multi-color plane printing processes.
[0058] Watermark Embedding
[0059] Media is embedded with a watermark signal. Of course, the media may correspond to a digital image or photograph, video frame, graphic, picture, etc., and in some cases, may even include a physical object such as a picture, graphic, image, photograph, graphic, logo, product tag, business card, art work, document, product packaging, trading card, banknote, deed, document, poster, ID card, postage stamp, etc., etc. Typically, a watermark signal has at least one component, which when embedded in the media corresponds to (or affects) various areas (or pixels) in the media. In the case of an area (or pixel) represented in a color space, the watermark signal component can be added to (or subtracted from) the point in all or some of the color dimensions.
[0060] Consider FIG. 3a, where the dash/dot C, M, Y and K lines represent respective cyan, magenta, yellow and black color dimensions for a line in a mid-gray patch of a media signal (e.g., a line in a picture, image, document, etc.). FIG. 3b illustrates the media of FIG. 3a, which has been embedded with a watermark signal. The watermark signal is preferably applied to each of the color component dimension (C, M and Y). In FIGS. 3a and 3b, the M and Y channels are represented by one signal, since these color components can be approximately equal, but separate signals for gray. Of course, it is not necessary for these components to be equal, and in many cases the yellow and magenta components are not equal. The illustrated embedded "bumps" in FIG. 3b represent the watermark signal, e.g., upward or downward signal adjustments in relation to the respective color channel at given points over the media line. For the K dimension (or channel), the watermark signal is preferably embedded to be out-of-phase with the CMY channels. Most preferably, the K channel is approximately 180 degrees out-of-phase (e.g., inverted) with the watermark signals in the CMY color channels, as shown in FIG. 3b. This inventive digital watermark is referred to as an out-of-phase digital watermark.
[0061] With reference to FIG. 4, one out-of-phase embedding method generates (or determines) a watermark signal as shown in step S1. The watermark signal is embedded in the CMY channels in step S2. The inverse of the watermark signal is calculated in step S3, and such inverse signal is embedded in the K channel in step S4. Of course, the order of such steps is not critical. For example, a watermark signal can be determined, and an inverse calculated. The various color component dimensions can then be embedded. In another embodiment, the K channel is embedded with a watermark signal. An inverse signal is calculated, and the CMY channels are embedded with the inverse signal.
[0062] Such an inventive watermarking scheme greatly reduces watermark visibility. Since the watermark signal for the K channel is applied approximately 180 degrees out-of-phase, when compared to the respective changes applied to the CMY channels, the watermark visibility is greatly reduced. The visibility reduction is produced by the effective cancellation of perceived luminance changes when the CMYK image is viewed or printed. Indeed, combining an inverted watermark signal "tweak" or "bump" in a K channel, with a corresponding non-inverted watermark signal tweak or bump in the CMY channels effectively cancels an overall perceived luminance change—effectively reducing visibility of the digital watermark.
[0063] Watermark Detection
[0064] Another aspect of the present invention is a detection method and system for detecting an out-of-phase, color component-based digital watermark. Consider a first embodiment as depicted in FIGS. 5 and 6. A media signal is analyzed as follows. Initially, luminance values are determined for CMY and K color planes. The CMY luminance can be computed as a properly weighted sum of the cyan, magenta and yellow primary components. For example: Lum=0.3C+0.6M+0.1Y. (Of course, as will be appreciated by those skilled in the art, other weighting coefficients can be used to determine a CMY luminance.). So for a given point (or pixel), a luminance value is determined for the CMY color dimensions. Similarly, as shown in FIG. 6, a luminance value for K is determined. In one embodiment, the K luminance equals the value of the K component.
[0065] The detection process is further described with respect to FIG. 7. In step S10, CMY and K are converted to approximate luminance values per pixel (or area):
[0066] where lumcmy is the luminance of CMY and lumk is the luminance of K. In step S11, lumk is subtracted from lumcmy:
[0067] The step S11 subtraction operates to help reduce image content, and to reinforce the watermark signal by effectively adding the K watermark signal value to the CMY watermark signal, since the K watermark signal is the inverse of the CMY channel signals.
[0068] As shown in step S12, Lumfinal can be analyzed for watermark detection. This method is particularly useful when an original out-of-phase embedded signal is available.
[0069] An infrared detection method is illustrated with reference to FIG. 14. In particular, the illustrated detection method employs infrared illumination to facilitate watermark detection. An out-of-phase digital watermark, embedded within media 1, is illuminated by an infrared illumination source 10. The digital watermark is embedded as discussed above, for example, to include various watermark components in a multicolor dimension space (e.g., CMYK). A first component is preferably embedded in the C, M and/or Y channels. A second component is embedded in the K channel. The second component is preferably inverted (or is out-of-phase) with respect to the C, M and/or Y channels. Infrared illumination source 10 illuminates media 1. Infrared illumination source 10 preferably includes a light emitting diode (e.g., emitting approximately in the range of 800 nm-1400 nm), or a plurality of light emitting diodes ("LED"). In a preliminary experiment, we employed three Radio Shack infrared diodes (part no. 276-143c) as the illuminating source. Of course, there are many other commercially available infrared diodes, and such may be suitable interchanged with our present invention. A variable trim resistor and a small wall transformer can be optionally employed to control illumination source 10. A conventional power source powers the infrared LED circuit. (It will be appreciated that power can be supplied from a battery pack, voltage or current source, or by directly tapping a power source of a camera, e.g., internally drawn from the parallel, USB, or corded power lines. For a consumer device, a battery pack or a single power cord that is stepped down inside a digital watermark reader housing could also be used.). It will be appreciated that many commercially available incandescent light sources emit light both in the visible and infrared ("IR") spectrums. Such incandescent light sources may alternatively be used as infrared illumination source 10. Indeed, infrared watermark detection may be possible in otherwise normal ("daylight") lighting conditions, particularly with an IR-pass filter.
[0070] Camera 12 captures an image of media 1. Preferably, camera 12 includes an IR-Pass filter that passes IR while filtering visible light. (See FIG. 15 for the general IR-pass filter characteristics.). For example, the Hoya RM90 filter available from M&K Optics L.L.C. is one of many IR-Pass/Visible Opaque filters suitable for daylight detection. Another suitable filter is the RG850 filter, part number NT54-664, available from Edmund Scientific. These filters are offered as examples only, and certainly do not define the entire range of suitable IR-pass filters. Of course there are many other IR-Pass filters that are suitably interchangeable with the present invention.
[0071] In another embodiment, a conventional digital camera (or web cam) is modified so as to capture infrared light. In particular, most digital cameras and web cams include an IR filter, which filters out IR light. Removing the IR filter allows the camera to capture light in the IR spectrum. Consider a visibly dark environment (e.g., enclosed case, shielded area, dark room, etc.). Media 1 is illuminated by infrared illumination source 10 in the visibly dark environment. Camera 12 (without an IR filter) effectively captures an infrared image corresponding to the illuminated media 1.
[0072] The captured image is communicated to computer 14. Preferably, computer 14 includes executable software instructions to detect and decode the digital watermark embedded within media 1. The software instruction can be stored in memory or electronic memory circuits. Of course, computer 14 can be a handheld computer, a laptop, a general-purpose computer, a workstation, etc. Alternatively, computer 14 includes a hard-wired implementation, which precludes the need for software instructions.
[0073] Returning to the composition of an out-of-phase digital watermark, a first watermark component is preferably embedded, e.g., in the C, M and/or Y channels. A second watermark component, e.g., which is out-of-phase with respect to the CMY channels, is embedded in the K (or black) channel. These characteristics have significance for infrared detection. In particular, the C, M and Y channels have high transmission characteristics in the infrared spectrum, which render them nearly imperceptible under infrared conditions. (See FIGS. 16a and 16b. Note that while these graphs terminate at 690 nm, their high transmission characteristics continue into the infrared spectrum. With respect to FIG. 16c, cyan also has relatively high transmission characteristics in the infrared spectrum (not shown), unlike its transmission characteristic in the 540-690 mn range as shown.). Black, on the other hand, absorbs a relatively high amount of infrared light, rendering the black channel perceptible with infrared illumination. (See FIG. 16d. Black's low transmission characteristics continue as such in the infrared spectrum.).
[0074] Accordingly, a captured infrared image primarily portrays (e.g., emphasizes) the black channel, while the C, M and Y channels are effectively imperceptible due to their high transmission properties in the infrared spectrum. The digital watermark component in the isolated black (K) channel can be detected and decoded without interference from the C, M and Y channels. Indeed, since the black channel is perceptible under infrared conditions, the embedded watermark signal is effectively detected from such.
[0075] In an illustrative embodiment, with reference to FIG. 17, a detection housing 20 houses an infrared illumination source 10 and digital camera 12 (not shown in FIG. 17, since they are within the opaque housing 20). The housing 20 is preferably opaque (or otherwise constructed to filter) to shield the camera 12 and media 1 from visible light. The housing 20 has an opening 20a to receive the media 1. In a first case, opening 20a is adapted to engulf media 1. This allows media 1 to be placed on a surface (e.g., table, imaging station, or counter) and the housing opening 20a to be placed over media 1, effectively shielding media 1 from visible light. In a second case, the opening 20a receives media 1 into (e.g., slides media through opening 20a) and positions media 1 within the opaque housing 20. In either case, the infrared illumination source 10 illuminates media 1, and the digital camera 12 captures an image of the illuminated media. The digital camera 12 communicates with computing device 14, which detects and decodes a digital watermark embedded with media 1.
[0076] In another illustrative embodiment, the above described infrared detection technique is carried out in a visibly dark environment, such as a dark room, shielded area, etc. An out-of-phase digital watermark is embedded in media. The media is illuminated with an infrared illumination source, and a digital camera captures an image of the illuminated media. The digital camera communicates with a computing device, which detects and decodes an out-of-phase digital watermark embedded in the media.
[0077] In still another illustrative embodiment, the above described infrared detection technique is carried out in a visibly lighted environment. An out-of-phase digital watermark is embedded in media. The media is illuminated with an infrared illumination source, and a digital camera captures an image of the media. Preferably, the camera includes an IR-pass filter with characteristics as shown in FIG. 15. The digital camera communicates with a computing device, which detects and decodes an out-of-phase digital watermark embedded in the media.
[0078] Infrared detection is an elegant solution to detect out-of-phase digital watermarks, since high transmission colors in the IR spectrum are effectively washed out, allowing detection of a low transmission color channel. Specialized inks are not required to embed the out-of-phase digital watermark. Indeed most multicolor printer ink packs are sufficient for infrared detection. Some of these multicolor printer ink packs include a carbon-based black ink, furthering the absorption of IR. While infrared detection is ideal for out-of-phase digital watermarks, this method is also applicable to detection of conventional digital watermarks. For instance, a watermark signal can be embedded only in a black channel of media. Infrared illumination helps to reveal the embedded watermark in this black channel. Alternatively, a digital watermark is embedded across many color planes, while detection is carried out in only those color planes that are perceptible with IR illumination.
[0079] Fragile Watermark
[0080] An out-of-phase watermark is fragile since a signal processing operation that combines the K channel with the CMY channel effectively cancels the watermark signal. Conversion to other color spaces similarly degrades the watermark signal. Take a typical scan/print process for example. Digital scanners typically convert scanned images into a RGB color scheme. Scanning an out-of-phase embedded CMYK image degrades the embedded watermark due to the combination of K with CMY in a local area. When the RGB image representation is printed, the watermark signal is difficult to detect, particularly with a low resolution RGB scan. Similarly, other conversions, such as to a Lab color space, degrade the out-of-phase watermark due to the combination of K with CMY throughout local areas. Nevertheless, the watermark signal is detectable with CMYK data as described above with respect to FIG. 7.
[0081] A fragile watermark has utility in many applications. Take counterfeiting, for example. The inventive fragile watermark is embedded in original CMYK media. If the media is copied, the embedded fragile watermark is either lost or degrades predictably. The copy is recognized as a copy (or counterfeit) by the absence or degradation of the fragile watermark. Fragile watermarks can also be used in conjunction with other watermarks, such as robust watermarks. The fragile watermark announces a copy or counterfeit by its absence or degradation, while the other robust watermark identifies author, source, links and/or conveys metadata or other information, etc. In other embodiments, a fragile watermark is an enabler. For example, some fragile watermark may include plural-bit data that is used to enable a machine, allow access to a secure computer area, verify authenticity, and/or link to information. This plural-bit data is lost or sufficiently degrades in a copy, preventing the enabling functions. Other fragile watermark applications are discussed in the U.S. patent applications incorporated above.
[0082] High Resolution Scan of Watermarked Image
[0083] Oftentimes, CMYK data may not be available for a detection process. For example, a watermarked CMYK image may be optically scanned with a scanner that converts the CMYK data into a different color space, such as to RGB. A high resolution RGB scan may nevertheless be used to recover an estimation of the watermark signal, which would be otherwise undetectable with a low RGB resolution scan. In this case, pixels can be assigned color or K values to generate respective color and K planes. A final luminance value can be determined from these planes. Consider the following method, as shown in FIG. 8, for a high resolution RGB scan (e.g., about 8 times the screen ruling or more) of a CMYK image.
[0084] In step S20, a color saturation (ColSat) value is determined for each RGB pixel. ColSat can be calculated by dropping a perpendicular line from a measured RGB value (e.g., R0, G0, B0, as shown in FIG. 9) to the RGB luminance axis. This color saturation calculation alternatively can be approximated by:
[0085] where max(RGB) is determined by taking the maximum of the red, green and blue values R0, G0, B0, and min(RGB) is determined by taking the minimum of the red, green and blue values R0, G0, B0. Of course, other known methods for determining a color saturation value are suitably interchangeable with this step.
[0086] In step S22, preferably for each RGB pixel (or pixel area), it is determined whether ColSat<Tcol, where Tcol is a predetermined threshold color saturation, e.g., based on a scanner calibration, detection sensitivity and/or other threshold number. For example, a pure cyan pixel will typically correspond to a (0, 100, 100) RGB value. However, a scanner may read this pixel as a (20, 80, 80) RGB value. The threshold value Tcol, can be set to allow for such scanner sensitivity. Tcol can also be adjusted to reflect acceptable tolerances. If ColSat<Tcol, flow continues to step S24, where it is determined whether the maximum measured (e.g., determined, scanned, calculated, etc.) pixel value is <T1. Here, T1 is a predetermined pixel value, e.g., based on scanner calibration, detection sensitivity and/or other threshold numbers. FIG. 11 illustrates a graphical relationship that shows digital threshold and scanner pixel values on a scale between Black (0) and white (255). Value SB is a scanner measured (or designated) black, which due to scanner sensitivity and/or characteristics is generally offset from black (0). Similarly, SCMY is a scanner measured CMY overprint (e.g., a 100% overprint). If the maximum pixel value is <T1 the pixel is designated as black (K) in step S26. A corresponding pixel range is shown graphically in FIG. 11, as the values less than T1. As discussed, T1 can be selected based on scanner characteristics. In one embodiment, T1 is selected to have a value midway between scanner-measured black (SB), and scanner measured CMY overprint (SCMY). Of course, T1 can be adjusted from this midpoint value to accommodate sensitivity requirements and/or scanner characteristics. (A maximum pixel value can be chosen in a number of known techniques, such as selecting the color component of a pixel, e.g., if a measured pixel corresponds to (20, 70, 80), the color component 80 comprises the maximum pixel value.).
[0087] If the max pixel value is not <T1, the pixel value is compared against another threshold value. In step S28, it is determined whether the max pixel value is <T2. If so, the pixel is designated as color in step S30. Returning again to FIG. 11, the corresponding range of pixel values falls between T1 and T2. The threshold value T2 can be selected based on scanner characteristics, or based on sensitivity requirements. In one embodiment, T2 is selected to have a value midway between SCMY and white (255). Of course, this value can be adjusted based on sensitivity need and/or scanner characteristics.
[0088] If the max pixel value is not <T2, the pixel value is designated as white in step S32. The corresponding pixel range lies between T2 and white (255).
[0089] If in step S22, it is determined that ColSat is not <Tcol, flow continues to step S34, where it is determined whether the max pixel value is <T3. If so, the pixel is designated as a color pixel in step S36. Here, T3 is a predetermined pixel value. In one embodiment, T3 is selected to have a value midway between a scanner measured (or determined) yellow value and white (255). Of course, this value can be adjusted based on sensitivity requirements and/or scanner characteristics. Otherwise, the pixel value is designated white in step S38. This relationship is shown in FIG. 12, where SC, SM and SY corresponding with scanner measured (or determined) cyan, magenta and yellow values.
[0090] Color and K planes can be constructed once each RGB color pixel is designated as a color, white or K pixel.
[0091] To create the K plane, pixels designated as black are turned "on," while the pixels that are designated as white or color are turned "off." In one embodiment, the respective "off" pixels are masked. In another embodiment, the off pixels (or alternatively the on pixels) are flagged or otherwise marked to indicate their designation and/or inclusion/non-inclusion.
[0092] Similarly, to create the color plane, pixels designated as "white" or "black" are turned off, while the rest of the pixels (e.g., the color pixels) are turned on.
[0093] The pixel (or area) values are summed for the color plane to obtain a low resolution (LR) color luminance (lumcolor) per pixel (or per area). Similarly, the pixel values are summed for the black plane to obtain a LR black luminance (lumK). A final luminance value (lumfinal) for each pixel (or area) can be determined from:
[0094] The lumfinal value can be passed into a watermark detection process.
[0095] FIG. 10 illustrates one possible summing method for each color (color and K) plane according to a preferred embodiment to achieve the above color and black luminance values.
[0096] In step S40, each of the luminance values within a predetermined window (or pixel area) are summed. The window may be an n×n window, or and n×m window, where n and m are integers. In a preferred embodiment, pixels values with an 8×8 pixel window are summed. The resulting summation value is preferably saved for comparison against the other plane (color or K), to determine lumfinal as discussed above.
[0097] In step S42, the window location with respect to the color (or K) plane is repositioned (e.g., the window is a sliding window). To illustrate, if a first window frames the first n×n pixels in a color (or K) plane, the second window is adjusted to cover a new area, or an overlapping area. In the preferred embodiment, the window slides right (or horizontally) by four (4) pixels (e.g., on a first slide, the window now covers the 5th-12th pixels×8). The luminance values within this second window are added in step S44. This value is preferably saved for comparison against the other color plane (or K plane), to determine lumfinal as discussed above.
[0098] The method determines if the window is at the end of a line (e.g., at the end of a plane edge) in step S46. If not, flow continues to step S42, where the window location is again repositioned. Otherwise, it is determined whether the entire plane has been analyzed in step S48. If so, the method ends. Otherwise, the window location is repositioned in step S50. The step S50 location adjustment preferably moves the window location down (or vertically) with respect to the plane to cover a new area or an overlapping area. In the preferred embodiment, the window is shifted down by 4 pixels. At this step, it is important to note that the new window location need not be realigned at the staring point (e.g., the top-left corner of the plane), but may be shifted down at the right plane edge. The window may then slide right to left. Of course, the step S50 alignment may locate the window below the original starting point (e.g., the left plane edge), with the window sliding left to right. Flow continues from step S50 to S40.
[0099] This process is preferably carried out for each of the color and K planes. The resulting area black luminance values are subtracted from the corresponding resulting color luminance values to achieve the final luminance value. This final luminance value (for each location area) can be analyzed to detect the watermark signal.
[0100] Embedding in Out-Of-Range Colors
[0101] Another inventive fragile watermarking technique embeds watermark data in out-of-range colors. A color gamut defines a range of colors. Different color schemes (e.g., RGB and CMY) generally include a unique color gamut. Such color schemes will most certainly have overlapping color gamuts (or ranges), and unique (or out of gamut) color ranges, as shown in FIG. 13.
[0102] Differences in gamut between color models can be used to indicate that a transformation (or copy) has occurred. Consider security printers, which often select inks that lie outside the common color gamuts of capture devices (RGB) when printing documents. Printing with such out-of-range (or out of gamut) colors makes counterfeiting even more difficult. Consider a document that is printed with some dark blues & violets in the CMYK space, which are out of gamut for the RGB space. When a scanner scans the CMYK document, it typically converts the scanned image into the RGB space. Such processing looses the dark blues and violets in the conversion. An educated inspector can identify a counterfeit document by looking for the presence (or absence) of certain colors.
[0103] The inventive fragile watermark utilizes out-of-range color gamuts. Take the example given above. Dark blues & violets in the CMY (or CMYK) space are out of gamut with respect to the RGB space. Accordingly, a mask (or color spectral analysis) is used to identify dark blues and violets in a media signal. These areas are used (e.g., masked) as the areas for embedding watermark signals. The watermark is detectable with a CMY detection process. However, if the document is scanned with a RGB element scanner, the watermark is generally lost. As discussed above, conversion from CMYK to RGB fails to accurately convert out-of-phase colors. In this case, the dark blues and violets are out-of-gamut. Accordingly, since the watermark signal is embedded in the out-of-gamut colors, it is lost (or predictably degraded) during the conversion from CMY to RGB.
[0104] Consider the possibilities of such a fragile watermark. One can track, trace, detect counterfeits, control enabling functions, and many, many more applications, like those discussed above.
[0105] Concluding Remarks
[0106] The foregoing are just exemplary implementations of the present invention. It will be recognized that there are a great number of variations on these basic themes. The foregoing illustrates but a few applications of the detailed technology. There are many others.
[0107] It should be appreciated that the order of steps in the FIGS. 4, 8, and 10 flow charts can be reordered without deviating from the scope of the present invention. For example, in FIG. 4, the K channel could be embedded first, and then the CMY channels. Or the K channel could be embedded concurrently with or in between the color channels. In FIG. 8, instead of basing the step S22 decision on color saturation, the step S22 decision could be based on whether the pixel value is above or below one or all of the predetermined thresholds. The color saturation could be analyzed in subsequent steps. Also, the signs of the decisions can be reversed, which will respectively reverse the decision tree branches, and color ranges. Also, decisions could be based on whether a pixel value is less than, or equal to a threshold value. Moreover, instead of a maximum pixel value, an average pixel value, or lower pixel value could be used. In FIG. 10, the window could alternatively be first vertically repositioned, and then horizontally. The window can also be repositioned on a random, or pseudo-random basis. The window size may also be varied. Also whereas the FIGS. 3a and 3b illustrate a mid-gray patch, the present invention is not so limited. Indeed the scope of the present invention covers any set of 2 or more primary colors.
[0108] Preferably, an out-of phase watermark signal is embedded 180 degrees out-of-phase with corresponding channels. However, some cancellation will still be achieved if the signal is approximately 180 degrees, for example, in a range of ±0-20 degrees from the 180-degree mark. The term "inverted" includes values within this range.
[0109] The section headings in this application are provided merely for the reader's convenience, and provide no substantive limitations. Of course, the disclosure under one section heading may be readily combined with the disclosure under another section heading.
[0110] To provide a comprehensive disclosure without unduly lengthening this specification, the above-mentioned patents and patent applications are hereby incorporated by reference. The particular combinations of elements and features in the above-detailed embodiments are exemplary only; the interchanging and substitution of these teachings with other teachings in this application and the incorporated-by-reference patents/applications are also contemplated.
[0111] The above-described methods and functionality can be facilitated with computer executable software stored on computer readable media, such as electronic memory circuits, RAM, ROM, magnetic media, optical media, memory sticks, hard disks, removable media, etc., etc. Such software may be stored and executed on a general purpose computer, or on a server for distributed use. Data structures representing the various luminance values, summations, out-of-phase embedded signals, embedded color planes, color signals, data signals, luminance signals, etc., may also be stored on such computer readable media. Also, instead of software, a hardware implementation, or a software-hardware implementation can be used.
[0112] In view of the wide variety of embodiments to which the principles and features discussed above can be applied, it should be apparent that the detailed embodiments are illustrative only and should not be taken as limiting the scope of the invention. Rather, we claim as our invention all such modifications as may come within the scope and spirit of the following claims and equivalents thereof.
1. A method to detect an out-of-phase digital watermark, the out-of-phase digital watermark embedded in media, said method comprising the steps of:
- illuminating the embedded media with infrared light;
- capturing an image of the illuminated media; and
- analyzing the captured illuminated image to detect the out-of-phase digital watermark.
2. The method according to claim 1, wherein the out-of-phase digital watermark comprises at least a first component and a second component.
3. The method according to claim 2, wherein the first component is embedded in at least a first color plane, and the second component is embedded in at least a black color plane.
4. The method according to claim 3, wherein the second component is inverted with respect to the first component.
5. The method according to claim 4, wherein said black color plane includes black ink comprising carbon.
6. The method according to claim 1, further comprising the step of shielding the media from visible light.
7. The method according to claim 1, further comprising the step of filtering visible light before said step of capturing an image.
8. A method to detect a digital watermark embedded in media comprising the steps of:
- illuminating the media with infrared light; and
- detecting the digital watermark from the illuminated media.
9. The method according to claim 8, wherein the digital watermark comprises an out-of-phase digital watermark.
10. The method according to claim 9, wherein the media includes a plurality of colors and the out-of-phase digital watermark includes at least a first component and a second component, wherein the second component is embedded out-of-phase with respect to the first component.
11. The method according to claim 10, wherein the plurality of colors includes at least black and the second component is embedded in the black color.
12. Apparatus to detect a digital watermark comprising:
- an infrared illumination source to illuminate media embedded with a digital watermark; and
- an input device to capture an image of the media illuminated by said infrared illumination source.
13. The apparatus according to claim 12, further comprising electronic processing circuitry to process digital watermark detecting software instructions for detecting the digital watermark in a captured image.
14. The apparatus according to claim 13, wherein said camera comprises an infrared-pass filter.
15. The apparatus according to claim 14, wherein said digital watermark comprises an out-of-phase digital watermark.
16. The apparatus according to claim 12, further comprising an opaque housing to shield at least said input device.
17. The apparatus according to claim 12, wherein said input device comprises at least one of a digital camera and a web camera.
18. Apparatus to detect an out-of-phase digital watermark embedded in media comprising:
- means for illuminating the media with infrared light;
- means for capturing an image of the illuminated media; and
- means for analyzing the captured image to detect the out-of-phase digital watermark.
19. A method to detect a digital watermark embedded in at least a first of a plurality of color planes, said method comprising the steps of:
- isolating the first color plane from the plurality of color planes; and
- analyzing the isolated color plane to detect the embedded digital watermark.
20. The method according to claim 19, wherein said isolating step comprises the step of illuminating the plurality of color plane with infrared light.
21. The method according to claim 20, wherein the digital watermark comprises an out-of-phase digital watermark.
Patent History
Type: Application
Filed: Aug 20, 2001
Publication Date: Jun 6, 2002
Patent Grant number: 6763123
Inventors: Alastair Reed (Lake Oswego, OR), Jeremy Cattone (Tigard, OR)
Application Number: 09933863
International Classification: G06K009/00;

subset: commoncrawl


text:
Creating PhotoStamps is as easy as 1-2-3!
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PhotoStamps are an exciting new product that lets you take your own images or photographs and turn them into real U.S. postage! To create PhotoStamps all you need to do is upload a photo, customize it using our fun, easy-to-use interface, and place your order. Our customization interface allows you to zoom, move, and rotate your image, and then select one of 10 different border colors to match your image perfectly. You may purchase PhotoStamps in one of fourteen different postage denominations ranging from 34 cent postcards to 48 cent regular first class to $5.60 for packages to meet all your mailing needs.
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Yes, PhotoStamps from Stamps.com are valid U.S. Postage, based on a technology called PC Postage. Stamps.com, the company behind PhotoStamps, has been a United States Postal Service approved provider of PC postage since 1999. When PhotoStamps first launched in 2004, it was the first ever customized postage product in the United States. To date, over 45 million PhotoStamps have been sold!
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The total cost of your order will depend on the postage value of your PhotoStamps and the number of sheets you order. Each sheet contains 20 PhotoStamps postage labels, and the minimum order is one sheet.
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1Deloitte Study 2014
2Mayo Clinic https://www.mayo.edu/mshs/careers/laboratory-sciences, retrieved December 2016;
The Lewin Group, Inc. The value of diagnostics innovation, adoption and diffusion into health care; 2005


text:
The inclusion of Bruch's "Scottish Fantasy" which uses traditional tunes, including those of Robert Burns, neatly links to three Burns songs arranged for violin and orchestra. The Scottish folk music that ends the album includes some of Scotland's most esteemed folk musicians including the singer Julie Fowlis . . . Benedetti joins in the ensemble with real gusto and feeling for the music. The music of Benedetti's homeland is clearly close to her heart and performed with sensitivity throughout this refreshing album.
Benedetti celebrates her identity . . . "Scottish Fantasy" has a windswept spirit . . . ["Mouth Music"]: Julie Fowlis's vocal and Aly Bain and Duncan Chisholm's fiddles inscribing whirls alongside Benedetti . . .
The virtuoso violinist shows off her versatility . . .
. . . [with this] deeply personal album Benedetti explores the music of her native Scotland, combining the traditions of both classical and folk music . . . This is a thoughtful and imaginative selection of music, lovingly and impeccably performed, that will delight Nicola Benedetti's legion of fans.
. . . [Bruch / "Scottish Fantasy"]: her lovely, expressive tone takes flight against a backdrop of brooding horn-section hills . . . Benedetti is clearly having fun with the folkies . . .
Brilliant combination of the Bruch "Scottish Fantasy" with traditional Scots fiddling . . . what does seem to have happened is the Scots element has provided some cross-fertilisation with the Bruch . . . Bruch takes a group of Scots traditional tunes and throws them into the mill of German romanticism. Benedetti's performance balances both these traditions within the work. The "Introduction" is gravely impressive with Benedetti playing with lovely slim and elegant tone. At her first entry she steals in almost unnoticed -- magic. In the "Scherzo" things get characterfully vigorous, with a nice bounce to the rhythms. Benedetti throws off the bravura elements with aplomb. Both she and MacDonald keep the movement very toe-tapping. The "Andante" has a singing melancholy about it again with a lovely sweet tone and fine flexibility from Benedetti. Finally a perky and infectious finale with a nice snap to Benedetti's playing. In the hands of some performers the "Scottish Fantasy" can seem a poor relation to Bruch's First Violin Concerto. But here Benedetti, MacDonald and the BBC Symphony Orchestra re-invigorated the work in an enjoyably notable performance . . . [Burns / Songs]: The first and last receive quite luxuriant treatments for violin and orchestra from arranger Paul Campbell. Whilst they are unashamedly romantic, they are also very appealing and stay just this side of soupy . . . [Limonov / "Auld lang syne"]: a stunning set of unaccompanied variations with Benedetti creating drone accompaniment by double stopping. The traditional music sets are just magic . . . they are all a complete delight. But I am aware that we are listening to a fascinating rapprochement between two very different traditions . . . a lushly lovely arrangement by Campbell of "Bonnie Banks of Loch Lomond".
. . . [Bruch / "Schottische Fantasie"]: Benedetti gives a transparent and brilliant performance that alleviates some of the work's heavy Germanic character . . . [Burns]: Benedetti pours her warmest expressions into these airs. In two songs, "Bothan a bh'aig Fionnghuala" and "Coisich a Růin", Benedetti is joined by Julie Fowlis, whose fluent delivery in Gaelic gives the songs authentic color and texture . . . a personal and intimate album, thanks to Benedetti's ingratiating playing and the poignant tone . . .
. . . a rich cinematic sound that brims with nostalgia and emotion. Benedetti achieves a natural sound full of easy, improvisatory virtuosity. Soaring over her colleagues in "My Love Is Like a Red, Red Rose" she sounds completely at home. Listening to her fiddling freely through a reel called "Hurricane Set," you can feel her joy. This was a great idea for a crossover album, and it really works.
[Bruch / "Schottische Fantasie"]: You sense the music in her Scottish blood . . . we are reminded of Benedetti's significant stage presence and her undeniable gifts in communicating her enjoyment in playing to an audience. Her assured technique sees her through all the formidable obstacles en route to that energetic finale . . . The BBC Scottish SO conducted by Rory MacDonald share Benedetti's rapport with this music, playing from the heart. In her notes, Benedetti offers an intelligent discourse on the options open to her in adapting and interpreting the indigenous folk-music tracks . . . Her infectious way with the reels would brighten up any Hogmanay or Burns night.
. . . [Bruch / "Schottische Fantasie"]: her deft and soft touch befits the warmth of this music from some of the coldest and windiest climes in the United Kingdom. The "Scottish Fantasy" is a challenge for soloist and orchestra, and the BBC Scottish Symphony Orchestra joins Benedetti for a rousing, prideful performance . . . [the group of musicians] shines on the lively "Hurricane Set" and the lilting "The Gentle Light That Wakes Me" by Cunningham . . . a lush arrangement of "Ae Fond Kiss" and a sparse take on "Auld Lang Syne" that brings out the melancholy in the lyrics . . . "Homecoming" is a session you won't want to miss.
. . . one of the world's leading musicians . . . A single listen to [this album]: one understands why the world has fallen in love with her. Her playing is both sensitive and virtuosic . . . [Bruch / "Schottische Fantasie"]: With the BBC Scottish Symphony providing rousing support and a feeling for Scottish idioms and rhythms always foremost, the entire work comes off with high spirits and flair . . . Ms. Benedetti's interpretation is so affectingly charming that one must consider it a viable contender . . . [the three tunes for solo violin and orchestra] are entirely delightful . . . Ms. Benedetti and members of the orchestra end the set with a traditional yet quite-touching rendition of "Bonnie Banks of Loch Lomond." It's a lovely album . . . There's a realistic sense of space, depth, and resonance to the orchestra, with Ms. Benedetti's violin nicely integrated into the orchestral setting . . . Overall, it's pleasant, listenable sound . . . fairly easy on the ear.
Benedetti obviously loves this music and plays with great feeling . . . The lyrics are sung in Gaelic and they add an extra beauty -- and mystery for those who don't understand the words. The most interesting piece is "Auld lang syne variations," played at a tempo far slower than it is sung at New Year's parties -- and all the more beautiful for that. The program notes give valuable information about the music and about Robert Burns. Yes, this is a Grabbit, even for non-clans folk.
[Bruch / "Scottish Fantasy"]: For Nicola Benedetti this is very much home territory -- her first entry emerges imperceptibly as thought through an early morning mist, before soaring aloft with a chaste tenderness that captures the reflective mood to perfection . . . the slow movement glows with a real sense of poetic sensitivity and Benedetti relishes the finale's "Scotch snap" rhythms . . . a series of expert arrangements of popular melodies and evocative pieces by Phil Cunningham and James Scott Skinner. Benedetti's personal sense of identification with this music is palpable as she shapes these timeless phrases with a devoted intensity and (where appropriate) folk-band rejoicing that is highly contagious. The recorded sound is excellent.
. . . [the album] strikes a series of happy chords, and it achieves the rare feat of managing to be successful both as a classical and as a folk album . . . [Bruch's "Scottish Fantasy"] works very well. Benedetti works harmoniously with Macdonald and his orchestra so that it never comes across as a one-woman show, and the tub-thumping moments, most notably the famous finale, come off with plenty of fizz and flair . . . The rest of the album is a set of folk collaborations and it's this that I enjoyed the most . . . The recorded sound is generous and appropriate to the different kinds of music on offer, and Benedetti's own booklet notes are extensive and personal . . . This disc confirms Benedetti as a most versatile artist and deserves to win her many more friends . . . and not just north of the border.
. . . deeply personal . . . At the very heart of the album is a stunning new recording of Bruch's "Scottish Fantasy", a work that brilliantly captures Scotland's folklore, landscape and people.
. . . another great Nicola Benedetti recording . . . she's turned towards her roots -- folk music, reels, jigs and some sweetly sentimental patriotic tunes. Nice work . . .
Throughout, the constant is Benedetti's miraculous musicianship: while, as a bonus, her disc notes show that she's also a wonderfully evocative writer.
Dass Benedetti für diese CD intensiv gearbeitet hat, hört man . . . die Bogenführung und Ornamentierungen des fiddle-Spiels hat sie [adaptiert] . . . Für die nötige Authentizität sorgt die Crčme der schottischen Folk-Zunft, darunter Phil Cunningham, . . . die erdig-exotisch singende Julie Fowlis und der über jedem thronende Altmeister der schottischen fiddle-Kunst, Aly Bain . . . [Bruch / "Schottischer Fantasie"]: mit so schottisch eingestellten Ohren hat der Klassik-Kenner das Konzert selten gehört . . . Eine CD, die durchaus verführt, schon jetzt Flüge für den nächsten Sommerurlaub zu buchen. Natürlich nach Schottland.
. . . Benedetti und das BBC Scottish Symphony Orchestra unter Rory Macdonald liefern eine technisch blitzsaubere und emotional anrührende Version der "Schottischen Fantasie" von Max Bruch ab. Man hört der Aufnahme an, dass die Interpreten hier ein musikalisches "Heimspiel" haben . . .
Hier präsentiert sich eine sehr begabte Geigerin, die einen anziehenden, angenehm gerundeten Ton kultiviert . . . Max Bruchs folkloristisch angehauchte "Schottische Fantasie" ist gewissermaßen der "klassische" Teil dieses reizvollen Crossover-Projekts . . . Die Interpretation mit Nicola Benedetti und dem BBC Scottish Symphony Orchestra zieht an, Bruchs "Fantasie" scheint allen eine Herzensangelegenheit zu sein. Entspannt und atmosphärisch dicht setzt sich zu Beginn der Strom von Musik in Gang, Benedettis romantischer Ton entfaltet sich immer wieder betörend schön. Das klingt alles sehr natürlich und schlüssig, als hätte sie schon lange mit dem Werk gelebt. Organisch wirkt dann auch der Übergang zu den zehn folgenden Titeln aus dem Fundus der schottischen Folkmusik, man bleibt in der Stimmung . . . Da geht es dann wirklich "back to the roots", schottische Melodien und "Traditionals" können so frisch und schön gefühlvoll sein.


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County Council heard Tuesday from a Kershaw Town Council member and another county resident who are upset by council's handling of an economic development ordinance concerning a proposed landfill.
The comments were the first public outcry against the ordinance, code-named Project December and approved over several special meetings in December.
No empty seats were in sight. Visitors lined the walls inside council chambers, while dozens of others packed the lobby.
Officials said they had never seen Lancaster City Hall more crowded before.
Nearly 200 people came out Tuesday night for the swearing-in ceremony for four City Council members and Harlean Howard as the new police chief.
Many of the people on hand were there to support Howard, who is the first woman to head the Lancaster Police Department.
Job announcements, the arrival of new businesses, improvements to fire insurance ratings, the collection of Census data and construction on two county courthouses were all issues that County Council dealt with in 2010.
Several council members, as well as the county administrator, recently examined the county's milestones and struggles from the past year, while casting an eye toward 2011.
Posted at 2:48 p.m.; updated 4:31 p.m. Wednesday, Jan. 5, 2011
Lancaster County School District Superintendent Dr. Gene Moore and board chairman Bobby Parker said the possibility of an even tighter district budget next fiscal year tops their list of concerns for 2011, though both are confident the district will adapt and overcome.
The budget concerns come as the district prepares for the loss of federal stimulus money for fiscal year 2011-12 and uncertainty over future state funding.
A pizza delivery man was attacked and robbed as he made a delivery on New Year's Day.
Lancaster police officers spoke with a Domino's Pizza delivery man outside a Ruth Street house Saturday who had been hit repeatedly in the face. The man had a large cut on the lower part of his jaw and was bleeding profusely, a department incident report said.
Technology moves at a fast pace and Jeffery Naftal wants to make sure Lancaster County isn't left behind.
Naftal, deputy county administrator, has been working with county staff to find ways to improve the county's website. Naftal presented his ideas at Lancaster County Council's Dec. 13 meeting.
"The improvements we have been seeking include the look and utility of the site itself, as well as its reliability and ease of use for staff to update information on the site," Naftal said in a memo.
The details behind a cryptic county ordinance were revealed last week, as county officials announced preliminary plans for a county landfill.
At a special meeting Wednesday, County Council unanimously approved final reading of the ambiguously named Project December, an economic development ordinance that was fast-tracked through a number of special council meetings over the last few weeks.
Council unanimously approved the first two readings of the ordinance at special meetings on Dec. 17 and Dec. 21.
The filing period has started for political hopefuls looking to become the area's newest state senator.
Nearly 10 people are believed to have interest in the District 16 Senate seat, which was vacated last month by Mick Mulvaney, who will be sworn in as a U.S. congressman on Wednesday.
Filing for the senate seat began Friday and will end at noon Jan. 10.
Lancaster pharmacist Hugh Mobley was among the first to announce intentions to run.
Beatifying a blighted neighborhood and supporting economic development projects are goals Lancaster Mayor Joe Shaw and City Administrator Helen Sowell have identified for 2011.
The two recently reflected on the past year while looking forward to what lies ahead for the city of Lancaster.
Sowell said one of the greatest accomplishments of 2010 was the city's partnership with Lancaster County to reopen the former Springs Industries building on 15th Street in the Brooklyn neighborhood.
Copyright © 2019
The Lancaster News is your source for local news, sports, events, and information in Lancaster County and Lancaster, South Carolina, and the surrounding area..


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Scoop: CHICAGO FIRE on NBC - Wednesday, February 20, 2013
"CHICAGO FIRE""VIRAL"02/20/2013 (10:00PM - 11:00PM) (Wednesday) : CRUZ'S TORMENT JEOPARDIZES HIS FELLOW FIREFIGHTERS-The anguish that haunts Cruz (Joe Minoso) over his previous actions boils over, as he puts himself and his fellow firefighters in jeopardy. Casey (Jesse Spencer) and his sister Christie (guest star Nicole Forester) try to solve their issues with their mother (guest star Kathleen Quinlan) and each other. Meanwhile, Severide (Taylor Kinney) reaches out again to an important person from his past as a favor to Lieutenant Whaley (guest star Shane McRae) and the squad gains new perspective after assisting the bomb squad on an extremely dangerous call. Charlie Barnett, Monica Raymund, Lauren German, David Eigenberg and Eamonn Walker also star. Shiri Appleby also guest stars.


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Fast female cosmetic deformity awl face intoPublished: 9:08:17 August 9,2013 Views: 865
Fast female cosmetic deformity awl face into
Abstract: The draft is also a former singer, in addition to Li Yuchun, Zhang Liang Ying, etc. handful firmly occupy the first singer position, and when the development of wind in its sails, there are a large number of draft singer of 'suspected cosmetic' approach makeovers, trying to glow in the entertainment industry life. was they were too beautiful love, or entertainment too cruel? fans at least it seems so to change the image is indeed 'too ridiculous.'
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JLo, JLo you did it again! How could I not love you? The thing about our own Jennifer Lopez is that she knows how to make headlines! She did just that yesterday at the 2013 Grammys. Did you see that thigh high slit? It was like Angelina Jolie's but on steroids!! Even though I thought the slit was still a little too much and the dress didn't do her body any justice, I can still appreciate the fact that she can take risks!
If you are looking to amp up your sexy, the slit is the perfect remedy! If you are up for the challenge, here are three ways to rock a thigh-high slit skirt:
1. Go for a bright one
I remember a year ago I wore a hot pink slit skirt with a plain white top and tons of chicos were drooling over me! What's not to love about a lotta leg, right? Remember that you always want to accentuate one body part. Since I was showing my legs, I decided to play it safe and cover up on top. This top from Zara will let your legs do the talking.
2. Get sophisticated-sexy
Nothing is more sophisticated-yet-sexy than a white button up shirt like this one from Banana Republic paired with a sexy skirt. A button up shirt will soften up the look, making you look classy yet sexy. Finish the look with some button earrings, your hair pulled back and open toe sandals!
3. Make it a sporty look
Now, if you are the type of chica that doesn't like to wear heels but you still want to rock this skirt, try pairing it with tennis shoes. I love how Converse looks with this skirt. Top things off with the perfect chunky sweater and it will give you that cool-chic look. It is the perfect ensemble to run errands or go out to brunch!
And since Valentine's Day is fast approaching maybe you can rock this skirt for a hot night out with your amor or your girls!
For more fashion & beauty tips visit my blog flordemariafashion.com
Want more from Flor? Follow her on Twitter @FlordeMariaF


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Stone Mosaic
Paradigm™ reimagines the ancient art form of mosaic with a decidedly modern sensibility. These eclectic patterns and moldings are prepared with the exacting precision, clean lines and impeccable finishing one expects from Italian craftsmanship. Whether you aspire to the cool minimalism of a Manhattan loft or the playful modernism of a Palm Springs hideaway, Paradigm's breadth of color, shape and design will bring your vision to life.
Residential: All interior surfaces, including bathroom walls/floors, shower walls/ floors* and kitchen backsplashes. Exterior walls*. Commercial: Interior and exterior walls and interior floors. *Flannel and Ash Grey not recommended for use in showers or exteriors. See Resources | Usage Guide for more details.
Collection Catalog


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Top Items:
The Commonwealth Fund:
Gaining Ground: Americans' Health Insurance Coverage and Access to Care After the Affordable Care Act's First Open Enrollment Period — A new Commonwealth Fund survey finds that in the wake of the Affordable Care Act's first open enrollment period, significantly fewer working-age adults …
Discussion: Gallup, ThinkProgress, addictinginfo.org, Bloomberg View, Washington Post, The Dish and Prairie Weather
Jameson Parker / addictinginfo.org: Study Finds An Overwhelming Number Of Republicans Are Happy With Their Obamacare Plans
Christopher Flavelle / Bloomberg View: Obamacare Is Working. Unless You're Black.
Andrew Sullivan / The Dish: Meep Meep Watch — I'm sure my Republican readers will wince …
Jonathan Chait Follow / New York Magazine:
Libertarian Accidentally Shows How Obamacare Is Succeeding — Reading months of doomsaying all at once tells a different story. — The Commonwealth Fund has a new survey showing that the proportion of adults lacking health insurance has fallen by a quarter, from 20 percent of the population to 15 percent.
Discussion: Washington Monthly and Lawyers, Guns & Money
Ed Kilgore / Washington Monthly: Numbers Adding Up For Obamacare
Timothy Jost / Washington Post:
Courts won't void the Affordable Care Act over semantics — The Supreme Court's term ended in June with another Affordable Care Act ruling, and the ACA survived largely unscathed. Burwell v. Hobby Lobby has important ramifications for women's health and religious freedom but does not invalidate a single section of the law.
Discussion: National Review
Jonathan Cohn / The New Republic:
Obamacare Haters, Your Case Just Got Weaker — New report suggests number of uninsured declined, just as expected — Back in the spring, some conservatives insisted that Obamacare enrollment statistics were some kind of sham. Sure, people were finally signing up for the program.
Discussion: American Prospect, The Dish, New York Times and Business Insider
Paul Waldman / American Prospect: Good Obamacare News and the Republican Dilemma
Andrew Sullivan / The Dish: Things Are Looking Up For Obamacare
Brett LoGiurato / Business Insider: Major New Study Says Obamacare Is Working — Even For Republicans
Margot Sanger-Katz / New York Times:
Newest Health Insurance Customers Are Generally Happy
Newest Health Insurance Customers Are Generally Happy
Discussion: ThinkProgress, Daily Kos and The Incidental Economist
Catherine Thompson / Talking Points Memo:
CNN Host Confronts Rick Perry On His Obama 'Conspiracy' Theory (VIDEO) — CNN host Kate Bolduan confronted Texas Gov. Rick Perry (R) in an interview that aired Thursday about his suggestion that President Barack Obama may have engineered the current immigration crisis at the Texas border.
Discussion: Liberaland and New York Times
James Oliphant / NationalJournal.com:
Obama's Texas Two-Step — Instead of focusing on the plight of children massed at the border, the president seems more intent on shifting blame and scoring political points against the GOP. — President Obama was 500 miles from the Mexican border when he spoke about the child-migrant …
Amie Parnes / The Hill:
Gov. Perry: The face of GOP opposition — Texas Gov. Rick Perry, a Republican who has seen thousands of unaccompanied children flood across his state's border, has seized the spotlight in recent days to become the national face of opposition to President Obama's immigration policies.
Discussion: CNN, Washington Post, Washington Monthly and ABC News
Ed Kilgore / Washington Monthly: Perry's Ironic Comeback
Dana Milbank / Washington Post:
In border crisis, Obama is accused of 'lawlessness' for following law
In border crisis, Obama is accused of 'lawlessness' for following law
Discussion: The Mahablog, ABC News and Twitchy
Maha / The Mahablog: The Always Wrong POTUS
Michael Falcone / ABC News: North Of The Border — NOTABLES — OBAMA URGES CONGRESS …
Justin Sink / The Hill:
Obama: No interest in border 'photo op'
Obama: No interest in border 'photo op'
Discussion: JustOneMinute, Wall Street Journal, Hot Air, Mediaite, Washington Post, Power Line and Politico
Linda Killian / Wall Street Journal: The Message Obama Sends by Not Visiting the Border
Ed Morrissey / Hot Air: Perry: Border crisis is Obama's Katrina
Andrew Kirell / Mediaite: CNN's John King Taunts Obama for Claiming 'I Don't Do Photo Ops'
Paul Mirengoff / Power Line: The handshake that was and the one that wasn't
Katie Glueck / Politico: Rick Perry greets Obama on Dallas tarmac
New York Times:
Obama Presses Perry to Rally Support for Border Funds
Obama Presses Perry to Rally Support for Border Funds
Discussion: Hot Air, Fox News, Talking Points Memo, CBS News, USA Today, NBC News, The Week, Politico, NewsBusters, Power Line, The Huffington Post and Weekly Standard
Noah Rothman / Hot Air: Obama's pathetic border crisis blame shifting
Catherine Thompson / Talking Points Memo: Rick Perry: Obama's Latest Trip 'No Different' From Hurricane Katrina (VIDEO)
Rick Jervis / USA Today: Obama, Perry confer on crisis at Texas border
Harold Maass / The Week: 10 things you need to know today: July 10, 2014
Tom Blumer / NewsBusters: Press Virtually Ignores Cuellar's Hits at Obama's 'Bizarre' Actions, White House Blowback
Scott Johnson / Power Line: Straw men at the border
Katherine Fung / The Huffington Post: CNN Host Asks Rick Perry If He 'Honestly Believes' His Obama 'Conspiracy' Comments
Daniel Halper / Weekly Standard: Dem. Rep. Rips Obama: 'Aloof,' 'Bizarre,' and 'Detached'
Justin Sink / The Hill:
Perry: Obama's Katrina
Perry: Obama's Katrina
Discussion: Washington Post, ABC News and Mediaite
Aaron Blake / Washington Post: Why Obama should probably visit the border
Matt Wilstein / Mediaite: WATCH: Rick Perry Admits Defeat, Shakes President Obama's Hand
Eleanor Clift / The Daily Beast:
Jill Abramson Talks Obama Secrecy and Her New York Times Firing — Two months after her abrupt exit from the Gray Lady, the former executive editor delivered a speech about how different Obama is from Bush—and why she was dismissed from her post. — Aside from her unceremonious firing …
Discussion: Politico, Poynter, The Huffington Post and Washington's Blog
Benjamin Mullin / Poynter: Jill Abramson: Being first on a story is a 'point of pride'
Katherine Fung / The Huffington Post: Jill Abramson Says She's 'Still Trying To Figure Out' Why She Was Fired
America's Shifting Statehouse Press — Can New Players Compensate for Lost Legacy Reporters? — Within America's 50 state capitol buildings, 1,592 journalists inform the public about the actions and issues of state government, according to new data from the Pew Research Center.
Discussion: The Huffington Post, Facing South, CBS DC, Capital New York and Poynter, more at Mediagazer »
Michael Calderone / The Huffington Post: Digital Outlets Help Fill Statehouse Ranks As Newspapers Retrench
Chris Kromm / Facing South: Who's watching state lawmakers?
Jeremy Barr / Capital New York: Pew study: Statehouse reporting jobs declined by more than a third since 2002
Sam Kirkland / Poynter: Pew: Number of full-time newspaper statehouse reporters has fallen 35 percent since 2003
Reid Wilson / Washington Post:
The precipitous decline of state political coverage
The precipitous decline of state political coverage
Discussion: Washington Monthly and Bloomberg View
Ed Kilgore / Washington Monthly: Governing the States With Nobody Watching
Jonathan Bernstein / Bloomberg View: The Grim State of Statehouse News
Sasha Goldstein / NY Daily News:
Washington man first to buy legal weed in Spokane is fired after spotted on news — Mike Boyer, 30, was canned Tuesday after waiting 20 hours to buy pot and immediately going home to smoke. He was called up for urine analysis after he was spotted on TV buying the pot. Boyer told The News he 'regrets nothing.'
Discussion: Liberaland, Mashable and The Raw Story
Seung Min Kim / Politico:
Sportsman bill dies in Senate — The Senate killed a bipartisan bill Thursday designed to boost hunting and fishing protections — a victim of a long-running war over amendments that came in the shadow of gun politics. — The sportsmen's bill — a political boon for its chief Democratic sponsor …
Discussion: The Hill
Ramsey Cox / The Hill: Gun fight upends hunting bill
Niam Yaraghi / Brookings Institute:
Have the Anti-Obamacare Ads Backfired? — According to the recent report of nonpartisan analysts Kantar Media CMAG, ACA opponents have spent 450 million dollars on anti-Obamacare ads so far. Spending on negative ads outpaced positive ones by more than 15 to 1. This map shows the spending on negative ads in each state.
Discussion: Mediaite and Balloon Juice
Richard Mayhew / Balloon Juice: Any publicity is good publicity — TPM is passing along …
New York Times:
Chinese Hackers Pursue Key Data on U.S. Workers — WASHINGTON — Chinese hackers in March broke into the computer networks of the United States government agency that houses the personal information of all federal employees, according to senior American officials.
Discussion: The Hill, The Verge, Guardian, The Hugh Hewitt Show, Mashable, Washington Free Beacon and Reuters
Kristina Wong / The Hill: Hagel: ISIS poses an 'imminent' threat to US
Hugh Hewitt / The Hugh Hewitt Show: The Very Big, Bad Thing China Did, And A Conversation With Brad Thor
Lorenzo Franceschi-Bicchierai / Mashable: Chinese Hackers Breach U.S. Government Agency
Michael A. Cohen / New York Times: Obama's Understated Foreign Policy Gains
Washington Post:
Restore trust to douse the fire in Gaza — THE LATEST mini-war between Israel and the Hamas movement is as unwinnable for either side as previous rounds in 2009 and 2012. Though it has stockpiled thousands of rockets and some longer-range missiles, Hamas lacks the ability to inflict serious damage …
Discussion: Jerusalem Post, Guardian, Business Insider, New York Times and Le·gal In·sur·rec· tion
Orlando Crowcroft / Guardian: Palestinians say death toll over 70 as Israel pounds Gaza with air raids
Armin Rosen / Business Insider: It Looks Like Israel Is Sending Ground Troops To Gaza — And That's Trouble For Everyone
David Gerstman / Le·gal In·sur·rec· tion: Israel Warns Civilians to Stay out of Harm's Way; Hamas Sends Them Back In
USA Today:
Israel: Hamas firing rocket every 10 minutes
Israel: Hamas firing rocket every 10 minutes
Discussion: Washington Free Beacon, Reuters, The Moderate Voice and Guardian
Dorian De Wind / The Moderate Voice: The Israeli-Palestinian 'Conflict': The Eye for an Eye Continues
Peter Beaumont / Guardian: Netanyahu instructs Israeli military to intensify assault on Gaza
Todd Akin's only regret — "Doubt me? Google 'stress and infertility," Akin writes of his rape comments. AP Photo — Close — Todd Akin takes it back. — He's not sorry. — Two years after the Missouri Republican's comments on rape, pregnancy and abortion doomed his campaign and fueled a …
Discussion: Yahoo! News, OnPolitics, ThinkProgress, Daily Kos and Washington Post
Catalina Camia / OnPolitics: Todd Akin retreats from 'legitimate rape' apology
Barbara Morrill / Daily Kos: Todd 'Legitimate Rape' Akin no longer sorry he's a jackass
Ann Coulter / The Clarion-Ledger:
McDaniel backers killing his political future — By continuing the fight over the primary, Chris McDaniel and his supporters are risking a Republican majority in the U.S. Senate, not to mention McDaniel's own political future. — CONNECT — Chris McDaniel, candidate for the U.S. Senate …
Discussion: Talking Points Memo, Liberaland, Politico, OnPolitics and Washington Post
Eric Trommater / Liberaland: Ann Coulter: McDaniel's Supporters Are 'Clowns And Nuts'
Jonathan Topaz / Politico: Ann Coulter calls on Chris McDaniel to give up
Catalina Camia / OnPolitics: Ann Coulter to Chris McDaniel: Be gracious and move on
David Frum / The Atlantic Online:
Don't Knock the Reform Conservatives — Skeptics are right that the new crop of thinkers offer a bigger change in tone than substance. That change is reason enough for optimism. — The conservative intellectual Reihan Salam has shrewdly observed that people trying to reform institutions …
Discussion: Washington Monthly and New York Times
Paul Krugman / New York Times: Putting the Con in Reformicon