text:
|Publication number
|Publication type
|Application number
|Publication date
|8 Jul 2010
|Filing date
|5 Jan 2010
|Priority date
|4 Feb 2000
|Also published as
|Publication number
|Bruce L. Davis, Tony F. Rodriguez, Geoffrey B. Rhoads
|Original Assignee
|Davis Bruce L, Rodriguez Tony F, Rhoads Geoffrey B
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|BiBTeX, EndNote, RefMan
|Referenced by (13), Classifications (170), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
This patent application is a continuation of application Ser. No. 11/302,972, filed Dec. 13, 2005 (Now U.S. Pat. No. 7,643,649), which is a continuation of application Ser. No. 10/648,105, filed Aug. 25, 2003 (Now U.S. Pat. No. 6,975,746), which is a continuation of application Ser. No. 09/525,865, filed Mar. 15, 2000 (Now U.S. Pat. No. 6,611,607), which claims priority from U.S. provisional patent application 60/180,364, filed Feb. 4, 2000.
The invention relates to multimedia signal processing, and more specifically relates to synchronizing rendering of multimedia content.
Digital watermarking is a process for modifying media content to embed a machine-readable code into the data content. The data 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. Most commonly, digital watermarking is applied to media such as images, audio signals, and video signals. However, it may also be applied to other types of data, including documents (e.g., through line, word or character shifting), software, multi-dimensional graphics models, and surface textures of objects.
Digital watermarking systems 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 in the spatial or frequency domains. The reading component analyzes target content to detect whether a watermark pattern is present. In applications where the watermark encodes information, the reader extracts this information from the detected watermark.
Recently, digital watermarks have been used in applications for encoding auxiliary data in video, audio and still images. Despite the pervasiveness of multimedia content, such applications generally focus on ways to embed and detect watermarks in a single media type.
As an auxiliary data channel within multimedia content, digital watermarks may be used for carrying various types of data, including content identifiers as well as other types of data. A complementary type of content identification is a content hash, which is derived from attributes of a content signal, and when used in conjunction with a database of hashes, can be used to identify and associate metadata with the content signal.
This disclosure describes various applications of decoding auxiliary data in multimedia content with two or more media signals of different media types. These applications include using watermarks decoded from different media type signals within multimedia content to control processing of the multimedia content. One application is to use the watermark in one media signal to locate the watermark in another media signal. This is applicable to movies where a watermark in one media signal, such as the audio or video track, is used to locate the watermark in another media signal.
The watermark messages from different media signals may be combined for a variety of applications. One such application is to control processing of the multimedia signal. For example, the combined message can be used to control playback, copying or recording of the multimedia content.
Another application is copy control of multimedia content where a watermark from one media signal is used to control processing of the multimedia content. An audio watermark may be used to control processing of the video signal in a movie, or a video watermark may be used to control processing of the audio signal in the movie.
Another variation is where a watermark decoded from a first media signal of a first media type is used to decode a second media signal. The first and second media signals may be of the same or different types. Also, they may be part of the same composite media signal, such as an audio or video sequence. The term, "composite," refers to a collection of media signals, which may be temporal portions (e.g., time frames in audio or video), or spatial portions (e.g., blocks of pixels in an image or video frame) of a visual, audio, or audio visual work. As an example, the first media signal may be an audio or video frame (or frames) in an audio or video sequence and the second media signal may be subsequent frames in the same sequence.
This approach is used in a variety of applications, such as content de-scrambling, decryption, and decompression. For example, a watermark in the first media signal is used to de-scramble, decrypt, or decompress the second media signal. In addition, the watermark in the first media signal may be used to decode a different watermark from the second signal.
Another method uses a watermark decoded from a first media signal of a first media type to decode metadata associated with the first media signal. In one case, the watermark is used to locate the metadata, which may be hidden for security purposes, or distributed throughout the multimedia content at locations (e.g., video frames or scenes, or at audio clips) that the metadata pertains to. The metadata located from the watermark may be located on the same storage medium that includes the first media signal. For example, the metadata may be located on portable storage device, such as flash memory, a magnetic memory device (e.g., tape or disk), or an optical memory device (e.g., CD, DVD, minidisk, etc.). The metadata may be located in a file header or some other place (e.g., encoded in the disk wobble).
There are a variety of applications of the watermark in this context. It may carry a key to decrypt, decompress, descramble, or locate the metadata. The metadata, in turn, may be used to control processing of the media signal in a computer or consumer electronic device. For example, it may be used to control usage rights, playback, recording, copying, transfer, etc.
Yet another method decodes first and second watermarks and forms a key for decoding data from the first and second watermarks. The watermarks may be decoded from the same or different media signals. For example, the watermarks may be decoded from media signals from the same composite signal. They may be derived from different types of media signals, such as the audio and video tracks of a movie. Alternatively, they may be derived from different parts of the same type of media signal, such as an audio sequence, video sequence, or image. The watermarks may be extracted from a signal or signals stored in a storage device, such as a portable storage device (e.g., optical or magnetic disk or tape, flash memory, etc.).
The key formed from the watermarks may be used for a variety of applications. It may be used as a watermark key to decode a watermark from a media signal. It may be used as a decryption or de-scrambling key. Also, it may be used as a decompression key (e.g., a parameter used to decompress a media signal).
One aspect of the invention is a method for using a digital watermark encoded in a first media signal to synchronize play back of a different media signal. This method decodes auxiliary data from the first media signal, where the auxiliary data includes at least one digital watermark extracted from the first media signal. The method retrieves the different media signal and derives data for synchronizing playback of the first media signal and the different media signal from the digital watermark. The method controls playback of the different media signal together with the first media signal using the digital watermark to synchronize playback of the first and different media signals on an output device.
Another aspect of the invention is a method for using a digital watermark in a media track to synchronize play back of different media data from the track. This method decodes auxiliary data from the media track, where the auxiliary data includes text data and at least one digital watermark extracted from a media signal in the media track. It reads media data from the track and derives data for synchronizing playback of the media and text data from the digital watermark. The method controls playback of the media data using the digital watermark to synchronize playback of the text and the media data.
Further features of the invention will become apparent with reference to the following detailed description and accompanying drawings.
The following sections describe applications for integrating watermarks in multimedia data. In general, these applications exploit some level of interaction between watermarks and/or metadata associated with two or more different media types. The types of media supported in a given implementation vary with the application, and may include, for example, audio (e.g., speech, music, etc.), video, images, graphical models, etc.
The initial sections describe ways to integrate watermark embedder and detector systems in multimedia data. These techniques may be applied to many different applications, including, for example, copy protection, content authentication, binding media content with external data or machine instructions, etc.
Later sections discuss specific application scenarios.
The term, multimedia, as used in this document, refers to any data that has a collection of two or more different media types. One example is a movie, which has an audio and video track. Other examples include multimedia collections that are packaged together on a storage device, such as optical or magnetic storage device. For example, media signals such as still images, music, graphical models and videos may be packaged on a portable storage device such as CD, DVD, tape, or flash memory card. Different media signals may be played back concurrently, such as the video and audio tracks of a movie, or may be played independently.
The extent of integration of watermark systems for different media types ranges from a low level of integration, where watermark decoders operate independently on different media types, to a high level of integration, where the decoders functionally interact. At a low level of integration, the watermark systems for different media types operate on their respective media types independently, yet there is some relationship between the auxiliary data embedded in each type. At a high level of integration, components of the watermark detectors and readers share information and assist each other to perform their respective functions.
In the encoder system shown in
There are a variety of ways to integrate the encoder functions. One way is to use a unified key that controls how a given message or set of messages are encoded and located within the respective media types. Another way is to insert a common message component in two or more different media types. Yet another way is to make a message inserted in one media type dependent on the content of one or more other media types. For example, attributes of an image may be extracted from the image and encoded into an audio track, and similarly, attributes of an audio track may be extracted and encoded in an image. Finally, the message in one media type may be used to control the processing of another media type. For example, copy control flags in a movie's audio track may be used to control copying of the movie's video track or the movie; and, copy control flags in the video track may be used to control copying of the audio track or the movie.
The following sub-sections describe various scenarios for integrating watermarks in different media types from the perspective of the decoder.
Watermark decoders for each media type operate on their respective media data. In extracting the watermark from the signal domain in which the embedder inserted it, the decoder functions compliment the embedder functions. In many applications, the media types may be coded in a standard or proprietary format. In the example of a movie, both the audio and video tracks are typically compressed (e.g., using some lossy transform domain compression codec like MPEG). The watermark decoders may operate on compressed, partially compressed or uncompressed data. For example, the decoders may operate on frequency coefficients in the compressed image, video or audio data. As shown in
In the low level integration scenario of
In many applications, it may be useful to insert a link in one media type to content of another media type within the multimedia data. For example, one might want to link a still image or a video texture to a graphical model. Then, a graphics rendering application may use the link to determine which image (or video) to map to the surface of a graphical model. As another example, one might link an audio clip to an image, graphical model or other media object. When instructed to render the image, model or other media object, the rendering application then uses the link to also initiate playback of the linked audio clip, and optionally, to synchronize playback of the linking media signal with the signal linked by the watermark. For example, the video watermark could specify which audio clip to play and when to initiate playback of parts of the audio clip. Stated more generally, the embedded link from one media type to another may be used by the rendering application to control the relationship between the linked media objects during playback and to control the playback process.
The media signals within multimedia content can be linked together through watermarks and embedded with control information and metadata that is used to control playback. The entire script for controlling playback of a multimedia file or collection may be embedded in watermarks in the media signals. For example, a user could initiate playback by clicking on an image from the multimedia content. In response, the rendering application extracts control instructions, links, and/or metadata to determine how to playback video, audio, animation and other media signals in the multimedia content. The rendering application can execute a script embedded in a watermark or linked via a reference in the watermark (e.g., a watermark message includes a pointer to, or an index or address of a script program stored elsewhere). The watermark message may also specify the order of playback, either by including a script, or linking to a script that contains this ordering. Several media signals may be tied together in a playback sequence via a linked list structure where watermarks embedded in the media signals reference the next media signal to be played back (as well as media signals to be played back concurrently). Each media signal may link to another one by providing a media signal identifier in the watermark message, such as an address, pointer, index, name of media title, etc.
As the rendering application plays back multimedia content, it can also display metadata about the media signals (e.g., the content owner, a description of the content, time and location of creation, etc.). The watermark messages embedded in the media signals can either include this metadata or link to it. In addition, the watermark messages may include instructions (or a link to instructions) for indicating how and when to display metadata. The metadata need not be in text form. For example, metadata may be in the form of speech output (via a text to speech synthesis system), a pre-recorded audio clip, video clip, or animation.
To embed a variety of different information, instructions and links into the media signals within multimedia content, the embedder can locate watermark messages in different temporal portions (e.g., time multiplex different messages) of a time varying signal like audio or video. Similarly, the embedder can locate different watermark messages in different spatial portions of images, graphical models, or video frames. Finally, the embedder can locate different watermark messages in different transform domains (e.g., Discrete Fourier Transform, Discrete Cosine Transform, Wavelet transform, etc.) of image or audio signals.
The following sub-sections describe additional application scenarios.
In a copy protection application, the messages embedded in each media type convey information to the application specifying how it may use the content. For example, each message may provide copy control flags specifying "copy once", "copy no more", "copy freely", and "copy never." These flags indicate whether the application may copy the media type or the multimedia content as a whole, and if so, how many times it may copy the pertinent content.
The application collects the copy control flags from the different media types and determines the extent to which it may copy the content or selected media types within it.
In multimedia content, each media type may be owned by different entities. The messages embedded in the content may contain an owner identifier or link to an owner. An ownership management application can then collect the ownership information, either from each of the messages in each media type, or by requesting this information by following the link to the owner. For example, the link may be associated with an external database that provides this information. The application may use the link to query a local database for the information. Alternatively, the application may use the link to query a remote database via a wire, wireless, or combination of wire and wireless connections to a remote database on a communication network (e.g., the Internet). One or more intermediate processing stages may be invoked to convert the link into a query to the remote database. For example, the link may be a unique number, index or address that cross-references the URL of a database server on the Internet.
An authentication application may use watermark messages and/or metadata to authenticate media signals within the multimedia content. One or more of the media signals in multimedia content may be tampered with. Multimedia content poses an additional problem because media signals may be swapped into the content in place of the original signals. For example, in a video used as evidence, one might swap in a fake audio clip or remove a portion of the audio track. One way to authenticate the media signals is to extract features from them, hash the features, and insert the hashed features into the watermark messages of one or more of the media signals at encoding time.
To verify authenticity, the application at the decoder side repeats the process of extracting the features from the received media types (e.g., 44, 46), hashing these features, and then comparing the new hash with the hash extracted from the watermark message or messages. The objective of the hash is to create a content dependent parameter that may be inserted into a watermark message, or in some cases, in metadata associated with a media signal. The hash is not necessary if the size of the extracted features is such that they fit within a message.
Examples of features in images include the location of identifiable objects (such as the location of eyes and noses of human subjects), the shape of objects (e.g., a binary mask or chain code of an object in an image), the inertia of an image, a low pass filtering of an image, the Most Significant Bit of every pixel in a selected color plane (luminance, chrominance, Red, Green, Blue, etc.).
Examples of features in audio include the temporal location of certain aural attributes (e.g., a transition from quiet to high intensity, sharp transitions in spectral energy, etc.), a low pass filter of an audio clip, etc.
Features from one media type may be inserted into a watermark or the metadata of another media type. Alternatively, they may be combined and inserted in one or more of the media types in a watermark embedded in a watermark of the media signal or its metadata.
An additional level of security may be added using public key encryption techniques to create a digital signature that identifies the source of the multimedia content. Some examples of public key cryptography include RSA, DES, IDEA (International Data Encryption Algorithm), skipjack, discrete log systems (e.g., El Gamal Cipher), elliptic curve systems, cellular automata, etc. Public key cryptography systems employ a private and public key. The private key is kept secret, and the public key is distributed to users. To digitally sign a message, the originator of the message encrypts the message with his private key. The private key is uniquely associated with the originator. Those users having a public key verify that the message has originated from the holder of the private key by using the public key to decrypt the message.
Another way to integrate processing of media types is to integrate watermark detectors for different media types. One function of some watermark detectors is to determine the orientation and strength of a watermark within a host media signal. The orientation may provide the watermark location, and possibly other orientation parameters like warp (e.g., an affine or non-linear warp, temporal and/or spatial), scale, rotation, shear, etc. As the media content is subjected to various transformations, the watermark orientation and strength may change. Watermark detectors use attributes of the watermark signal to identify its location and orientation within a host signal. In multimedia content where different media signals are watermarked, detectors for the respective media signals can assist each other by sharing information about the orientation and/or strength of a watermark in the media signals. While the watermarks in different media types may be transformed in different ways, the orientation information found in one media signal might help locate a watermark in a different media signal.
In applications where the watermark carries a message, each detector may invoke a watermark reader 78, 80 to extract a message from the watermark. In some cases, the reader uses the orientation to locate and read the watermark. The strength of the watermark signal may also be used to give signal samples more or less weight in message decoding. Preferably, each reader should be able to read a watermark message 82, 84 from a media signal without requiring the original, un-watermarked media signal.
One example of integrated detection is a scheme where watermark detectors operate on respective media types concurrently and share orientation parameters. To illustrate the scheme, consider the example of a movie that has a watermarked audio and video track. While video and audio are distinct media signals in the content delivery and storage formats, the video and audio tracks are carefully synchronized so that the audio closely tracks the movement of actors' mouths and other motion depicted in the video. The embedding scheme places audio watermarks within a specified temporal range of the video watermarks. Because the video and audio tracks need to be temporally synchronized to avoid noticeable artifacts during playback, the temporal locations of the audio and video watermarks are likely to remain within a predictable temporal distance in their respective host signals. As such, the watermark detectors can take advantage of the temporal relationship of the watermarks in different media types to facilitate detection.
The location of a watermark detected in one media signal can provide information about the location of a watermark yet to be detected in another media signal. For example, when the video watermark detector finds a watermark in a video frame (e.g., an I frame in MPEG video), it signals the other detector, passing information about the temporal location of the video watermark. Leveraging the temporal relationship between the video and audio watermarks, the audio watermark detector confines its search for an audio watermark to a specified temporal range in the audio signal relative to the location of the corresponding video watermark in the video signal.
In this scenario, the audio watermark detector may provide similar information to the video watermark detector to help it identify the frame or sequence of frames to be analyzed for a video watermark.
Another example is a scheme where one watermark detector operates on a media type, and then passes orientation parameters to a detector of another media type. This scheme reduces the complexity of the second detector because it uses the orientation parameters extracted from a first media type to assist computation of the orientation in another media type. Applying this scheme to the previous example of a movie, the watermark decoder method reduces the complexity of the audio detector by confining its search to a specified range defined relative to the location of a video watermark. This is a simpler case than the previous example in the sense that the orientation information flows solely from a first detector to a second one. The second detector searches in a confined space around the location specified by the other detector, and does not have to pass orientation information to the other detector.
As in the previous sections, there are a variety of applications for watermark systems with integrated detectors. The watermarks may be used to encode data or links to external data or other media signals within the multimedia content.
The watermarks may also be used to encode authentication information. In the movie example, the watermarks in one media type can reference one or more watermarks in another media type. For example, if an audio detector does not find an audio watermark designated by the video watermark to be in a specified range within the audio signal, then it can mark that specified range as being corrupted. Similarly, the video detector can authenticate video frames based on presence or absence of video watermarks designated by audio watermarks.
In copy control applications for mixed media like movies, integrated detectors can be used to locate audio and video watermarks carrying copy control flags. If the audio or the video tracks have been tampered with or transformed in a way that removes or degrades the watermarks, then a copy control application can take the appropriate action in response to detecting the absence of a watermark or a degraded watermark. The actions triggered in response may include, for example, preventing copying, recording, playback, etc.
Then, a message decoder 114 attempts to decode the pooled message data. The message decoder may perform various error correction decoding operations, such as Reed Solomon, BCH, Turbo, Convolution operations. In cases where the watermark embedder uses spread spectrum modulation to spread raw message bits in the host media signal into chips, the message decoder may perform the inverse of a spread spectrum modulation function to convert spread spectrum chip values back to raw message values.
The result of the decoding operations provides information about the media signals. Depending on the application and implementation, the decoded message 116 can be interpreted in different ways. For example, in some cases, to generate a valid decoded message (as indicated by an error detection process such as a CRC or parity check), watermark message data from each media signal must be valid. In other cases, the decoded message may specify which media signals have valid messages, and which do not.
Like the other scenarios described above, the scheme for integrating watermark readers of different media types can be applied to many applications, including data embedding and linking, content authentication, broadcast monitoring, copy control, etc. This scheme is particularly suited for content authentication and copy control because it can be used to indicate content tampering and to disable various operations, such as copying, playback, recording, etc. For example, it can be used in a copy control scheme for content with audio and video tracks. Each track contains watermark messages that must be detected and converted to the raw message data 112 before the decoder 114 can decode a valid message. Thus, valid copy control information in both the video and audio tracks must be present before a valid copy control message 116 will be produced. A player can then process the multimedia content based on the control information in the valid copy control message. Alternatively, the content can be prevented from being passed into a player or other application or device if a valid control message is not generated.
The watermark message in one media signal may be used to specify a key of a watermark in another media signal. In this scenario, the watermark reader for one media type supplies the watermark decoder for another media type with the key. This key may specify the location of the watermark as well as information about how to extract the watermark from another media signal, and information to decode or decrypt the watermark message.
The watermark message in a media signal may also specify a key to access other metadata on the storage device of the media signal. For example, the message may specify a key to decrypt or decode metadata on the storage device, such as metadata in a header file or encoded within tracks of a CD or DVD (e.g., encoded within the disk wobble). The key may also specify the location of the associated metadata.
The scheme described in the previous section may be used in many applications, including those discussed previously. This scheme is particularly suited for content authentication and copy protection. In order to authenticate the content, each of the media signals in multimedia content need to have valid watermarks. The watermark in one media signal cannot be located without extracting a key from a watermark in another media signal.
In copy protection applications, the decoding system would need to find the watermarks in each of the media signals before enabling certain actions (e.g., playback, recording, copying, etc.).
For some applications, it is not necessary that each media signal in multimedia content have a watermark. For example, a watermark in one media signal could provide the desired functionality for the entire content, or for selected portions of the content. For example, in copy protection applications for movies, a watermark in the audio track could be used to encode copy control flags to control copying, playback, or recording of audio and/or video tracks.
2.4 Using Watermark Data in Conjunction with Other Data or Applications
The watermark message data can be used in conjunction with other data or applications to control processing of the multimedia or single media content. Using any of the scenarios above, for example, a decoder can extract a message that is used to control further media processing.
One example is where the watermark message is used as a necessary key for decoding or decrypting the media content. For example, the watermark message may contain necessary bits for decompressing (e.g., MPEG decoding) of the media signal or signals within the content (audio, video or both). Examples of necessary bits are CRC bits that are required to reconstruct coded video or audio data. This technique is particularly useful when the message is derived from watermark messages embedded in different media signals. In a movie copy control application, for instance, the decoder would have to generate a valid message based on decoding the raw message information from audio and video watermark messages before allowing playback, recording, etc. In this case, the embedder would spread the necessary control information into watermark messages inserted in the audio and video tracks. For example, watermark messages in audio or video frames include decompression parameters or descrambling keys to decompress or descramble subsequent audio or video frames.
The same approach can be implemented by embedding other forms of control data in one or more watermark messages in different media signals. Another example is a decryption key that is necessary to decrypt other media signals within the content, or other portions of the same media signal. Watermark messages in audio or video frames may include decryption keys to decrypt subsequent frames. One watermark message may include a key, or a portion of a key, needed to decrypt or unscramble other signal portions or other watermark messages. In the case where the watermark message includes only a portion of a key (e.g., one parameter in a key comprising two or more parameters), the other portion may be constructed by extracting another component of the key from another watermark message (in the same or different media signals) or from other metadata (e.g., in the disk wobble, the header file of MPEG content, etc.).
Another form of control data is region data that indicates that a particular media signal may only be played when the region data of the media signal and the player match. A similar region data scheme is understood to be implemented in the Content Scrambling System currently used for DVDs. The region data can be embedded in one or more watermarks in the same or different media signals. By placing this information in different media signals, the decoder must be able to extract consistent region data from watermarks in each of the media signals as a pre-requisite to further use of the content. Then, assuming all of the region data creates a valid region data message, then the copy control application would control playback based on whether the region data decoded from the watermarks (and/or metadata of the different media signals) matches the region data of the player.
The state of watermark encoders and decoders for audio, video and still images is quite advanced. Some examples of watermark systems for multimedia data include U.S. Pat. Nos. 5,862,260, 5,930,369, and U.S. patent application Ser. No. 09/503,881 (now U.S. Pat. No. 6,614,914). Examples of watermark systems targeted to audio signals include U.S. Pat. Nos. 5,945,932, 5,940,135, 6,005,501, and 5,828,325. Other watermark systems are described in U.S. Pat. Nos. 5,940,429, 5,613,004, 5,889,868, WO 99/45707, WO 99/45706, WO 99/45705, and WO 98/54897.
Examples of watermark systems used in copy control are: WO 00/04688, WO 00/04712, WO 00/04727, and WO 99/65240. These documents include examples where a copy protection scheme uses watermark data and metadata to control processing of a media signal.
Watermark systems that operate on compressed content include: U.S. Pat. No. 5,687,191; and WO 00/04722.
These watermark systems may be used to implement the scenarios described above.
The watermark decoder may be implemented in one or more components. The location of these components varies depending on the application. For multimedia content on portable memory devices like DVDs or CDs, the decoder may be implemented in the drive hardware or in an interface to the drive hardware. Alternatively, the decoder may be located in an application program or device. One example is a media codec, like an MPEG decoder. If the media signals are compressed, the detector may have to implement at least portions of the codec. For example, if the watermark is coded in frequency coefficients in MPEG video and audio, the decoder system may include an MPEG parser and dequantizer to identify the media signals (audio and video signals) and extract the coefficients from each of the media signals. Placing the watermark decoder in the media codec, such as the MPEG codec, saves resources because many of the resources used for decoding the media signals may also be used for detecting and reading the watermarks.
The computer system shown in
The system bus may comprise any of several types of bus structures including a memory bus or memory controller, a peripheral bus, and a local bus using a bus architecture such as PCI, VESA, Microchannel (MCA), ISA and EISA, to name a few.
The system memory includes read only memory (ROM) 1224 and random access memory (RAM) 1225. A basic input/output system 1226 (BIOS), containing the basic routines that help to transfer information between elements within the computer 1220, such as during start-up, is stored in ROM 1224.
The computer 1220 further includes a hard disk drive 1227, a magnetic disk drive 1228, e.g., to read from or write to a removable disk 1229, and an optical disk drive 1230, e.g., for reading a CD-ROM or DVD disk 1231 or to read from or write to other optical media. The hard disk drive 1227, magnetic disk drive 1228, and optical disk drive 1230 are connected to the system bus 1223 by a hard disk drive interface 1232, a magnetic disk drive interface 1233, and an optical drive interface 1234, respectively. The drives and their associated computer-readable media provide nonvolatile storage of data, data structures, computer-executable instructions (program code such as dynamic link libraries, and executable files), etc. for the computer 1220.
Although the description of computer-readable media above refers to a hard disk, a removable magnetic disk and an optical disk, it can also include other types of media that are readable by a computer, such as magnetic cassettes, flash memory cards, digital video disks, and the like.
A number of program modules may be stored in the drives and RAM 1225, including an operating system 1235, one or more application programs 1236, other program modules 1237, and program data 1238.
A user may enter commands and information into the personal computer 1220 through a keyboard 1240 and pointing device, such as a mouse 1242. Other input devices may include a microphone, sound card, radio or television tuner, joystick, game pad, satellite dish, digital camera, scanner, or the like. A digital camera or scanner 43 may be used to capture the target image for the detection process described above. The camera and scanner are each connected to the computer via a standard interface 44. Currently, there are digital cameras designed to interface with a Universal Serial Bus (USB), Peripheral Component Interconnect (PCI), and parallel port interface. Two emerging standard peripheral interfaces for cameras include USB2 and 1394 (also known as firewire and iLink).
In addition to a camera or scanner, watermarked images or video may be provided from other sources, such as a packaged media devices (e.g., CD, DVD, flash memory, etc), streaming media from a network connection, television tuner, etc. Similarly, watermarked audio may be provided from packaged devices, streaming media, radio tuner, etc.
These and other input devices are often connected to the processing unit 1221 through a port interface 1246 that is coupled to the system bus, either directly or indirectly. Examples of such interfaces include a serial port, parallel port, game port or universal serial bus (USB).
A monitor 1247 or other type of display device is also connected to the system bus 1223 via an interface, such as a video adapter 1248. In addition to the monitor, personal computers typically include other peripheral output devices (not shown), such as speakers and printers.
The computer 1220 operates in a networked environment using logical connections to one or more remote computers, such as a remote computer 1249. The remote computer 1249 may be a server, a router, a peer device or other common network node, and typically includes many or all of the elements described relative to the computer 1220, although only a memory storage device 1250 has been illustrated in
When used in a LAN networking environment, the computer 1220 is connected to the local network 1251 through a network interface or adapter 1253. When used in a WAN networking environment, the personal computer 1220 typically includes a modem 1254 or other means for establishing communications over the wide area network 1252, such as the Internet. The modem 1254, which may be internal or external, is connected to the system bus 1223 via the serial port interface 1246.
In a networked environment, program modules depicted relative to the personal computer 1220, or portions of them, may be stored in the remote memory storage device. The processes detailed above can be implemented in a distributed fashion, and as parallel processes. It will be appreciated that the network connections shown are exemplary and that other means of establishing a communications link between the computers may be used.
4.0 Relationship with Other Applications of Metadata
Watermarks can facilitate and cooperate with other applications that employ metadata of multimedia objects. As demonstrated above, this is particularly true in copy protection/control applications where the copy control information in the watermark and the metadata are used to control playback. The watermark message and metadata (in the MPEG file header or encoded in the disk wobble) can form components in a unified key that is a necessary prerequisite to playback or some other use of the content.
The watermarks in the media signals can each act as persistent links to metadata stored elsewhere, such as a metadata database server on the Internet or some other wire or wireless network. Applications for viewing and playing content can display metadata by extracting the link and querying a metadata database server to return the metadata (e.g., owner name, content description, sound or video annotation, etc.). The watermark decoder or an application program in communication with it can issue the query over the Internet using standard communication protocols like TCP/IP, database standards like ODBC, and metadata standards like XML. The query may be sent to a metadata router that maps the link to a metadata database server, which in turn, returns the metadata to the viewing application for display or playback to the user.
The watermarking technology detailed herein can be employed in numerous diverse applications. See, e.g., the applications for watermarking detailed in commonly-owned U.S. Pat. No. 5,862,260, and copending applications Ser. Nos. 09/292,569, 60/134,782, 09/343,104, 09/473,396 (now U.S. Pat. No. 6,577,746), Ser. No. 09/476,686 (now U.S. Pat. No. 7,562,392), and 60/141,763.
Having described and illustrated the principles of the invention with reference to several specific embodiments, it will be recognized that the principles thereof can be implemented in other, different, forms.
To provide a comprehensive disclosure without unduly lengthening the specification, applicant incorporates by reference any patents and patent applications referenced above.
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 and the incorporated-by-reference patents/applications are also contemplated.
In view of the wide variety of embodiments to which the principles of the invention can be applied, it should be recognized that the detailed embodiment is illustrative only and should not be taken as limiting the scope of the invention. Rather, we claim as our invention all such embodiments as may come within the scope and spirit of the following claims, and equivalents thereto.
|Citing Patent
|Filing date
|Publication date
|30 Mar 2000
|17 May 2011
|Digimarc Corporation
|Method and systems for inserting watermarks in digital signals
|21 Nov 2006
|24 May 2011
|Digimarc Corporation
|Watermarking compressed data
|7 Apr 2009
|31 May 2011
|Digimarc Corporation
|Methods and arrangements employing digital content items
|28 Oct 2008
|31 May 2011
|Digimarc Corporation
|Image sensors worn or attached on humans for imagery identification
|3 Jun 2009
|7 Jun 2011
|Digimarc Corporation
|Digital watermarking apparatus and methods
|13 Apr 2010
|20 Sep 2011
|Digimarc Corporation
|Methods for analyzing electronic media including video and audio
|23 Oct 2007
|29 Jan 2013
|Digimarc Corporation
|Digital watermark systems and methods
|13 Jun 2005
|10 Feb 2015
|Digimarc Corporation
|Metadata management and generation using perceptual features
|29 Jun 2010
|3 Mar 2015
|Sony Computer Entertainment America Llc
|Video game overlay
|16 Sep 2008
|16 Jun 2015
|Digimarc Corporation
|Internet and database searching with handheld devices
|27 Jun 2007
|24 Dec 2009
|Nec Corporation
|Audio content generation system, information exchanging system, program, audio content generating method, and information exchanging method
|3 Nov 2011
|Ronald Martinez
|Set of metadata for association with a composite media item and tool for creating such set of metadata
|29 Jan 2013
|6 Jun 2013
|Hoshiko Llc
|Automatic location-specific content selection for portable information retrieval devices
|U.S. Classification
|International Classification
|Cooperative Classification
|European Classification
|19 Mar 2010
Owner name: DIGIMARC CORPORATION, OREGON
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:DAVIS, BRUCE L.;RODRIGUEZ, TONY F.;RHOADS, GEOFFREY B.;SIGNING DATES FROM 20100301 TO 20100317;REEL/FRAME:024108/0265
|12 May 2010
Owner name: DIGIMARC CORPORATION (AN OREGON CORPORATION), OREG
Free format text: MERGER;ASSIGNOR:DIGIMARC CORPORATION (A DELAWARE CORPORATION);REEL/FRAME:024369/0582
Effective date: 20100430
|29 Oct 2010
Owner name: DMRC LLC, OREGON
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:DIGIMARC CORPORATION (A DELAWARE CORPORATION);REEL/FRAME:025217/0508
Effective date: 20080801
|2 Nov 2010
Owner name: DMRC CORPORATION, OREGON
Free format text: MERGER;ASSIGNOR:DMRC LLC;REEL/FRAME:025227/0808
Effective date: 20080801
Owner name: DIGIMARC CORPORATION, OREGON
Free format text: MERGER;ASSIGNOR:DMRC CORPORATION;REEL/FRAME:025227/0832
Effective date: 20080903
|10 Jul 2012
|Certificate of correction


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subset: commoncrawl


text: All-England (Wimbledon) Tennis Championships—singlesyearmenwomen1877S.W. Gore (U.K.)1878P.F. Hadow (U.K.)1879J.T. Hartley (U.K.)1880J.T. Hartley (U.K.)1881W. Renshaw (U.K.)1882W. Renshaw (U.K.)1883W. Renshaw (U.K.)1884W. Renshaw (U.K.)M. Watson (U.K.)1885W. Renshaw (U.K.)M. Watson (U.K.)1886W. Renshaw (U.K.)B. Bingley (U.K.)1887H.F. Lawford (U.K.)L. Dod (U.K.)1888E. Renshaw (U.K.)L. Dod (U.K.)1889W. Renshaw (U.K.)B. Bingley Hillyard (U.K.)1890W.J. Hamilton (U.K.)L. Rice (U.K.)1891W. Baddeley (U.K.)L. Dod (U.K.)1892W. Baddeley (U.K.)L. Dod (U.K.)1893J. Pim (U.K.)L. Dod (U.K.)1894J. Pim (U.K.)B. Hillyard (U.K.)1895W. Baddeley (U.K.)C. Cooper (U.K.)1896H. Mahony (U.K.)C. Cooper (U.K.)1897R. Doherty (U.K.)B. Hillyard (U.K.)1898R. Doherty (U.K.)C. Cooper (U.K.)1899R. Doherty (U.K.)B. Hillyard (U.K.)1900R. Doherty (U.K.)B. Hillyard (U.K.)1901A.W. Gore (U.K.)C. Cooper Sterry (U.K.)1902L. Doherty (U.K.)M.E. Robb (U.K.)1903L. Doherty (U.K.)D. Douglass (U.K.)1904L. Doherty (U.K.)D. Douglass (U.K.)1905L. Doherty (U.K.)M. Sutton (U.S.)1906L. Doherty (U.K.)D. Douglass (U.K.)1907N. Brookes (Austl.)M. Sutton (U.S.)1908A.W. Gore (U.K.)C. Sterry (U.K.)1909A.W. Gore (U.K.)D. Boothby (U.K.)1910T. Wilding (N.Z.)D. Douglass Lambert Chambers (U.K.)1911T. Wilding (N.Z.)D. Lambert Chambers (U.K.)1912T. Wilding (N.Z.)E.W. Larcombe (U.K.)1913T. Wilding (N.Z.)D. Lambert Chambers (U.K.)1914N. Brookes (Austl.)D. Lambert Chambers (U.K.)1915–18not held1919G. Patterson (Austl.)S. Lenglen (Fr.)1920B. Tilden (U.S.)S. Lenglen (Fr.)1921B. Tilden (U.S.)S. Lenglen (Fr.)1922G. Patterson (Austl.)S. Lenglen (Fr.)1923B. Johnston (U.S.)S. Lenglen (Fr.)1924J. Borotra (Fr.)K. McKane (U.K.)1925R. Lacoste (Fr.)S. Lenglen (Fr.)1926J. Borotra (Fr.)K. McKane Godfree (U.K.)1927H. Cochet (Fr.)H. Wills (U.S.)1928R. Lacoste (Fr.)H. Wills (U.S.)1929H. Cochet (Fr.)H. Wills (U.S.)1930B. Tilden (U.S.)H. Wills Moody (U.S.)1931S. Wood (U.S.)C. Aussem (Ger.)1932E. Vines (U.S.)H. Wills Moody (U.S.)1933J. Crawford (Austl.)H. Wills Moody (U.S.)1934F. Perry (U.K.)D. Round (U.K.)1935F. Perry (U.K.)H. Wills Moody (U.S.)1936F. Perry (U.K.)H. Jacobs (U.S.)1937D. Budge (U.S.)D. Round (U.K.)1938D. Budge (U.S.)H. Wills Moody (U.S.)1939B. Riggs (U.S.)A. Marble (U.S.)1940–45not held1946Y. Petra (Fr.)P. Betz (U.S.)1947J. Kramer (U.S.)M. Osborne (U.S.)1948B. Falkenburg (U.S.)L. Brough (U.S.)1949T. Schroeder (U.S.)L. Brough (U.S.)1950B. Patty (U.S.)L. Brough (U.S.)1951D. Savitt (U.S.)D. Hart (U.S.)1952F. Sedgman (Austl.)M. Connolly (U.S.)1953V. Seixas (U.S.)M. Connolly (U.S.)1954J. Drobny (Czech.)M. Connolly (U.S.)1955T. Trabert (U.S.)L. Brough (U.S.)1956L. Hoad (Austl.)S. Fry (U.S.)1957L. Hoad (Austl.)A. Gibson (U.S.)1958A. Cooper (Austl.)A. Gibson (U.S.)1959A. Olmedo (Peru)M. Bueno (Braz.)1960N. Fraser (Austl.)M. Bueno (Braz.)1961R. Laver (Austl.)A. Mortimer (U.K.)1962R. Laver (Austl.)K. Susman (U.S.)1963C. McKinley (U.S.)M. Smith (Austl.)1964R. Emerson (Austl.)M. Bueno (Braz.)1965R. Emerson (Austl.)M. Smith (Austl.)1966M. Santana (Spain)B.J. King (U.S.)1967J. Newcombe (Austl.)B.J. King (U.S.)1968*R. Laver (Austl.)B.J. King (U.S.)1969R. Laver (Austl.)A. Jones (U.K.)1970J. Newcombe (Austl.)M. Smith Court (Austl.)1971J. Newcombe (Austl.)E. Goolagong (Austl.)1972S. Smith (U.S.)B.J. King (U.S.)1973J. Kodes (Czech.)B.J. King (U.S.)1974J. Connors (U.S.)C. Evert (U.S.)1975A. Ashe (U.S.)B.J. King (U.S.)1976B. Borg (Swed.)C. Evert (U.S.)1977B. Borg (Swed.)V. Wade (U.K.)1978B. Borg (Swed.)M. Navratilova (Czech.)1979B. Borg (Swed.)M. Navratilova (U.S.)1980B. Borg (Swed.)E. Goolagong Cawley (Austl.)1981J. McEnroe (U.S.)C. Evert Lloyd (U.S.)1982J. Connors (U.S.)M. Navratilova (U.S.)1983J. McEnroe (U.S.)M. Navratilova (U.S.)1984J. McEnroe (U.S.)M. Navratilova (U.S.)1985B. Becker (W.Ger.)M. Navratilova (U.S.)1986B. Becker (W.Ger.)M. Navratilova (U.S.)1987P. Cash (Austl.)M. Navratilova (U.S.)1988S. Edberg (Swed.)S. Graf (W.Ger.)1989B. Becker (W.Ger.)S. Graf (W.Ger.)1990S. Edberg (Swed.)M. Navratilova (U.S.)1991M. Stich (Ger.)S. Graf (Ger.)1992A. Agassi (U.S.)S. Graf (Ger.)1993P. Sampras (U.S.)S. Graf (Ger.)1994P. Sampras (U.S.)C. Martinez (Spain)1995P. Sampras (U.S.)S. Graf (Ger.)1996R. Krajicek (Neth.)S. Graf (Ger.)1997P. Sampras (U.S.)M. Hingis (Switz.)1998P. Sampras (U.S.)J. Novotna (Cz.Rep.)1999P. Sampras (U.S.)L. Davenport (U.S.)2000P. Sampras (U.S.)V. Williams (U.S.)2001G. Ivanisevic (Cro.)V. Williams (U.S.)2002L. Hewitt (Austl.)S. Williams (U.S.)2003R. Federer (Switz.)S. Williams (U.S.)2004R. Federer (Switz.)M. Sharapova (Russia)2005R. Federer (Switz.)V. Williams (U.S.)2006R. Federer (Switz.)A. Mauresmo (Fr.)2007R. Federer (Switz.)V. Williams (U.S.)2008R. Nadal (Spain)V. Williams (U.S.)2009R. Federer (Switz.)S. Williams (U.S.)2010R. Nadal (Spain)S. Williams (U.S.)2011N. Djokovic (Serbia)P. Kvitova (Cz.Rep.)2012R. Federer (Switz.)S. Williams (U.S.)*Open since 1968. Back to top


text:
Wildlife Observation
Garden Appreciation
Café Sci
Café Sci removes science from the lecture hall into a cozy, fireside discussion.
The goal is to engage the public in science in a non-traditional way.
View Programs >
Summer Update
Summer is the time for the (Lepidoptera) Butterfly House! While visiting, stop by the Edible Landscape Garden for home gardening ideas that are as pleasing to the eyes as they are to taste buds. See a prairie just beginning to bloom, stonewall gardens filled with remarkable perennials, and plants that use gravel and sand instead of soil to grow.
Don't miss the Tree Tower, a structure funded by the James M. Cox, Jr. Arboretum Foundation, that provides visitors with spectacular vistas of the park, particularly the diverse conifer collection.
In the early 1970s, Cox Arboretum Foundation members Harry Price and Horace Huffman began to consider ways to assure the long term survival and continuing growth of the James M. Cox, Jr. Arboretum. The presence of Dick Lawwill (Park District Director) and Harry Price (Park District Commissioner) on the Cox Arboretum Foundation Board led to discussions concerning the Arboretum-Park District relationship.
From the South
I-75 North
Take the OH-725 Exit 44 to Miamisburg/Centerville Rd.
Turn right at Miamisburg/Centerville Rd.
Turn left at Springboro Pike.
Go 1.0 miles and turn left into 6733 Springboro Pike
From the North
I-75 South
Take the OH-741 S exit 50B
Turn left at Springboro Rd, go 1.0 miles
Continue left onto Springboro Pike, go 3.8 miles
Turn right into 6733 Springboro Pike
Public Transportation
RTA Bus Route 19
Take route 19 west on Third Street through downtown. This route will take you directly
past Cox Arboretum.
• Plan a Bus Trip!
• Learn about
RTA's Bike Rack Program
Cox Arboretum contains significant natural areas including two high quality mature
woodlots, dense cedar glades, especially beautiful succession areas (containing
an abundance of dogwood and redbud trees), planted tall-grass prairie, and created
Visitor Information
GPS Coordinates
Latitude: 39.652035
Longitude: -84.224033
Park Hours:
Zorniger Education Center Hours:
Facility Rental:
Special indoor and outdoor venues are available for corporate events, retreats,
holiday parties, receptions, weddings and other occasions.
Free parking is available on-site. See map.
School Group Tours:
Schools and other groups may schedule guided walking tours. Guided tram tours are
available for adults with a reservation. Call 937-275-PARK to schedule.View a list of Field Trips.
Pet Policy:
Pets are not permitted.
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text:
BBK Performance
BBK is the leader in performance parts for electronic fuel injected applications. Whether your need is EFI intake manifolds, BBK exhaust components such as headers and H-pipes, or cold air intakes, BBK offers exciting, power building products. Originally oriented toward the racing and motorsports Mustang market, BBK Performance now builds fuel system components and exhaust systems for late model cars, trucks and SUVS. PerformanceParts.com is a factory authorized retailer for BBK performance and is your best source for BBK intakes, exhaust and fuel system components.


text:
Layout selectors
Andrea Mitchell Reports 08/29/14
Will Congress back airstrikes on Syria?
Should President Obama seek authorization before launching airstrikes in Syria to target ISIS? Rep. Adam Schiff, D-Calif., who sits on the House Intelligence Committee, responds. ... more Duration: {{video.duration.momentjs}}
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Airstrikes not enough to stop ISIS in Kobani
Panetta on drawing a 'red line' in Syria
ISIS not slowing despite US-led airstrikes
How did ISIS become a threat?
'Powerful' to see woman conducting airstrikes
Engel: Many Syrians haven't heard of Khorasan
Imminent threat to US, Europe preceded...
Al-Qaeda offshoot group poses new threat
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Whose boots on the ground will fight ISIS?
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Retrieving data...
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Retrieving Data...
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text:
MANADO, new International Conventions and Exhibitions Venue
Home » MANADO, new International Conventions and Exhibitions Venue » Find Hotel » Nusantara Diving Centre, Resort & Spa
Nusantara Diving Centre, Resort & Spa
Calling all Nature lovers!
If you have been yearning for exciting and unusual destination for your next holiday or event, your next choice should be Manado, a beautiful city on the northern tip of Sulawesi, the orchid- shaped island.
In this tropical paradise, you will uncover a perfect hideaway spot to rejuvenate and explore the secret of The Land "Si Tou Timou Tumou Tou" - A land of people that enhance other people live –
Arrive at Nusantara Diving Centre, Resort & Spa to find yourself pampered by the authentic personalised service with professionalism, friendliness and warmth in the middle of our contemporary designs of accommodations and a beautiful tropical landscape.
As the Pioneer of Diving Centre in Manado our professional Dive Guides will assist you to reveal the world most unspoiled marine wilderness area of Bunaken, where the marine life has been highly praised by the world class divers.
Our location :
We are strategically nestled along the Molas Beach with 20 minutes convenient distance from the Central City of Manado, 20 minutes from Sam Ratulangi International Airport and 25 minutes from the Bunaken Marine Park.
|Molas Beach PO Box 1015 Manado, 95242. North-Sulawesi, Indonesia
|+62-431 863 988
|+62-431 860 368


text:
Crows can cause damage not only to your garden but also your other feathered friends. Learn some tips to keep crows away from your backyard.
How to Identify Crows
Crows are large black birds with raucuos calls and wide tails. They are omnivores, so they will eat anything. This can be a good thing as they will clean up dead animals, but when they are attacking your other feathered friends or your garden, they can be trouble. If your seedlings, such as corn, are being pulled up, chances are you have crows.
How to Get Rid of Crows in the Garden
Here are a few tips for getting rid of crows. Try some of these methods for your garden:
- Fruit crops can be protected with flexible bird netting. You can find some at a local garden center or hardware store. Four-inch mesh is recommended as it will keep the big crows out, but still allow smaller birds to slip through.
- Place netting securely at the base of a shrub or the trunk of a tree. This keep crows out from the bottom of your trees. Nets can also be used for growing crops.
- Use visual scare tactics. Shiny pie tins or CDs hung from trees, Mylar scare tape, Mylar balloons, scarecrows, and flags can all be used to startle crows. An old-fashioned scarecrow may also work.
- Protect seedlings with covers. Corn can be protected by placing a cup or bag over each ear after the silk has turned brown.
- Fishing line or cord can be placed in grid like patterns high above the garden to prevent crows from swooping in from above.
- Crows will kill the young of other birds. Prevent this in the first steps of nest box building: make sure there is more than six inches between the entry hole and the bottom of the box. Removing the perch or ledge under the hole will also prevent crows from having a stand where they can wait for young to peep their heads out.
- Try using feeders that are too small for crows but big enough for small birds.
Crows are smart and will eventually learn that even Mylar balloons are no threat. Try changing the position of these items often enough to confuse the crows and keep them away.
Learn more about preventing crows from http://wdfw.wa.gov/living/crows.html and The Humane Society.
See more about common garden pests and problems.


text:
George DiCaprio (Getty Images)
Leonardo DiCaprio (Getty Images)
Leonardo DiCaprio's dad George joined "The Great Gatsby" star in France for all the festivities at the Cannes Film Festival. Sporting long hair, it's obvious that George has the DiCaprio swagger, much like his son. George, 69, is a comic book writer, editor, and distributor. Leo, 38, is close with his dad and the two are regularly photographed together around L.A.
Though his folks split shortly after he was born in Los Angeles in 1974, the "Django Unchained" actor remains close with both parents, whom he has described as "Bohemians in every sense of the word." (His mom, Irmalin, is a German former legal secretary.)
According to ABC's "20/20," DiCaprio's father is credited with giving his son the unique name. When George and a then-pregnant Irmalin were looking at a portrait of Leonardo da Vinci in the Uffizi — a famous art gallery in Italy — Leo began kicking wildly.
"My dad, being the man that picks up on cosmic messages, said that 'His name must be Leonardo,'" DiCaprio revealed on the show. As a child, he often accompanied his father to various comic book stores in L.A., where he would distribute comics and records.
It's clear to see where Leo got his creative side.
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- Ellen Feig
- Yonkers, NY
- United States
Professor, Bergen Community College
This conversation is closed.
Based upon a discussion we are having in the Idea area, I wonder - how do you define morality and why? Where does your definition come from?
I have been working on curriculum for college students that incorporates literature and the notion of being a moral, ethical person; it is clear that I need to step back and first come up with a clearer definition of morality or ethics.
greg dahlen
Jan 26 2013: Per below, I think courage arises when you see something will be good, but you will have to stretch yourself to do it. For instance, I like to listen to talk radio, and I like to call in from my position as one of the audience and talk on the air, ask a question or make a comment. It is hard for me to call in, I suppose I'm afraid I won't be quick enough on my feet, or entertaining enough. But I always go ahead and do it anyway, which for me takes courage. And it's usually quite rewarding, I learn a lot and I think I become a little more assured. I believe it is moral to challenge yourself this way, that ideally we should all be trying to grow in what we can do, what we know, what we have experienced.
- +1
You know, that's another area you don't see examined in morality, the importance of being true to yourself and investing in your own growth.
Comment deleted
Jan 26 2013: I agree with you on your definitions but struggle with the subjective nature of morals..if we learn morals from a culture that acts in ways that seem unethical (i.e to society) then how do we ever become ethical beings? I know it this is circular thinking but it is weighing on me as an educator when I see the real lack of concern for others in young people.
Don Anderson
Jan 25 2013: Like I said in the other conversation I like the "The Nine Noble Virtues".
- +1
1. Courage
2. Truth
3. Honour
4. Fidelity
5. Discipline
6. Hospitality
7. Self-Reliance
8. Industriousness
9. Perseverance
Although history books tell us that they came from the Vikings, I would say the route of all virtues developed from the unique ability humans have to think ahead.
In that the desire to be better in the future would not arise without the ability to think ahead.
One reason I really like them is because interlock/interact with each other, much like the triangles of the Valknut. (That I believe symbolize them) AI; it take discipline to have perseverance, and it take perseverance to be discipline. The truth gives you courage, and it takes courage to see the truth. Etc. etc.Jan 29 2013: Morality and ethics is one of the cornerstones of the civilized society and it evolves with the human race. In the name of moral values we have done great things and very destructive ones as well. What is today morally acceptable it wasn't centuries ago. But something I've been noticing is that with the knowledge exchange, the internet and open forums we are arriving to a consensus that morality is beyond religion, beyond race, beyond culture. I think we might be close to a unified vision based on our common and simple needs to live in peace with our neighbors.Jan 28 2013: Morality consists of the guidelines within a particular society which offers its adherents the greatest possibility of a successful life within that society. There is often a tension between what we wish our culture's morality was and what it actually is. There are also institutionalized moralities which have originated in different cultures which are destructive when taken out of context. Morality is what works. To insist that someone adhere to a morality which does not work is immoral.
Experience, common sense, observation, wishful thinking.Jan 26 2013: .....
Hebrews 10:16 (KJV)
This is the covenant that I will make with them after those days, saith the Lord, I will put my laws into their hearts, and in their minds will I write them;
The rules we should live by are hard-wired by our creator. In order that we may have free choice, we can overcome them by deliberately ignoring them, but the fact remains - they are present in each one of us.
:-)Jan 26 2013: Thank you all for your insightful responses - I really struggle with this idea that morality, and in many instances ethics, come from experience of a person or culture; does that mean that there is not a code of morality that transcends all cultures or religions? I remember years ago learning how the Golden Rule (do unto others...) was something that all religions espoused. However, if that is true then how do humans continue to kill in the name of religion - doesn't that destroy the very essence of the golden rule? The next issue is the idea that morality comes from past successful experiences. My questions is what defines successful experiences? I was having this conversation this morning with my family who has always valued money as the definition of success - by this definition I am the least successful member of my family as I make the least amount of money. However, I am passionate about my job and the work I do so isn't that success?
This is all very circular thinking and may simply be impossible to define but what happens when each of us or each group has their own idea of what is moral or ethical? Would that lead us to potentially hurt others in the name of our own sense of morality? If I am brought up in a culture that says it is okay to kill in the name of a higher power, that in fact it is ethical to do so, does it make that moral?
Jan 26 2013: it's really not that complicated. You have values which are based in your experience. I have values based in my experience. When we are young, those experiences come from our parents but as we grow we are exposed to experiences that include teachers, co-workers, friends etc. Some experiences we embrace and some we discard and that is how different people can create different values who have undergone the same experience. That is why some of your values have priority over your family's values.
Values dictate morals (how we act towards others) and ethics (how we talk about morals personal or shared)
There is no overarching morality although here in the west we like to pretend there is one. In some societies cannibalism is practiced perfectly moral and ethical. In past societies human sacrifice was the norm. We can only navigate value systems and come to social values and morays when we move into community. Those can eventually translate into law.
It's pretty linear to me but navigating value systems takes practice. The more cultures and value systems you are exposed to the easier it gets.
Most, if not all, conflicts can be broken down into a clash of value systems. Everything from abortion to immigration to gun control to euthanasia (hmm human sacrifice??)
I would recommend you see if you can get your hands on an open source syllabus for biomedical ethics. It might be a good start for the ethics piece. Most hospitals have an ethics board. You might want to see if they would have any board development documents that could help.
W. Ying
Jan 26 2013: .
- 0
Morality is the rules of SYMBIOSIS. They are our ancestors' successful experiences formed 10,000 years ago and saved in our DNA.
SYMBIOSIS makes humankind survivable.
(For SYMBIOSIS, see the 1st article, points 4-8, at https://skydrive.live.com/?cid=D24D89AE8B1E2E0D&id=D24D89AE8B1E2E0D%21283&sc=documents)
Gail .
Jan 26 2013: For me, morality is something that one learns in a religious context. Ethics are something that one feels.
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Where do my definitions come from? From observing life happening around me and by becoming self-aware.Jan 26 2013: According to me , morality does come from the codes that your parents have taught since childhood regarding the behaviour etc. It also relates to teachings from the environment exposure during the course of time. I feel so since moral standards does differ from person to person since their perspective regarding a particular thing is different.Jan 26 2013: To me, morality is the art of choosing the right thing to do based upon a series of principals defined by both the individual and the group. A person's acts are moral when they are driven by the principles defined by the group, and immoral when the person acts upon his/her own set of principles and generate conflict with the principles of the group.
Ethics is another art, the art of making responsible decisions by properly pondering the damaging and beneficial consequences of such act.
So morality is basically irrational while ethics is basically rational. Morality is about choosing what's right while ethics is about choosing what's best, but right and best may be different things, and even opposite. Thus,each human act can fall into 4 categories:
1.- moral and ethical
2.- immoral but ethical
3.- ethical but immoral
4.- immoral and unethical
Jan 26 2013: Hi George
Can I get examples of # 2 & 3 category (example explains things in a clearer way at least to me) ?
Gail .
Jan 26 2013: I'll give you some examples
- +2
In America, gay marriage is immoral to many, whereas gay marriage (equal treatment under the law) is ethical to a growing number of people (now a majority of Americans). Soon, gay marriage will be both moral and ethical except for a few fundamentalist religious people who believe differently.
Example 2: After 7 years of trying, my sister was finally pregnant. A sonogram showed that the fetus did not have a brain. It only had a brain stem. The "thing" that would never have the capacity to know that it was alive, would live for anywhere from 3 months to 6 years. The costs to the family would be more than financial. In addition to banktrupting them, it would have required so much effort and attention that the already living child would have paid a very real and severe price. If the parents gave up the unadoptable child (immoral) it would have placed a great and unfair burden on community (government) that would have had to pay people to take care of it (also immoral). Thus, they arrived at the conclusion that though immoral (in their belief system), an abortion was ethical.
#3 and #2 mean the same thing
Jan 26 2013: Thanks for your examples.
To me it's difficult to draw line between Morality & Ethics....at times these sound synymous to me.
The way @ Kate Blake tried to draw line between these two in her post above seems convincing one...even taking that in consideration..
The first example you gave seems to me is not a dilemma of morality vs ethics rather it's inability of law system to evolve as quick as personal morality / ethical standard of group in society evolved.
Rreally appreciate your sharing personal story that brings things in the perspective how theoretical things can impact our lives (sincerely trying to feel what kind of pain your family went through to take that decision).The decision taken is absolutely moral to me but may not be Ethical from societal view point....Jan 28 2013: Sorry I made typing mistake...
Category 3... is moral but unethical
Example of category 2: You eat human flesh as your only survival resource, it is clearly immoral but if you don't have any thing else to eat and you are starving I think it is ethical.
Example of category 3: A single medical doctor going to bed with an adult patient, it is not immoral as both are adults, single and consented, but it is clearly unethical.Jan 26 2013: Morality is a cultural agreement of what is moral or not.
Ethics is best defined as survival. Survival is not a yes or no, there are infinite degrees of survival, as it is survival of all life.Jan 26 2013: Well, for me, being moral at any one moment might involve different principles, and I don't know if I can articulate them all. I would say it's important to be kind. I think it's important not to waste people's time. I think it's important to stay fresh, to say fresh things and come up with fresh ideas. Take risks. To not be emotionally violent.
I guess I've cobbled together a morality from many sources--things I've read, people I've met, experiences I've had. I probably follow the 10 commandments except the ones about god since i'm an atheist. To some degree I really value feeling--one brings many influences to any one situation, and, using those influences and thinking about the current situation, one does what feels right.
Ellen Feig
Jan 26 2013: So I guess the reality is that morality has many definitions and they are contextual - personal, cultural and at times religious.
- +1
Jan 26 2013: Well, I don't know, Ellen. I think one difficulty is that people may share a general moral principle, but disagree on how to actualize it. For example, you and I may both agree it's important to be kind. A beggar may ask us for money. You may give him money, believing that that is kind because he may need it for food. I may not give him money believing that that is kind because he will only spend it on drugs and alcohol. I do believe, however, that in this scenario there is one action that is the kindest, but we might have to discuss the situation at great length before we could decide what is kindest. So maybe one is always refining one's morality, new situations may come up where different courses of action are possible, and one needs to keep thinking about them and discussing them with other people to decide what is most moral. We have to keep doing that with the issue of keeping people on life support, don't we, or the stem cell stuff. In the meantime, living in the real world, having to make fast decisions, I'm going to do what feels right.
One thing I don't see mentioned much in studies of morality is courage. Do you agree? Why wouldn't courage be mentioned? It often takes courage to be moral, for instance to stand up for an unpopular position one believes is right.
Ellen Feig
Jan 26 2013: Yes I absolutely agree and of course that leads us to another questions as to what courage means and who do we consider courageousJan 26 2013: Ellen,
- +1
Could we assume morals 10,000 years ago are the same as today, i.e. there always have been morals for humankind to discover? Or are morals a collection of good human beings recognize as valuable for all persons, the collection amassed by experience? I like to the think both as correct. Morals infers relationship with others; a loner not relating has no comparison.
Now, if morals are accepted ideals and people relate kindly, respectfully, and are tolerant for their harmless behavior, then being immoral would suggest behavior not found to be in harmony with the epitome of human understanding of right and good behavior. Consider for example, if two persons want a marriage, a family and children are in the home who need guidance, love, training for future self reliance, would it not be immoral for one of the adults to have an extra marital affair which threatens the family? Consider any other example of relating to persons that result in harm. Anything. Being not in harmony with the larger definition, amassed over large amounts of time in culture and law, seems immoral to me. Apply this to any life situation.
Consider adults squander family funds on drugs or maybe adult toys and hobbies while family is in need of care. Is that out of harmony with the larger definition? I think so.
So, for me it boils down to quality of relationships. Being moral means love, caring, sensitivity, respect---any behavior not threatening to others.
Could these thoughts fit into your definitions somehow? To me these are ideas worth spreading.
Thanks for a great topic.
Jan 26 2013: Yes I believe that relationships and the way we treat others can either be moral or immoral...of course it again becomes an issue of subjectivity and culture
Jan 26 2013: Subjectivity and culture, indeed. Would the ultimate possible definition involve the very best humankind has amassed over long periods? In other words, the highest ever achieved? To me this is a vital consideration when applying moral judgements in any culture.
Good topic!Jan 25 2013: Our values (what is right/wrong, good/bad) dictate our morals (how we behave) and ethics is the language we use to discuss our morality with others.
Sorry posted this in the other discussion.
Values come from experience. The rest is sequale to values. That is all.Jan 25 2013: Here are the various different uses of the term from the Oxford English Dictionary: http://www.oed.com/view/Entry/122093?redirectedFrom=morality#eid
Jan 25 2013: Interesting...my question is always so where did these come from?
Jan 25 2013: Isn't that the beauty of the OED? You can see the references below!
Or do you mean the specific mechanisms through which people reached their values through their cultural contexts?
Jan 25 2013: I meant the specific mechanisms...
Jan 25 2013: Fritzie....your link takes you to a page where you have to sign in with a pass code....
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not to the page defining morality.
Are you able to copy paste the definition for our benefit?


text:
Posted On:
1 December 2012
Posted By
Michael Turtle
Categories :
Cooking up a storm in Yogyakarta
Posted on : 1 December 2012
Categories : Cuisine
Who amongst us really like to think about where our food comes from? As long as it appears clean and tasty on our table, that's all that matters. And sometimes – like in the restaurants of South East Asia – it's often not worth the mental anguish of wondering what's going on in the kitchen. It will be delicious – tick. It won't make you sick – tick. So who cares about anything else, right?
Well… in this case, wrong. But only because this is one of the most fascinating and visually-interesting kitchens I have ever seen.
Gudeg Yu Djum is one of the most famous restaurants in the Indonesian city of Yogyakarta. It's not fancy – there are no stars or hats or pretensions associated with it. But it's known across the city for doing one of the region's most popular dishes well. The dish is called 'Nasi Gudeg' and it's essentially boiled jackfruit covered in a coconut milk sauce, served with rice, chicken and a hard-boiled egg. This is what it looks like (after a few bites):
But the bright and clean meal comes from smoke and darkness, from a burning cavern behind the scenes. As I'll show you now.
Here the 'gudeg', the main ingredient is being cooked. It's made from sliced young jackfruit which is being boiled in these large pots. They have water mixed with brown sugar and salt in them, and will be left on the fire overnight for more than 12 hours.
In this large pan near the fireplaces, coconut milk is being simmered to reduce the liquid until it turns thick. The result will be sauce called 'arek' which will be combined with the boiled jackfruit to make the gudeg.
A separate room at the back of the restaurant is the only space of the kitchen that has electric lighting. Half a dozen people are cleaning and dividing whole raw chickens. One of the women gestures at everyone in the room and tells me they "are all family".
These large pots above open fires are being used to make 'santan', which is a sauce of coconut milk mixed with salt, shallots and a bit of sugar. The heat in this room is extremely high so this man is working with his shirt off.
Away from the heat and near a breeze, this elderly woman is preparing chillis to be served with the nasi gudeg.
And here, in the section of the kitchen with the most natural light, a woman is sitting solitary and silent while she rips apart banana leaves. They'll be used for the presentation of the meal.
And that's it. A lot of effort clearly goes on behind the scenes in the spacious and sprawling kitchen area of the restaurant. Hours and hours of work for a Indonesia dish that is consumed within minutes. But it is tasty… very tasty, in fact. Which you hope makes it all worthwhile.
Tag : Yogyakarta's Dining Guide, Yogyakarta


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- Independent
- The Enterprise
- The Recorder
A St. Mary's County commissioner wants to see teachers and other public school staff go through military-style tactical training as a way to better secure local schools.
The idea came up during a Tuesday afternoon meeting between the commissioners and school board.
"Our schools are very safe," Superintendent Michael Martirano said while briefing the officials on St. Mary's school safety measures in light of the mass shooting at an elementary school in Connecticut last month.
Commissioner Dan Morris (R) asked if teachers are sent to tactical training courses like members of the military attend. He said that he was not talking about arming teachers in the schools. Morris said tactical training would help provide another layer of security at schools, and that the training is worth more than just having a weapon.
He said Thursday that military defensive training for all teachers would give them "the ability to use your eyes, your brain and see potential danger before it gets there." He said teachers could be taught how to use everyday objects to defend themselves and their students in an emergency situation.
Martirano said schools do offer some types of training, and that he would expect more would be offered for teachers and school staff.
In an interview later, Martirano said schools do offer "table-top exercises" with some employees and routinely go over emergency management plans.
Martirano reiterated that schools are not and should not be prisons, and that for every security measure taken, another weakness may be exposed.
He said he is hoping to tap into some of the millions of dollars Gov. Martin O'Malley (D) has proposed to spend on school security enhancements.
He said teachers, administrators and even students need to report issues of potential violence that could happen at schools.
"We've got to try to do what we can," Commission President Jack Russell (D) said.
Most of the boards' joint meeting was occupied by predictions of how next year's school budget will shape up.
Elaine Kramer, the county's chief financial officer, suggested the boards use a similar approach to last year's budget planning, with the school board using the previous year's budget as a starting point and then prioritizing and explaining any requests above that amount. The county will not provide a target number for the school board.
Martirano earlier this month proposed a 4.8 percent increase to the overall fiscal 2014 school operating budget for a total of $192.4 million. That is about $8.9 million more than the current year, and calls for a $7 million increase from the county government as well as $874,000 more from the state and an additional $1 million from the school's surplus funds.
The additional money would pay for about 30 new jobs at a cost of $2.2 million, raises for all employees at a cost of about $2.1 million, and cover escalating expenses for health care and other items next fiscal year.
County staff presented information that a pay step increase along with a 1 percent cost-of-living raise for county employees would cost about $1 million. The commissioners have not yet proposed an official budget for fiscal 2014.
Martirano said he would like parity when it comes to pay raises for school employees.
Teachers, administrators and support staff have unions that negotiate pay and other issues with the school board, while the commissioners simply enact pay changes for county employees.
Commissioner Todd Morgan (R) said he, too, would like parity between pay raises for school and county employees. He said it was "a shocker" to first learn about the superintendent's proposed budget by reading it in the newspaper. Asked in an interview later how he would rather learn about the budget, which was presented at a Jan. 9 public school board meeting, he said he did not know.
Commissioner Cindy Jones (R) took the face-to-face opportunity to again chastise the school board members for not showing up to a commissioners' meeting half a year ago when the county officially approved the board of education's budget. School staff were at the meeting, but none of the five school board members attended.
"That's something that makes it very difficult for us to collaborate with you," Jones said. She said she was not pleased that the superintendent changed several administrators' titles and gave them the associated pay raises outside of the budget process.
"It's simply a matter of accountability to our citizens," Jones said.
Sal Raspa, school board chair, said at the conclusion of the meeting that the school board members are accountable.


text:
Whittling Down Wood Waste
This article originally appeared in the May/June 2006 issue of Home Energy Magazine.
May 01, 2006
From design to dumpster, residential construction offers opportunities to make more efficient use of our wood resources and products, as well as other construction material.
Americans have been building homes with wood—shaping logs, joining timbers, nailing studs—for almost 400 years. Our current approach—stickframing—grew popular in the mid-1800s (particularly in the rapidly growing West) because it took less skill, required simpler tools, and took fewer people than timber framing. We apparently really like waste haulers, too.The National Association of Home Builders (NAHB) Research Center reports that the "typical" home generates about 3,500 lb of wood waste during its construction, about half of which is solid-sawn lumber. From design to dumpster, residential construction offers us opportunities to make more efficient use of our wood resources and products, as well as other construction material. Most of those opportunities are cost competitive and then some—besides delivering a higherperformance home. Few systems in home building offer such clear win-win propositions as the efficient use of wood. Before Peter and Steve left the Building Science Corporation to become principals of 3-D Building Solutions, a high-performance buildings consulting firm, the three of us studied the problem of wood waste and prepared the ...
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