“Women’s Voices Will be Heard!” is and remains our central slogan. So many of our values are being challenged, every recent news headline can be a starting point for resistance. Here are topics to spark your creativity: My Body, My Choice / If you think I’m a nasty woman, wait till I raise my daughter / Gay and Trans Rights / Build the Wall / Black Lives Matter / Russia / It’s the Economy, Stupid / Lock him up! / The War on Science / Education and Democracy / Climate Change / Everyone is Welcome Here
RESIST! Volume 2 will still be short-run web on newsprint, but that issue will be digest/comic book size, 7.25″ x 10.5″.
Anyone can submit comics or illustrated graphics to RESIST! though women and minorities are especially encouraged.
Images should be uploaded through the form to the left. They must be under 10mb, JPEG preferred (please no PDFs). We will contact you if we need a high-res. We cannot accept images sent via email.
If you have any questions, you can reach us at resistsubmission@gmail.com. We will not be able to respond individually to submissions. We thank you for your patience as we put Vol. 2 together.
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Keywords: Video steganography, Information hiding, Spatial domain, Transform domain, Adaptive steganography
Steganography is the art and science of secret communication, concealing the very existence of a communication. Modern cover types can take many forms such as text documents, audio tracks, digital images, and video streams. Extensive research has been done on image steganography in the previous decade due to their popularity on the internet. Nowadays, video files are drawing much more attention. They are transmitted more and more frequent on internet websites such as Facebook and YouTube imposing a larger practical significance on video steganography. Information hiding in video has a variety of techniques, each of which has its strengths and weaknesses. This paper intends to provide an up-to-date comprehensive review on the various video steganographic methods found in the literature in the last 5 years. Furthermore, since security and robustness are very important issues in designing a good steganographic algorithm, some relevant attacks and steganalysis techniques are also surveyed. The paper concludes with recommendations and good practices drawn from the reviewed techniques.
The stunning result is less a dialogue than a shared dream, Doig’s paintings a pilgrimage along which Walcott lights votive candles for all that he has loved. The unreal atmosphere resembles Italo Calvino’s Invisible Cities, Marco Polo narrating the oneiric empire of Kublai Khan. Walcott drifts between ekphrasis and personal reflection, often working in near sonnets that, like those of Midsummer (1984), demarcate a season in his life. It is old age, palpable in a disencumbered style (“My disenchantment with all adjectives/is deepening, a certain sign of age”), and discovering its footprints across a landscape where two lives, and two Caribbeans, blend. The poems are suffused with twilight, but the dominant register is celebration, delight in the fresh eyes of a painter whom Walcott addresses much as Shakespeare does the young man of the sonnets: with an injunction to preserve beauty in the world, to produce and reproduce, perhaps even to inherit.
Materials also commissioned five artists for an exhibition, and, unexpectedly, the two curators assigned to the project bridged the digital divide. One was Omar Olivera, 37, who remembers submitting a Kodak Carousel tray filled with slides of his work to get into Brooklyn College. The other, Hallie Bahn, 25, said she never had to use slides. By the time she arrived at Kenyon College in Ohio in 2009, slides were obsolete.
“These to me are archaic remnants of predigital life,” she said, sounding almost as if she were talking about remnants of prehistoric life. The Paleolithic types in France had their caves. Mid-20th-century photographers had their slides — and their Kodak Carousel projectors, to show them. (The exhibition will be on display at Materials for the Arts, on the third floor of 33-00 Northern Boulevard in Long Island City, Queens, until June 2.)
“Open Slides (TTMM),” by Jean Shin in collaboration with student participants in the exhibition, hanging in the video room. Credit Emon Hassan for The New York Times.
The references themselves are so subtle that editors and audiences in the US failed to notice them. For instance, in a scene where the X-Men are playing baseball (perhaps the most wholesome category of standby X-Men scenes), the character Colossus is wearing a T-shirt that reads “QS 5:51.” Later in the comic, Kitty Pryde partially obscures a street sign that says “Jewelry” (in the comics, Pryde is Jewish), while a nearby sign reads “212.”
QS 5:51 refers to Surah 5, verse 51, a controversial passage of the Quran that, like certain Bible passages such as Leviticus 18:22, has special weight in a contemporary political context. The passage is interpreted in some contemporary translations to mean: “Take not the Jews and the Christians as leaders/advisors.” The verse’s meaning is a particularly sensitive issue in Indonesia, which has the largest Muslim population in the world.
The Metropraph theaters are playing Dash’s new movie My Entire High School Sinking Into the Sea across the country this week and for the next few weeks – go here for a complete list of showings and go see the movie!
