NOXFORD ID is a seven-layer privacy-preserving identity verification architecture designed to address a specific fraud vulnerability in cross-institutional identity validation: the brittleness of exact-match verification against ordinary, legitimate variation in how names and dates are recorded across institutions. The architecture combines hardened Bloom-filter cryptographic linkage (privacy-preserving record linkage), field-separated fuzzy matching, a probabilistic decision engine with an explicit human-review tier, a tamper-evident cross-institutional integrity ledger, a genuine Schnorr zero-knowledge proof of identity knowledge, replay-resistant institution-specific key derivation, and a Root Certificate Authority layer aligned with Nigeria's NIMC Act 2026, which designates the National Identity Management Commission as Root Certification Authority for the country's National Public Key Infrastructure. Each layer is independently implemented and empirically tested against a labeled test corpus, with results reported transparently, including design flaws discovered and corrected during development. The paper documents a measured reduction in false rejection of legitimate citizens from 57% to 14% relative to a representative exact-match baseline, while maintaining zero fraud slip-through in testing, and explicitly states the system's current limitations, including evaluation corpus scale, dependence on enrollment-data integrity, and pending network-level threat-detection integration.
Real-world asset tokens that reference physical objects with multi-century lifespans face design challenges absent from short-horizon financial instruments. This paper identifies seven such challenges — permissionless operation, death detection without death incentives, decentralized registry bootstrapping, dispute resolution without central authority, verification at scale, indefinite funding, and century-scale system durability — and presents an integrated design framework that resolves all seven. The framework is demonstrated through a deployed conservation protocol that tokenizes old-growth trees as ERC-721 non-fungible tokens, with a permanent freeze mechanism that renders tokens non-transferable upon confirmed tree death. The protocol is live on Base L2 mainnet with twelve genesis trees minted and source code publicly available.
Purpose: This paper examines blockchain technologies as instruments to strengthen archival management by providing verifiable authenticity, tamper evidence, and resilient traceability for digital records. It situates blockchain within Oman Vision 2040 and evaluates how distributed ledger technology (DLT) can be piloted and integrated with existing archival infrastructures. Method/Approach: A qualitative case-study approach synthesizes three evidence streams: international pilot project reports such as ARCHANGEL, peer-reviewed literature and technical white papers (2017–2024), and semi-structured expert interviews and institutional readiness analyses from Oman. Thematic analysis examined three domains: integrity & authenticity, transparency & access, and institutional readiness & governance. Results: Blockchain provides a cryptographic chain-of-custody and tamper-evident anchoring model for archival objects by writing content fingerprints to distributed ledgers while storing content off-chain. International pilots show feasibility; however, challenges include governance design, legal recognition, interoperability, cost, and capacity building. Conclusion: Blockchain is a promising augmentation to archival toolkits but is not a substitute for core preservation practices. Recommendations include staged pilots in Oman, a hybrid architecture, standardized hashing and metadata practices, training, and regional consortia for governance and cost distribution.
Under the background of the deepening of digital China strategy and the diversification of public archives demand, the insufficient sharing and inefficient utilization of archives information resources have become a prominent bottleneck restricting the release of archives value. This paper systematically combs the policy evolution, platform practice and technology application status of file sharing in China, and finds that the lack of metadata standards, vague boundaries of powers and responsibilities, weak security prevention and control, and the interweaving of the concepts of "valuing custody and neglecting utilization" have formed systematic obstacles such as poor cross-domain circulation and mismatch between supply and demand. Therefore, this paper proposes four-dimensional collaborative paths: first, technology empowerment, deployment of alliance chain and zero-knowledge proof to achieve "availability and invisibility", and construction of multi-modal retrieval and personalized recommendation engine; Second, institutional innovation, the development of open value assessment guidelines and "negative list+white list" mechanism, the establishment of joint meetings and third-party performance audits; The third is management optimization, implementing the dual-track talent project of "archives +IT" and reshaping the accurate service process driven by user portraits; Fourth, social coordination, building a digital community of "urban memory" of archives, libraries and museums, and introducing the feedback mechanism of crowdsourcing and cultural and creative income. The research provides an operational framework for the government to formulate an open policy and the digital transformation of institutions, and promotes the archival resources from "physical concentration" to "value aggregation".
Virtually Disposable: A Theory and History of Digital Trash historicizes and critically analyzes the conditions under which the cultural category of trash does and does not come into play in historical and contemporary digital environments, from the American 1980s to the present. Understanding the determination of real-world objects as trash as a reflexive, cross-cultural aspect of the maintenance of physical space, this dissertation evaluates the criteria according to which modern users and web platforms perform the same calculus in their management of digital files, from the machine-readable forms of data collected by corporate entities to artifacts as potentially personally meaningful as a photo stored on one’s cell phone. Chapter 1 traces the development of delete functions on business-oriented personal computers, posing the graphical representation of delete in trash can-styled icons on user-facing interfaces as a design response to the limited storage affordances of local machines in the 1980s. This chapter locates the trash can icon as part of the same genealogy of digital waste-management strategies as commercial content-moderation of the Web 2.0 era (ca. 2006–) but advances their respective models of digital disposability in terms of “data custodians” (local, determined by storage) and “content janitors” (non-local, informed by hygiene). Chapter 2 thinks about the contemporary management of user-generated content by platforms in terms of archive, arguing that the cloud has ushered in a post-storage moment. The tacit valuation of user-generated content as data under platform capitalism may account for its seemingly indefinite maintenance online, but the same conditions of preservation and display on the user profile provoke new anxieties in the user that act upon their online self-representation in digital space, resulting in curated, digitally hygienic archives that are neither truly personal nor all that personally revealing. Chapter 3 then assesses the extent to which the value reflexively assigned to user-generated content (with a particular interest in digital images, in this case) under platform capitalism may reliably translate into extra-digital systems of value. This chapter catalogs various failed attempts on the part of relatively empowered cultural institutions such as the museum and art world to confer value on born-digital visual art and reads them in conversation with similarly doomed efforts to stabilize digital images as financial commodities, most notably in the form of non-fungible tokens (NFTs). Although digital media may appear virtual, digital culture of our post-cloud, post-Web 2.0 moment relies upon material infrastructure, the ongoing support of which depends upon the consumption of rare-earth minerals, energy, and water and which results in the generation of toxic e-waste. Virtually Disposable builds upon research located at the intersection of critical discard studies and environmental media studies by questioning the implicit determinations of value that inform and have informed the personal and corporate maintenance and disposal of digital files both today and historically. Analyzing the logics according to which a digitally mediated thing becomes disposable, as well as attending to the functional suspension of trash as a cultural category under the cloud and financial imperatives of platform capitalism, this dissertation accounts for a variable in the equation seldom examined in existing studies of the flows of e-waste alone: that the physical machines that afford file-storage reach their breaking points in no small part due to the deluge of value-unclear files they are now made to store and process.
The rapid ascent of Non-Fungible Tokens (NFTs) has fundamentally disrupted the art market and the broader visual culture landscape. While much scholarly and popular attention has been focused on their economic impact and speculative nature, this article explores a less examined dimension: the potential of blockchain technology, as manifested in NFTs, to redefine the paradigms of digital heritage preservation. Digital art and born-digital cultural artifacts face an existential threat from technological obsolescence, format degradation, and the inherent fragility of digital media. Traditional preservation institutions, such as museums and archives, have struggled to develop scalable, sustainable models for conserving these ephemeral works. This article argues that NFTs, through their core properties of decentralized ownership verification, immutability of provenance, and programmable permanence, offer a novel, albeit complex, framework for safeguarding our collective digital visual heritage. By analyzing the technical architecture of NFTs, the challenges of preserving the digital asset separate from its token, and the emergent models of decentralized autonomous organizations (DAOs) and community-led preservation, this paper posits that we are witnessing the nascent stages of a new preservation ecology. This study synthesizes literature from digital humanities, media studies, conservation science, and computer science to critically assess both the promises and perils of this convergence. It concludes that while NFTs are not a panacea, they introduce powerful tools that, if ethically and thoughtfully integrated, can significantly bolster the resilience and longevity of digital visual culture for future generations.
Non-Fungible Tokens (NFTs) offer a promising mechanism to protect Australian and Indigenous artists' copyright. They represent and transfer the value of artwork in digital form. Before adopting NFTs to protect Australian artwork, we in this paper investigate them empericially. We focus on examining the details of NFT structure. We start from the underlying structure of NFTs to show how they represent copyright for both artists and production owners, as well as how they aim to safeguard or secure the value of digital artworks. We then involve data collection from various types of sources with different storage methods, including on-chain, centralized, and decentralized systems. Based on both metadata and artwork content, we present our analysis and discussion on the following key issues: copyright, security and artist identification. The final results of the evaluation, unfortnately, show that the NFT is NOT ready to protect Australian and Indigenous artists' copyright.
Taras Maksymyuk, Nazariy Andrushchak, Domenico Romano, Lorenzo Bellucci · 6 authors
This paper explores the integration of blockchain and related technologies for enhancing cultural heritage management systems. Art counterfeiting and inefficiencies in traditional provenance methods highlight the need for robust solutions to ensure the security, authenticity, and traceability of artifacts. Blockchain’s immutability, transparency, and decentralized structure provide an innovative foundation for addressing these challenges. By incorporating tools such as invisible marking technologies, AI-driven authentication, and user-friendly decentralized applications (DAPPs), this framework enables efficient management of artifact records and ownership. Additionally, the application of Non-Fungible Tokens (NFTs) and Blockchain as a Service (BaaS) platforms demonstrates how scalable and secure systems can be deployed to meet the growing demands of the art world. The proposed methodology also considers interdisciplinary approaches involving chemistry, AI, and blockchain technologies to safeguard cultural artifacts while enhancing stakeholder trust and operational efficiency.
By bringing digital artworks to one’s everyday shopping list, NFTs have revolutionized a large group’s understanding of art. In this article, I challenge the stance presented by authors such as Taylor and Sloane that NFTs shift the consumption of objects to the liquid consumption of the non-material by drawing on the aesthetic identity of NFTs as images. Firstly, I analyse the evolution of blockchain products’ function from that of strictly fungible tokens to non-fungible goods. NFTs rely on art’s specificity and acquire their new identity by virtue of entering the art market, which does not happen with ordinary cryptocurrencies. NFTs thus benefit from the contextualization of art as a socially and technologically mediated immaterial process: they emerge as instances of the artification of a non-artistic immaterial experience and become art-like. However, an NFT as a commodity is not pure code; it does have an image attached. This distinguishes NFTs from particular fungible tokens that hold added value due to their unique historical context. I further point out that the fact that NFTs have, as commodities, taken the form of digital images is an expression of a pervasive need for interaction with objects in today’s everyday digital experience. Also, the shift of NFTs from being just “specific” phenomena as art objects to “singular” phenomena construed as authors of the ways in which they will be perceived and understood is discussed. NFTs create their own impact, on the one hand, independently of their often poor artistic or aesthetic quality, and on the other hand, as entirely dependent on their aura as mathematically and ontologically unique, visually perceptible entities.
Ben Biedermann, Matthew Scerri, Victoria Kozlova, Joshua Ellul
Web3’s decentralised infrastructure has upended the standardised approach to digital identity established by protocols like OpenID Connect. Web2 and Web3 currently operate in silos, with Web2 leveraging selective disclosure JSON web tokens (SD-JWTs) and Web3 dApps being reliant on on-chain data and sometimes clinging to centralised system data. This fragmentation hinders user esxperience and the interconnectedness of the digital world. This article explores the integration of Web3 within the OpenID Connect framework, scrutinising established authentication protocols for their adaptability to decentralised identities. The research examines the interplay between OpenID Connect and decentralised identity concepts, the limitations of the existing protocols like OpenID Connect for verifiable credential issuance, OpenID Connect framework for verifiable presentations, and self-issued OpenID provider. As a result, a novel privacy-preserving digital identity bridge is proposed, which aims to answer the research question of whether authentication protocols should inherently support Web3 functionalities and the mechanisms for their integration. Through a Decentralised Autonomous Organisation (DAO) use case, the findings indicate that a privacy-centric bridge can mitigate the existing fragmentation by aggregating different identities to provide a better user experience. While the digital identity bridge demonstrates a possible approach to harmonise digital identity across platforms for their use in Web3, the bridging is unidirectional and limits root trust of credentials. The bridge’s dependence on centralised systems may further fuel the debate on (de)centralised identities.
Ben Biedermann, Matthew Scerri, Victoria Kozlova, Joshua Ellul
The terms self-sovereign identity (SSI) and decen-tralised identity are often used interchangeably, which results in increasing ambiguity when solutions are being investigated and compared. This article aims to provide a clear distinction between the two concepts in relation to the revised Regulation as Regards establishing the European Digital Identity Framework (eIDAS 2.0) by providing a systematisation of knowledge of technological developments that led up to implementation of eIDAS 2.0. Applying an inductive exploratory approach, relevant literature was selected iteratively in waves over a nine months time frame and covers literature between 2005 and 2024. The review found that the decentralised identity sector emerged adjacent to the OpenID Connect (OIDC) paradigm of Open Authentication, whereas SSI denotes the sector's shift towards blockchain-based solutions. In this study, it is shown that the interchangeable use of SSI and decentralised identity coincides with novel protocols over OIDC. While the first part of this paper distinguishes OIDC from decentralised identity, the second part addresses the incompatibility between OIDC under eIDAS 2.0 and Web3. The paper closes by suggesting further research for establishing a digital identity bridge for connecting applications on public-permissionless ledgers with data originating from eIDAS 2.0 and being presented using OIDC.
This thesis questions the recurring absence of technological art collections that use the most diverse technologies in their production, in the historical scenario of contemporary society, from the perspective of memory institutions. It also provides evidence of the intrinsic characteristics of this type of collection, based on its information regime, production, and management model, which amplify a scenario of loss or constant modes of data, information, and knowledge transfer in the context of a post-digital society. A central actor paradigm is constructed. Various types of agents from one or more ecosystems centralize demands, and actions and place themselves in a precarious position in their public or private attributions, in the face of a complex scenario of material and immaterial production in an immanent digital culture and under an accelerationist digital economy and policy. The thesis is presented in a multidisciplinary way, given the context of related fields of knowledge, digital ontology, political economy of information, digital art and culture, digital humanities, economic accelerationist theory, as well as thematic subfields such as digitization, decentralization, blockchain, artificial intelligence, autonomous systems, peer-to-peer networks, among others. The research is exploratory and empirical observation, which applied the qualitative method, assigned in two main stages through the review of scientific literature, use of methods of content analysis of available databases, and discourse analysis through structured interviews with agents in different scenarios. Local knowledge (national scenario) that relates to the international context of some (theoretical-practical) examples, also justified by the absence or restriction of similar models for analysis in Brazil. The aim was to understand the ways, processes, regimes and uses of information in the implementation, organization and retrieval of art and digital heritage archives through autonomous agents, machine learning and the use of new technologies such as blockchain in decentralized networks (P2P) based on technical-theoretical, scientific and transdisciplinary models in the field of information science interfacing with the digital humanities. As a result, the thesis proposes the implementation of a decentralized theoretical-technical accelerationist model, made up of five stages of action and under guiding principles such as the digital information regime in the post-digital society, the use of new technologies and autonomous systems, the decentralization of collections, the constitution of a sharing economy in a P2P society model, and the introduction and incorporation into ongoing socio-technical accelerationist models, which allows the application of a physical, digital, semantic, pragmatic informational method.
This research is concerned with documenting and chronicling the art of NFTs art in the Saudi artistic cultural scene, the importance of which stems from the lack of scientific sources that document this field until the preparation of this research and aims to trace historically the emergence of the field of NFTs art in the Kingdom of Saudi Arabia in the arts sector through the experiences of Saudi artists. The most prominent events for the culture, arts and technology sector, and other Saudi sectors. The research dealt with the history of the emergence of the field of NFTs art, which extends from the history of digital arts, and reviewed the most famous works of NFTs art.As a result of the technical revolution and the artistic movement that the world is witnessing in the direction of investing in digital arts, this movement has moved to the Saudi artistic cultural scene through the experiences of Saudi artists and emerged from the artist Rashid Al-Shasha’i, and after him the era of Al-Amoudi. As for the major Saudi sectors, the role of the Ministry of Communications and Information Technology and the Ministry of Culture, represented by the Visual Arts Authority, emerged for organizing conferences that paved the way for the emergence of this field in the Kingdom, followed by initiatives for the activities of some sectors to benefit from the technical capabilities of the field of NFTs art.
Ovaj rad pokušava poboljšati sustav donacija implementacijom Web3 platforme za donacije. Problemi koji se riješavaju tom implementacijom su: velike naknade kod slanja donacija, ograničeni globalni doseg, manjak privatnosti, spore transakcije, manjak transparentnosti i sigurnosti. Također su istražene i implementirane sve potrebne tehnologije za riješavanje tih problema. Razvijene funkcionalnosti Web3 platforme za donacije su: izrada i uređivanje donacijskih kampanja, učitavanje PDF dokumenata donacijske kampanje na IPFS, prikaz informativnog sadržaja o kampanji, tražilica donacijskih kampanja, mogućnost razmjene tokena prije donacije, dodjela NFT nagrada za veće donacije, anonimna identifikacija korisnika putem povezivanja na platformu s kriptonovčanikom.
Andrea Nanetti, Paola Benussi, Andrea Erboso, Dusit Niyato
To commemorate the 700 years since Marco Polo’s death (1324–2024), the State Archive of Venice, the National Library of Saint Mark, and the Veneto Institute of Sciences, Humanities and Arts (IVSLA) are curating and editing a diplomatic codex (CDP) of documents relevant to the study of the historical figure of Marco Polo (1254–1324). IVSLA will publish the CDP as a prestigious and traditional book, and the Engineering Historical Memory initiative will publish it online. This paper presents and discusses how the CDP is exploring the use of blockchain technology among parties who might not necessarily trust each other (i.e., authors and readers) to 1) launch ongoing participatory editing by entrusting multiple users with the task of promoting substantiated modifications to critical editions of archival documents and 2) share the digital asset’s history while duplicating and reusing archival documents’ digital reproductions. Thus, the online CDP can be construed as a practice-led research project exploring the disruption of making a critical edition of archival documents using highly participatory research powered by blockchain and distributed ledger technology.
Leonhard Balduf, Martin Florian, Björn Scheuermann
We explore issues relating to the storage of digital art, based on an empirical investigation into the storage of audiovisual data referenced by non-fungible tokens (NFTs). We identify current trends in NFT data storage and highlight problems with implemented solutions. We particularly focus our investigation on the use of the Interplanetary Filesystem (IPFS), which emerges as a popular and versatile distributed storage solution for NFTs. Based on the analysis of discovered data storage techniques, we propose a set of best practices to ensure long-term storage survivability of NFT data. While helpful for forming the NFT art market into a legitimate long-term environment for digital art, our recommendations are also directly applicable for improving the availability and integrity of non-NFT digital art.
Open access
2 source records
Advanced Data Storage Technologies
Digital and Traditional Archives Management
Advanced Steganography and Watermarking Techniques
The article describes the use and possible value creation of Non-Fungible Tokens (NFT) in the academia and open access publishing environment. It defines NFTs, describes disadvantages and possible solutions, especially in the intended scientific environment. An overview of existing NFT service providers from the publishing environment illustrates that there is not yet a suitable one for researchers. Accordingly, three possible scenarios are shown where NFT services could be located in a science-friendly way. One would be with library- or scholarly-led university presses, repositories, and other publication infrastructures (such as OJS or OMP). Another would be to use centralizing and channelling article submission platforms with which universities have contracts, such as ChronosHub. The third and broadest approach would be through Digital Object Identifier (DOI) registration agencies such as ChronosHub and DataCite, although complexities come into play here due to the triangular relationship with publishers registering DOIs (some of them having exclusive usage rights transferred to themselves). This complexity could be reduced by registering NFTs only for open access publications with a Creative Common Attribution license. A summary and outlook provides an overview of open questions and initial starting points to get started.
Alexander Pfeiffer, Natalie Denk, Thomas Wernbacher, Stephen Bezzina · 6 authors
Non-Fungible Tokens (NFTa) can either represent an original digital artwork, or act as a digital reference to the actual work. In both as digital references to the actual work. In both cases the record in the distributed ledger, mostly a blockchain-based database, intends to serve as a proof of ownership or transfer of rights. NFTs might also add a further purpose, which in blockchain terms is referred to as “a utility", such as access to special websites, chats or clubs in emerging metaverse platforms. This use-case paper presents a first introduction of two early stage demonstrators, set outside the common use of art images or images of historical events as NFTs. The first case shows how educational credentials can be created, in which different teachers contribute to assessment achievements. We elaborate how these partial achievements are verified separately within the actual credentials. In the second case study, we build on previous research in regard to NFTs in the music industry and show the combination of physical vinyl record special editions, in our case vinyls signed by the band, and the ownership certificate as NFT. For both demonstrators we used, in different settings, the crypto art platform NFTmagic and the blockchain-token wallet Sigbro. We developed and tested the results within the setting of a roleplay as a group and show how blockchain technologies and especially NFTs can be made useful in new ways, inspired by the ongoing process of discovering risks and opportunities in ‘crypto art’, thus initiating discussion on the topic and effectively bridging the cybersecurity and (digital) art communities.
The document describes what blockchain technology is, how the federal government is exploring its use, and some of the records management implications. This document is a snapshot in time based on research conducted in 2018. It is important to note that blockchain technology is developing and being used in new and interesting ways. Blockchain could eventually transform basic government functions such as information authentication, financial transactions, and citizen identification. Changes in these areas have the potential to fundamentally impact the role of governments as trusted information repositories or record holders. NARA, agency and federal records managers will need to monitor how blockchain technology matures and is implemented over time to ensure records management issues are identified and resolved.
The DSM Directive preserves, on the one hand, the public domain, by restricting copyright in faithful reproductions of public domain works. On the other hand, there are copyright opportunities for digital art and non-fungible tokens. The Directive also creates opportunities for preservation and digitization for cultural heritage institutions. There are opportunities there that can be put to good and productive use in the interest of all parties involved. Extended collective licensing and measures for out-of-commerce works can also play a role here. And moral rights will not be a hindrance in that respect if industry standards of the digital era are observed. It is therefore important to continue and to strengthen the dialogue between the cultural heritage institution community on the one hand and the copyright and related rights community on the other hand.
In 2019, the National Archives of Korea (NAK) developed a blockchain recordkeeping platform to conduct R&D on recordkeeping approaches. This paper introduces two types of R&D studies that have been conducted thus far. The first is the use of blockchain transaction audit trail technology to ensure the authenticity of audiovisual archives, i.e., the application of blockchain to a new system. The second uses blockchain technology to verify whether the datasets of numerous information systems built by government agencies are managed without forgery or tampering, i.e., the application of blockchain to an existing system. Government work environments globally are rapidly shifting from paper records to digital. However, the traditional recordkeeping methodology has not adequately kept up with these digital changes. Despite the importance of responding to digital changes by incorporating innovative technologies such as blockchain in recordkeeping practices, it is not easy for most archives to invest funds in experiments on future technologies. Owing to the Korean government’s policy of investing in digital transformation, NAK’s blockchain recordkeeping platform has been developed, and several R&D tasks are underway. Hopefully, the findings of this study will be shared with archivists around the world who are focusing on the future of recordkeeping.
From its origins in virtual financial transactions, emerging initiatives are seeking to acquire a new identity for blockchain as capable of addressing anxieties over the capacity of digital media to permanently and accurately store information. In this article, we explore the ensuing mediation between blockchain enterprises and new professional communities to which they are catering. Drawing on thematic analysis, we analyze how this process is being carried out through the discursive construction of trust, leveraged rhetorically in academic, trade, and news publications to extend an application for financial transactions to cultural institutions. We describe how trust is used not only to mediate the introduction of an application that prioritizes decentralization and cryptography, but is the turf on which traditional institutions are staking a claim as the trustworthy managers of digital records through their use of blockchain. The concept of the archival imaginary—a vision of what archives and blockchain should be and mean that pivots on imagined needs and technological capacities based on the current information ecology, institutional control, and expert systems—offers a way to illuminate this process.
Béla Gipp, Norman Meuschke, Joeran Beel, Corinna Breitinger
The proportion of information that is exclusively available online is continuously increasing. Unlike physical print media, online news outlets, magazines, or blogs are not immune to retrospective modification. Even significant editing of text in online news sources can easily go unnoticed. This poses a challenge to the preservation of digital cultural heritage. It is nearly impossible for regular readers to verify whether the textual content they encounter online has at one point been modified from its initial state, and at what time or to what extent the text was modified to its current version. In this paper, we propose a web-based platform that allows users to submit the URL for any web content they wish to track for changes. The system automatically creates a trusted timestamp stored in the blockchain of the cryptocurrency Bitcoin for the hash of the HTML content available at the user-specified URL. By using trusted timestamping to secure a ‘snapshot’ of online information as it existed at a specific time, any subsequent changes made to the content can be identified.
Open access
Archaeological Research and Protection
Advanced Steganography and Watermarking Techniques