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Encyclopedia of Computer Science and Technology

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220 h<strong>and</strong>writing recognition<strong>and</strong> other commercial s<strong>of</strong>tware so the disks could be copiedfreely <strong>and</strong> exchanged at computer fairs, club meetings,<strong>and</strong> on illicit bulletin boards (where they were known as“warez”). (See copy protection <strong>and</strong> intellectual property<strong>and</strong> computing.)The growing use <strong>of</strong> on-line services <strong>and</strong> networks in the1980s <strong>and</strong> 1990s brought new opportunities to exploit computerskills to v<strong>and</strong>alize systems or steal valuable informationsuch as credit card numbers. The popular media usedthe term hacker indiscriminately to refer to clever programmers,s<strong>of</strong>tware pirates, <strong>and</strong> people who stole information orspread viruses across the Internet. The wide availability <strong>of</strong>scripts for password cracking, Web site attacks, <strong>and</strong> viruscreation means that destructive crackers <strong>of</strong>ten have littlereal knowledge <strong>of</strong> computer systems <strong>and</strong> do not share theattitudes <strong>and</strong> philosophy <strong>of</strong> the true hackers who sought toexploit systems rather than destroy them.During the 1980s, a new genre <strong>of</strong> science fiction calledcyberpunk became popular. It portrayed a fractured, dystopianfuture where elite hackers could “jack into” computers,experiencing cyberspace directly in their mind, asin William Gibson’s Neuromancer <strong>and</strong> Count Zero. In suchtales the hacker became the high-tech analog <strong>of</strong> the cowboyor samurai, a virtual gunslinger who fought for high stakeson the newest frontier (see science fiction <strong>and</strong> computing).Meanwhile, lurid stories about such notorious realworldhackers (see Mitnick, Kevin) brought the dark side<strong>of</strong> hacking into popular consciousness.By the turn <strong>of</strong> the new century, the popular face <strong>of</strong> hackingwas again changing. Some <strong>of</strong> the most effective techniquesfor intruding into systems <strong>and</strong> for stealing sensitiveinformation (see computer crime <strong>and</strong> identity theft)have always been psychological rather than technical. Whatstarted as one-on-one “social engineering” (such as posingas a computer technician to get a user’s password) hasbeen “industrialized” in the form <strong>of</strong> e-mails that frighten orentice recipients into supplying credit card or bank information(see spam <strong>and</strong> phishing <strong>and</strong> spo<strong>of</strong>ing.) Criminalhackers have also linked up with more-traditional criminalorganizations, creating rings that can efficiently turn stoleninformation into cash.In response to public fears about hackers’ capabilities,federal <strong>and</strong> local law enforcement agencies have steppedup their efforts to find <strong>and</strong> prosecute people who crackor v<strong>and</strong>alize systems or Web sites. Antiterrorism expertsnow worry that well-financed, orchestrated hacker attackscould be used by rogue nations or terrorist groups to paralyzethe American economy <strong>and</strong> perhaps even disrupt vitalinfrastructure such as power distribution <strong>and</strong> air trafficcontrol (see counterterrorism <strong>and</strong> information warfare).In this atmosphere the older, more positive image <strong>of</strong>the hacker seems to be fading—although the free-wheelingcreativity <strong>of</strong> hacking at its best continues to be manifestedin cooperative s<strong>of</strong>tware development (see open source).Further Reading2600 magazine. Available online. URL: http://www.2600.com.Accessed February 2, 2008.Erickson, Jon. Hacking: The Art <strong>of</strong> Exploitation. 2nd ed. San Francisco:No Starch Press, 2007.Gibson, William. Neuromancer. West Bloomfield, Mich.: PhantasiaPress, 1986.Hafner, Katie, John Mark<strong>of</strong>f. Cyberpunk: Outlaws <strong>and</strong> Hackers onthe <strong>Computer</strong> Frontier. New York: Simon & Schuster, 1991.Harris, Shon, et al. Gray Hat Hacking: The Ethical Hacker’s H<strong>and</strong>book.Berkeley, Calif.: McGraw-Hill/Osborne Media, 2004.Levy, Stephen. Hackers: Heroes <strong>of</strong> the <strong>Computer</strong> Revolution. NewYork: Doubleday, 1984.Littman, J. The Fugitive Game: On-line with Kevin Mitnick. Boston:Little, Brown, 1996.Mitnick, Kevin, <strong>and</strong> William L. Simon. The Art <strong>of</strong> Deception: Controllingthe Human Element <strong>of</strong> Security. Indianapolis: Wiley,2002.———. The Art <strong>of</strong> Intrusion: The Real Stories behind the Exploits <strong>of</strong>Hackers, Intruders & Deceivers. Indianapolis: Wiley, 2005.Raymond, Eric. The New Hacker’s Dictionary. 3rd ed. Cambridge,Mass.: MIT Press, 1996.h<strong>and</strong>writing recognitionWhile the keyboard is the traditional means for enteringtext into a computer system, both designers <strong>and</strong> users havelong acknowledged the potential benefits <strong>of</strong> a system wherepeople could enter text using ordinary script or printedh<strong>and</strong>writing <strong>and</strong> have it converted to st<strong>and</strong>ard computercharacter codes (see characters <strong>and</strong> strings). With sucha system people would not need to master a typewriter-stylekeyboard. Further, users could write comm<strong>and</strong>s or takenotes on h<strong>and</strong>held or “palm” computers the size <strong>of</strong> a smallnote pad that are too small to have a keyboard (see portablecomputers). Indeed, such facilities are available to alimited extent today.A h<strong>and</strong>writing recognition system begins by buildinga representation <strong>of</strong> the user’s writing. With a pen or stylussystem, this representation is not simply a graphical imagebut includes the recorded “strokes” or discrete movementsthat make up the letters. The s<strong>of</strong>tware must then create arepresentation <strong>of</strong> features <strong>of</strong> the h<strong>and</strong>writing that can beused to match it to the appropriate character templates.H<strong>and</strong>writing recognition is actually an application <strong>of</strong> thelarger problem <strong>of</strong> identifying the significance <strong>of</strong> features ina pattern.One approach (<strong>of</strong>ten used on systems that work frompreviously written documents rather than stylus strokes)is to identify patterns <strong>of</strong> pixels that have a high statisticalcorrelation to the presence <strong>of</strong> a particular letter in the rectangular“frame” under consideration. Another approach isto try to identify groups <strong>of</strong> strokes or segments that can beassociated with particular letters. In evaluating such tentativerecognitions, programs can also incorporate a network<strong>of</strong> “recognizers” that receive feedback on the basis <strong>of</strong> theiraccuracy (see neural network). Finally, where the identity<strong>of</strong> a letter remains ambiguous, lexical analysis can be usedto determine the most probable letter in a given context,using a dictionary or a table <strong>of</strong> letter group frequencies.Implementation <strong>and</strong> ApplicationsA number <strong>of</strong> h<strong>and</strong>held computers beginning with Apple’sNewton in the mid-1990s <strong>and</strong> the now popular Palm devices<strong>and</strong> BlackBerry have some ability to recognize h<strong>and</strong>writing.However, current systems can be frustrating to use

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