Detection of audio spoofing attacks has become vital for automatic speaker verification systems. Spoofing attacks can be obtained with several ways, such as speech synthesis, voice conversion, replay, and mimicry. Extracting discriminative features from speech data can improve the accuracy of detecting these attacks. In fact, a frame-wise weighted magnitude spectrum is found to be effective to detect replay attacks recently. In this work, discriminative features are obtained in a similar fashion (frame-wise weighting), however, a cosine normalized phase spectrum is used since phase-based features have shown decent performance for the given task. The extracted features are then fed to a convolutional neural network as input. In the experiments ASVspoof 2015 and 2017 databases are used to investigate the proposed system’s spoof detection performance for both synthetic and replay attacks, respectively. The results showed that the proposed approach achieved 34.5% relative decrease in the average EER for ASVspoof 2015 evaluation set, compared to the ordinary cosine normalized phase features. Furthermore, the proposed system outperformed the others at detecting S10 attack type of ASVspoof 2015 database.

This article presents a new reading of the spoof poetic manifesto ‘Chamuły poezji’ [‘The Cads of Poetry’] written by Julian Przyboś in 1926. His use of the apocalyptic tones of early modernist poetry to lampoon a trio of acclaimed poets associated with Young Poland (especially Jan Kasprowicz) suggests a complex nature of Przyboś’s rejection and dependence on that movement. In general, the influence of Young Poland, though quite conspicuous in is juvenilia and early publications, tends to fade away. ‘Chamuły’ is a pejorative nonce word which alludes to the Biblical Ham as well as a Polish word for a cad or ill-bred bumpkin. This article adds to it another layer of meaning, based on Derrida’s interpretation of the Apocalypse, with allusions to sexual and genital imagery. And more generally, it reframes the whole Przyboś’s poetic work (not just his early poems) using Catherine Malabou’s concept of plasticity. Seen in a broader historical perspective, Przyboś’s struggles to break with Young Poland are not unlike the predicament of many eighteenth-century writers caught in the dispute between the Moderns and the Ancients, satirized in Swift’s Battle of the Books. The overall conclusion of this study is that at all times the avant-garde and the arrière-garde remain in a continuous dialogue and the innovators never lose sight of those left behind. Poetry is, after all, metamorphic and cannot be contained within within the bounds of manifestoes and artistic programmes.