10 research outputs found

    A Systematic Literature Review Method On AES Algorithm for Data Sharing Encryption On Cloud Computing

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    Cloud computing is one revolution in information technology (IT) that can share resources, services and data through a network among users. Because users have same rights on the network to transfer data, data are vulnerable to be attacked by unauthorized person. Lately, data security in a system only concentrates on data storage on cloud by utilizing internet security, but a little concentration is found during data transfer. By considering security as a serious problem, an encryption-based proposed system is presented to secure during data transfer. Authors propose an approach to boost system security during data transfer in order to prevent data theft by unauthorized person. To prevent an attack by unauthorized person, Advanced Encryption Standard (AES) will be proposed to secure data transfer and storage in cloud computing. For better future, authors will propose Systematic Literature Review (SLR) to generate suggestions and opportunities in AES cloud computing

    Warez

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    When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age

    Warez

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    When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age

    Counter-Terrorism, Ethics and Technology

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    This open access book brings together a range of contributions that seek to explore the ethical issues arising from the overlap between counter-terrorism, ethics, and technologies. Terrorism and our responses pose some of the most significant ethical challenges to states and people. At the same time, we are becoming increasingly aware of the ethical implications of new and emerging technologies. Whether it is the use of remote weapons like drones as part of counter-terrorism strategies, the application of surveillance technologies to monitor and respond to terrorist activities, or counterintelligence agencies use of machine learning to detect suspicious behavior and hacking computers to gain access to encrypted data, technologies play a significant role in modern counter-terrorism. However, each of these technologies carries with them a range of ethical issues and challenges. How we use these technologies and the policies that govern them have broader impact beyond just the identification and response to terrorist activities. As we are seeing with China, the need to respond to domestic terrorism is one of the justifications for their rollout of the “social credit system.” Counter-terrorism technologies can easily succumb to mission creep, where a technology’s exceptional application becomes normalized and rolled out to society more generally. This collection is not just timely but an important contribution to understand the ethics of counter-terrorism and technology and has far wider implications for societies and nations around the world

    Counter-Terrorism, Ethics and Technology

    Get PDF
    This open access book brings together a range of contributions that seek to explore the ethical issues arising from the overlap between counter-terrorism, ethics, and technologies. Terrorism and our responses pose some of the most significant ethical challenges to states and people. At the same time, we are becoming increasingly aware of the ethical implications of new and emerging technologies. Whether it is the use of remote weapons like drones as part of counter-terrorism strategies, the application of surveillance technologies to monitor and respond to terrorist activities, or counterintelligence agencies use of machine learning to detect suspicious behavior and hacking computers to gain access to encrypted data, technologies play a significant role in modern counter-terrorism. However, each of these technologies carries with them a range of ethical issues and challenges. How we use these technologies and the policies that govern them have broader impact beyond just the identification and response to terrorist activities. As we are seeing with China, the need to respond to domestic terrorism is one of the justifications for their rollout of the “social credit system.” Counter-terrorism technologies can easily succumb to mission creep, where a technology’s exceptional application becomes normalized and rolled out to society more generally. This collection is not just timely but an important contribution to understand the ethics of counter-terrorism and technology and has far wider implications for societies and nations around the world

    Peer production of Open Hardware: Unfinished artifacts and architectures in the hackerspaces

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    The dissertation adopts the theoretical framework of peer production to investigate the phenomena of open collaboration in hacker clubs through two case studies of small scale electronic artefacts. A critique of current theories of peer production is developed from a Science and Technology Studies point of view, arguing for the primacy of social constructivism over technological determinist narratives about the role of ICTs in late capitalism in general and hacker culture in particular. Properties of disruptive novelty and spontaneous emergence routinely attributed to ICTs – and by extension to the peer production practices of hackers – are approached sceptically with a historically informed ethnographic method that concentrates on continuities and contexts.La tesis adopta el marco teórico de la producción entre iguales para investigar los fenómenos de colaboración abierta en los clubs de hackers, a través de dos estudios de caso sobre artefactos electrónicos de pequeña escala. Se desarrolla una crítica de las teorías actuales sobre la producción entre iguales desde el punto de vista de los Estudios de Ciencia y Tecnología, defendiendo la primacía de la visión constructivista social por encima de las narrativas deterministas tecnológicas en el papel de las TIC en el capitalismo tardío, en general, y en la cultura hacker en particular. Nociones como la novedad perturbadora y la aparición espontánea, atribuidas habitualmente a las TIC y, por extensión, a las prácticas de producción entre iguales de los hackers, se tratan con escepticismo mediante un método etnográfico históricamente informado, que se concentra en las continuidades y contextos.La tesi adopta el marc teòric de la producció entre iguals per investigar els fenòmens de col·laboració oberta als clubs de hackers, a través de dos estudis de cas sobre artefactes electrònics de petita escala. S’hi desenvolupa una crítica de les teories actuals sobre la producció entre iguals des del punt de vista dels Estudis de Ciència i Tecnologia, defensant la primacia de la visió constructivista social per sobre de les narratives deterministes tecnològiques en el paper de les TIC en el capitalisme tardà, en general, i en la cultura hacker en particular. Nocions com la novetat pertorbadora i l’aparició espontània, atribuïdes habitualment a les TIC i, per extensió, a les pràctiques de producció entre iguals dels hackers, es tracten amb escepticisme mitjançant un mètode etnogràfic històricament informat, que es concentra en les continuïtats i els contextos.Societat de la informació i el coneixemen

    Digital disruption in the recording industry

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    With the rise of peer-to-peer software like Napster, many predicted that the digitalisation, sharing and dematerialisation of music would bring a radical transformation within the recording industry. This opened up a period of controversy and uncertainty in which competing visions were articulated of technology-induced change, markedly polarised between utopian and dystopian accounts with no clear view of ways forwards. A series of moves followed as various players sought to valorise music on the digital music networks, culminating in an emergence of successful streaming services. This thesis examines why there was a mismatch between initial predictions and what has actually happened in the market. It offers a detailed examination of the innovation processes through which digital technology was implemented and domesticated in the recording industry. This reveals a complex, contradictory and constantly evolving landscape in which the development of digital music distribution was far removed from the smooth development trajectories envisaged by those who saw these developments as following a simple trajectory shaped by technical or economic determinants. The research is based upon qualitative data analysis of fifty five interviews with a wide range of entrepreneurs and innovators, focusing on two successful innovation cases with different points of insertion within the digital recording industry; (1) Spotify: currently the world’s most popular digital music streaming service; and (2) INgrooves: an independent digital music distribution service provider whose system is also used by Universal Music Group. The thesis applies perspectives from the Social Shaping of Technology (“SST”) and its extension into Social Learning in Technological Innovation. It explores the widely dispersed processes of innovation through which the complex set of interactions amongst heterogeneous players who have conflicting interests and differing commitments involved in the digital music networks guided diverging choices in relation to particular market conditions and user requirements. The thesis makes three major contributions to understanding digital disruption in the recording industry. (1) In contrast to prevailing approaches which take P2P distribution as the single point of focus, the study investigates the multiplicity of actors and sites of innovation in the digital recording industry. It demonstrates that the dematerialisation of music did not lead to a simple, e.g. technologically-driven transformation of the industry. Instead a diverse array of realignments had to take place across the music sector to develop digital music valorisation networks. (2) By examining the detailed processes involved in the evolution of digital music services, it highlights the ways in which business models are shaped through a learning process of matching and finding constantly changing digital music users’ needs. Based on the observation that business models must be discovered in the course of making technologies work in the market, a new framework of ‘social shaping of business models’ is proposed in order to conceptualise business models as an emergent process in which firms refine their strategies in the light of emerging circumstances. (3) Drawing upon the concepts of musical networks (Leyshon 2001) and mediation (Hennion 1989), the thesis investigates the interaction of the diverse actors across the circuit of the recording business – production, distribution, valorisation, and consumption. The comprehensive analysis of the intricate interplay between innovation actors and their interactions in the economic, cultural, legal and institutional context highlights the need to develop a more sophisticated and nuanced understanding of the recording industry

    Newman v. Google

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