A Survey on Wireless Security: Technical Challenges, Recent Advances and Future Trends

This paper examines the security vulnerabilities and threats imposed by the inherent open nature of wireless communications and to devise efficient defense mechanisms for improving the wireless network security. We first summarize the security requirements of wireless networks, including their authenticity, confidentiality, integrity and availability issues. Next, a comprehensive overview of security attacks encountered in wireless networks is presented in view of the network protocol architecture, where the potential security threats are discussed at each protocol layer. We also provide a survey of the existing security protocols and algorithms that are adopted in the existing wireless network standards, such as the Bluetooth, Wi-Fi, WiMAX, and the long-term evolution (LTE) systems. Then, we discuss the state-of-the-art in physical-layer security, which is an emerging technique of securing the open communications environment against eavesdropping attacks at the physical layer. We also introduce the family of various jamming attacks and their counter-measures, including the constant jammer, intermittent jammer, reactive jammer, adaptive jammer and intelligent jammer. Additionally, we discuss the integration of physical-layer security into existing authentication and cryptography mechanisms for further securing wireless networks. Finally, some technical challenges which remain unresolved at the time of writing are summarized and the future trends in wireless security are discussed.Comment: 36 pages. Accepted to Appear in Proceedings of the IEEE, 201

Unconditionally Secure Authentication and Integrity Protection for the Galileo Open Service Signal

The operational GNSSs do not offer authentication and integrity protection for the Open Service (OS) signal/message. But it is urgently needed, since several attacks can threat the OS user. By this reason the Galileo GNSS is working on this issue. This thesis contributes at the problem by adopting an approach as generic as possible, which outlines a theoretical bound on the key size. Therefore, the focus is providing data and signal unconditionally secure authentication and integrity pro

An examination of the Asus WL-HDD 2.5 as a nepenthes malware collector

The Linksys WRT54g has been used as a host for network forensics tools for instance Snort for a long period of time. Whilst large corporations are already utilising network forensic tools, this paper demonstrates that it is quite feasible for a non-security specialist to track and capture malicious network traffic. This paper introduces the Asus Wireless Hard disk as a replacement for the popular Linksys WRT54g. Firstly, the Linksys router will be introduced detailing some of the research that was undertaken on the device over the years amongst the security community. It then briefly discusses malicious software and the impact this may have for a home user. The paper then outlines the trivial steps in setting up Nepenthes 0.1.7 (a malware collector) for the Asus WL-HDD 2.5 according to the Nepenthes and tests the feasibility of running the malware collector on the selected device. The paper then concludes on discussing the limitations of the device when attempting to execute Nepenthes

Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928–1933

Against accepted histories of the historical avant-garde, which have elevated artistic production in traditional media while suppressing sonic practices, this dissertation argues that artist-engineers working across Europe and the United States independently, if simultaneously, turned their attention to emerging sound technologies as new media for creative experimentation by the early 1930s. This spectrum of activity demonstrates the significance of sound in avant-garde practice, and indicates a wide-ranging artistic engagement with technological devices intended for mass audiences. While the common understanding of the relation between art and technology in this period amounts to one of mere enthusiasm for the novel formal qualities of machines and mechanical structures, this dissertation demonstrates that artist-engineers deployed the telephone, radio, film projector, and synthesizer as tools for direct artistic expression. In doing so, they transformed a fascination with the machines of modernity into a functional practice and extended the avant-garde project to explore new modes of perception into a sonic register. This dissertation examines a cross-section of these experiments in the United States, France, Germany, and Russia. In 1932–33, orchestra conductor Leopold Stokowski (1882–1977) collaborated with Harvey Fletcher, a prominent physicist at Bell Telephone Laboratories, and other engineers on the long-distance transmission of a symphony concert by telephone. Beginning in the late-1920s, the Surrealist radio plays of French artist Paul Deharme (1898–1934) used sound to influence the subconscious mind, drawing directly from methods developing concurrently in the field of Freudian psychoanalysis. In 1929, building on the recent invention of optical sound-on-film systems, German animator Rudolf Pfenninger (1899–1976) devised a method of artificial sound synthesis based on translating hand-painted sound waves into light and then audible sound through the use of a projector. And in 1930, Russian engineer Evgeny Sholpo (1891–1951), working with colleagues at the Central Laboratory of Wire Communication in Leningrad, invented a device for the production of synthetic sound, made from cut paper, to accompany motion pictures. With the exception of Italian Futurist projects with noise in the 1910s, early twentieth century artists working with sound technologies, such as the figures I explore, have been excluded from canonical art histories and theories of the avant-garde. As a result, the conceptual artist and composer John Cage has emerged as the catalyst for postwar experiments with art, technology, and music. This dissertation fills in the historical lacuna between Futurism and Cage, a gap of nearly forty years, to demonstrate a continuum of sonic practices. In doing so, it reveals a previously-unexplored relationship between sound, the avant-garde, and technological innovation

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

'Be Sleek, be stylish, be yourself': Identity, Interactivity and Mad Men

The paper argues that Mad Men and its interactive online applications offers viewers the symbolic resources necessary for making and remaking of identity in the contemporary era. In particular, I focus on the construction and mediation of female identity represented in the show and its intertexts. In doing so, I seek to contribute to the body of work which examines the concept of identity and its relationship to media as it has been argued that there remains a shortage of scholarship which involves ‘systematic and sustained examination of the actual texts and practices of popular media culture’ (Kellner, 1995: 234)