CyberLiveApp: a secure sharing and migration approach for live virtual desktop applications in a cloud environment

In recent years we have witnessed the rapid advent of cloud computing, in which the remote software is delivered as a service and accessed by users using a thin client over the Internet. In particular, the traditional desktop application can execute in the remote virtual machines without re-architecture providing a personal desktop experience to users through remote display technologies. However, existing cloud desktop applications mainly achieve isolation environments using virtual machines (VMs), which cannot adequately support application-oriented collaborations between multiple users and VMs. In this paper, we propose a flexible collaboration approach, named CyberLiveApp, to enable live virtual desktop applications sharing based on a cloud and virtualization infrastructure. The CyberLiveApp supports secure application sharing and on-demand migration among multiple users or equipment. To support VM desktop sharing among multiple users, a secure access mechanism is developed to distinguish view privileges allowing window operation events to be tracked to compute hidden window areas in real time. A proxy-based window filtering mechanism is also proposed to deliver desktops to different users. To support application sharing and migration between VMs, we use the presentation streaming redirection mechanism and VM cloning service. These approaches have been preliminary evaluated on an extended MetaVNC. Results of evaluations have verified that these approaches are effective and useful

Stay Tuned: Whether Cloud-Based Service Providers Can Have Their Copyrighted Cake and Eat It Too

Copyright owners have the exclusive right to perform their works publicly and the ability to license their work to others who want to share that right. Subsections 106(4) and (5) of the Copyright Act govern this exclusive public performance right, but neither subsection elaborates on what constitutes a performance made “to the public” versus one that remains private. This lack of clarity has made it difficult for courts to apply the Copyright Act consistently, especially in the face of changing technology. Companies like Aereo, Inc. and AereoKiller, Inc. developed novel ways to transmit content over the internet to be viewed instantly by their subscribers and declined to procure the licenses that would have been required if these transmissions were being made “to the public.” However, while these companies claimed that their activities were outside of the purview of § 106(4) and (5), their rivals, copyright owners, and the U.S. Supreme Court disagreed. Likening Aereo to a cable company for purposes of § 106(4) and (5), the Supreme Court determined that the company would need to pay for the material it streamed. Perhaps more problematic for Aereo (and other similar companies) is the fact that the Court declined to categorize Aereo as an actual cable company, such that it would qualify to pay compulsory licensing fees—the more affordable option given to cable companies under § 111—to copyright holders. This Comment shows that, while the Court correctly ruled that companies like Aereo and AereoKiller should pay for the content transmitted, its failure to address whether Aereo is a cable company could frustrate innovation to the detriment of the public. It suggests, therefore, that these companies should be required to pay for the content that they transmit in the same way that cable companies do until Congress develops another system

Care for a Sample? De Minimis, Fair Use, Blockchain, and an Approach to an Affordable Music Sampling System for Independent Artists

Thanks, in part, to social media and the digital streaming age of music, independent artists have seen a rise in popularity and many musicians have achieved mainstream success without the affiliation of a major record label. Alongside the growth of independent music has come the widespread use of music sampling. Sampling, which was once depicted as a crime perpetrated by hip-hop artists, is now prevalent across charttopping hits from all genres. Artists have used sampling as a tool to integrate cultures, eras, and styles of music while experimenting with the bounds of musical creativity. Artists whose works are sampled have profited from royalties and the exposure of their original work in modern art. However, the laws that shaped the sample licensing system helped solidify financial and political obstacles that prevent independent artists from sampling. Therefore, while major label-affiliated artists can use their status and financial capital to bypass the obstacles, it is practically impossible for independent artists to afford sampling and participate in modern music’s sonic creativity

From Meerkat to Periscope: Does Intellectual Property Law Prohibit the Live Streaming of Commercial Sporting Events?

On February 27, 2015, San Francisco entrepreneur Ben Rubin announced the launch of his live streaming video application, Meerkat. Named after “the cute but carnivorous mongoose native to Africa,” Meerkat allows users to upload video footage from smartphones to the Internet for worldwide, instantaneous viewing. In the weeks following Meerkat’s launch, Twitter unveiled a similar online application, Periscope, which allows users to watch live videos for up to twenty-four hours after their initial broadcast. Twitter’s more recent entry into the live streaming market has enhanced the credibility of this new technology. Furthermore, it has placed live streaming on the radar of major private equity firms. Although the American business community generally characterizes live streaming as a favorable technological development, the use of live streaming technologies to broadcast (or rebroadcast) commercial sporting events is more controversial. According to one sports network analyst, the advent of live streaming could potentially result in a “Napster-type thing” involving mass infringement of sports enterprises’ intellectual property rights. Another sports industry expert cautioned that “[t]his kind of technology is going to have huge [negative] implications for broadcasters like NBC, which has already paid billions for the Olympics.” This Article discusses the potential impact of live streaming on the commercial sports industry and analyzes whether commercial sports enterprises have the legal power to stop live streaming of professional and collegiate sporting events. Part I of this Article explores the history of live streaming commercial sporting events. Part II analyzes whether courts are likely to hold live streamers directly liable for their actions under federal copyright law. Part III discusses whether courts are likely to hold manufacturers of live streaming applications secondarily liable for copyright infringement. Part IV assesses the legality of live streaming under right of publicity law. Part V then analyzes the legality of live streaming under unfair competition doctrines. Finally, Part VI concludes that current federal and state laws adequately address all meaningful public policy concerns related to the live steaming of commercial sporting events

Towards the cloudification of the social networks analytics

In the last years, with the increase of the available data from social networks and the rise of big data technologies, social data has emerged as one of the most profitable market for companies to increase their benefits. Besides, social computation scientists see such data as a vast ocean of information to study modern human societies. Nowadays, enterprises and researchers are developing their own mining tools in house, or they are outsourcing their social media mining needs to specialised companies with its consequent economical cost. In this paper, we present the first cloud computing service to facilitate the deployment of social media analytics applications to allow data practitioners to use social mining tools as a service. The main advantage of this service is the possibility to run different queries at the same time and combine their results in real time. Additionally, we also introduce twearch, a prototype to develop twitter mining algorithms as services in the cloud.Peer ReviewedPostprint (author’s final draft