Malvertising Through Cortana

In the digital World full of hackers and scammers, data security is what everyone needs the most. Hackers and scammers invent the new ways of stealing the information on daily basis. A comparatively modern concept in the World of hacking is malvertising. The major focus of this research paper is to evaluate the concept of malvertising through Cortana an artificial intelligence-based assistant introduced by Microsoft in windows 10. Sources of data are websites and other research papers. The major security breaches through malvertising are under consideration in this research paper. By evaluation, malvertising can be considered as one of the most dangerous security threats in digital World

Malware Detection Techniques based on Machine Learning

Artificial intelligence and machine learning have become crucial tools in the fight against cyber attacks. With the constant evolution of technology, traditional methods of protecting networks are no longer enough. This is where AI and machine learning come into play, by analyzing vast amounts of data and detecting patterns or anomalies that might indicate a potential threat. This paper aims at understanding and analyzing the implementation of Artificial Intelligence (AI) and Machine Learning (ML) systems in enhancing cyber security. By detecting patterns and anomalies in network traffic, AI algorithms can quickly identify potential threats and reduce response time, far surpassing human capabilities. This not only saves valuable time and resources for organizations but also improves overall protection against cyber-attacks. As technology continues to advance, it is crucial that we leverage AI for cybersecurity to stay ahead in the fight against malicious actors. With proper utilization of AI and ML technologies, we can ensure a safer digital future for all users.

The Legal Status of Software, 23 J. Marshall J. Computer & Info. L. 711 (2005)

This article by cyberlaw specialist Daniel B. Garrie is intended to serve as a guide for judges to ensure that judicial decisions reflect an understanding of software’s multiple facets and its relation to the boundaries of the law. The article is designed to provide a high-level overview of software and then examine software in greater depth for specific legal areas likely to spawn legal disputes directly involving software. Included within the article are a brief overview of the current legal framework evolving with respect to software development (including an examination of the 2005 Supreme Court case Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, Ltd.), a broad overview of software, and a series of tutorials on the cutting-edge technology that will likely be subject to litigation in the future

Object-Oriented Approach as a Potential Silver Bullet

Software developers are seeking a silver bullet, if exists, to overcome the software crisis. The silver bullet is expected to enable them to deliver software on time with high quality and low cost. The fundamental cause of software crisis is the nature of software itself. The difficulties derived from the nature of software are complexity, conformity, invisibility, and changeability. In an attempt to search for the silver bullet, this study analyzes five current software engineering approaches: prototyping, spiral model, object oriented approach, cleanroom, and fourth generation language. Through comparison of those approaches based on the four difficulties, this study proposes that an object-oriented approach is a candidate for a silver bullet

Re-composing the digital present

This paper investigates the temporality that is produced in some recent and historical examples of media art. In exploring works by Janet Cardiff, Dennis Del Favero, and Omer Fast, I use the philosophy of Michel Serres and Gilles Deleuze to understand the convergence of temporalities that are composed in the digital present, as one moment in time overlays another moment. Developing Serres' concept of multi-temporality and Deleuze's philosophy of time and memory into a means to understand the non-linear time presented in these works, I argue that the different compositional strategies enacted by these artists provide the aesthetic grounding to experience “temporal thickness.” From here I investigate the interactive digital artworks Frames by Grahame Weinbren and Can You See Me Now? by the artist group Blast Theory. In this investigation, I understand interaction with technology, and the way that it shapes our sensory and processual experience, as a specifically temporal and temporalizing transaction, where human movements in the present are overlayed by technological processes

Telling Through Type: Typography and Narrative in Legal Briefs

Most legal authors today self-publish, using basic word-processing software and letting the software’s default settings determine what their documents will look like when printed. As these settings are not optimized for legal texts, they do so at their peril. The default font Times New Roman, for example, as Chief Judge Frank Easterbrook warns, is utterly inappropriate for long documents [such as] briefs. Commentators have started urging a more deliberate approach to legal typography. Their suggestions, however, have been content-neutral, intended for all legal texts and focused on goals such as legibility and readability. Typography, however, has much greater potential. The shapes, the spacing, of letters and of words can reinforce, complement, and independently create narrative meaning. Or, intentionally or unintentionally, it can cut against it. It can do its work honestly and ethically, or inappropriately and subversively. This article explores how

Telling Through Type: Typography and Narrative in Legal Briefs

Most legal authors today self-publish, using basic word-processing software and letting the software’s default settings determine what their documents will look like when printed. As these settings are not optimized for legal texts, they do so at their peril. The default font Times New Roman, for example, as Chief Judge Frank Easterbrook warns, is utterly inappropriate for long documents [such as] briefs. Commentators have started urging a more deliberate approach to legal typography. Their suggestions, however, have been content-neutral, intended for all legal texts and focused on goals such as legibility and readability. Typography, however, has much greater potential. The shapes, the spacing, of letters and of words can reinforce, complement, and independently create narrative meaning. Or, intentionally or unintentionally, it can cut against it. It can do its work honestly and ethically, or inappropriately and subversively. This article explores how

Once and Future Copyright

Copyright is like a well-meaning but ultimately bothersome friend, eager to help but nearly impossible to get rid of. It attaches indiscriminately to the simplest acts of expression, without regard for whether the author needs or wants its protection. This automatic propertization made sense in the print era, when mass distribution of information was an expensive process rarely undertaken by those with no plans to profit from their creativity. It makes little sense today. The following article shows that copyright\u27s overly solicitous nature is the source of several seemingly unrelated and intractable problems - e.g., closed code, copyright as censorship, technological hegemony - that have resulted from trying to fit the digital peg of computer technology into the analog hole of copyright law. The common solution to these problems involves a purposefully retrograde approach that cures their twenty-first-century ills using nineteenth-century tools: copyright\u27s antiquated formalities. Resurrecting publication, notice, registration, and deposit as threshold requirements for copyright protection prevents authors and publishers from achieving technologically what they do not merit legally, while at the same time ensuring that copyright does not apply in contexts where it is neither necessary nor useful