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SHOW TEASE: It's Time for Security Now!. Steve Gibson Is Here. We're Going to Talk About the Strange Case of the Estonian ID Cards
Security Now! Transcript of Episode #642 Page 1 of 30 Transcript of Episode #642 BGP Description: This week we examine how Estonia handled the Infineon crypto bug; two additional consequences of the pressure to maliciously mine cryptocurrency; zero-day exploits in the popular vBulletin forum system; Mozilla in the doghouse over "Mr. Robot"; Win10's insecure password manager mistake; when legacy protocol come back to bite us; how to bulk-steal any Chrome user's entire stored password vault; and we finally know where and why the uber-potent Mirai botnet was created, and by whom. We also have a bit of errata and some fun miscellany. Then we're going to take a look at BGP, another creaky yet crucial - and vulnerable - protocol that glues the global Internet together. High quality (64 kbps) mp3 audio file URL: http://media.GRC.com/sn/SN-642.mp3 Quarter size (16 kbps) mp3 audio file URL: http://media.GRC.com/sn/sn-642-lq.mp3 SHOW TEASE: It's time for Security Now!. Steve Gibson is here. We're going to talk about the strange case of the Estonian ID cards. A weird bug or actually flaw introduced into Microsoft's Windows 10. We're still not sure exactly who got it and why. We'll also talk about the case of the Firefox plugin promoting "Mr. Robot," and a whole lot more, all coming up next on Security Now!. Leo Laporte: This is Security Now! with Steve Gibson, Episode 642, recorded Tuesday, December 19th, 2017: BGP. It's time for Security Now!, the show where we cover your security online with this guy right here, the Explainer in Chief, Steve Gibson. -
Youtube 1 Youtube
YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc. -
Silkperformer® 2010 R2 Release Notes Borland Software Corporation 4 Hutton Centre Dr., Suite 900 Santa Ana, CA 92707
SilkPerformer® 2010 R2 Release Notes Borland Software Corporation 4 Hutton Centre Dr., Suite 900 Santa Ana, CA 92707 Copyright 2009-2010 Micro Focus (IP) Limited. All Rights Reserved. SilkPerformer contains derivative works of Borland Software Corporation, Copyright 1992-2010 Borland Software Corporation (a Micro Focus company). MICRO FOCUS and the Micro Focus logo, among others, are trademarks or registered trademarks of Micro Focus (IP) Limited or its subsidiaries or affiliated companies in the United States, United Kingdom and other countries. BORLAND, the Borland logo and SilkPerformer are trademarks or registered trademarks of Borland Software Corporation or its subsidiaries or affiliated companies in the United States, United Kingdom and other countries. All other marks are the property of their respective owners. ii Contents SilkPerformer Release Notes ..............................................................................4 What's New in SilkPerformer 2010 R2 ...............................................................5 Browser-Driven Load Testing Enhancements .......................................................................5 Enhanced Support for Large-Scale Load Testing .................................................................6 Support for Testing BlazeDS Server Applications .................................................................7 Support for Custom Terminal Emulation Screen Sizes .........................................................7 Graceful Disconnect for Citrix Sessions ................................................................................7 -
Kyoobur9000 Interview -- How Did You Come to Logo Editing? I Joined Youtube Back in 2010 and I Was Always Fasc
Kyoobur9000 interview -- How did you come to logo editing? I joined YouTube back in 2010 and I was always fascinated by these videos where people would take their video programs and apply it, plug-in after plug-in after plug-in basically to make it unrecognizable. And that’s initially what I planned on having my channel be but I actually discovered that there were some pretty cool things I could do without, you know, tearing the video apart. So, I just kinda started by trying certain plug-ins or combinations of plug-ins and figured, hey this might sound cool or this might look cool and you know, it just worked out. What was going on at the time when you joined YouTube. You were seeing other production company idents or flips of other sources? What were you seeing and what were your inspirations?.. searching around on YouTube? Yes, there were other YouTube channels that did some work, you know there’s an audio effect called G-Major and um, people would apply that to idents and logos. So that’s what kinda got me attracted to logo editing. And the plug-ins really came from me playing with the video programs I had at my disposal. Even though it wasn’t my initial plan it was mainly that exposure to logos from G-Major that made it the point of my channel. Because you were quite young when you started, right? I was, actually I was just about to start high-school. So how did you come to picking your sources?. -
A4Q Selenium Tester Foundation Syllabus
A4Q Selenium Tester Foundation Syllabus Released Version 2018 Alliance for Qualification Version 2018 © A4Q Copyright 2018 © A4Q Copyright 2018 - Copyright notice All contents of this work, in particular texts and graphics, are protected by copyright. The use and exploitation of the work is exclusively the responsibility of the A4Q. In particular, the copying or duplication of the work but also of parts of this work is prohibited. The A4Q reserves civil and penal consequences in case of infringement. Revision History Version Date Remarks Version 2018 5 August 2018 1. Release version Version 2018 3 December 2018 Minimal corrections Version 2018 © A4Q Copyright 2018 2 Table of Contents Table of Contents 2 0 Introduction 4 0.1 Purpose of this Syllabus 4 0.2 Examinable Learning Objectives and Cognitive Levels of Knowledge 4 0.3 The Selenium Tester Foundation Exam 4 0.4 Accreditation 5 0.5 Level of Detail 5 0.6 How this Syllabus is Organized 5 0.7 Business Outcomes 6 0.8 Acronyms 6 Chapter 1 - Test Automation Basics 7 1.1 Test Automation Overview 7 1.2 Manual vs. Automated Tests 9 1.3 Success Factors 12 1.4 Risks and Benefits of Selenium WebDriver 13 1.5 Selenium WebDriver in Test Automation Architecture 14 1.6 Purpose for Metrics Collection in Automation 16 1.7 The Selenium Toolset 18 Chapter 2 - Internet Technologies for Test Automation of Web Applications 20 2.1 Understanding HTML and XML 20 2.1.1 Understanding HTML 20 2.1.2 Understanding XML 28 2.2 XPath and Searching HTML Documents 30 2.3 CSS Locators 33 Chapter 3 - Using Selenium WebDriver -
CINERGIE Il Cinema E Le Altre Arti 11
CINERGIE il cinema e le altre arti 11 SPECIALE Montare cacca: intorno al fenomeno “YouTube Poop” L’impressione generale di casualità, di esercizio amatoriale fortuito, la sensazione di qualcosa di incombente. Non ti poni il problema se il nastro sia noioso o interessante. È rozzo, è ottuso, è implacabile. Don De Lillo, Underworld1 Il genere “YouTube Poop” (YTP) raccoglie sotto il suo nome una massa piuttosto estesa di video i quali riciclano ed elaborano, rimontandoli, specifi ci contenuti della cultura pop, pescati di solito fra prodotti mediali considerati per diversi motivi “di scarto”. La nascita della YTP viene datata al 27 novembre 2006, quando il pooper SuperYoshi carica su YouTube il video “I’D SAY HE’S HOT ON OUR TAIL”2. Si tratta del remixaggio di un episodio della serie animata The Adventures of Super Mario Bros. 3 (1990), fonte che diventerà fra le più popolari. Fig. 1 Cinergie, il cinema e le altre arti19 Cinergie uscita n°11 giugno 2017 | ISSN 2280-9481 CINERGIE il cinema e le altre arti 11 SPECIALE La YTP è un fenomeno particolarmente interessante nell’ambito delle pratiche di mash-up, remix, utilizzo del found footage o più in generale di riuso, capace com’è di sommare critica mediale, immersione sottoculturale e competenze nel video-editing e nella manipolazione digitale, ovvero alcune delle azioni che Henry Jenkins defi nisce “textual poaching”3. La facilità del gioco è disarmante: basta scaricare dei video da YouTube, rimontarli (anche con software non professionali) seguendo quelle che sono più o meno delle regole (o uno stile) e ricaricarli su YouTube. -
I'm Going Digital: Potentials for Online Communities Through Internet Remix
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School November 2020 I'm Going Digital: Potentials for Online Communities Through Internet Remix Justin N. Nguyen University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Communication Commons Scholar Commons Citation Nguyen, Justin N., "I'm Going Digital: Potentials for Online Communities Through Internet Remix" (2020). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8570 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. I’m Going Digital: Potentials for Online Communities Through Internet Remix by Justin N. Nguyen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts with a concentration in Humanities Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Todd Jurgess, Ph.D. Daniel Belgrad, Ph.D. Sara Dykins-Callahan, Ph.D. Date of Approval: November 6, 2020 Keywords: YouTube, Neil Cicierega, 4chan, SiIvaGunner, Pokémon, Dada, Yu-Gi-Oh! Copyright © 2020, Justin N. Nguyen Acknowledgements I would like to first thank and acknowledge the support of my thesis committee, and the USF Humanities department as a whole. I am grateful and still amazed every single day that they actually paid me to do this. Next, I would like to give my thanks and gratitude to Professor Dana Thurmond of Valencia College, my teacher and mentor in both academics and life, who introduced me to Dada, and inspired me to change my major to Humanities and build up others through teaching. -
Practical Issues with TLS Client Certificate Authentication
Practical Issues with TLS Client Certificate Authentication Arnis Parsovs Software Technology and Applications Competence Center, Estonia University of Tartu, Estonia [email protected] Abstract—The most widely used secure Internet communication Active security research is being conducted to improve standard TLS (Transport Layer Security) has an optional client password security, educate users on how to resist phishing certificate authentication feature that in theory has significant attacks, and to fix CA trust issues [1], [2]. However, the attacks security advantages over HTML form-based password authenti- mentioned above can be prevented or their impact can be cation. In this paper we discuss practical security and usability greatly reduced by using TLS client certificate authentication issues related to TLS client certificate authentication stemming (CCA), since the TLS CCA on the TLS protocol level protects from the server-side and browser implementations. In particular, we analyze Apache’s mod_ssl implementation on the server the client’s account on a legitimate server from a MITM side and the most popular browsers – Mozilla Firefox, Google attacker even in the case of a very powerful attacker who has Chrome and Microsoft Internet Explorer on the client side. We obtained a valid certificate signed by a trusted CA and who complement our paper with a measurement study performed in thus is able to impersonate the legitimate server. We believe Estonia where TLS client certificate authentication is widely used. that TLS CCA has great potential for improving Internet We present our recommendations to improve the security and security, and therefore in this paper we discuss current issues usability of TLS client certificate authentication. -
“Lip-Sync for Your Life” (Abroad)
volume 9 issue 17/2020 “LIP-SYNC FOR YOUR LIFE” (ABROAD) THE DISTRIBUTION, ADAPTATION AND CIRCULATION OF RUPAUL’S DRAG RACE IN ITALY Luca Barra Dipartimento delle Arti, Università di Bologna [email protected] Paola Brembilla Dipartimento delle Arti, Università di Bologna [email protected] Linda Rossato Dipartimento di Studi Linguistici e Culturali Comparati, Università Ca’ Foscari, Venezia [email protected] Lucio Spaziante Dipartimento di Filosofia e Comunicazione, Università di Bologna [email protected] Abstract: The article aims to critically explore and understand the ways both RuPaul’s star persona and its show, RuPaul’s Drag Race, are distributed in Italy, circulate across, and impact on the Italian television industry and media culture. It also aims to express how many forms of national mediation, professional negotiation and audience reception deeply modify, and re-shape the TV product. To tackle the manifold facets of this case, four aspects will be analyzed: (trans)national distribution; adaptation and dubbing; global/local stardom; reception and cultural impact. Over a decade, the Italian edition and distribution of the show have changed, together with the national media landscape and its audiences. Keywords: Italian television, media industries, reception studies, dubbing, stardom, celebrity 1 Introduction RuPaul’s Drag Race is a TV show, a reality competition with drag queen contestants performing and being evaluated by expert judges, which has reached the eleventh season and given birth to several extensions and spinoffs. In the US, the program has long been broadcast on linear channel Logo (2009-2016), and has then moved to VH1 (2017-), which is part of the same company, Viacom. -
Over 3 Million Youtube Creators Globally Receive Some Level Of
MEDIA FOLLOW THIS Social media entertainment – the kind that has seen huge growth on YouTube and other platforms – needs understanding if there is to be any measured policy response, writes STUART CUNNINGHAM from an Australian perspective ver the past 10 years or so, in the midst of all 1+ million; 2,000+ Australian YouTube channels the cacophony of change we are well familiar earned between $1,000 and $100,000 and more than with, a new creative industry was born. With 100 channels earned more than $100,000. More O my collaborator David Craig, a veteran than 550,000 hours of video were uploaded by Hollywood executive now teaching at the University Australian creators and over 90% of the followers of of Southern California Annenberg School for Australian channels were international. Communication and Journalism, I have been That’s only YouTube, and only the programmatic examining the birth and early childhood of what advertising revenue that can be tracked by Google. we call social media entertainment. It is peopled by A Google-funded study by AlphaBeta2 estimates that cultural leaders, entertainers and activists most of the number of content creators in Australia has whom you may be very unfamiliar with... Here more than doubled over the past 15 years, almost are some of them – Hank Green, Casey Neistat, wholly driven by the entry of 230,000 new creators PewDiePie, Tyler Oakley. of online video content. The same study estimates We understand social media entertainment to be that online video has created a A$6 billion an emerging industry based on previously amateur consumer surplus (the benefit that consumers get creators professionalising and monetising their in excess of what they have paid for that service). -
How Anywhere Computing Just Killed Your Phone-Based Two-Factor Authentication
How Anywhere Computing Just Killed Your Phone-Based Two-Factor Authentication Radhesh Krishnan Konothy, Victor van der Veeny, and Herbert Bos yEqual contribution joint first authors VU University Amsterdam, The Netherlands r:k:konoth@vu:nl;{vvdveen;herbertb}@cs:vu:nl Abstract. Exponential growth in smartphone usage combined with re- cent advances in mobile technology is causing a shift in (mobile) app behavior: application vendors no longer restrict their apps to a single platform, but rather add synchronization options that allow users to conveniently switch from mobile to PC or vice versa in order to access their services. This process of integrating apps among multiple platforms essentially removes the gap between them. Current, state of the art, mo- bile phone-based two-factor authentication (2FA) mechanisms, however, heavily rely on the existence of such separation. They are used in a vari- ety of segments (such as consumer online banking services or enterprise secure remote access) to protect against malware. For example, with 2FA in place, attackers should no longer be able to use their PC-based malware to instantiate fraudulent banking transactions. In this paper, we analyze the security implications of diminishing gaps between platforms and show that the ongoing integration and desire for increased usability results in violation of key principles for mobile phone 2FA. As a result, we identify a new class of vulnerabilities dubbed 2FA synchronization vulnerabilities. To support our findings, we present practical attacks against Android and iOS that illustrate how a Man- in-the-Browser attack can be elevated to intercept One-Time Passwords sent to the mobile phone and thus bypass the chain of 2FA mechanisms as used by many financial services. -
Sonologia 2016 — out of Phase
Sonologia 2016 – Out of Phase Fernando Iazzetta, Lílian Campesato and Rui Chaves (editors) Published by NuSom – Resear!h Centre on Sonolo"y São Paulo, November 2017 www.eca.usp.br/nusom SONOLOGIA 2016 – OUT OF PHASE www.eca.usp.br/sonologia 2 Sonologia 2016 – out of phase Proceedings of the International Conference on Sound Studies S#o Paulo, November $$%$&, $'() First Published in November $'(* by NuSom – Resear!h Centre on Sonolo"y +,niversity o- S#o Paulo. S#o Paulo, /razil ISBN: 0*1%1&%&21')%''%$ All the content presented in the texts are solely responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Organization: Support: PROCESSO FAPESP 2016/13842-8 SONOLOGIA 2016 – OUT OF PHASE www.eca.usp.br/sonologia 3 Index Editorial..............................................................................................................................................8 Keynote Speakers.............................................................................................................................9 Panels.............................................................................................................................................. 11 Session 1......................................................................................................................................... 14 1. Methodological intersections in search of the sonic memory of the graphic industry in a Colom- bian neighborhood..........................................................................................................................