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Challenges and Directions for Monitoring P2P File Sharing Networks
Challenges and Directions for Monitoring P2P File Sharing Networks – or – Why My Printer Received a DMCA Takedown Notice Michael Piatek∗ Tadayoshi Kohno ∗ Arvind Krishnamurthy∗ Abstract— We reverse engineer copyright enforcement The focus of this paper is to examine the tension be- in the popular BitTorrent file sharing network and find tween P2P users and enforcement agencies and the chal- that a common approach for identifying infringing users lenges raised by an escalating arms race between them. is not conclusive. We describe simple techniques for im- We ground this work in an experimental analysis of the plicating arbitrary network endpoints in illegal content methods by which copyright holders currently monitor sharing and demonstrate the effectiveness of these tech- the BitTorrent file sharing network. Our work is based on niques experimentally, attracting real DMCA complaints measurements of tens of thousands of BitTorrent objects. for nonsense devices, e.g., IP printers and a wireless ac- A unique feature of our approach is that we intentionally cess point. We then step back and evaluate the challenges try to receive DMCA takedown notices, and we use these and possible future directions for pervasive monitoring in notices to drive our analysis. P2P file sharing networks. Our experiments uncover two principal findings: 1 Introduction • Copyright holders utilize inconclusive methods for identifying infringing BitTorrent users. We were able Users exchange content via peer-to-peer (P2P) file shar- to generate hundreds of DMCA takedown notices for ing networks for many reasons, ranging from the legal machines under our control at the University of Wash- exchange of open source Linux distributions to the ille- ington that were not downloading or sharing any con- gal exchange of copyrighted songs, movies, TV shows, tent. -
The Business of Anti-Piracy: New Zones of Enterprise in the Copyright Wars
International Journal of Communication 6 (2012), 606–625 1932–8036/20120606 The Business of Anti-Piracy: New Zones of Enterprise in the Copyright Wars RAMON LOBATO1 JULIAN THOMAS Swinburne University of Technology From the perspective of copyright holders, piracy represents lost revenue. In this article we argue that piracy nevertheless has important generative features. We consider the range of commercial opportunities that piracy opens up outside of the media industries, identifying four overlapping fields of legal anti-piracy enterprise: technological prevention, revenue capture, knowledge generation, and policing/enforcement. Our analysis notes the commercialization of these activities and their close relationship with the informal media economy. A case study of recent “speculative invoicing” lawsuits demonstrates the extent of this commercialization and its detachment from the mainstream content industries. A key strategy of content industry groups during their long war on piracy has been to associate copyright infringement with lost revenue for artists, producers, and media businesses. Consumers are now familiar with the claim that piracy directly threatens the livelihoods of cultural workers and generates large profits for criminal organizations, bootleggers, and online intermediaries. Hence, the model of a zero-sum economic redistribution between two camps—producers and pirates—with the latter cannibalizing the revenues of the former. This is an ever-present theme in anti-piracy discourse, exemplified by the Motion Picture Association of America’s claim that “copyright theft means declining incomes, lost jobs and reduced health and retirement benefits” (MPAA, 2010, p. 2) and by the Australian Federation Against Copyright Theft’s warning that “film and TV piracy rips more than $230 million out of the Australian economy each year” (AFACT, 2008, p. -
The P2P Threat from Your PC
The P2P Threat From Your PC November 16, 2004 Robert Steinberg Yury Kapgan* * Robert Steinberg is a partner in the corporate and litigation departments, as well as a member of both the Venture & Technology and Intellectual Property and Technology practice groups in the Los Angeles office of Latham & Watkins. Bob has a J.D. from Georgetown University and B.S. degrees in Systems Science Engineering and Economics from the University of Pennsylvania. Bob has an extensive background in business, law and engineering. His practice focuses on all aspects of negotiations, transactions and litigation and rights acquisitions concerning technology and media. He has represented start-up companies, emerging and middle market companies, major international corporations, entertainment studios, venture capitalist and investment banks, including companies such as America Online, Broadcom and Disney. Yury Kapgan is an associate in the corporate and litigation departments at Latham & Watkins in Los Angeles. He has a J.D. from the University of California, Boalt Hall School of Law and a B.A. from UCLA. Special thanks to Roxanne Christ and Dan Schecter, partners in the Los Angeles office of Latham & Watkins, for their comments on this paper. The positions and opinions taken by the authors are not necessarily representative of their employers or clients. This notice also disclaims any responsibility with regard to actions taken or results obtained on the basis of this paper. © Copyright 2004 Latham & Watkins LLP. All rights reserved. Latham & Watkins operates as a limited liability partnership worldwide, with an affiliate in the United Kingdom and Italy, where the practice is conducted through an affiliated multinational partnership. -
Comment Submitted by Ben Jones, Torrentfreak
Comments submitted to FTC DRM Town Hall – Comment, Project No. P094502 February 2009 Page 1/5 TorrentFreak.com DRM Town Hall – Comment, Project No. P094502 Summary The intent of Digital Rights Management (or DRM) is for the originator of the work, to attempt to control the ways in which the work can be used, after sale or license. Most often, these take the form of copy restrictions, but can include restrictions in other ways. Ultimately, DRM is an all-or-none measure, that seeks to control, without reference to context. A backup copy is allowed in many jurisdictions, while copying for the purposes of copyright infringement is not. However, both will be restricted by DRM. Many audio disc copy protection systems (which are DRM) utilise bad sectors to cause faults when copying is attempted, but which can also regular playback in some devices. Other methods might include using computer autoplay systems to install software to prevent copying, but which can leave systems vulnerable to malicious code. It is thus gratifying that the Federal Trade Commission sees fit to consider the impact on consumers of DRM, and we welcome the opportunity to highlight, for the commission, our experiences of DRM, and it's impact on consumers. We have split this response by category of media, to reflect the differing methods and approaches used in each sector of industry. Films Standard DVDs contain two forms of DRM; region coding, and Content Scrambling System (CSS). The former is used to limit the geographical regions where such discs can be played, the latter attempts to prevent copying. -
Digital Hollywood Spring at Conference, and Your Registration the P2P Media for the Full DCIA Conference &
2nd Annual P2P Media Summit LA Page 1 of 10 2nd Annual P2P MEDIA SUMMIT LA DCIA Conference & Exposition June 11-14, 2007 | 8:00 AM - 7:30 PM | Santa Monica, California SPECIAL THANKS TO P2P MEDIA SUMMIT LA JAVIEN FOR HANDLING PARTNERS & ONLINE REGISTRATIONS SPONSORS PHONE REGISTRATION Plan now to attend the Distributed 410-476-7965 Computing Industry Association’s second annual Los Angeles LOCATION Conference & Exposition. Doubletree Guest Suites This seminal industry event is Santa Monica, CA scheduled for June 11th–14th at the Doubletree Guest Suites in Santa Monica, CA. Agenda The June 11th Conference will Speakers feature keynotes from top P2P and Sponsorships social networking software Event Registration distributors, panels of industry About Us leaders, valuable workshops, and much more. There will be a continental breakfast, luncheon, and networking cocktail reception Interested in with live entertainment. sponsoring, exhibiting, or hosting The June 12th-14th Exposition is being held in conjunction with the lunch or a reception Digital Hollywood Spring at Conference, and your registration the P2P Media for the full DCIA Conference & Summit? Exposition includes that event as well. Please contact Karen Kaplowitz Digital Hollywood has become the industry’s premier entertainment DCIA Member and technology conference and Services this spring’s expanded line-up promises to be very serious, very [email protected] crowded, critical to the industry, 888-890-4240 and critical to your life. ________________ DCIA Member speakers for the Press Registration P2P MEDIA SUMMIT LA are listed in the Speakers section, which is Please send e-mail below the Conference Agenda that with press immediately follows this summary. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
Change Notifications on Chrome
Change Notifications On Chrome Speedier Huntington sometimes donning his cods mongrelly and parenthesized so proprietorially! Sometimes cadaveric Zachery lengthens her shibboleth upright, but moniliform Marko converge phylogenetically or overeating causelessly. Corrie outwearies amateurishly. Along easily adjust extreme shifts such a chrome notifications when this means websites on all notifications menu by mobile app You change the changes to force zoom for offline installer setup? Change the location of Chrome notifications Ask Different. Digging a little deeper Google is also specific on changing the way notification requests work for Chrome OS and desktop versions of Chrome. Receiving Trello notifications Trello Help. When chrome to change the changes. Why do often keep getting notification sounds? SOLVED Annoying Trending notification when at launch. In the applications that is not receive a scenario somewhat seems similar to unsubscribed users have reset most feasible way to this is! Reverse order to change on chrome notifications using restoro which ones will appear on your changes coming is the service provider. This article explains how a user can re-enable chrome push notifications from a. This patched version is to chunk the system notifications I want data change Chrome's or alternatively to redirect them which system's This doesn't. Under App setting find Manage Notifications and grieve the setting in the. How only I configure desktop notification display right in. Allow notifications on chrome instance, change password will provide may also optimize your. It on chrome for quieter ui for all. How you Disable Notifications While Gaming on Android Gadgets. How her turn can push notifications for Chrome browser. -
ABSTRACT the Rhetorical Construction of Hacktivism
ABSTRACT The Rhetorical Construction of Hacktivism: Analyzing the Anonymous Care Package Heather Suzanne Woods, M.A. Thesis Chairperson: Leslie A. Hahner, Ph.D. This thesis uncovers the ways in which Anonymous, a non-hierarchical, decentralized online collective, maintains and alters the notion of hacktivism to recruit new participants and alter public perception. I employ a critical rhetorical lens to an Anonymous-produced and –disseminated artifact, the Anonymous Care Package, a collection of digital how-to files. After situating Anonymous within the broader narrative of hacking and activism, this thesis demonstrates how the Care Package can be used to constitute a hacktivist identity. Further, by extending hacktivism from its purely technological roots to a larger audience, the Anonymous Care Package lowers the barrier for participation and invites action on behalf of would-be members. Together, the contents of the Care Package help constitute an identity for Anonymous hacktivists who are then encouraged to take action as cyberactivists. The Rhetorical Construction of Hacktivism: Analyzing the Anonymous Care Package by Heather Suzanne Woods, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Leslie A. Hahner, Ph.D., Chairperson Martin J. Medhurst, Ph.D. James M. SoRelle, Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Heather Suzanne Woods All rights reserved TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................................ -
Network Culture and the Aesthetics of Dissension1
MONOGRÁFICO Escritura e Imagen ISSN: 1885-5687 http://dx.doi.org/10.5209/esim.73038 Network culture and the aesthetics of dissension1 Juan Martín Prada2 Recibido: 25 de marzo de 2020 / Aceptado: 25 de octubre de 2020 Abstract: This article addresses the complex relationship between digital activism and Internet art, from the initial proposals in the 1990s up to the present day. The analysis focuses on those projects that have most impacted the convergence of net art and “net-activism” during this period, with a particular emphasis on the relationship between artistic practice and hacktivism. Likewise, phenomena such as virtual sit-ins, DDOS-based strategies and several others that have emerged in the new context of social networks and participatory online platforms (memes, flash mobs, etc.) are analysed, in order to reflect on the new practices of social media art and their potential for specific critical action. Keywords: Internet art; net art; hacktivism; online activism; social media art; virtual sit-in. [es] Cultura red y estéticas de la disensión Resumen: En este artículo se aborda la compleja relación entre el activismo digital y el Internet art desde los inicios de este en la década de los noventa del pasado siglo hasta la actualidad. El centro del análisis lo constituyen las propuestas que de forma más intensa han reclamado a lo largo de este periodo la confluencia entrenet art y “net-activismo”, poniendo especial énfasis en las relaciones entre práctica artística y hacktivismo. Asimismo, se analizan fenómenos como las virtual sit-ins, las estrategias basadas en DDOS, los surgidos en el nuevo contexto de las redes sociales y de las plataformas participativas en línea (memes, flash mobs, etc.) para, finalmente, abordar la capacidad de actuación crítica específica de las nuevas prácticas de social media art. -
Here Is No Http Protocol in Front, and the Www Part of the Address Is Shown in Lighter Colors
Firefox: Add HTTP Back To Address Bar http://www.ghacks.net/2011/09/28/firefox-add-http-back-to-addres... Home Windows Linux Software Internet Explorer Firefox Chrome Opera Email Contact Advertise Search... Firefox: Add HTTP Back To Address Bar Mozilla recently made a few changes to the Firefox web browser that I personally do not like that much. One of the things that the developers changed recently is the way website urls are displayed in the address bar. HTTP websites no longer show up with the protocol http:// in front. Another change is that the core domain name is the only part of the domain that is highlighted in the address bar. The subdomain, e.g. www. or directories are shown in a lighter gray tone. Other protocols are showing up by default. If you visit https sites for instance you see the https protocol in the address bar. This makes sense as it acts as it helps the user identify that the connection is to a secure site. Lets take a look at the way urls are displayed in the Firefox address bar. As you can see, there is no http protocol in front, and the www part of the address is shown in lighter colors. To modify this display, enter about:config in the Firefox address bar and hit the enter key afterwards. First time users need to click the “I’ll be careful, I promise! link” on the warning page before they can modify the settings. Filter for the term browser.urlbar.trimURLs and double-click it in the results listing. -
Chapter 4 Hacktivism and State Autonomy
Chapter 4 Hacktivism and State Autonomy: The Transnational Politics of Policy Circumvention Introduction In the bull market of 1999, eToys stood out in the field of favored technology stocks. eToys was one of the hottest properties in online retail at that time, with a market capitalization of $8 billion in September of that year ("Toy retailing -- Trouble in toy town?" 2000). And like any big company, it wanted to protect its brand. Online, nothing is as essential to your brand as your domain name – the web address that lets people find your site (Waxer 2000; Whitman 2000). So etoys.com was concerned that 20,000 customers a day were mistakenly visiting www.etoy.com (Ziegler). etoy – singular – was the digital home of a group of Zurich-based Internet artists. These artists had been online at etoy.com since 1995 – two years before the advent of eToys the retailer (Dugan 2000). But that didn’t stop eToys from using the usual means of protecting its corporate interests: the courts. On November 29, 1999, an LA court judge issued a judgement against the etoy artists, enjoining them from using the etoy domain or name (Smithers). For the moment, it appeared that eToys had won. But the victory proved to be short-lived, as is apparent from eToys’ share price (see Figure 13: eToys share price). No sooner had eToys won its day in court, then it confronted a new kind of challenge: the challenge of anti-corporate hacktivism. Alexandra Samuel Hacktivism and the Future of Political Participation 149 Figure 13: eToys share price Source: (Grether 2000) The challenge was mounted by a coalition of performative hackers and political coders, working together to create a variety of tools aimed at hobbling the eToys web site. -
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