DOCSLIB.ORG

Digital Forensics Team

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Forensics Team 2018 KCOPA REPORT Korea Copyright Protection Agency 2018 Issued Month : Jan, 2019 Publisher : Tae-yong, Yoon Editor : Dae-oh, Kang Publishing Organization : Korea KCOPA REPORT CONTENTS Copyright Protection Agency Planning and Production : Research Team(Tel .+82-2-3153-2474) Address : 4F, 9F, 10F, 400, World Cup buk-ro, Mapo-gu, Seoul, Korea 03925 Web Sites : http://www.kcopa.or.kr C STORY Live Scene of KCOPA Column meets Icons Copyright Protection KCOPA in Depth 08 ‌Copyright Violations in Personal 22 Park Sung-ho 30 ‌Sharing Experience and Knowledge on 54 ‌Learning the value and Broadcasting and How to Tackle Them ‌Chairman, Copyright Protection Copyright Protection significance of copyright Deliberation Committee (KCOPA) 12 ‌Blocking Access to 34 ‌Global Cooperation for 58 ‌Digital Forensics Team: ‌Foreign-based Webtoon Piracy Sites and Stronger Copyright Protection CSI Seizing Digital Pirates their Effects: Insights from Statistics 38 ‌Reporters to raise copyrightconsciousness 62 ‌KCOPA: The Center of 16 ‌Video Content Protection through various content Copyright Protection Technology through AI Technology 42 ‌Learning the value and 66 ‌Stronger Regulations Against Illegal significance of copyright Content on Communications Networks 45 ‌Eradicating Foreign-based Webtoon Piracy 70 ‌Standing at the frontier of Websites and the Future of copyright protection Korea’s Webtoon Industry Korea Copyright Protection Agency 48 ‌Blockchain: The Future of Copyright Technology - Take counter-measures for online illegal reproductions including - Copyright protection technology R&D deliberation, elimination, corrective recommendation, etc. - Support investigation for copyright infringement - Research infringement status and draw statistics - Certifying the Copyright OK - Status inspection for SW usage in public institutions KCOPA Column 08 12 16 KOCPA REPORT_KCOPA Column Copyright Violations in Blocking Access to Video Content Protection Personal Broadcasting and Foreign-based Webtoon Piracy Sites and through AI Technology How to Tackle Them their Effects: Insights from Statistics 2018 KCOPA REPORT 8 9 KCOPA COLUMN 2018 KCOPA The concept and content of personal broadcasting REPORT Copyright Violations in The coupling of recent technological advances and ready availability of the Internet is creating a passion for personal broadcasting, which utilizes Internet platforms such as Youtube, AfreecaTV, Daum TVpot, Naver V LIVE, Personal Broadcasting and and Pandora TV. Internet personal broadcasting still doesn’t have a settled definition. In many cases, however, 1) How to Tackle Them it is understood as producing, by one or multiple presenters (BJs) , a variety of content covering diverse subjects including sports, music, films, games, fun talks, education or as producing separate broadcast shows Recently, an increasing number of people (dubbed “BJs”) are broadcasting personally through Internet platforms such as utilizing already existing content, and then providing them online to multiple Internet users, free or paid, in Youtube, AfreecaTV, Daum TVpot, Naver V LIVE, and Pandora TV. Their shows are protected by copyright laws, but some streaming or in VOD forms. BJs unwittingly violate someone else’s copyrights. This article will look into copyright infringement cases in proliferating Internet personal broadcasting consists of transmission of videos by BJs through the servers of Internet personal broadcasting activities and also into regulations and countermeasures against them. broadcasting platform providers and reception of them by viewers. BJs take full responsibility for the whole written by Jeon Se-jun I Leading Lawyer, Law Firm Jeha process of broadcasting, including planning, presenting and producing. Therefore, the shows created by BJs, providing that they satisfy the conditions stipulated in the Copyright Act, constitute “works” protected by the law, and the BJs enjoy the rights that the law bestows on copyright holders. For this reason, when someone says a particular BJ has violated the Copyright Act, it basically means he or she infringed upon other people’s copyrights in producing their broadcast shows, and Internet broadcasting platform providers cannot be held accountable for the breach of the Copyright Act, unless there are special circumstances such as conspiracies or wittingly aiding and abetting. This article will provide an overview of copyright infringement cases that occurred in the field of personal broadcasting, which is gaining increasing popularity. Copyright violations spawning from the proliferation of personal broadcasting When BJs unwittingly violate copyrights in producing their shows or copyright holders are unaware of violations on their rights committed by BJs, it can be treated as if there were no such infringements even though they actually did occur. To prevent such situations, some Internet broadcasting platform providers, for example AfreecaTV, have tried from several years ago to proactively tackle copyright issues by signing copyright license contracts with Recording Industry Association of Korea or broadcasting companies. The contracts help protect copyrights typically by stipulating that BJs who are reliant on AfreecaTV platforms for transmission can utilize music or video content in their shows without individually getting permissions from copyright holders of those content, and then AfreecaTV pays the copyright owners for the use of their content. The scheme, however, does not completely preclude the possibility of BJs infringing upon someone else’s copyrights, because Internet broadcasting platform providers cannot enter into such contracts with every copyright owner that could be relevant. Take, for example, personal broadcasts showing BJs playing games (“game shows”). Game shows make up a 1) ‌These presenters are generally called “BJs (short for Broadcasting Jockeys)”, who are in charge of almost every aspect of the shows such as planning, producing, shooting and presenting. 2018 KCOPA REPORT 10 11 KCOPA COLUMN 2018 KCOPA large portion of the entire BJ productions, and they earn BJs and the related Internet broadcasting platform BJs’ show content has been illegally exploited by someone else, calculating the damages of the violations is REPORT providers considerable amounts of money. The BJs are highly likely to be judged to have violated the right of difficult, and the BJs taking the cases to court is a practical impossibility. public transmission bestowed on copyright holders by the Copyright Act, because many of game show BJs My experience of handling copyright trials as an attorney in court tells me that even the best copyright laws don’t bother to get permissions from game producers. cannot produce effective solutions if investigation agencies or the courts keep slapping violators on the Another category of cases where BJs violate copyrights occur when they broadcast their reviews on films or wrist. In most criminal cases regarding copyright infringements, violators who allegedly inflicted hundreds put their voices in them. These occasions also are likely to have infringed upon copyright because they are of thousand dollars’ worth of damages are sentenced to only thousands of dollars in fine. In civil cases, unlikely to constitute the cases where copyright can be legally constrained as provided by the Copyright Act, despite the damage estimation clause in the Copyright Act for the benefit of victims who are burdened with 4) and many of the BJs do not acquire consents from copyright holders for the movies. proving his/her economic losses, satisfying the conditions for the provision to be applied can be prohibitively Last year, AfreecaTV paid hundreds of thousand dollars in copyright fees for the right to broadcast live U-20 difficult, consequently the court determines the amount World Cup Games, and a BJ who mainly uses Youtube for transmission secretly broadcast the soccer games of damages in its discretion according to Article 126 of the 2) on a Youtube channel, attracting criticism . The problem here is that such violations can repeat themselves Copyright infringements will not Copyright Act. The damages acknowledged by the court, through freshly created accounts even after the Internet platform provider takes actions against the offenders, disappear unless violators are however, are not sufficiently big, which gives potential for example, by suspending the use of the trespassing accounts. forced to think they will be hit violators an incentive to go about making money without Apart from the cases described above, a considerable increase is expected for cases where BJs, deliberately hard for their actions, which makes considering copyright issues, thinking that going to court or negligently, violate copyright in their shows, with the prospect of personal broadcasting becoming more it imperative for investigative for a copyright violation wouldn’t be that expensive. and more popular and of Internet platform providers proliferating that enable easier show production. agencies and courts to punish Copyright infringements will not disappear unless violators Furthermore, there will be increasing infringements upon BJs’ copyright by third parties. In such cases, the copyright violations more severely. are forced to think they will be hit hard for their actions, BJs will find it hard to act individually against those violations, which is likely to make such violations more which makes it imperative for investigative agencies and frequent. courts to punish copyright violations more severely.
Load more

Recommended publications
  • Korean Webtoons' Transmedia Storytelling
    International Journal of Communication 13(2019), 2094–2115 1932–8036/20190005 Snack Culture’s Dream of Big-Screen Culture: Korean Webtoons’ Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada The sociocultural reasons for the growth of webtoons as snack culture and snack culture’s influence in big-screen culture have received little scholarly attention. By employing media convergence supported by transmedia storytelling as a theoretical framework alongside historical and textual analyses, this article historicizes the emergence of snack culture. It divides the evolution of snack culture—in particular, webtoon culture—to big-screen culture into three periods according to the surrounding new media ecology. Then it examines the ways in which webtoons have become a resource for transmedia storytelling. Finally, it addresses the reasons why small snack culture becomes big-screen culture with the case of Along With the Gods: The Two Worlds, which has transformed from a popular webtoon to a successful big-screen movie. Keywords: snack culture, webtoon, transmedia storytelling, big-screen culture, media convergence Snack culture—the habit of consuming information and cultural resources quickly rather than engaging at a deeper level—is becoming representative of the Korean cultural scene. It is easy to find Koreans reading news articles or watching films or dramas on their smartphones on a subway. To cater to this increasing number of mobile users whose tastes are changing, web-based cultural content is churning out diverse subgenres from conventional formats of movies, dramas, cartoons, and novels (Chung, 2014, para. 1). The term snack culture was coined by Wired in 2007 to explain a modern tendency to look for convenient culture that is indulged in within a short duration of time, similar to how people eat snacks such as cookies within a few minutes.
    [Show full text]
  • The Effects of Live Platform Exterior Design on Sustainable
    sustainability Article The Effects of Live Platform Exterior Design on Sustainable Impulse Buying: Exploring the Mechanisms of Self-Efficacy and Psychological Ownership Xiaoxiao Gong 1,* , Zuoliang Ye 2, Kuo Liu 1 and Na Wu 3 1 School of Business Administration, Southwestern University of Finance and Economics, Chengdu 611130, China; [email protected] 2 School of International Business, Southwestern University of Finance and Economics, Chengdu 611130, China; [email protected] 3 School of Business Administration, Zhongnan University of Economics and Law, Wuhan 430073, China; [email protected] * Correspondence: [email protected] Received: 1 March 2020; Accepted: 15 March 2020; Published: 19 March 2020 Abstract: The sensory upgrading facilitated by live platforms, such as YouTube Live, Twitch, and Periscope, can facilitate much better interactions and understanding between a product, its brand, and the user. The question of how to enhance sustainable marketing effects using exterior design is currently a major topic in the live streaming marketing sector. The effect of the exterior design of a live platform on the impulse purchases of its consumers has rarely been discussed by academic research. Accordingly, based on the theory of self-determination, this study explored the direct effects of exterior design, self-efficacy, psychological ownership, and impulse buying by using multiple linear regression, and examined the indirect effects of these variables using the structural equation model. In this study, 534 samples were collected from live consumers, and our hypotheses were verified by employing hierarchical regression. As revealed from the results obtained, the self-efficacy and psychological ownership exhibited by consumers exerted synchronous and chain mediating effects on the relationships between the exterior design of the platform and consumer impulse buying.
    [Show full text]
  • BTS, Digital Media, and Fan Culture
    19 Hyunshik Ju Sungkyul University, South Korea Premediating a Narrative of Growth: BTS, Digital Media, and Fan Culture This article explores the landscape of fan engagements with BTS, the South Korean idol group. It offers a new approach to studying digital participation in fan culture. Digital fan‐based activity is singled out as BTS’s peculiarity in K‐pop’s history. Grusin’s discussion of ‘premediation’ is used to describe an autopoietic system for the construction of futuristic reality through online communication between BTS and ARMY, as the fans are called. As such, the BTS’s live performance is experienced through ARMY’s premediation, imaging new identities of ARMY as well as BTS. The way that fans engage digitally with BTS’s live performance is motivated by a narrative of growth of BTS with and for ARMY. As an agent of BTS’s success, ARMY is crucial in driving new economic trajectories for performative products and their audiences, radically intervening in the shape and scope of BTS’s contribution to a global market economy. Hunshik Ju graduated with Doctor of Korean Literature from Sogang University in South Korea. He is currently a full‐time lecturer at the department of Korean Literature and Language, Sungkyul University. Keywords: BTS, digital media fan culture, liveness, premediation Introduction South Korean (hereafter Korean) idol group called Bulletproof Boy AScouts (hereafter BTS) delivered a speech at the launch of “Generation Unlimited,” United Nations Children’s Fund’s (UNICEF) new youth agenda, at the United Nations General Assembly in New York on September 24, 2018. In his speech, BTS’s leader Kim Nam Jun (also known as “RM”) stressed the importance of self-love by stating that one must love oneself wholeheartedly regardless of the opinions and judgments of others.1 Such a message was not new to BTS fans, since the group’s songs usually raise concerns and reflections about young people’s personal growth.
    [Show full text]
  • A Conversation Analysis of Facebook Confessions Pages: Identity and Identification
    A Conversation Analysis of Facebook Confessions Pages: Identity and Identification Nurul Firdauz Binti Abd Rahman PhD The University of York Sociology September 2018 Abstract How individuals identify each other through digital media and display their claims of knowledge is at the core of this study. This work contributes new insights into how participants accomplished identity work by looking at the conversational resources they use in addressing matters of identity in their interaction. The study draws on Conversation Analysis (CA), particularly conceptual work on membership categorization analysis (MCA) and epistemics for analysis. The findings based on two interrelated aspects of the data taken from Facebook Confession Pages interaction. The first concerns the features of the initial (confessional) message, and the second relates to subsequent responses on the initial message. Close examination of the initial message shows ways that identity work is initiated as it would implicate in that subsequent response messages. Two primary forms of messages were then identified on the basis of person reference: those that inform and those that inquire. In each category, the analysis demonstrates that person reference is used as interactional resource in making an epistemic claim of the referent. The person reference is contextual in that they are locally based and understood within the specific contexts of the message. Thus, it is shown that the employment of person reference in the initial message illustrates the epistemic level that author has with the referent. Accordingly, analysis of the subsequent response messages demonstrated ways in which the identity, as presented in the initial message, is identified. The analysis of the subsequent response messages offers insight into how identity works is accomplished through a collaborative commenter’s epistemic stance.
    [Show full text]
  • Hybrid Korean Screen Cultures in the Mid-2000S Films a Bold Family (2005), Over the Border (2006), and Welcome to Dongmakgol (2005)
    Concentric: Literary and Cultural Studies 46.2 September 2020: 217-245 DOI: 10.6240/concentric.lit.202009_46(2).0010 The North on Southern Screens: Hybrid Korean Screen Cultures in the Mid-2000s Films A Bold Family (2005), Over the Border (2006), and Welcome to Dongmakgol (2005) Bonnie Tilland East Asia International College Yonsei University Mirae Campus, Korea Abstract South Korean films that address North Korean themes have changed in the decades since South Korea’s democratization. Whereas films in the 1990s presented North Koreans as villains, by the 2000s most films took a more nuanced approach, presenting North Koreans as complex people with the potential to adapt in South Korean society. This paper analyzes three films from the mid-2000s dealing with North Korean issues (A Bold Family [2005], Over the Border [2006], and Welcome to Dongmakgol [2005]) in the context of the South Korean political landscape and North-South relations at the time. The paper argues that mid-2000s films represent a transitional point in the filmic depiction of North Koreans in South Korean film, opening up possibilities of hybridity in Korean identity. These films exhibit an almost ethnographic impulse to document everyday life, and as such contribute broadly to a visual anthropology of North-South Korean relations. Keywords South Korea, North Korea, film, family, visual anthropology 218 Concentric 46.2 September 2020 A grandfather on his death-bed watches home videos of Korean reunification on TV, and heals unexpectedly at the prospect of visiting his northern hometown . A video camera captures moments of village merrymaking through song and dance as the Korean War rages all around .
    [Show full text]
  • State of Video Streaming Apps in Asia Table of Contents
    State of Video Streaming Apps in Asia Table of Contents Executive Summary 3 The Dramatic Growth of Video Streaming Apps in APAC 6 Video Streaming Apps’ Continued Momentum in APAC 9 Massive Surge in APAC Video Streaming Apps Usage 13 Monetization of APAC Top Video Apps Soars 18 Lessons From APAC Video Streaming Apps 21 2 Executive Summary ● Video streaming on mobile continues to see incredible growth. Between H1 2015 and H1 2017, worldwide time spent in the Video Players & Editors and Entertainment categories on Android phones grew over 150% to reach close to 80 billion hours. Video consumption by users in Asia-Pacific (APAC) markets tripled during this period, accounting for almost half of all worldwide video consumption on mobile apps in H1 2017. ● Revenue from in-app purchases of video streaming* apps in APAC has also seen stellar growth. This is most visible in China, where total revenue from the top 5 video streaming apps in H1 2017 was 7x higher than in Japan. Overall, revenue from the top 5 video streaming apps has more than doubled year-over-year in all of the countries observed in APAC for the purposes of this report. ● India, South Korea and Thailand have all seen a dramatic increase in data usage consumed via the top video streaming apps over the past year. In countries that saw a higher share of video data usage on Wi-Fi such as Japan, average session length tends to be longer. In India, where video apps are more typically consumed via mobile data, average session duration is not far behind those in more developed markets.
    [Show full text]
  • The Disappearance the Disappearance the Disappearanceinternational Studies
    THE YALE REVIEW OF DISAPPEARANCE THE DISAPPEARANCE THE DISAPPEARANCE THE DISAPPEARANCEINTERNATIONAL STUDIES THE DISAPPEARANCE THE DISAPPEARANCE THE DISA YRIS IS AN UNDERGRADUATE JOURNAL DEDICATED TO PUBLISHING SCHOLARSHIP ON CONTEMPORARY GLOBAL ISSUES: THEIR ORIGINS, THEIR PRESENT EFFECTS, AND THE FUTURE THEY OF CLAUDINA VELASQUEZ OFWILL CLAUDINA SHAPE. FIND US ONLINEVELASQUEZ AT HTTP://YRIS.YIRA.ORG/ OF CLAUDINA VELASQUEZ OF CLAUDINA VELASQUEZ ESSAYS AND MURDER AND MURDER AND Contradiction and Ambivalence: AND MURDER Mexico’s Cold War and the United States Jorge Familiar Avalos, Yale University The Disappearance and Murder of Claudina Velasquez: A Story of Gender Stereotyping by Guatemalan Authorities Shannon Guerra, Yale University The Oslo Peace Process and the Collapse of OF CLAUDINA VELASQUEZ AND MURDER AND MURDERCoherence in the AND Israeli-Palestinian MURDER Conflict AND MURDER AND MURDER AND MURDER AND MURDER Joudy Sarraj, University of Toronto OF CLAUDINA VE Financing Revolution, Subversion, and Terror: How Armed Non-State Actors Fundraise Michael Abonyj, University of New Mexico The Use of Koreanness to Foster the Growth of the Republic of Korea Victoria Quintanilla, Yale University A STORY OF GENDER STEREOTYPING The Yale Review of International Studies is a student publication and a constituent organization of the Yale BY GUATEMALAN AUTHORITIES International Relations Association. The Review is published by Yale College students and Yale University is not responsible for its contents. WINTER ISSUE 2018 | YRIS.YIRA.ORG 3 Editor's
    [Show full text]
  • Special Issue on Live Videos in Social Media
    Guest Editorial Preface Special Issue on Live Videos in Social Media Kaja J. Fietkiewicz, Henrich-Heine-University Düsseldorf, Düsseldorf, Germany SPECIAL ISSUE ON LIVE VIDEOS IN SOCIAL MEDIA Live videos are becoming more and more popular within the social media domain, either in form of standalone live streaming platforms (e.g., Periscope, Twitch or YouNow) or as live-video features embedded in other services (e.g., on Facebook or Instagram). Even though a quick search for “live videos” and “social media” in the scientific database Scopus yields only 39 results (as of August 2019), the volume of the research on this topic is also getting bigger – just under different key words. A search for “live streaming” and “social media” already leads to 74 scientific works since 2011. If we extend the search to the underlying technology (or activity) of “live streaming,” we find a total of 1,766 research outputs (however, some of them dealing with the P2P technology). All in all, the topical spectrum of research on live streaming or live videos is very broad and fits perfectly into the scope of this journal, as it concerns internet-based social interaction technology, the human-computer interaction, and information system evaluation. What makes the live streaming services so special? Unlike on the “traditional” social media platforms, the inter-user communication on live streaming platforms occurs synchronously (the streamers and the viewers communicate in real-time with no time delay) (Scheibe, Fietkiewicz, & Stock, 2016), which in turn leads to a very differentiated social interaction and user engagement. When we compare live streaming to traditional mass media, the viewers motivation has a stronger social and community basis (Hilvert-Bruce, Neill, Sjöblom, & Hamari, 2018).
    [Show full text]
  • Kscc2018 Abstracts.Pdf
    KSCC2018 Helsinki - presentation abstracts All abstracts in order of the schedule Panel 1: Global audiences "Tailor-made Fest for Presenting the Value of Korean Cinema in London: Korean Film Night between 2012 and 2014" Sungil Ko (University Of Nottingham) This paper will investigate how the Korean Film Night (KFN), regular film showcase event, organised by Korean Cultural Centre UK (KCCUK) is promote Korean culture in London through a case study of KFN’s ‘three-year project’ starting in 2012. Within the context of cultural diplomacy, government-backed cultural centres (e.g. British Council, Institut Français) to promote their cultural aspects in overseas territories. Such agencies have also held regular film screening events as the platform of cultural exchange which enable audiences in foreign nations to experience different culture in their daily life. The KCCUK, which had organised the regular film showcase event (formerly called KFN) since 2008, presented a series of new programmes –‘The Year of 12 Directors’, ‘The Year of 4 Actors’ and ‘The Year of 4 Film Professionals’ - from 2012. This ‘three-year project’ was a new extension that played a cultural diplomatic role to present the value of Korean cinema and film culture. In order to achieve it, the new project was dedicated to particular Korean movie figures whereas previous KFN had simply displayed various genres of Korean cinema. In addition, this ‘three-year project’ increased the number of screenings every week, implemented certain practices, venue hiring outside KCCUK, and Q&A and Masterclasses. Regarding such change of programming concept, this paper argues that KFN’s ‘three-year project’ aims at presenting the quality of the Korean film industry by focusing on the unique savoir-faire of some of unnoticed key figures (like filmmakers, actors, etc.) by the British audience, but whose individual contribution has been primordial in making some Korean film famous internationally.
    [Show full text]
  • Factors Influencing Viewing Behavior in Live Streaming
    Multimodal Technologies and Interaction Article Factors Influencing Viewing Behavior in Live Streaming: An Interview-Based Survey of Music Fans Minjeong Ham and Sang Woo Lee * Graduate School of Information, Yonsei University, 50 Yonsei-ro, Seodaemun-gu, Seoul 03722, Korea; [email protected] * Correspondence: [email protected] Received: 2 July 2020; Accepted: 11 August 2020; Published: 13 August 2020 Abstract: V Live is a live-streaming service made by South Korean IT company in August 2015. The service provides diverse video contents specific to entertainment content. Most of V Live users are K-pop fans, and they actively express emotions on V Live content by writing comments, pressing “hearts”, and sharing video content. Based on Uses and Gratifications theory, this study investigated why people use live streaming service, and the factors influencing users’ viewing behavior in live streaming. We conducted an in-depth interview with V Live users. Based on the results of the interview, an online survey was conducted. As a result, six factors—“Interpersonal relationship motivation”, “Social presence motivation”, “Celebrity support motivation”, “Celebrity presence motivation”, “Social interaction motivation”, and “Differentiation motivation”—were derived as motivations to use V Live. While “Social presence motivation” and “Differentiation motivation” among V Live use motivations that have been shown to mediate the relationship between fans’ fanship and V Live viewing time, all motivations using V Live have been shown to mediate the relationship between fans’ fanship and V Live viewing participation. Keywords: fanship; V Live; live streaming service; participation 1. Introduction The K-pop boy band BTS held a concert at Wembley Stadium in London, the UK, in June 2019, which was broadcast live on Naver’s live streaming service (LS), V Live.
    [Show full text]
  • Data Center Server Virtualization Solution Using Microsoft Hyper-V
    St. Cloud State University theRepository at St. Cloud State Culminating Projects in Information Assurance Department of Information Systems 5-2017 Data Center Server Virtualization Solution Using Microsoft yH per-V Sujitha Dandu St Cloud State University, [email protected] Follow this and additional works at: https://repository.stcloudstate.edu/msia_etds Recommended Citation Dandu, Sujitha, "Data Center Server Virtualization Solution Using Microsoft yH per-V" (2017). Culminating Projects in Information Assurance. 23. https://repository.stcloudstate.edu/msia_etds/23 This Starred Paper is brought to you for free and open access by the Department of Information Systems at theRepository at St. Cloud State. It has been accepted for inclusion in Culminating Projects in Information Assurance by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. Datacenter Server Virtualization Solution Using Microsoft Hyper-V by Sujitha Dandu A Starred Paper Submitted to the Graduate Faculty of St. Cloud State University in Partial Fulfillment of the Requirements for the Degree of Master of Information Assurance February, 2017 Starred Paper Committee: Dr. Dennis Guster, Chairperson Dr. Susantha Herath Dr. Balasubramanian Kasi 2 Abstract Cloud Computing has helped businesses scale within minutes and take their services to their customers much faster. Virtualization is considered the core-computing layer of a cloud setup. All the problems a traditional data center environment like space, power, resilience, centralized data management, and rapid deployment of servers as per business need have been solved with the introduction of Hyper-V (a server virtualization solution from Microsoft). Now companies can deploy multiple servers and applications with just a click and they can also centrally manage the data storage.
    [Show full text]
  • Monitoring Report I=Interview; GR=Graphic; PC=Press Conference; R=Reader; SI=Studio Interview; T=Teaser; TZ=Teased Segment; V=Visual
    Monitoring Report I=Interview; GR=Graphic; PC=Press Conference; R=Reader; SI=Studio Interview; T=Teaser; TZ=Teased Segment; V=Visual CDC 09/11 to 11/01 1. Nightline ABC Network National 10/12/2001 11:35 - 12:05 am Estimated Audience: 4,997,900 15.37 TZ; More Terrorism. They continue their discussion about anthrax and bioterrorism. SI; Dr. Jeffrey Koplan, CDC Director, says they received a call from the New York City Health Department involving the NBC employee. Koplan says the woman was exposed to the contents of an ill intentioned letter and developed a skin rash and lesion. Koplan says the amount of powder matters when trying to determine if it is anthrax. Koplan says the health agencies have a done a good job in determining the cases quickly. Koplan says there is no reason for anyone to get a nasal swab at this time. 21.42 2. Good Morning America ABC Network National 10/15/2001 7:00 - 8:00 am Estimated Audience: 4,660,780 08.23 TZ; Anthrax. America was preparing for an anthrax attack. Everybody at NBC wants to be tested. SI; Dr. Stephen Ostroff, CDC, says we know that anthrax doesn't widely disperse itself. Ostroff says they've been very precautionary, gathering info & testing everybody that was on the floor where the letter may have been present. GR; Photos of anthrax cases. GR; Inhalation Anthrax. 13.04 3. Good Morning America ABC Network National 10/16/2001 7:00 - 8:00 am Estimated Audience: 4,660,780 14.50 TZ; Anthrax Analysis.
    [Show full text]