Effects Of Copyright On The Consumption Music - Free Essay Example

The aim of this dissertation is to understand the effects of copyright on the consumption and acquisition of music online. With a focus on Feels Like Free services such as Spotify as well as illegal file sharing services, research into the copyright issues surrounding the debate present a picture of how music is being consumed at present. Building on notable works and theories of research in the area {} the dissertation supplies evidence supporting the continuing dominance of labels as right-holders in the new digital era. With one-on-one interviews with emerging artists at the forefront of digital music as well as group interviews with consumers a convergence of opinion on key points provides an insight into the effectiveness of current digital music distribution services as well as the enforcement and enforceability of current copyright laws. Contents Introduction 5 Digital Media Copyright 6 Media Access 8 Unique Online Considerations10 Methodological Considerations 13 Research Findings 15 Consumption Listening Habits 16 Engagement with File Sharing 20 Responses to Legal Issues Industry Implications 22 Conclusion 25 Bibliography 28 Appendices 31 i. List of Subjects 31 ii. Focus Group 1 Transcription 31 iii. Focus Group 2 Transcription 36 iv. Artist interview à ¢Ã¢â€š ¬Ã¢â‚¬Å" Gecko 61 v. Artist interview à ¢Ã¢â€š ¬Ã¢â‚¬Å" Biometrix 62 Figures i. AndersonÊ ¼s (2006) Long Tail Model 11 Introduction This dissertation focusses on the challenges of distributing digital music in an era of unprecedented web use. Access to digital media is increasingly a part of peoples every day lives and the issues surrounding access to content and the legal implications therein are the subject of much debate. It is natural that the rights holders and their representatives would assume a position protecting their legal rights and the cases of pursuance of both individual and commercial rights infringers are well documented, however some say copyright law is dated (Negroponte, 1995) and beyond the task of policing the digital frontier of music distribution. This dissertation investigates the effect of copyright on audience and artist attitudes to digital music distribution in both legal and illegal forms. Using relevant literature and established studies it addresses the benefits of the chosen research for this investigation and provides results giving evidence for the various claims and counter cla ims made on both sides of the copyright argument. In doing so it is intended that my results will give a picture of current distribution methods and their ability to deal with copyright as well as rights holders ability to enforce it in an increasingly digitised age. By gathering evidence using one-to-one interviews with two emerging artists as well as consumer interviews conducted at group level I am able to establish the artists interaction with the process of copyright and the extent to which it alters their distribution of music whilst also engaging the audience in debate about their understanding and adherence to the existing issues surround accessing digital music. The involvement of both artist and audience provides a unique opportunity to pinpoint the present effect of the existing systems of music distribution and the copyright protection available. Digital Music Copyright At the crux of the debate surrounding digital music distribution is the issue of copyright and the infringement thereof. Arguments both for and against the current system of rights ownership and management are well documented and some clear division between the opinions of those who hope to gain capital from the ownership of rights and those who wish to produce and consume digital music is revealed. The representative bodies existing to support the rights of the artist , such as the BPI (British Phonographic Industry) and the RIAA (Recording Industry Association of America) have staunch views on the use of their intellectual property and defined by the BPI, copyright in its current form can be surmised as follows: Copyright is the foundations which the music business is built. In its simplest terms, it is a form of intellectual property and, as such, gives the creator or the owner/ author of that work exclusive rights over how it is published, distributed and adapted. (BPI [online] 2009) The collective gusto of the recording industry to enforce their stance on what they see as a critical issue to the music business has led to much bad publicity and a galvanisation of some copyright infringers as a group with a serious social point to make. Kembrew McLeod (2005) agrees that infringement of copyrighted material online presents a significant problem for the monopoly held by the industry giants, even going as far as to view this as a positive consequence of file sharing and distribution. Arguing in favour of a diminished corporate monopoly, McLeod uses examples of successes for smaller independent artists, helped in part by the evolution of media distribution methods available to cut out the middle-man. With both artist and audience interviews revealing a symRobhy for McLeodÊ ¼s statements, most participants demonstrated a sophisticated understanding of the possible advantages that new distribution methods offer smaller/less established artists, who often work outsi de of the boundaries of the established music industry. Williamson Cloonan (2007) accuse the BPI of blurring its distinction between the à ¢Ã¢â€š ¬Ã‹Å"interests of British record companies which it claims to represent with a wider definition of the à ¢Ã¢â€š ¬Ã‹Å"music business . The process of recording, distributing and marketing music is one element of the music industry but its inferred connection to grassroots music of all levels seems to be the bone of contention, as is borne out in my group research. The strength of language words and aggressive tone of both the RIAA and BPI in dealing with infingers, combined with the appropriation of the wider music industry for moral grounds (Williamson Cloonan, 2003, p. 305-7) adds to a misunderstanding regarding what exactly the music industry is and how it affects users access to media. There is an obvious disparity in opinion on either side of the debate surrounding copyright law, with the nature of what copyright represents and w ho it protects and particularly how it is relevant to new digital models of distribution and consumption open to much debate. These diverging opinions are likely to have an impact on how consumers and artists understand the issues within this field, and clearly how they relate and react to them. Media Access The history and development of studying audiences and their consumption habits is by now highly sophisticated and the subject of much debate and research. Using the work of others as a guide as well as theory and research my aim is to understand how audiences are accessing digital content and if their understanding of the legality of so doing , alters how they interact with the content. Longhurst (2007) observes that the most significant contemporary change to [music consumption] is coming through downloadability (p. 205). The pervasive nature of digital consumption in todays culture is displayed throughout both artist and audience responses showing high levels of use and understanding of the medium. An RIAA commissioned report (Siwek, 2007) carried out in the United States by the Institute for Policy Innovation (IPI) suggest that online copyright infringement costs the industry $12.5 billion annually(online). It is fair to assume the the access to both legal and illegal digital musi c is affect the industry greatly but these figures are open to criticism for there bias. The research of Huang (2005) into file sharing as a means of music consumption through group interviews of college students concludes that music file sharing is now a facet of music culture from a social perspective. My studies have some support for this claim with even artists describing extensive p2p use and one actively embracing it as a means of propagation of his material. Mascheroni et al (2008) conducted a comparable ethnographic study digital television consumption. The study concludes that young viewers are capable of defining their relationship with media based on present developments in the field rather than existing paradigms and traditions, and in doing so perhaps goes some way to explain the findings of Huangs research on college students. In similar ethnographic profiling Harwood (1997) compared television viewing Robterns of different aged groups, finding that decisions are representative of perceived Ê »social identityÊ ¼. It is arguable that similar influe nces are at play in consumers interaction with digital music consumption and with the increasing convergence of digital content, user generated content, and the social influences aforementioned, copyright infringement and any repressions appear to have very marginal impact on consumption habits. Based on the highlighted works the interaction between consumers and the legal implications surrounding content access are likely to vary in line with social perception and experience led understanding of the field. The fact that the artists were so Robert about file sharing, their involvement with it and its potential for positive use, adds weight to the claim copyright regulations for digital music are past their prime and lacking in effectiveness. Unique Online Considerations Various possible explanations for the ways in which digital media access has changed consumption habits have been covered previously. Increased media access has inevitably led to increased temptation to use nodal connectivity for illegal file sharing, although if the enactment of this abuse is as widespread as the BPI and RIAA would like us to think is another matter. Borne out of this peer to peer system of file distribution new products are being brought to market that provide alternatives to illegal acquisition of content. Analysing the manner in which consumers access content and services online has led to , sophisticated modEmmang of the accessibility and demand for said content and services. AndersonÊ ¼s (2006) presents a long tail model which serves as an example of such studies. The model refers to online commercial distribution with the most popular and commercial, products at one end of the graph with the highest volume of sales. The graph extends to illustrate the alm ost limitless potential for online sales in specialist or minority markets. Fig i. Long Tail Model (Anderson, 2006) Anderson further sets forth an opinion that the broadening of potential promotion and distribution online has increasingly opened up more possibilities for for both artists and consumers. Applying the long tail theory, it is obvious that it proposes a different system of economics to the traditional retail sector. Adding to this the obvious advantages of products being available around the clock, often irrespective of regional restrictions and the idea of a new economic model is further strengthened. The ability to cover areas of minuscule interest with little additional overheads enables retailers to offer huge depth of choice as well as broadening the idea of ownership of content through streaming.. Clearly the economics of online commerce are very different to the traditional model, however the rules of engagement surrounding copyright are expected to fit both models. two is different, yet the laws of copyright remain the same. Illegal sharing of content is viewed as an infringement of rights and therefore a form of theft as attested by the RIAA. The case that eventually closed the late nineties file sharing platform Napster, as detailed first by Merriden (2001) and then Menn (2003) illustrates the ramifications and interest in the first high-profile case of file sharing. Speaking of Napster Wall states; The record companies proposed that the Napster system ripped off artists and would kill music, while they made the legal argument that Napster encouraged the infringement of copyrights they held. Napster countered by arguing that members of Napster were making fair non-commercial use of the rights already assigned with the original sale of the record that had been converted into mp3 files. (Wall 2003, p223) Continuing where the Napster litigation left off, cases between the industry and p2p networks are still widespread today, showing that the industry has moved on little in the intervening years. The Swedish prosecution and proposed imprisonment of the creators of infamous file sharing tracker The Pirate Bay (Johnson Kiss, 2009) is perhaps the highest profile case today and could be seen as the modern Napster. In an attempt to bolster the music industries grasp on digital distribution a number of new models have been brought to market., Many mobile phone operators worldwide now offer unlimited music bundles with cell contracts and the emergence of streaming services mentioned such as Last.fm and Spotify, are seen in the group interviews to have a positive influence on peoples adherence to copyright. Gerd Leonhard (with Kusek 2005 2008) is describes these services as Ê »feels like free.Ê ¼ Advertising and premium service upgrades present the creates potential for capitalisat ion of music. Spotify has been a particular success in Europe, with the BBC reporting figures that already 5% of its users have upgraded to a premium service, giving it some 320,000 users paying  £10 per month for its full offering (BBC, 2010, online). This small percentage provides and annual turnover in the region of  £38,400,000 excluding additional revenue provided by advertising, proving that Spotify is a serious force in the online distribution business without even launching fully in the United States. By looking at audience habits and interaction with both copyright and media we can see that the new media model and the traditional approach to distributing music are increasingly unable to keep up with the consumer driven demand for online services, leaving companies such as Spotify to move in and become a type of new music industry for the 21st century. The difficulty inherent to their role is that the copyright for the material they wish to distribute is often owned by one of their more traditional predecessors. Methodology In this chapter I offer justification for the effectiveness of my methods for the collection of audience and artist responses to their interaction with digital music copyright. I use two groups of participants; one younger (16- 25) as well as a group from an older demographic of consumers (40-65) with both groups being representative of consumers as well as two individuals representative of artists. As this study represents a small cross section of the many people who are involved in roles as both consumer and artist definitive conclusions solely gathered from my findings alone are difficult to ascertain. The value however, of conducting the comparative interview types, is the provided overview of responses, and how they interplay with the core arguments surrounding the debate. Work by Huang (2005) and Macheroni et al (2008) would suggest that younger audiences are less concerned about the implications of peer to peer sharing and thus more likely to use the distribution method. Using relative methods I build upon their work, highlighting and supporting claims by providing complimentary evidence and similar findings. HuangÊ ¼s (2005) use of groups interviews highlighted specific areas of interest with direct interaction with audience members, whilst MascheroniÊ ¼s (2008) research adopted ethnographic studies of online, as well as off line interaction in a more one to one manner. Due to the nature of copyright interaction online ethnographic study of users could be applied to researching users of file sharing services. The problem with this is the anonymity in this type of cinteraction, discussed by Watt, Lea and Spears (2002). Although there is potential for some light to be shed on how audiences share music online, it would be difficult to rationalise the reasons for this activity, providing little evidence to illuminate the reader on audience behaviour. My own studies, made use of extensive one on one interviews allowing unsigned artists a mouthpiece within the debate. The benefit of exposing the artists to the one on one interview process was expected to be a greater understanding and experience of copyright yielding technical data on the subject. This was then coupled with group based research. With guidance from Bertrand and Hughes (2005, p81), the group interviews, were expected to benefit from inter-participant discussion allowing some involved to make up in shortfalls of technical knowledge. As a well established means of audience research, group interviews can help garner natural responses from participants. It must always be considered however that these discussions do not take place in unmonitored environments and so must be viewed as having the potential to be polluted by the participants knowledge that what is being said is also being recorded. A particularly pertinent issue given the legal climate surrounding the issues covered. The legal aspect of my research may encourage participants to shy away from full, Robert answers, however the focus group environment should also foster greater candour and less inherently solicited responses than that of one on one interviews for instance (Boubour 2007) although the combination of the two means of study should have a balancing effect on the results. Research Findings Here I present the findings of my primary research investigating the interplay between copyright issues and digital music consumption. The material put forward here is the product of the two group interviews and two individual interviews with consumers and artists respectively. The discussions centred around the same key themes including the participants access to and use of digital music as well as attitudes and understanding of the related legal issues. Of particular importance for my study are responses they may have relevance towards legal the constraints and considerations surrounding the notion of digital music access. Providing the the structural basis of this chapter my aim is to discover any visible Robterns between the responses of the two types of interviewee. Consumption Listening Habits: The primary question for the interviews is one of use and involvement in digital music. It is essential to establish the extent, if any, to which the interview subjects interact with digital music content, irrespective of its origin. The following section examines participant music consumption routines and in particular, digital music consumption habits. Based on their replies, I address the stereotype that older audiences are less willing and able to undertake interaction with new delivery methods whilst isolating comparisons between the groups in other forms of music consumption. On broaching the subject of use of digital music with the older group, it was clear that most participants were involved and responsive to the means of content distribution. Many of the group cited the iPhone or iPod as an influence on their ease of access and enjoyment of digital music, proving Apple have a huge say in how this market is set to develop. either using mp3 players or their mobile phone to co nsume digital music. When the group was asked if they had access to a digital music player the response was as follows, Howard: Of course IÊ ¼ve had mp3 phones for a good 5 years now and players for a bit longer. Dominic: Yeah me too I would say, not the players but the phones, I use an iPhone for everything now. Howard: I still use my player for jogging though, I dont like to be bothered by phone calls but I still want my music with me. Most made some use of access to digital music on a regular basis. This helps to dispel the myth of a generation gap regarding digital media use as alluded to in the work of Mascheroni et al (2008). Although this establishes a commonality in usage of devices we are yet to establish meaningful connections between access and consumption habits. In the older group. The concept of digital music consumption representing the mainstay of their listening habits produced varied responses. For the older group the response was as follows: Dominic: For the car or the house I spose real music, sorry I should say CDs and stuff I spose, real music is normally what I go for. Robert: Yeah the same really. This is similar to the attitudes of both artists interviewed. Biometrix: Yeah its really all about vinyl for me but that normally means I have to rip the vinyl if I want to listen to it on my phone or anything like that Gecko: I collect all sorts of CDs and records, when we go on tour I normally come back with a pile of discs Ive either bought or been given. With the artists and the older audience still actively engaged in the acquisition and collation of music it is clear that there is still a space for tangible products within the music industry. Such observations are notably absent when dealing with the younger of the group studies. In this group there was evidence of a fractured landscape of media access with no commonly held method of consuming music. Youtube, Spotify and Soundcloud provide a number of feels like free options for home use along with the ubiquitous iPod/Phone, however the access to music was overwhelmingly digital amongst this group. It can be said that both groups access digital content in a number of ways, with the younger group being more selective and more aware of different delivery methods, perhaps indicated by the greater disparity in the services and methods of consumption they chose. Within this younger group, extensive different ways of acquiring digital music were referenced, including demonstrable evidence of LeonhardÊ ¼s (2008) Ê »feels like freeÊ ¼ streaming services such as Spotify and Last.fm. The following extract is taken from the opening stages of the younger focus group; MarT: Spotify, mainly. Youtube too, but there is much less music on there now and when you find something you like it gets deleted after a while for copyright stuff. Spotify have made it so easy and if they have pretty much everything so you can just go there, and if you canÊ ¼t find it aint on Spotify there might be a live version or something on Youtube but the quality is always ropey. The only bad thing about Spotify is that you get ads but its still free and its much safer than downloading audio files. Steve: Everything is so joined up on Spotify, like suggested artists and playlists and stuff, I spose its similar on Youtube, you can spend hours exploring. Claire: And you dont have to buy anything or give your card details over. Similarly both artists are avid users of Spotify amongst other streaming services: Gecko: I know the money is peanuts for getting played on there but it makes you accessible to so many people, some of them dont have enough money to pay for your album or your mp3 or whatever but the fact that they can still access it is important to grow as an artist. Its like playing a gig and barely making the petrol money to get home. We all do it but some of us are a bit more relaxed about the good it does for us. Biometrix: I use Spotify all the time, really its stopped me stealing a lot of music really. Its so much easier than actually downloading something so normally I just do that because I cant be bothered finding what I want and then waiting on it to arrive on my computer. Clearly Spotify offers an innovative model that can fit into both of MyÃ…Â ¡kaÊ ¼s (2009) subscription service model categories. A monthly fee can be paid to allow listeners to enjoy uninterrupted music without advertising and also allow access to feature rich content such as mobile streaming and offline listening, as well as Leonhards (2009) Ê »feels like freeÊ ¼ model that is funded by advertising. Of the myriad methods of media access identified, use of Web 2.0 music consumption models such as Spotify demonstrates a fall in favour of traditional peer to peer networks, contrary to the testaments of the recording industry (Siwek, 2007.) This goes some way to enforce the claims of Leonhard (2009) that these new, lawful access streams provide an attractive alternative to illegal downloading and also allay industry concerns about copyright protection. The interview subjects also cited the simplicity of these new methods in allowing them to locate music without the ex tensive searching that is commonplace with peer to peer access to media. Engagement with File Sharing: In this section, we assess the subjects involvement with the file sharing. I present rationalisation of the participants use or otherwise of file sharing networks and investigate their understandings and interactions with the legal ramifications of such actions. As the conversation developed, unexpectedly within the older group, many of the participants had used peer to peer services in the past, whilst perhaps their usage was limited, responses seemed mixed. Shaun: IÊ ¼ve used Megaupload in the past Yeah. Subscribed to that. We didnt download without our subscription, but now lapsed, I dont about the kids but yeah, Megaupload. I used to et a lot of other stuff there like films and ebooks so it was great. We can see that the participants have an understanding of file sharing as a concept, if not perhaps the finer points of nodal networking. There is an inference that by purchasing a subscription the subject considers themselves to have bought their downloads. This is however false and the subscription simply provides faster download speeds. The artists had a more sophisticated understanding of how rights related to downloading and sharing content, however it is notable that this greater insight did little to dissuade them from partaking in file sharing. Biometrix: Yeah I do download stuff, not as much as I used to but if theres something I cant find on Spotify or Soundcloud or that stuff then I will just go on a torrent site but I feel bad about it, I reckon, well I reckon because I think about what it would be like if the musicians were like me, just starting out or something. The guilt mechanism in this response shows a belief that the RIAA/BPI position is correct and that the copyright issues surrounding this kind of media access is universally illegal. This shows some support for the industry having a direct influence over peoples online interactions despite their diminished market share. One of the artists in particular also uses p2p sharing to promote and distribute their own material. Biometrix: I try to make a couple of free songs every month and put them on soundcloud for people to download. Its pretty much a thanks to all the people on Facebook, Soundcloud and Youtube who like my music and keep my profile hits high. I know theyre on the torrent sites but I dont mind, they were free anyway. This positive use of filesharing allows the artist greater exposure with virtual nil as an overhead, undercutting the top-heavy music industry and presenting the egalitarian model favoured by McLeod (2005). Responses to Legal Issues Industry Implications; This section aims to build on the responses in the previous section by filling out the subjects understanding of the legal issues involved with file sharing. Particularly noticeable in these answers is the difference between the artist and audience categories. As mentioned earlier there have been many examples of litigations against providers of p2p services, such as the media-circus trial of Ê »The Pirate BayÊ ¼ founders. Whilst the audience groups had little knowledge of such cases the artists seemed far better versed in what was going on within the industry to shape the distribution of music. Biometrix: Yeah, IÊ ¼ve know a lot about it actually The pirate bay have been found guilty of copyright abuse and theyre appealing their jail term now I think. Its a pretty big deal, all of the big film companies have been after them. The site is still going though, so it doesnt seem to have done much good does it? Gecko: Pirate bay is huge. Its not just pirating things, they do all sorts, politics and freedom of speech stuff and all of that. I think it was started by activists but I dont know whos involved nowadays. As soon as something gets taken off it seems to come straight back up. Loads of people use it. Infringement and theft are put forwards by McLeod as tactics to enforce the monopoly of the recording industry. Of the subjects opinions on the significance file sharing has for the music industry, the various subjects displayed an array of responses. The following extracts are taken from the older subjects; Dominic: Small bands dont have a bean basically. Those are the people you are robbing off, not the execs or anything. Emma: They must be getting paid somehow, the music is still out there. Robert: But the money doesnt go to the band. This passage underlines the fact that members in this group believe that the majority of income for musicians, particularly less prolific artists, is provided by their record sales. This understanding of the revenue streams available to music industries also demonstrates a finely tuned understanding of what the Ê »music industryÊ ¼ entails. Williamson and CloonanÊ ¼s (2007) arguments against the wide spread use of the term, based on my findings, suggest older generations are indeed more inclined to understand the term equating to the recording industry. The actions of the recording industries and the responses from audiences can be seen as an example of Michel de CerteauÊ ¼s idea of Ê »strategies and tacticsÊ ¼ (1984). The strategies of the power structures within the relationship, in this case, the industries retention of traditional retail models and the discourse that it equates to the music industry (BPI, 2009), in contrast to the tactics of audiences. This investigation finds between age demographics the response tactics identifiable and noticably different. The older group creates their own space through a sceptical approach to recording industry practices, methods of media access and opinion demonstrate stronger ties with the recording industry discourse crime and punishment. The both the artists and younger group members seemed much more separated from these established means of operation, shown in their symRobhy for file sharing, anti-corporate comments and reluctance to trust established regulations regardin g copyright infringement. Based on the findings outlined above, the suggestion is that audiences are highly aware that there are legal implications surrounding the sharing of files, but their opinions and responses to the validity of these implications are generationally split. The evidence provided by the younger demographic of both audience and artists provides support for the views of McLeod (2005) whereas the older group demonstrated a much more accepting response for the necessity of copyright legislation as a protection against theft. Applying music retail and commerce theories presented by Anderson (2006) and Dubber (2007), most of the participants appeared to be informed of the changes online distribution was experiencing, although there was rejection of the industrys reluctance to develop progressive content access agreements along with them. The divergence of opinion in the application of rights enforcement between the two groups adds weight to the arguments presented by Garofalo (2003), acting to s et the balance between the two sides of the rights argument, preventing the financial exploitation of free music, whilst also managing a free channel of access to consumers. Conclusion It can be established from the results of my investigation that audience and artist opinions are divided on the justifications for rights protection and the enforcement thereof in relation to digital music access. Whilst there is clear evidence of a move towards digital media consumption, there is a distinct generational gap in the manner in which different age groups access music digitally. Older generations seem to fall into line with traditional models of product capitalisation, purchasing physical formats and viewing transgression of copyright online as theft. Younger subjects more immersed in digital media and having grown up during the internet gold rush have a far less strict attitude to the acquisition of digital music. They may understand that they are acting in opposition to the wants of the recording industry, however they seem to show a contempt for the industrys methods and motivations. Their attitudes towards free services such as Spotify and Last.FM do however, indicat e that they are easily capable of adapting and developing their outlook on delivery so it is arguable that they are also quite capable of reordering their views on the ownership and distribution of digital music. Organisations such as the Open Rights Group or ORG, are publicly recoiling against the new laws in the Digital Economy Bill, arguing that a disconnection of peoples internet connection as a deterrent for infringement of copyright is a Ê »disproportionate response to alleged copyright infringement and will breach citizens fundamental human rights, including their freedoms of expression and association. (2010) Online infringement is the result of the absence of legitimate markets and licensing regimes.The legal market has failed to satisfy the desire of music fans to use new technological possibilities to access music as easily as possible. Illicit use of peer-to-peer technologies has filled the gap. (Open Rights Group, 2010) Such a reaction to these new measures, along with the results put forward by this investigation, support the argument that the audiences and artists are increasingly disengaged with the current copyright system, perhaps leading some to opt out by downloading illegally. Further to this it appears that an overhaul of rights for digital media is imperative, and the new bills attempting to address this issue all fail to address these needs. Many of the theories discussed throughout this dissertation point towards an argument that the recording industry at large has flunked its opportunity to to adapt to the new means of content distribution successfully (as can be seen through revenue loss) or even adequately (more clearly illustrated with audience and artist dissatisfaction) paving the way for the audience to find their own solutions to these problems. As time moves on and the younger audiences and artists become the old guard of tomorrow the gap between industry and audience will only increase, unless copyright is suitably adjusted to perform the necessary balancing act between the two (Fisher, 2001 Garofalo, 2003). The use of copyright presently seems structured around the need to protect the means and methods of the recording industry itself, arguably responsible for the division and cause for debate in the first place. The increasingly aggressive tactics proposed in new legislation on both sides of the Atlantic can only furthermore enhance the widening of this gap. It is almost impossible to predict the future based on the past, widespread use of services such as Spotify may perhaps produce noticeable changes in audiences access to and demand for digital music whilst also reducing the use of file sharing in the near future. This study shines a light on many areas for further investigation, particularly in the way different gen erations are taught to use new models of media consumption and how different devices alter the interplay between copyright and consumer. A wider more comprehensive study of a bigger artist quota would also strengthen and challenge many of the presented arguments. Whilst no one can tell exactly where copyright, audiences, artists and the industry will find themselves after this turbulent period of invention and reinvention, progress will, and must occur.

J.R.R Tolkien Believed Fairy Tales were Corrupted by...

Fairy tales have been told for generations and now every child has dolls, movies and books filled with magical adventure. Cinderella, Sleeping beauty, and Snow white have become classics in every household. However, J.R.R. Tolkien described in his essay â€Å"On Fairy Stories† that the world has corrupted fairy tales by making them childlike and denoting them to evil. Our culture prescribed fairies to be diminutive, supernatural creatures; however, fairies are neither small nor necessarily supernatural. A fairy is a direct product of Faerie, which is â€Å"the realm or state in which fairies have their being† (Tolkien â€Å"On† 2). Fairy stories are derived from the human mind, more so the imagination. Without the imagination, Faerie would be dull. The†¦show more content†¦One guiding force of the novel is the omnipresent good that guides Frodo and the fellowship through disastrous times. A glimpse of this force is shown when the Fellowship reaches the transcendent Lothlorien, and Legolas exclaimed that they wandered into the Golden Wood (Tolkien Fellowship 378). This is a beautiful, light filled Elvish kingdom that contrasts many others of Middle Earth, like the Mines of Moria. Legolas finds his true happiness with these elves because their home arouses his desire to be in the undying land. Humans, like elves, long for this undying land, but through religion. Fairy tales then encourage readers to withstand the trouble of the world and arouse the desire to be with their Creator outside this known realm. Escapism, another function of Fairy tale is experienced in Lord of the Rings. Although highly criticized, Tolkien believed that escape is a necessary and beneficial element of fairy stories. Men face â€Å"hunger, thirst, poverty, pain, sorrow, injustice, death† and even the weaknesses of themselves in which â€Å"fairy stories offer a sort of escape† (Tolkien â€Å"On† 12). This escape from life is one that the Primary World cannot offer. In fairy tales the other creatures become the weaknesses and troubles of this world. These â€Å"other creatures are like other realms with which Man has broken off

Constructing a Deductive Theory

There are two approaches to constructing a theory: deductive theory construction and inductive theory construction. Deductive theory construction takes place during deductive reasoning in the hypothesis-testing phase of research. Process The process of developing a deductive theory is not always as simple and straightforward as the following; however, the process generally involves the following steps: Specify the topic.Specify the range of phenomena your theory addresses. Will it apply to all of human social life, only U.S. citizens, only middle-class Hispanics, or what?Identify and specify your major concepts and variables.Find out what is known about the relationships among those variables.Reason logically from those relationships to the specific topic you are studying. Pick a Topic of Interest The first step in constructing a deductive theory is picking a topic that interests you. It can be very broad or very specific but should be something that you are trying to understand or explain. Then, identify what the range of phenomena is that you are examining. Are you looking at human social life across the globe, only women in the United States, only poor, sick children in Haiti, etc? Take Inventory   The next step is to take inventory of what is already known about that topic or what is thought about it. This includes learning what other scholars have said about it as well as writing down your own observations and ideas. This is the point in the research process where you will likely spend a great deal of time in the library reading scholarly literature on the topic and devising a literature review. During this process, you will likely notice patterns discovered by prior scholars. For example, if you are looking at views on abortion, religious and political factors will stand out as important predictors in many of the previous studies you come across. Next Steps After you’ve examined the previous research conducted on your topic, you are ready to construct your own theory. What is it that you believe you will find during your research? Once you develop your theories and hypotheses, it is time to test them in the data collection and analysis phase of your research. References Babbie, E. (2001). The Practice of Social Research: 9th Edition. Belmont, CA: Wadsworth Thomson.

Fahrenheit 451 Vs. Looking Backward - 1560 Words

Fahrenheit 451 vs. Looking Backward In any society, there are bound to be flaws. In both Looking Backward by Edward Bellamy and Fahrenheit 451 written by Ray Bradbury, major flaws of humanity are highlighted. Both authors discuss many issues we face, and offer ways to improve these issues. Bradbury suggests that society is too conformed, and the government is being hypocritical by telling us to fear a community in which everything is the same while facilitating that very type of place. Everyone in this cookie cutter world that Bradbury describes is identical. He suggests that the solution to this would be to let everyone live the way they want, with the freedom to be themselves and express their opinions. Bellamy argues that in our†¦show more content†¦Many people were unhappy, but chose to live a life of ignorance in order to protect themselves from the harms of the world, and to please the authority. Montag, the protagonist, was perhaps the most unhappy of all, thinking t o himself, â€Å"he was not happy. He was not happy. He said the words to himself. He recognized this as the true state of affairs† (Bradbury, 9). The underlying meaning of his writing could be interpreted as a jab at communism, considering he wrote his novel in 1953 which was during the early beginnings of the Cold War against the Soviet Union. Communism can be defined as a theory advocating for a culture in which all property is publicly owned and each person is given a rationed pay according to their needs. In Bradbury’s futuristic utopia, people have no privacy and everyone is brainwashed into thinking the same thing. When comparing communism with Bradbury’s society, the similarities are evident. During the Cold War, anyone associated with communism would be scrutinized and excluded from the community, because those were the people who wanted to conform under the government. Bradbury is criticizing a power force that encourages a lack of classes and his prop osed solution is to let the people earn what they deserve. While Bradbury believed that people should not conform under the government rules, Bellamy most likely would have thought that communism would have been a

The First Layer Of The Unconscious - 1570 Words

The first layer of Carl Jung was also called the personal unconscious is basically the same as Freud’s kind of the unconscious. The particular unconscious has temporality elapsed information and well as repressed retentions. Jung (1933) outlined an important article of the personal unconscious called complexes. A complex is a collection of opinions, moods, attitudes and memories that focus on a particular idea. The more elements attached to the complex, the greater its effect on the individual. Jung also said that the personal unconscious was much nearer the exterior than Freud advised and Jungian therapy is less concerned with repressed infantile knowledges. It is the present-day and the future, which in his opinion was the strategic to†¦show more content†¦While he was becoming a teen he started reading books and that is where he found out he actually loves philosophy. While Jung was growing he started noticing that he had two personalities just like his mother. Th is personalities are modern Swiss, and the other personality is more to the eighteenth century. The Swiss personality describes more a schoolboy living in the new era. The other one is describing a man which is very influential from the past. Jung decided just to study medicine,but the he developed that he had an spiritual interest in phenomena while he was attending school. Since Jung was into this two interest he then discovered a carrier that was a combination of both carrier which is psychiatry In 1902 he completed his doctoral in Psychology and Pathology of So-CAlled Occult Phenomena. Jung also graduated of a medical degree from the University of Basel. Jung got married in 1903 with Emma Rauschenbach, they were together since until the year of her death which it was 1955. But the death of her wife did not stopped him from having other woman. After having several romances with several women Jung felt in love with his very first patient at the Burgholzli Psychiatric Hospital. She was a Russian named Sabina Spielrein, they exchanged letters for several years. A couple time after they were doing this they broke up their romance since he found out that while they were together he was having negativity in his carrier. Jung also worked

Breaking DES (Data Encryption Systems) Free Essays

string(146) " In order to design a secure cryptosystems, there is a need for a mixture of well known principles, some theorems and the presence of some magic\." Data Encryption Standard (DES) is an algorithm for decrypting and encrypting unstipulated information in the United States administration standard. DES is derived from IBM’s Lucifer code and is depicted by the Federal Information Processing Standards (FIPS) 46, with its current modification being FIDS 46-3 (Conrad, 2007). DES is a mass code that takes a plaintext sequence as a key in and generates a code transcript wording of the same measurement lengthwise. We will write a custom essay sample on Breaking DES (Data Encryption Systems) or any similar topic only for you Order Now The mass of the DES obstruct is 64 bits which is also the same for the input dimension even though the 8 bits of the key are for the recognition of faults making the efficient DES input amount 56 bits. Because of the progressions in the authority of dispensation in workstations there are weaknesses in the 56-bit key extent presently (Conrad, 2007). In the company of proper hardware, there is a best chance assault on methodical efforts to all the 72 quadrillion hence, there is a possibility of dissimilar inputs. Advanced Encryption Standard (AES) developed into an innovative FIPS-standard encryption average in 2001, 26th November to replace DES. Statistics Encryption Algorithm explains the definite algorithm as contested to the average. In such circumstances, TDEA is a short form for Triple DES. At the same time, there is a description of Triple Data Encryption Algorithm Modes of Operation ANSI X9. 52-1998 (Clayton Bond, 2002). History of DES DES was proposed in 1975 and approved in 1977 as a federal information processing standard. It was criticized by the people who felt that it’s 56 key lengths to be insecure. In spite of this, DES remained a strong encryption algorithm until mid 1990. In the year 1998 summer, the insecurity of DES was demonstrated when a $ 250,000 computer which was built by the electronic frontier foundation decrypted a DES-encoded message in 56 hours. This was improved in the 1999 to 2002 hours through a combination of 100,000 networked personal computers and the EFF machine. DES remains a de facto standard unless a substitute is found (Landau, 2000, p. 341). A certified DES is obtained from the National Institute of Standards and Technology (NIST). This Advanced Encryption Standard (AES) works in three key lengths: 128, 192, and 256 bits. The publication of DES indicated a new era in cryptography. The development in the community of public cryptographers was enhanced by having an algorithm availability of study that the national security agent certified to be secure (Landau, 2000, p. 341). The (DES) Data Encryption Standard A system that encrypts quickly but is essentially what is impossible to break is all what cryptographers have always wanted. Public key systems have captured the imagination of mathematicians because of their reliance on elementary number theory. Public key algorithms are used for establishing a key because they are too slow to be used for most data transmissions. Private key system does the encryption because they are typically faster than public key ones (Landau, 2000, p. 341). The data Encryption Standard (DES) workhorse uses private key algorithm besides relying on cryptographic design principles that predate public key. The RC4 in web browsers and the relatively insecure cable TV signal encryption are an exception to DES. DES is the most widely used public cryptosystem in the world. It is the cryptographic algorithm which is used by banks for electronic funds transfer. It is also used for the protection of civilian satellite communications. Still, a variant of DES is used for UNIX password protection. There are three operation of the DES which involves XOR, substitution and permutation. The DES is an interrelated block cipher and a cryptosystem on a block of symbols that sequentially repeats an internal function which is called a round. It encrypts data by the use of a primitive that operates on a block of symptoms of moderate size. Self invert ability is also essential to enable one of the objects to encrypt and decrypt. When encrypting ordinary text, DES begins by grouping the text into 64 bit block. A number of operations are performed by the DES on each block (Landau, 2000, p. 343). The transformation of how the block is to be carried out is determined by a single key of 56 bits. DES iterates sixteen identical rounds of mixing; each round of DES uses a 48-bit sub key. The DES begins with an initial permutation P and ends with its inverse. The permutations are of minor cryptographic implications but forms part of the official algorithm. The selection of sub keys starts by splitting the 56-bit key into two 28-bit halves and rotating each half one or two bits; either one bit in rounds 1, 2, 9, and 16 or two bits otherwise. The two halves are put back together and then 48 particular bits are chosen and put in order (Landau, 2000, p. 343). Attacks of DES The selection of DES was followed by protests in which case some of the researchers appeared to object to the algorithm small key space. Investors in the key public cryptography claimed that a DES encoded message could be broken in about a day by a $ 20 million machine made up of a million specially designed VLSI capable of searching one key per microsecond while working in parallel. The use of a meet in the middle attack to break a four round version of DES did not extend past seven rounds (Landau, 2000, p. 345). This is evidence that, for all these attacks none of them posed a serious threat to the DES. Other attacks on the DES were performed to poke harder to the innards of DES. This brought anomalies which led to the first attacks that were seen to be more theoretically better than exhaustive search. The attacks were against the block structure system and the need of all block-structured cryptosystems needed to be designed to be secure against differential and linear cryptanalysis. There is a strong attack to DES which is differential cryptanalysis. This is apparently known to the algorithms designers. In order to design a secure cryptosystems, there is a need for a mixture of well known principles, some theorems and the presence of some magic. You read "Breaking DES (Data Encryption Systems)" in category "Papers" Attacks on a cryptosystem fall into two categories which are passive attacks and active attacks. The passive attacks are the ones which adversely monitors the communication channel. They are usually easier to mount although they yield less. The active attacks have the adversary transmitting messages to obtain information (Landau, 2000, p. 342). The aim of the attackers is to determine the plaintext from the cipher text which they capture. A more successful attack will determine the key and thus compromise a whole set of messages. By designing their algorithms, cryptographer’s help to resist attacks such as cipher text only attack whose adversary has access to the encrypted communications. The known plain text attack which has its adversary has some plain text and its corresponding cipher text. The third attack which can be avoided is the chosen text attack and its adversary chooses the plain text for encryption or decryption. The plain text chosen by the adversary depends on the cipher text received from the previous requests (Landau, 2000, p. 342). Observations about DES The simplicity found in the DES amounts to some fully desirable properties. To start with it is the complementation. To illustrate, allow X to denote the bitwise complement of X. If C is the DES encryption of the plaintext P with key K, then P is the DES encryption of P with key K. In some cases the complementation can simplify DES cryptanalysis by basically cutting the investigating space in half. These properties do not cause serious weakness in the algorithm. The set generated by the DES permutations do not form a group. The group may have at least 102499 elements. There is strength in the DES when it lacks a group structure. It appears to be double encryption where this is twice by two different keys, EK2 (EK1 (P) and is not stronger than single encryption. The reason is that when meeting in the middle attacks for a given plaintext cipher text pair, an adversary will compute all 256 possible enciphering of the plaintext i. e. EKi (P), and indexes the same. The adversary will then compute all possible deciphering of the cipher text (Landau, 2000, p. 345). Models of DES There are four forms of DES, which are accepted by FIPS 81. They include (ECB) Electronic Codebook form, code mass sequence form (CFB), productivity reaction form (OFB) and system response (CFB). The forms are used to with both DES and Triple DES. Within each form, there are main dissimilarities which are based on the fault proliferation and obstruct vs. tributary codes (Conrad, 2007). Electronic Codebook (ECB) Mode In this form of encryption, there is sovereign encryption into respective blocks of codes text. It is done by means of Feistel code which generates 16 sub-inputs derived from the symmetric input and also encrypts the plaintext using 16 surroundings of conversion. Similarly, the development is used in the conversion of code text reverse into simple text with the dissimilarity that, 16 sub inputs are contributed in overturn arrangement. The result of repeated blocks of identical plaintext is the repeated blocks of cipher text which is capable of assisting in the vault investigation of the code wording. In Appendix 1 there is an illustration of the result (Conrad, 2007). The first picture of SANS symbol is the bitmap layout. The second picture is the encrypted logo of SANS bitmap via DES ECB form. The visibility of the model is due to the recurring of masses of the simple wording pixels in the bitmap which are encrypted into masses which are repeated and are of particular code pixels. In this form, faults do not proliferate due to the autonomous encryption of each obstruct. Cipher Block Chaining (CBC) Mode The CBC form is an obstruct code which XORs every original obstruct of simple wording with the previous block of code wording. This indicates that repeated obstructs of simple wording do not give rise to repeated obstructs of code wording. CBC uses a vector of initialization which is an arbitrary original obstructs used to make sure that two simple wordings result in different code wordings. In figure 2 of the Appendix there is a clear illustration of the same SANS symbol bitmap data, encrypted with DES CBC form. There is no visibility of any prototype which is true for all DES forms apart from ECB. Therefore, in this mode, there is proliferation of faults as each prior step’s encrypted output is XORed with the original obstructing of simple wording (Conrad, 2007). Cipher Feedback (CFB) Mode The Cipher Feedback Mode is a tributary code that encrypts simple wording by breaking into X (1-64) bits. This permits encryption of the level of byte or bits. This mode uses an arbitrary vector of initialization. The preceding elements of code wording are XORed with consequent components of code wording. Therefore, in this mode of CBC there is proliferation of faults (Conrad, 2007). Output Feedback (OFB) Mode Similar to CFB form, the productivity reaction form makes use of the vector of random initialization and also encrypts simple wording by shattering downward into a tributary by encrypting components of X (1-64) bits of simple wording. This form fluctuates from CFB form by generating a simulated-arbitrary tributary of productivity which is XORed with the plaintext during every step. Therefore, the productivity is fed back to the simple wording and because the output is XORed to the simple wording, faults there is no proliferation of mistakes (Conrad, 2007). Counter (CTR) Mode The oppose form is a tributary code similar to OFB form. The main disparity is the accumulation of contradict obstructs. The offset can be supplementary to an arbitrary importance that is used only once and then increased for each component of simple wording that is encrypted. The initial counter obstructs acts as a vector of initialization. Therefore, in each surrounding there is XORing of the offset obstructs with simple wording. Accumulation of offset obstructs permits disintegration of encryption into equivalent phases, improving presentation on a suitable hardware. There is no proliferation of mistakes (Clayton Bond, 2002). (Table 1 in the Appendix summarizes the Data Encryption Standard). Triple DES (T DES) In anticipation of 2030, TDES can be used as FIPS encryption algorithm which is permitted in order to allow conversion to AES. There are three surroundings of DES which are used by TDES which have an input extent of 168 bits (56 * 3). There is a possibility of reduced effective key length of TDES to roughly 12 bits though beast might assaults against TDES re not realistic at present (Conrad, 2007). Architecture for Cryptanalysis All modern day practical ciphers both symmetrical and asymmetrical make use of security apparatus depending on their key length. In so doing, they provide a margin of security to cover from computational attacks with present computers. Depending on the level of security which is chosen for any software application, many ciphers are prone to attacks which unique machines having for instance a cost-performance ratio (Guneysu, 2006). Reconfigurable computing has been recognized as way of reducing costs while also acting as an alternative to a variety of applications which need the power of a custom hardware and the flexibility of software based design such as the case of rapid prototyping (Diffie Hellman, 1977, pp. 74-84). What this means is that cryptanalysis of today’s cryptographic algorithms need a lot of computation efforts. Such applications map by nature to hardware based design, which require repetitive mapping of the main block, and is easy to extend by putting in place additional chips as is needed. However, it should be noted that the mere presence of resources for computation is not the main problem. The main problem is availability of affordable massive computational resources. The non-recurring engineering costs have enabled hardware meant for special purpose cryptanalysis in virtually all practicable situations unreachable. This has been unreachable to either commercial or research institutions, which has only been taken by government agencies as feasible (Diffie Hellman, 1977, pp. 74-84). The other alternative to distributed computing with loosely coupled processors finds its base on the idle circles of the large number of computers connected through the internet. This method has considerably been successful for some applications. However, the verified detection of extraterrestrial life is considerably still a problem more so for unviable problems with power of computing in a particular organization (Guneysu, 2006). In cryptanalysis some algorithms are very suitable for special-purpose hardware. One main example for this is the search for the data encryption standard (DES) (FIPS, 1977). What this means is that a brute- force attack is more than twice the magnitude faster when put in place on FPGA’s as opposed to in software on computers meant for general purposes at relatively the same costs (FIPS, 1977). That notwithstanding, for many crypto algorithms the advantages due to cost-performance of hardware meant for special purposes over those meant for ordinary purposes is not really as dramatic as is usually the case of DES, more so for public-key algorithms (Guneysu, 2006). Arising from the advent of low-cost FPGA families with much logic approaches recently, field programmable gate arrays offer a very interesting way for the thorough computational effort which cryptanalysis needs (Lesnsta Verheul, 2001, pp. 255-293). Many algorithms dealing with the most important problems in cryptanalysis is capable of being put in place on FPGAs. Code breaking though, requires more additional efforts as opposed to just programming a single FPGA with a certain algorithm (Electronic Frontier Foundation, 1998). Owing to the enormous perspectives of cryptanalysis problems, many more resources as opposed to FPGA are needed. This implies that the main need is massively powerful parallel machinery suited to the requirements of targeted algorithms. Many problems are capable of being put in parallel and are perfectly suited for an architecture distributed. Conventional parallel architectures for computing can theoretically be used for applications of cryptanalysis (Guneysu, 2006). An optical Architecture to Break Ciphers The targeted DES brute force attack has several characteristics. To begin with, expensive computational operations which are put in parallel. Next, there is no need of communication between single parallel instances. The next characteristic is the fact that the general expense for communication is not high owing to the fact that the stage of computation strongly outweighs the data input and output stages. According to Blaze et al, (1996), communication is almost entirely used for results reporting as well as initialization. A central control instance with regards to communication is capable of being accomplished by a conventional low cost personal computer, connected simply by an interface. This would imply that there is no need for a high-speed communication interface. The fourth characteristic is the fact that a DES brute-force attack and its following implementation require little memory. The final consequence of the above is the fact that the available memory on present day low cost FPGAs is sufficient (Guneysu, 2006). What this implies is that by making use of low-cost FPGAs, it is possible to develop a cost effective dynamic architecture which is capable of being reprogrammed which would be able to accommodate all the targeted architectures (Blaze et al, 1996). Realization of COPACOBANA Drawing back, the Cost-Optimized Parallel Code Breaker (COPACOBANA) meeting the needs available comprise of several independent-low prized FPGAs, connected to a hosting PC by way of a standard interface such as a USB. Moreover, such a standard interface permits to extend a host-PC with more than one device of COPACOBANA. The initialization of FPGAs, the control as well as the process of results accumulation is carried out by the host. Critical computations are carried out by the FPGAs, which meet the actual cryptanalytical architecture (Schleiffer, 2006). Developing a system of the above speculations with FPGA boards which are commercially available is certainly possible but at a cost. Therefore it is important to put into considerations the design and layout among others in coming up with the above kind of system (Schleiffer, 2006). This would therefore mean that our cost-performance design meant for cost optimization is only capable of being achieved if all functionalities are restricted to those required for code breaking. Arty the same time, many designs choices should be based on components and interfaces which are readily available (Guneysu, 2006). Conclusion In conclusion, cryptanalysis of symmetric and asymmetric ciphers is extremely demanding in terms of computations. It would be fair to hold the belief that breaking codes with conventional PCs as well as super-computers is very much costly. Bit-sizes of keys should be chosen in a way that traditional methods of code breaking do not succeed (Rouvroy et al 2003, pp. 181-193). This would mean that the only way to go through ciphers is to develop special-purpose hardware purposely meant for suitable algorithms. In the final analysis, traditional parallel architecture in the end equally appears to be too complicated and therefore not cost saving in finding solutions to cryptanalytical problems. As earlier observed, many of these problems can easily be put in parallel implying that the algorithms which correspond to them are equally capable of being parameterized to lower communication costs (Guneysu, 2006). A hardware architecture which is cost effective (COPACOBANA) is the end product of the algorithmic requirements of the intended problems of cryptanalysis. This work represents not only the design but also the first prototype of an effective design which meets the demands of the request. In the final analysis, COPACOBANA would be able to accommodate as many as 120 FPGAs which are less costly. At the same time, it is possible to break data encryption standard (DES) within a period of nine days. This would require a hardware design comprising of reprogrammable logic which could be adopted to accommodate any task, even those not necessarily in line with code breaking (Rouvroy et al 2003, pp. 181-193). References Blaze, M.. , Diffie, W. , Rivest, R. L. , Scheiner, B. , Shimomura, E. , and Weiner, M (1996). Minimal Key Lengths for Symmetry Ciphers to Provide Adequate Commercial Security. Ad Hoc Group of Cryptographers and Computer Scientists. Retrieved from December, 13, 2008 from http://www. counterpane. com/keylength. html. Clayton, R. and Bond, M. (2002). Experience Using a Low-Cost FPGA Design to Crack DES Keys. In B. S. Kaliski, C. K. Koc Cetin, and C. Paar, editors, Cryptographic Hardware and Embedded Systems – CHES 2002, 4th International Workshop, Redwood Shores, CA, USA,volume 2523 of series, pages 579 – 592. Springer-Verlag. Conrad, E. (2007). Data Encryption Standard, The SANS Institute Diffie, W Hellman, M. E. (1977). Exhaustive cryptanalysis of the NBS Data Encryption Standard. Computer, 10(6): 74-84 Electronic Frontier Foundation. (1998). Cracking DES: Secrets of Encryption Research, Wiretap Poolitics Chip Design. O’Reilly Associates Inc. Federal Information Processing Standard. (1977). Data Encryption Standard, U. S Department of Commerce. Guneysu, T. E. (2006). Efficient Hardware Architecture for Solving the Discrete Logarithm Problem on Elliptic Curves. AAmasters thesis, Horst Gortz Institute, Ruhr University of Bochum. Landau, S. (2000). Standing the Test of Time: The Data Encryption Standard vol. 47, 3, pp. 341-349. Lenstra, A and Verheul, E. (2001). Selecting Cryptographic Key Sizes. Journal of Cryptology, 14(4):255–293. Rouvroy, G. , Standaert, F. X. , Quisquater, J. , and Legat, D. (2003). Design Strategies and Modified Descriptions to Optimize Cipher FPGA Implementations: Fast and Compact Results for DES and Triple-DES. In Field-Programmable Logic and Applications- FPL, pp. 181-193 Schleiffer, C. (2006). Design of Host Interface for COPACOBANA. Technical report, Studienarbeit, Host Gortz Institute, Ruhr University Bochum How to cite Breaking DES (Data Encryption Systems), Papers

How Interest Groups Effect Voting Essay Example For Students

How Interest Groups Effect Voting Essay For all those who have to tend the humiliation at the OB-GYN *officeIn Melbourne, Fl. one of the radio stations paid money *($100-$500) for people to tell their most embarrassing stories. This *one netted the winner $300.. * *She said: I was due later that week for an appointment with the *gynecologist when early one morning I received a call from his *office: I had been rescheduled for early that morning at 9:30am. I had * *just packed everyone off to work and school and it was around 8:45 *already. The trip to his office usually took about 35 minutes so I *didnt have any time to spare. As most women do, Im sure, I like to *take a little extra effort over hygiene when making such visits, but *this time I wasnt going to be able to make the full effort. * *So I rushed upstairs, threw off my dressing gown, wet the *washcloth and gave myself a wash in that area in front of the sink, *taking extra care to make sure that I was presentable. *I threw the washcloth in the clothes basket, donned some *clothes, hopped in the car and raced to my appointment. I was in the *waiting room only a few minutes when he called me in. Knowing the *procedure, as I am sure you all do, I hopped up on the table, looked *over at the other side of the room and pretended I was in Hawaii or *some other place a million miles away from here. * *I was a little surprised when he said: Mywe have taken a *little extra effort this morning, havent we?, but I didnt respond. *The appointment over, I heaved a sigh of relief and went home. *The rest of the day went normal, some shopping, cleaning and the evening * *meal,etc. * *At 8:30 that evening my 14 year old daughter was fixing to go to *a school dance, when she called down from the bathroom, Mom *wheres my washcloth? I called back for her to get another from the *cabinet. * *She called back, No I need the one that was here by the sink. *It had all my glitter and sparkles in it. .