| 1. |
|
|
| 2. |
|
|
| 3. |
- Chiesa, Marco, 1987-, et al.
(author)
-
Computational complexity of traffic hijacking under BGP and S-BGP
- 2012
-
In: Automata, Languages, and Programming. - Berlin, Heidelberg : Springer. - 9783642315855 ; , s. 476-487
-
Conference paper (peer-reviewed)abstract
- Harmful Internet hijacking incidents put in evidence how fragile the Border Gateway Protocol (BGP) is, which is used to exchange routing information between Autonomous Systems (ASes). As proved by recent research contributions, even S-BGP, the secure variant of BGP that is being deployed, is not fully able to blunt traffic attraction attacks. Given a traffic flow between two ASes, we study how difficult it is for a malicious AS to devise a strategy for hijacking or intercepting that flow. We show that this problem marks a sharp difference between BGP and S-BGP. Namely, while it is solvable, under reasonable assumptions, in polynomial time for the type of attacks that are usually performed in BGP, it is NP-hard for S-BGP. Our study has several by-products. E. g., we solve a problem left open in the literature, stating when performing a hijacking in S-BGP is equivalent to performing an interception.
|
|
| 4. |
- Chiesa, Marco, 1987-, et al.
(author)
-
Computational complexity of traffic hijacking under BGP and S-BGP
- 2015
-
In: Theoretical Computer Science. - : Elsevier. - 0304-3975 .- 1879-2294. ; 600, s. 143-154
-
Journal article (peer-reviewed)abstract
- Harmful Internet hijacking incidents put in evidence how fragile interdomain routing is. In particular, the Border Gateway Protocol (BGP), which is used to exchange routing information between Internet entities, called Autonomous Systems (ASes), proved to be prone to attacks launched by a single malicious AS. Recent research contributions pointed out that even S-BGP, the secure variant of BGP that is being deployed, is not fully able to blunt traffic attraction attacks. Given a traffic flow between two ASes, we study how difficult it is for a malicious AS to devise a strategy for hijacking or intercepting that flow. The goal of the attack is to attract a traffic flow towards the malicious AS. While in the hijacking attack connectivity between the endpoints of a flow can be disrupted, in the interception attack connectivity must be maintained. We show that this problem marks a sharp difference between BGP and S-BGP. Namely, while it is solvable, under reasonable assumptions, in polynomial time for the type of attacks that are usually performed in BGP, it is NP-hard for S-BGP. Our study has several by-products. E.g., we solve a problem left open in the literature, stating when performing a hijacking in S-BGP is equivalent to performing an interception.
|
|
| 5. |
|
|
| 6. |
- Grandin, Ingemar
(author)
-
Music under development: children’s songs, artists, and the (pancayat) state
- 2005
-
In: Studies in Nepali History and Society. - : Institutionen för studier av samhällsutveckling och kultur. - 1025-5109. ; 10:2, s. 255-293
-
Journal article (peer-reviewed)abstract
- In September 1993, Gopal Yonjan (an important personality in the field of Nepali music) released a book-plus-cassette set with songs for children. The cover of the book shows children in dresses typical of different Nepali regions, and these children hold up musical symbols from both East and West: the note-syllables of sa, re, ga, ma, and pa together with a treble clef and an eighth note. On top of this, the name of the book, Git Manjari, is inscribed into the five lines of Western staff notation. In the book – beside the lyrics and saragam notation of the songs – there are instructive comments. These comments are obviously there to educate the music teacher as much as the students. It is suggested how each song can be performed (group, solo singers, with dance, from stage, etc.), illustrations show where the various notes are on the keyboard, and there are comparisons into Western ways of putting music on paper (D major scale, tone-names, etc.). As to the lyrics, we meet in one of these songs a greedy cat, and in another song we are treated with one didactic proverb for each of the ten fingers of the two hands. All the songs – which are targeted at children between four and ten years old – are also found on the accompanying cassette. Of course, it was not his songs for children that elevated the late Gopal Yonjan (1943-1997) to be seen as one of Nepal’s (and Darjeeling’s) absolute top musical artists. He is remembered as a composer, as a songwriter, as a part of the legendary Mitjyu constellation with Narayan Gopal, as a flutist, and maybe as a studio-owner and college teacher (of music, at the Padmakanya Campus). Among his works, one might mention songs such as Birsera pheri malai nahera (sung by Narayan Gopal, lyrics Nagendra Thapa), Makhamali colo cahidaina (the radio hit sung by Mira Rana), or Kalakala salasala (the hit from the film Kanchi where Aruna Lama sang Chetan Karki’s lyrics). In the context of Gopal Yonjan’s oeuvre, the songs for children in Git Manjari appear marginal. In a similar way children have been assessed as marginal in Nepali studies (Gellner 2004). One of the most striking developments during Nepal’s last half century is certainly the explosive growth in schools (see, for instance, Liechty 2003: 57–8, 212–14, 264). The implications of this explosion for youth culture are thoroughly investigated in for instance Mark Liechty’s (2003) study of the rising middle class, and in the studies on various new forms of Nepali music by Paul Greene (2001, 2002/03; Greene & Henderson 2000; Greene & Rajkarnikar 2000). Children’s songs, on the other hand, remain unmentioned here as well as in the research at large – as the overviews of Nepal’s musical scenes in the leading music encyclopedias (Moisala 2000; Wegner et. al. 2005) testify. Indeed, marginality seems to be characteristic of children’s songs, whatever the context in which we consider them. They are – as the Gopal Yonjan case illustrates – on the fringe of the modern musical developments in Nepal, where the central genres have been those of modern songs and (folklorized) folk songs. And in the educational context, children’s songs appear as similarly marginal. Compared to the compulsory, comprehensive teaching – with centrally approved textbooks – in Nepali and social studies, singing was an activity on the periphery of school practice and music was not even an explicit part of the curriculum (Ragsdale 1989: 118; see further below). Yet this marginality may well be deceptive. As I hope will be clear in course of this article, studying children’s songs, as cultural artifacts and as artistic and educational practices, lands one on important, contested and central ground.
|
|
| 7. |
- Hamrud, Annika
(author)
-
Intervjuer mot väggen : En analys av svenska och brittiska radio- och teve-journalisters frågeteknik
- 2012
-
Reports (other academic/artistic)abstract
- Intervjun är en central beståndsdel av journalistiken, både som arbetsmetod och som presentationsform. Inte minst i ett journalistiskt ansvarsutkrävande i granskningen av politiker och andra makthavare. Trots intervjuns centrala roll, finns det relativt lite forskning runt den journalistiska intervjun. I denna skrift presenteras en studie av sex politiska intervjuer i Sveriges Radio, SVT och brittiska BBC. Dessa intervjuer analyseras ur fyra olika perspektiv – det normativa journalistiska perspektivet, ett samtalsanalytiskt perspektiv, ett retoriskt perspektiv samt ur ett diskursteoretiskt perspektiv.
|
|
| 8. |
- Hamshire, Claire, et al.
(author)
-
Working towards the inclusive campus : A partnership project with students of colour in a university reform initiative
- 2024
-
In: The Bloomsbury International Handbook of Student Voice in Higher Education.
-
Book chapter (peer-reviewed)abstract
- Much has been written about valuing the student voice in UK higher education. The discussion runs alongside an increasing focus from university leadership on improving students’ experiences, and development of the ways in which the student voice is captured, considered, and acted upon. These techniques are central to understanding and developing student engagement (Brooman et al. 2014; Cook-Sather 2006; Smith et al. 2021). Student participation in decision-making has become a key expectation for external regulatory bodies in the UK, such as the Quality Assurance Agency (QAA) and the Office for Students (OFS) for whom student input to university governance is non-negotiable (Neary, 2016). Student voice discourses are increasingly positioned by some commentators as integral to the neoliberal structures inherent in UK university policy and provision (Thiel 2019). This is evidenced through the use of these key quality measures which serve to reinforce individual accountability, often overshadowing collective good (Ball 2012) echoing discourses of consumer satisfaction and potentially impacting the core educational role of the university (Young & Jerome 2020).Of course, this raises the question of what is appropriate and how to ensure that students’ voices have real impact. There has been a growing interest in a structured approach to the concept of partnership to improve education, and positive outcomes have been reported when students and staff come together to co-create learning and teaching (Flint & Goddard 2020; Healey & Healey 2019; Mercer-Mapstone & Abbot 2019; Neary & Winn 2009). This research indicates that the experience can be motivational and increase learning for both parties. Additionally, it can strengthen students’ awareness of institutional processes and promote a deeper sense of student identity (Felten et al. 2014). This leads naturally to the rejection of the notion of student voice being aligned with consumer satisfaction, and instead positions students as agents of change, capable of having genuine impact on institutional agendas.In this chapter, we report on an innovative student-led project that was designed to provoke genuine and actionable reflections on the roles that senior colleagues could play in creating learning communities across a large UK university. The project aimed to work in partnership with students of colour to amplify their voices and develop a meaningful way to change attitudes and actions, with the objective of moving past good intentions to the creation of truly inclusive communities.
|
|
| 9. |
- Hughes, Every Ocean, 1977-
(artist, creator_code:cre_t)
-
Emily Roysdon
- 2017
-
Artistic work (peer-reviewed)abstract
- The exhibition will focus on these social and creative aspects of Matta-Clark´s conception of architecture, or as he put it, "making space without building it,". In addition to archive materials and important works by the artist, the exhibition will also present a selection of works by other artists, including Ed Rusha, Dan Graham, Alvin Baltrop, and Emily Roysdon, that set the context for Matta Clark’s literal and metaphorical gestures, produced in sites of urban reconstruction, abandonment, or renewal, or in economically deprived or marginal contexts.FROM 05 MAY 2017 TO 03 SEP 2017.
|
|
| 10. |
|
|
