A Framework for Security Transparency in Cloud Computing

Individuals and corporate users are persistently considering cloud adoption due to its significant benefits compared to traditional computing environments. The data and applications in the cloud are stored in an environment that is separated, managed and maintained externally to the organisation. Therefore, it is essential for cloud providers to demonstrate and implement adequate security practices to protect the data and processes put under their stewardship. Security transparency in the cloud is likely to become the core theme that underpins the systematic disclosure of security designs and practices that enhance customer confidence in using cloud service and deployment models. In this paper, we present a framework that enables a detailed analysis of security transparency for cloud based systems. In particular, we consider security transparency from three different levels of abstraction, i.e., conceptual, organisation and technical levels, and identify the relevant concepts within these levels. This allows us to provide an elaboration of the essential concepts at the core of transparency and analyse the means for implementing them from a technical perspective. Finally, an example from a real world migration context is given to provide a solid discussion on the applicability of the proposed framework.

Context-Based Sound and the Ecological Theory of Perception

This paper aims to investigate the ways in which context-based sonic art is capable of furthering a knowledge and understanding of place based on the initial perceptual encounter. How might this perceptual encounter operate in terms of a sound work’s affective dimension? To explore these issues I draw upon James J. Gibson’s ecological theory of perception and Gernot Böhme’s concept of an ‘aesthetic of atmospheres’. Within the ecological model of perception an individual can be regarded as a ‘perceptual system’: a mobile organism that seeks information from a coherent environment. I relate this concept to notions of the spatial address of environmental sound work in order to explore (a) how the human perceptual apparatus relates to the sonic environment in its mediated form and (b) how this impacts on individuals’ ability to experience such work as complex sonic ‘environments’. Can the ecological theory of perception aid the understanding of how the listener engages with context-based work? In proposing answers to this question, this paper advances a coherent analytical framework that may lead us to a more systematic grasp of the ways in which individuals engage aesthetically with sonic space and environment. I illustrate this methodology through an examination of some of the recorded work of sound artist Chris Watson.