A Provenance-Aware Policy Language (cProvl) and a Data Traceability Model (cProv) for the Cloud

Provenance plays a pivotal in tracing the origin of something and determining how and why something had occurred. With the emergence of the cloud and the benefits it encompasses, there has been a rapid proliferation of services being adopted by commercial and government sectors. However, trust and security concerns for such services are on an unprecedented scale. Currently, these services expose very little internal working to their customers; this can cause accountability and compliance issues especially in the event of a fault or error, customers and providers are left to point finger at each other. Provenance-based traceability provides a mean to address part of this problem by being able to capture and query events occurred in the past to understand how and why it took place. However, due to the complexity of the cloud infrastructure, the current provenance models lack the expressibility required to describe the inner-working of a cloud service. For a complete solution, a provenance-aware policy language is also required for operators and users to define policies for compliance purpose. The current policy standards do not cater for such requirement. To address these issues, in this paper we propose a provenance (traceability) model cProv, and a provenance-aware policy language (cProvl) to capture traceability data, and express policies for validating against the model. For implementation, we have extended the XACML3.0 architecture to support provenance, and provided a translator that converts cProvl policy and request into XACML type.

Monsters Take to the Streets! Monstrous Street-Art as Pedagogy of Resistance to Post-Olympic Regeneration in Hackney Wick?

This chapter explores geographies of gentrification and resistance in relation to the monstrous through the lens of street-art in post-Olympic London. It takes as a geographic case study Hackney Wick, which has for a long time been a bastion of alternative and creative living due to cheap rents in large, ex-industrial warehouse spaces. The artistic sociality of the area is imbued within its landscape, as prolific street artists have adorned ex-industrial warehouses and canal-side walls with graffiti and murals. Since the announcement of the 2012 Olympic Games, the area has been a site of intense political and aesthetic contestation. The post-Olympic legacy means that the area has been earmarked for redevelopment, with current residents facing the possibility of joining thousands already displaced by the games. The anxiety of dispossession is reflected by monstrous characters and sinister disembodied teeth, eyes and fingers embedded within the landscape, painted by local artists. Using geographically sensitive mobile and visual methodology to document the landscape and artwork, the chapter analyses and interprets the monstrous themes using a range of theorists including Mikhail Bakhtin, Georges Bataille and Nick Land. I argue that monstrous street-art lays visible claim to public territory for aesthetic purposes at odds with the visions of redevelopers and the needs of capital. Whilst street-art and graffiti do not fit easily within frameworks of organized political resistance or collective social movements, they operate as a kind of epistemological transgression that triggers transformative affects in the viewer. This creates conditions for pedagogies of resistance to gentrification by expressing and mobilizing political affects such as anger and anxiety, raising awareness of geographical politics, and encouraging the viewer to question the status quo of the built environment.