Improving Remote Voting Security with Code Voting

One of the major problems that prevents the spread of elections with the possibility of remote voting over electronic networks, also called Internet Voting, is the use of unreliable client platforms, such as the voter's computer and the Internet infrastructure connecting it to the election server. A computer connected to the Internet is exposed to viruses, worms, Trojans, spyware, malware and other threats that can compromise the election's integrity. For instance, it is possible to write a virus that changes the voter's vote to a predetermined vote on election's day. Another possible attack is the creation of a fake election web site where the voter uses a malicious vote program on the web site that manipulates the voter's vote (phishing/pharming attack). Such attacks may not disturb the election protocol, therefore can remain undetected in the eyes of the election auditors. We propose the use of Code Voting to overcome insecurity of the client platform. Code Voting consists in creating a secure communication channel to communicate the voter's vote between the voter and a trusted component attached to the voter's computer. Consequently, no one controlling the voter's computer can change the his/her's vote. The trusted component can then process the vote according to a cryptographic voting protocol to enable cryptographic verification at the server's side.

A iluminação cénica em Portugal na segunda metade da século XX : dissertação

A figura do iluminador (lighting designer) surge nesta dissertação como ponto de partida para um esboço de estudo acerca do autor do desenho de luz no espectáculo teatral em Portugal. Baseámo-nos num dos mais conceituados iluminadores (lighting designer) portugueses, Orlando Worm, para pesquisarmos o que o próprio trouxe aos novos designers de luz que continuam a percorrer um longo e, por vezes, solitário caminho nesta arte criativa. Considerámos para tal tecnologias criadas entre as décadas de 30 a 70 por alguns dos maiores nomes ligados à matéria: Stanley McCandless, Frederick Bentham, Richard Pilbrow e Francis Reid. Estes autores servem-nos como ponto de partida para depois indagarmos se a partir da década de 80 se utiliza algum destes métodos. Ao reflectir acerca destas tecnologias e da própria experiência de Orlando Worm, pretende-se concluir que o trabalho de desenho de luz é, de facto, um trabalho criativo e artístico, na medida em que a figura do iluminador (lighting designer) tem, ou deve ter, um contributo activo no processo teatral.