Overlay Network Creation and Maintenance with Selfish Users

Overlay networks have been used for adding and enhancing functionality to the end-users without requiring modifications in the Internet core mechanisms. Overlay networks have been used for a variety of popular applications including routing, file sharing, content distribution, and server deployment. Previous work has focused on devising practical neighbor selection heuristics under the assumption that users conform to a specific wiring protocol. This is not a valid assumption in highly decentralized systems like overlay networks. Overlay users may act selfishly and deviate from the default wiring protocols by utilizing knowledge they have about the network when selecting neighbors to improve the performance they receive from the overlay. This thesis goes against the conventional thinking that overlay users conform to a specific protocol. The contributions of this thesis are threefold. It provides a systematic evaluation of the design space of selfish neighbor selection strategies in real overlays, evaluates the performance of overlay networks that consist of users that select their neighbors selfishly, and examines the implications of selfish neighbor and server selection to overlay protocol design and service provisioning respectively. This thesis develops a game-theoretic framework that provides a unified approach to modeling Selfish Neighbor Selection (SNS) wiring procedures on behalf of selfish users. The model is general, and takes into consideration costs reflecting network latency and user preference profiles, the inherent directionality in overlay maintenance protocols, and connectivity constraints imposed on the system designer. Within this framework the notion of user’s "best response" wiring strategy is formalized as a k-median problem on asymmetric distance and is used to obtain overlay structures in which no node can re-wire to improve the performance it receives from the overlay. Evaluation results presented in this thesis indicate that selfish users can reap substantial performance benefits when connecting to overlay networks composed of non-selfish users. In addition, in overlays that are dominated by selfish users, the resulting stable wirings are optimized to such great extent that even non-selfish newcomers can extract near-optimal performance through naïve wiring strategies. To capitalize on the performance advantages of optimal neighbor selection strategies and the emergent global wirings that result, this thesis presents EGOIST: an SNS-inspired overlay network creation and maintenance routing system. Through an extensive measurement study on the deployed prototype, results presented in this thesis show that EGOIST’s neighbor selection primitives outperform existing heuristics on a variety of performance metrics, including delay, available bandwidth, and node utilization. Moreover, these results demonstrate that EGOIST is competitive with an optimal but unscalable full-mesh approach, remains highly effective under significant churn, is robust to cheating, and incurs minimal overheads. This thesis also studies selfish neighbor selection strategies for swarming applications. The main focus is on n-way broadcast applications where each of n overlay user wants to push its own distinct file to all other destinations as well as download their respective data files. Results presented in this thesis demonstrate that the performance of our swarming protocol for n-way broadcast on top of overlays of selfish users is far superior than the performance on top of existing overlays. In the context of service provisioning, this thesis examines the use of distributed approaches that enable a provider to determine the number and location of servers for optimal delivery of content or services to its selfish end-users. To leverage recent advances in virtualization technologies, this thesis develops and evaluates a distributed protocol to migrate servers based on end-users demand and only on local topological knowledge. Results under a range of network topologies and workloads suggest that the performance of the distributed deployment is comparable to that of the optimal but unscalable centralized deployment.

Radio over fiber broadband access networks architectures based on wavelength division multiplexing techniques

The recent remarkable growth in bandwidth of both wired optical and wireless access networks supports a burst of new high bandwidth Internet applications such as: peer-topeer file sharing, cloud storage, on-line gaming, video streaming, etc. Within this scenario, the convergence of fixed and wireless access networks offers significant opportunities for network operators to satisfy user demands, and simultaneously reduce the cost of implementing and running separated wireless and wired networks. The integration of wired and wireless network can be accomplished within several scenarios and at several levels. In this thesis we will focus on converged radio over fiber architectures, particularly on two application scenarios: converged optical 60 GHz wireless networks and wireless overlay backhauling over bidirectional colorless wavelength division multiplexing passive optical networks (WDM-PONs). In the first application scenario, optical 60 GHz signal generation using external modulation of an optical carrier by means of lithium niobate (LiNbO3) Mach- Zehnder modulators (MZM) is considered. The performance of different optical modulation techniques, robust against fiber dispersion is assessed and dispersion mitigation strategies are identified. The study is extended to 60 GHz carriers digitally modulated with data and to systems employing subcarrier multiplexed (SCM) mm-wave channels. In the second application scenario, the performance of WDM-PONs employing reflective semiconductor optical amplifiers (RSOAs), transmitting an overlay orthogonal frequency-division multiplexing (OFDM) wireless signal is assessed analytically and experimentally, with the relevant system impairments being identified. It is demonstrated that the intermodulation due to the beating of the baseband signal and wireless signal at the receiver can seriously impair the wireless channel. Performance degradation of the wireless channel caused by the RSOA gain modulation owing to the downstream baseband data is also assessed, and system design guidelines are provided.

BitTorrent based transmission of real-time scalable video over P2P networks

The number of software applications available on the Internet for distributing video streams in real time over P2P networks has grown quickly in the last two years. Typical this kind of distribution is made by television channel broadcasters which try to make their content globally available, using viewer's resources to support a large scale distribution of video without incurring in incremental costs. However, the lack of adaptation in video quality, combined with the lack of a standard protocol for this kind of multimedia distribution has driven content providers to basically ignore it as a solution for video delivery over the Internet. While the scalable extension of the H. 264 encoding (H.264/SVC) can be used to support terminal and network heterogeneity, it is not clear how it can be integrated in a P2P overlay to form a large scale and real time distribution. In this paper, we start by defining a solution that combines the most popular P2P file-sharing protocol, the BitTorrent, with the H. 264/SVC encoding for a real-time video content delivery. Using this solution we then evaluate the effect of several parameters in the quality received by peers.

Sharing music files : tactics of a challenge to the industry

The sharing of music files has been the focus of a massive struggle between representatives of major record companies and artists in the music industry, on one side, and peer-to-peer (p2p) file-sharing services and their users, on the other. This struggle can be analysed in terms of tactics used by the two sides, which can be classified into five categories: cover-up versus exposure, devaluation versus validation, interpretation versus alternative interpretation, official channels versus mobilisation, and intimidation versus resistance. It is valuable to understand these tactics because similar ones are likely to be used in ongoing struggles between users of p2p services and representatives of the content industries.

Modelo estrutural para compartilhamento de arquivos peer-to-peer

Pós-graduação em Ciência da Computação - IBILCE

Redes sociais na Internet: uma investigação sobre práticas de compartilhamento de arquivos no Facebook

The social networking sites have experienced a large and rapid growth in recent years and bring together millions of users in Brazil and worldwide. Such networks allow adding groups of people with common interests or relationships, enabling members of this group to communicate and exchange information. Some social networks have specific goals, for example, aggregate individuals with common interests and professional relationships. However, they all share information in some way, whether in the form of short texts, photos, videos, among others. Sharing information in files is also a growing activity on the Internet and can be done in various ways, from sending files via email to multiple contacts to make available areas shared by the same contacts. However, applications are not yet available to enable file sharing on Facebook, considered the premier social network today. Given the growing demand for sharing files over the Internet, and a large number of users familiar with the use of these integrated applications for Facebook there is a demand for applications that allow users to share files with their contacts in this social network. This study aims to investigate how users use Facebook, and their practices for file sharing. It is believed that the results will substantiate future projects to develop software for file sharing on Facebook. Due to the exploratory nature of this research, the choice was made for a survey to collect data, applied through the web. From the results obtained, was possible to observe a frequent use of file sharing, but no interest in paid services. Regarding Facebook, was possible to observe their extensive use in both the frequency of access as the hours spent, as well as an increased use of applications (games, quiz, etc.). The full set of results shows a favorable environment for developing applications for sharing files on Facebook.

How can entrepreneurial musicians use electronic social networks to diffuse their music

Principal Topic: ''In less than ten years music labels will not exist anymore.'' Michael Smelli, former Global COO Sony/BMG MCA/QUT IMP Business Lab Digital Music Think Thanks 9 May 2009, Brisbane Big music labels such as EMI, Sony BMG and UMG have been responsible for promoting and producing a myriad of stars in the music industry over the last decades. However, the industry structure is under enormous threat with the emergence of a new innovative era of digital music. Recent years have seen a dramatic shift in industry power with the emergence of Napster and other file sharing sites, iTunes and other online stores, iPod and the MP3 revolution. Myspace.com and other social networking sites are connecting entrepreneurial artists with fans and creating online music communities independent of music labels. In 2008 the digital music business internationally grew by around 25% to 3.7 Billion US-Dollar. Digital platforms now account for around 20% of recorded music sales, up from 15 % in 2007 (IFPI Digital music report 2009). CD sales have fallen by 40% since their peak levels. Global digital music sales totalled an estimated US$ 3 Billion in 2007, an increase of 40% on 2006 figures. Digital sales account for an estimated 15% of global market, up from 11% in 2006 and zero in 2003. The music industry is more advanced in terms of digital revenues than any other creative or entertainment industry (except games). Its digital share is more than twice that of newspapers (7%), films (35) or books (2%). All these shifts present new possibilities for music entrepreneurs to act entrepreneurially and promote their music independently of the major music labels. Diffusion of innovations has a long tradition in both sociology (e.g. Rogers 1962, 2003) and marketing (Bass 1969, Mahajan et al., 1990). The context of the current project is theoretically interesting in two respects. First, the role of online social networks replaces traditional face-to-face word of mouth communications. Second, as music is a hedonistic product, this strongly influences the nature of interpersonal communications and their diffusion patterns. Both of these have received very little attention in the diffusion literature to date, and no studies have investigated the influence of both simultaneously. This research project is concerned with the role of social networks in this new music industry landscape, and how this may be leveraged by musicians willing to act entrepreneurially. Our key research question we intend to address is: How do online social network communities impact the nature, pattern and speed that music diffuses? Methodology/Key Propositions : We expect the nature/ character of diffusion of popular, generic music genres to be different from specialized, niche music. To date, only Moe & Fader (2002) and Lee et al. (2003) investigated diffusion patterns of music and these focus on forecast weekly sales of music CDs based on the advance purchase orders before the launch, rather than taking a detailed look at diffusion patterns. Consequently, our first research questions are concerned with understanding the nature of online communications within the context of diffusion of music and artists. Hence, we have the following research questions: RQ1: What is the nature of fan-to-fan ''word of mouth'' online communications for music? Do these vary by type of artist and genre of music? RQ2: What is the nature of artist-to-fan online communications for music? Do these vary by type of artist and genre of music? What types of communication are effective? Two outcomes from research social network theory are particularly relevant to understanding how music might diffuse through social networks. Weak tie theory (Granovetter, 1973), argues that casual or infrequent contacts within a social network (or weak ties) act as a link to unique information which is not normally contained within an entrepreneurs inner circle (or strong tie) social network. A related argument, structural hole theory (Burt, 1992), posits that it is the absence of direct links (or structural holes) between members of a social network which offers similar informational benefits. Although these two theories argue for the information benefits of casual linkages, and diversity within a social network, others acknowledge that a balanced network which consists of a mix of strong ties, weak ties is perhaps more important overall (Uzzi, 1996). It is anticipated that the network structure of the fan base for different types of artists and genres of music will vary considerably. This leads to our third research question: RQ3: How does the network structure of online social network communities impact the pattern and speed that music diffuses? The current paper is best described as theory elaboration. It will report the first exploratory phase designed to develop and elaborate relevant theory (the second phase will be a quantitative study of network structure and diffusion). We intend to develop specific research propositions or hypotheses from the above research questions. To do so we will conduct three focus group discussions of independent musicians and three focus group discussions of fans active in online music communication on social network sites. We will also conduct five case studies of bands that have successfully built fan bases through social networking sites (e.g. myspace.com, facebook.com). The idea is to identify which communication channels they employ and the characteristics of the fan interactions for different genres of music. We intend to conduct interviews with each of the artists and analyse their online interaction with their fans. Results and Implications : At the current stage, we have just begun to conduct focus group discussions. An analysis of the themes from these focus groups will enable us to further refine our research questions into testable hypotheses. Ultimately, our research will provide a better understanding of how social networks promote the diffusion of music, and how this varies for different genres of music. Hence, some music entrepreneurs will be able to promote their music more effectively. The results may be further generalised to other industries where online peer-to-peer communication is common, such as other forms of entertainment and consumer technologies.

Copyright enforcement in the networked society : guiding principles for protecting copyright

This paper argues that any future copyright policy should be proportional and flexible and be developed from a clear and evidence-based approach. An approach is required that carefully balances the incentives and rewards provided to economic rights holders against fundamental rights of privacy, self-expression, due process and the user rights embodied in copyright law to protect access, learning, critique, and reuse. This paper also suggests that while adequate enforcement measures are certainly part of a solution to a well functioning lawful, enforcement alone can never solve the root cause of unlawful file-sharing, since it utterly fails to address supply-side market barriers. Focus on enforcement measures alone continues to leave out a legitimate but un-served market demand, susceptible to unlawful alternatives. A competitive and consumer friendly digital content market and an appropriate legal framework to enable easy lawful access to digital content are essential preconditions for the creation of a culture of lawful, rather than unlawful, consumption.

Hail to the thief: A tribute to Kazaa

This paper considers the ongoing litigation against the peer to peer network Kazaa. Record companies and Hollywood studios have faced jurisdictional and legal problems in suing this network for copyright infringement. As Wired Magazine observes: ’The servers are in Denmark. The software is in Estonia. The domain is registered Down Under, the corporation on a tiny island in the South Pacific. The users - 60 million of them - are everywhere around the world.' In frustration, copyright owners have launched copyright actions against intermediaries - like Internet Service Providers such as Verizon. They have also embarked on filing suits of individual users of file-sharing programs. In addition, copyright owners have called for domestic and international law reform in respect of digital copyright. The Senate Committee on Government Affairs in the United States Congress has reviewed the controversial use of subpoenas in suits against users of file-sharing peer to peer networks. The United States has encouraged other countries to adopt provisions of the Digital Millennium Copyright Act 1998 (US) in bilateral and regional free trade agreements.

Napster: Infinite digital jukebox or pirate bazaar?

This paper considers the copyright litigation over the file-sharing program, Napster. The first section examines the culture of collecting at work in Napster. The next part examines the litigation by the major record companies and Metallica against Napster. The final section considers the future of file-sharing, looking at alternatives to Napster, such as Filetopia, Freenet, Gnutella, MP3board.com and streaming media.

International copyright law: A book review

n his 1994 book, Copyright's Highway, Paul Goldstein made the telling prophecy: The celestial jukebox may also portend more revolutional changes in international copyright markets. As the celestial jukebox disseminates information and entertainment over the air and without regard for national boundaries, the importance of the nation-state as a traditional guarantor of copyright may be replaced by international institutions such as the newly established World Trade Organization. In retrospect, it was an accurate prediction. The celestial jukebox has shown little respect for national boundaries. In particular, ephemeral file-sharing programs such as Napster, Freenet and Filetopia have posed difficulties for copyright law. International treaties have taken on larger significance and international institutions such as the World Intellectual Property Organization and World Trade Organization have assumed a greater role in regulating international copyright markets.

Introduction to "Business innovation and disruption in the music industry"

Similar to most other creative industries, the evolution of the music industry is heavily shaped by media technologies. This was equally true in 1999, when the global recorded music industry had experienced two decades of continuous growth largely driven by the rapid transition from vinyl records to Compact Discs. The transition encouraged avid music listeners to purchase much of their music collections all over again in order to listen to their favourite music with ‘digital sound’. As a consequence of this successful product innovation, recorded music sales (unit measure) more than doubled between the early 1980s and the end of the 1990s. It was with this backdrop that the first peer-to-peer file sharing service was developed and released to the mainstream music market in 1999 by the college student Shawn Fanning. The service was named Napster and it marks the beginning of an era that is now a classic example of how an innovation is able to disrupt an entire industry and make large swathes of existing industry competences obsolete. File sharing services such as Napster, followed by a range of similar services in its path, reduced physical unit sales in the music industry to levels that had not been seen since the 1970s. The severe impact of the internet on physical sales shocked many music industry executives who spent much of the 2000s vigorously trying to reverse the decline and make the disruptive technologies go away. At the end, they learned that their efforts were to no avail and the impact on the music industry proved to be transformative, irreversible and, to many music industry professionals, also devastating. Thousands of people lost their livelihood, large and small music companies have folded or been forced into mergers or acquisitions. But as always during periods of disruption, the past 15 years have also been very innovative, spurring a plethora of new music business models. These new business models have mainly emerged outside the music industry and the innovators have been often been required to be both persuasive and persistent in order to get acceptance from the risk-averse and cash-poor music industry establishment. Apple was one such change agent that in 2003 was the first company to open up a functioning and legal market for online music. iTunes Music Store was the first online retail outlet that was able to offer the music catalogues from all the major music companies; it used an entirely novel pricing model, and it allowed consumers to de-bundle the music album and only buy the songs that they actually liked. Songs had previously been bundled by physical necessity as discs or cassettes, but with iTunes Music Store, the institutionalized album bundle slowly started to fall apart. The consequences had an immediate impact on music retailing and within just a few years, many brick and mortar record stores were forced out of business in markets across the world. The transformation also had disruptive consequences beyond music retailing and redefined music companies’ organizational structures, work processes and routines, as well as professional roles. iTunes Music Store in one sense was a disruptive innovation, but it was at the same time relatively incremental, since the major labels’ positions and power structures remained largely unscathed. The rights holders still controlled their intellectual properties and the structures that guided the royalties paid per song that was sold were predictable, transparent and in line with established music industry practices.

Modelling and analysis of new coolstreaming for P2P IPTV

Peer to peer networks are being used extensively nowadays for file sharing, video on demand and live streaming. For IPTV, delay deadlines are more stringent compared to file sharing. Coolstreaming was the first P2P IPTV system. In this paper, we model New Coolstreaming (newer version of Coolstreaming) via a queueing network. We use two time scale decomposition of Markov chains to compute the stationary distribution of number of peers and the expected number of substreams in the overlay which are not being received at the required rate due to parent overloading. We also characterize the end-to-end delay encountered by a video packet received by a user and originated at the server. Three factors contribute towards the delay. The first factor is the mean shortest path length between any two overlay peers in terms of overlay hops of the partnership graph which is shown to be O (log n) where n is the number of peers in the overlay. The second factor is the mean number of routers between any two overlay neighbours which is seen to be at most O (log N-I) where N-I is the number of routers in the internet. Third factor is the mean delay at a router in the internet. We provide an approximation of this mean delay E W]. Thus, the mean end to end delay in New Coolstreaming is shown to be upper bounded by O (log E N]) (log N-I) E (W)] where E N] is the mean number of peers at a channel.

Seed Scheduling for Peer-to-Peer Networks

The initial phase in a content distribution (file sharing) scenario is a delicate phase due to the lack of global knowledge and the dynamics of the overlay. An unwise distribution of the pieces in this phase can cause delays in reaching steady state, thus increasing file download times. We devise a scheduling algorithm at the seed (source peer with full content), based on a proportional fair approach, and we implement it on a real file sharing client [1]. In dynamic overlays, our solution improves up to 25% the average downloading time of a standard protocol ala BitTorrent.

The Catford Riddim on the 202

This presentation is about a song, ”Catford Riddim” by the A-Team, a group of grime artists from South London, specifically about how it came to be played, perhaps a bit too loudly, in the back of the 202 bus one January morning on a teenager’s mobile phone. As an illustration of how social networks and technological networks converge, the ”Catford Riddim,” insisting on the music’s own provenance from the SE6 postcode, shows the formation of a local ethnoscape in the global networks of peer-to-peer file sharing and online DIY distribution sites such as MySpace. Contesting the narrative of online social networks as routes to fame, I suggest that on the contrary they illustrate the emergence of local, even insular, ”scenes” of musicians, events and audiences.