Improving the Performance of Overlay Routing and P2P File Sharing using Selfish Neighbor Selection

A foundational issue underlying many overlay network applications ranging from routing to P2P file sharing is that of connectivity management, i.e., folding new arrivals into the existing mesh and re-wiring to cope with changing network conditions. Previous work has considered the problem from two perspectives: devising practical heuristics for specific applications designed to work well in real deployments, and providing abstractions for the underlying problem that are tractable to address via theoretical analyses, especially game-theoretic analysis. Our work unifies these two thrusts first by distilling insights gleaned from clean theoretical models, notably that under natural resource constraints, selfish players can select neighbors so as to efficiently reach near-equilibria that also provide high global performance. Using Egoist, a prototype overlay routing system we implemented on PlanetLab, we demonstrate that our neighbor selection primitives significantly outperform existing heuristics on a variety of performance metrics; that Egoist is competitive with an optimal, but unscalable full-mesh approach; and that it remains highly effective under significant churn. We also describe variants of Egoist's current design that would enable it to scale to overlays of much larger scale and allow it to cater effectively to applications, such as P2P file sharing in unstructured overlays, based on the use of primitives such as scoped-flooding rather than routing.

A location-based communication platform: integrating file sharing with interpersonal contact

Gemstone Team FLIP (File Lending in Proximity)

OST : A transaction based online social trust model for social network and file sharing security

The continuous growth of the users pool of Social Networking web sites such as Facebook and MySpace, and their incessant augmentation of services and capabilities will in the future, meet and compare in contrast with today's Content distribution Networks (CDN) and Peer-to-Peer File sharing applications such as Kazaa and BitTorrent, but how can these two main streams applications, that already encounter their own security problems cope with the combined issues, trust for Social Networks, content and index poisoning in CDN? We will address the problems of Social Trust and File Sharing with an overlay level of trust model based on social activity and transactions, this can be an answer to enable users to increase the reliability of their online social life and also enhance the content distribution and create a better file sharing example. The aim of this research is to lower the risk of malicious activity on a given Social Network by applying a correlated trust model, to guarantee the validity of someone's identity, privacy and trustfulness in sharing content.

Social networks on the Internet: a practical investigation about file sharing on Facebook

The social networks on the internet have experienced rapid growth and joined millions of users in Brazil and throughout the world. Such networks allow groups of people to communicate and exchange information. Sharing information in files is also a growing activity on the internet and is done in various ways. However, applications are not yet available to enable file sharing on Facebook, the premier social network today. This study aims to investigate how users use Facebook, and their practices for file sharing. Due to the experimental nature of this research, we opted for a data collection survey, applied over the web. From the data analysis, we have found a frequent use of file sharing, but no interest in paid services. As for Facebook, there was an extensive use of applications. The set of results shows a favourable scenario for applications that allow file sharing on Facebook.

Indagini forensi in tema di scambio di file pedopornografici mediante software di file sharing a mezzo peer-to-peer

La prova informatica richiede l’adozione di precauzioni come in un qualsiasi altro accertamento scientifico. Si fornisce una panoramica sugli aspetti metodologici e applicativi dell’informatica forense alla luce del recente standard ISO/IEC 27037:2012 in tema di trattamento del reperto informatico nelle fasi di identificazione, raccolta, acquisizione e conservazione del dato digitale. Tali metodologie si attengono scrupolosamente alle esigenze di integrità e autenticità richieste dalle norme in materia di informatica forense, in particolare della Legge 48/2008 di ratifica della Convenzione di Budapest sul Cybercrime. In merito al reato di pedopornografia si offre una rassegna della normativa comunitaria e nazionale, ponendo l’enfasi sugli aspetti rilevanti ai fini dell’analisi forense. Rilevato che il file sharing su reti peer-to-peer è il canale sul quale maggiormente si concentra lo scambio di materiale illecito, si fornisce una panoramica dei protocolli e dei sistemi maggiormente diffusi, ponendo enfasi sulla rete eDonkey e il software eMule che trovano ampia diffusione tra gli utenti italiani. Si accenna alle problematiche che si incontrano nelle attività di indagine e di repressione del fenomeno, di competenza delle forze di polizia, per poi concentrarsi e fornire il contributo rilevante in tema di analisi forensi di sistemi informatici sequestrati a soggetti indagati (o imputati) di reato di pedopornografia: la progettazione e l’implementazione di eMuleForensic consente di svolgere in maniera estremamente precisa e rapida le operazioni di analisi degli eventi che si verificano utilizzando il software di file sharing eMule; il software è disponibile sia in rete all’url http://www.emuleforensic.com, sia come tool all’interno della distribuzione forense DEFT. Infine si fornisce una proposta di protocollo operativo per l’analisi forense di sistemi informatici coinvolti in indagini forensi di pedopornografia.

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.

Towards Interoperability in P2P World: an Indexing Middleware for Multi-Protocol Peer-to-Peer Data Sharing

Despite the abundant availability,of protocols and application for peer-to-peer file sharing, several drawbacks are still present in the field. Among most notable drawbacks is the lack of a simple and interoperable way to share information among independent peer-to-peer networks. Another drawback is the requirement that the shared content can be accessed only by a limited number of compatible applications, making impossible their access to others applications and system. In this work we present a new approach for peer-to-peer data indexing, focused on organization and retrieval of metadata which describes the shared content. This approach results in a common and interoperable infrastructure, which provides a transparent access to data shared on multiple data sharing networks via a simple API. The proposed approach is evaluated using a case study, implemented as a cross-platform extension to Mozilla Fir fox browser; and demonstrates the advantages of such interoperability over conventional distributed data access strategies.

Towards interoperability in P2Pworld: An indexing middleware for multi-protocol peer-to-peer data sharing

Despite the abundant availability of protocols and application for peer-to-peer file sharing, several drawbacks are still present in the field. Among most notable drawbacks is the lack of a simple and interoperable way to share information among independent peer-to-peer networks. Another drawback is the requirement that the shared content can be accessed only by a limited number of compatible applications, making impossible their access to others applications and system. In this work we present a new approach for peer-to-peer data indexing, focused on organization and retrieval of metadata which describes the shared content. This approach results in a common and interoperable infrastructure, which provides a transparent access to data shared on multiple data sharing networks via a simple API. The proposed approach is evaluated using a case study, implemented as a cross-platform extension to Mozilla Firefox browser, and demonstrates the advantages of such interoperability over conventional distributed data access strategies. © 2009 IEEE.

Ourplace : the convergence of locative media and online participatory culture

The trans-locative potential of the Internet has driven the design of many online applications. Online communities largely cluster around topics of interest, which take precedence over participants’ geographical locations. The site of production is often disregarded when creative content appears online. However, for some, a sense of place is a defining aspect of creativity. Yet environments that focus on the display and sharing of regionally situated content have, so far, been largely overlooked. Recent developments in geo-technologies have precipitated the emergence of a new field of interactive media. Entitled locative media, it emphasizes the geographical context of media. This paper argues that we might combine practices of locative media (experiential mapping and geo-spatial annotation) with aspects of online participatory culture (uploading, file-sharing and search categorization) to produce online applications that support geographically ‘located’ communities. It discusses the design considerations and possibilities of this convergence,making reference to an example, OurPlace 3G to 3D, which has to date been developed as a prototype.1 It goes on to discuss the benefits and potential uses of such convergent applications, including the co-production of spatial- emporal narratives of place.

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.