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08 Oct '02

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8Th All Afrcan Game
by Dr. Bill Akulunon 07 Oct '02

07 Oct '02

Dr. Bill Akulunon Reply to: fmysc01(a)ecplaza.net THE 8TH ALL AFRICAN GAMES. I am Dr. Bill Akulunon, the Chief Accountant of the Federal Ministry of Youth,Sport,and culture Parent body of the Local Organizing Committee of the 8th all African game tagged[COJA] 2003 taking place in my country in 2003, . In the course of our preparation to host the 8th all African games , Huge sum of money running into millions of United States Dollars was budgeted by the present civilian administration of our president Chief Olusegun Obasanjo for the successful organization of this competition. In the same vein, the supreme council for sport in Africa made millions of dollars available for the same competition. However, in my capacity as the Chief Accountant, to both local organizing committee (LOC), and the Federal Ministry of Youth,Sports and culture , I and some of my colleagues in sensitive positions were able to influence the award of a contract for the supply and installation of some of the facilities that will be used for the competition. The contractor who handled these projects agreed to give my colleagues and I 10% of the total contract sum, if we were able to influence the award of the contract to their favour. So many foreign firms bided for this same contract, but because we knew whom we wanted the contract to be awarded to, we made sure that the contractor we had this understanding with won the contract. They have been paid 90% of their total contract sum remaining the balance of 10% which we never wanted them to collect on our behalf because of the fear that they might not give us the balance of 10%. It is pertinent to note that, the remaining balance of a total sum of seven Million united states (US$7,000,000.00) is lying in the suspense account at First Chartered Bank Lagos, ready for transfer into any good bank account of your choice. I have been unanimously mandated to seek for an honest and trustworthy foreign partner who will assist in ensuring the successful transfer of the above sum of money into his Personal/Company account since the Nigerian Code of Conduct Bureau does not permit us to operate a foreign account as public servants. On the successful remittance of the fund (US $7,000,000.00) into your nominated account, for your kind assistance you will be adequately compensated. Be rest assured that, the modalities and logistics towards the successful transfer of this fund has been worked out. All we require from you is your cooperation. This transaction is 100% risk free. We Kindly request that you accord to it the highest level of secrecy it deserves. Your swift response will be highly appreciated and kindly provide your phone and fax number for more informative discussions. Upon your acknowledgement of this proposal, I will forward to you the detailed procedure for this transaction. Note that, this transaction is legal and free from all sorts of risk and trouble. It does not contravene the laws of my country nor any International laws; hence the whole approval for the transfer will be official and legally processed. This transaction will be concluded within five (5) working days if we follow it up and give the serious attention it deserves. Awaiting your prompt response. Best Regards, Dr. Bill Akulunon. N.B: Please confirm if you received this message via my confidential email address fmysc01(a)ecplaza.net *********************************************************** This is an Opti-Target network mailing. You were subscribed to this free service through one of our partner sites. If you believe this email has reached you in error or if you no longer wish to receive these updates, please, **DO NOT** reply to this e-mail.

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Re: [OT Canute] Re: [LINK] [Fwd: Interesting KPMG report on DRM]
by Bill Stewart 07 Oct '02

07 Oct '02

> > Robin Whittle[SMTP:rw@firstpr.com.au] wrote: > > . >[lots of good stuff about the music business clipped] > > > I think this is an accurate analysis of a really sad situation. Like > > King Canute, the record companies are devoting most of their thinking > > and resources to holding back the tide. As Peter points out, Canute actually did have the clue that the record companies don't. One place I lived in New Jersey was in Sea Bright, which is a sand bar just south of Sandy Hook beach. Two hundred years ago, it was an island, and it's trying to become an island again. The Army Core of Engineers, however, keeps trying to tell the tides to stop, primarily by pouring a few million dollars worth of cement into the sea wall and road foundations every decade or so. In some sense, it may be worthwhile, since the value of the houses that they're protecting is higher than that, but while I knew I was renting the house I was living in, some of my neighbors their thought they owned something other than a bit of drifting sand. Perhaps the record companies need to see what equivalents of pilings or surfboards they can find for their business models.

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by ianrking＠yahoo.co.uk 07 Oct '02

07 Oct '02

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[OT Canute] Re: [LINK] [Fwd: Interesting KPMG report on DRM]
by Trei, Peter 07 Oct '02

07 Oct '02

> Robin Whittle[SMTP:rw@firstpr.com.au] wrote: > . [lots of good stuff about the music business clipped] > I think this is an accurate analysis of a really sad situation. Like > King Canute, the record companies are devoting most of their thinking > and resources to holding back the tide. > [even more good stuff clipped] In the interests of pedantry and accuracy, may I point out that Canute did not actually expect to hold back the tide. Canute was an an early Danish king of northern England, living ~995-1035. Like most modern leaders, he was surrounded by yes-men. Unlike them, he did something about it: --------------------- [From http://viking.no/e/people/e-knud.htm] "Let all men know how empty and worthless is the power of kings. For there is none worthy of the name but God, whom heaven, earth and sea obey". So spoke King Canute the Great, the legend says, seated on his throne on the seashore, waves lapping round his feet. Canute had learned that his flattering courtiers claimed he was "So great, he could command the tides of the sea to go back". Now Canute was not only a religious man, but also a clever politician. He knew his limitations - even if his courtiers did not - so he had his throne carried to the seashore and sat on it as the tide came in, commanding the waves to advance no further. When they didn't, he had made his point that, though the deeds of kings might appear 'great' in the minds of men, they were as nothing in the face of God's power. ------------------------ --------------------------------------------------------------------- The Cryptography Mailing List Unsubscribe by sending "unsubscribe cryptography" to majordomo(a)wasabisystems.com

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Re: [LINK] [Fwd: Interesting KPMG report on DRM]
by Robin Whittle 07 Oct '02

07 Oct '02

Damien Miller forwarded Peter Gutman's cryptography(a)wasabisystems.com and cypherpunks(a)lne.com quote of a KPMG report "The Digital Challenge: Are You Prepared?" http://www.kpmg.com/news/index.asp?cid=660 . Responses indicate that the media industry has yet to find its footing in the digital age. Rather than embracing the Internet as an inexpensive means of delivering top-quality creative content to the consumer in a highly customized format, industry executives remain mesmerized by the destructive potential of online piracy. Rather than go on the offensive, the industry has hunkered down in a defensive stance. . . . the industry has shown a deficit of creativity and innovation in rolling out products and services that can compete with the pirates. I think this is an accurate analysis of a really sad situation. Like King Canute, the record companies are devoting most of their thinking and resources to holding back the tide. The industry needs to conduct itself so that people *feel like* paying to purchase recordings rather than muck around find non-licenced copies. So the legitimate music needs to be very easy and rewarding to find and pay for, very easy to download, and unencumbered by encryption, watermarks etc. 7 years ago I wrote that record companies had to make distinctions between various kinds of copying, because some is very positive for the companies and the artists. Some copying is the best form of marketing they could hope for, and other copying is simply the purchaser deriving full value from their purchase. I wrote that that artists and record companies needed to make material available on the Net and make full use of the many new possibilities for discovery, different forms of "packaging" (why have an "album" when musicians may be producing music continually, and while some fans will buy a dozen different versions of the one song?), and far-reaching ability for listeners to interact with the artists and each other. http://www.firstpr.com.au/musicmar/ One use of the artist's web site is for listeners to subscribe on a monthly and annual basis to all the artist's output. This has no parallel in the physical pre-recorded disc model. Also, listeners who pay for the artist's music can be visible on the web site, by their real name or nom-de-Net - so enabling the possibility of peer pressure to encourage people to pay for the music they are keen about. Net-based discovery and delivery eliminates time-delays, capital expenses and most of the risk in the old system. It also makes advertising less vital, since it would be possible for news of good music from an new artist to spread rapidly and globally, by "word-of-mouth" on discussion forums, without cost to the artist or record company. The most prominent aspects of the record industry are addicted to big-selling, mass-market, releases - that is the only way they know how to make money. But the Net means that money can be made from the start, on a modest scale, if the artist's costs in producing the music are relatively low. While radio is surely going to remain an important discovery method, the Net has vast potential for discovery of the music, related material and for purchasing music 24 hours a day from the comfort of home, without the intrusive, noisy, distraction of a record store which is almost certainly playing Muddy Waters on the speakers when you are in the mood to purchase Steve Reich and vice-versa. The mainstream, big-company, recorded music industry is clearly unwilling to face reality, and prefers to paint illusory pictures in their collective mind, and to try to convince others that these illusions are real. The industry - as distinct from the artists - is made up of a few ex-musicians and lots of percent-men, who muscle into a niche between a small set of creative people and a larger number of people who want, or can be induced, into purchasing the artist's creative output. In the prior era of almost entirely radio-based discovery (how often do you hear something you liked and bought in a record shop?) and music delivery entirely on pre-pressed plastic discs, there are huge barriers to be surmounted between creating music and selling it to the potentially millions of people who want to hear it. My page has diagrams which depict these bridges for discovery, distribution and sale. The record industry, with its only half-willing accomplice, commercial radio, has grown strong by bridging this gap. But like fashion clothing, it has found that the only way to make substantial profit is to have big-selling hits, which are intensively promoted and sold for a few months before the next hit is wheeled into the spotlight. This creates an enormous barrier to the widespread discovery and development of new music, because the record companies won't press it or push it on radio unless they think they can sell large quantities, and radio won't play it if it is too riotous, too minimal, too instrumental or too long to support advertising. Consequently the whole history of popular music has been continually skewed to music which sounds like, or is at least compatible, with increasingly crass commercial radio advertising. The musicians hate the record companies, but need them - at least to ship large volumes of music on pre-pressed disks. The managers have an uneasy relationship with the artists and the record companies. Record companies and artists are almost utterly dependent on radio as the initial form of discovery, so they want radio to play whatever new CD they have just released this month. But radio sees the music industry as an almost free source of stuff to entice listeners with - and only a subset of listeners who are valuable from an advertising perspective are interested in listening to whatever the record industry is pushing this month. So, since about the 1930s, a complex, risk- and capital-intensive set of bridges has been built by the record industry between artists and listeners - with radio a crucial and only marginally willing participant. Now the Net, in principle (if it wasn't for speed and cost restrictions, and the fact that it is usually not as easy to access in mobile situations such as when AM/FM radio is perfectly convenient), enables a *direct* discovery, feedback and purchasing link to be made between artists and listeners. Even if the artists don't run their own web site, whoever runs their sites for them faces minimal costs and risks compared to the old system. This is 24 hours a day, irrespective of radio propagation limitations, two-way, enabled for commerce and browsing. It completely bypasses everything the record company has built. However, I still think that if someone is going to sell a million copies of their music, then pre-pressed discs will be a significant part of that, and only record companies know how to do this on such large scales. The new system does not rely on commercial-radio compatibility, or even the listener having the same language as the artist. There are no stylistic biases as bedevil the current situation with older record company and radio people trying to anticipate the next trend in young people's music fashion. The new system has nothing to do with fashion or gatekeepers at all. If the record companies were smart, they would dive into this - after recognising their old game is made partially or largely irrelevant. If they were smart, they would aggressively pursue Net-based discovery and sale of all their artist's music, recognising that this is a low-cost way (compared to pre-pressing and distributing disks, advertising and payola) to develop and modestly profit from the zillions of artists who are developing their music and who are outside the spotlight of whatever is currently "fashionable". To some extent, with a few freebie MP3s, I guess the record companies have done this. But the record companies first have to get over their immense fear of people copying music. Its going to happen, and the best way to reduce the damaging copying is to build trust and respect with potential purchasers to minimise copying which is bad for the artist and maximise that which is good. Unfortunately, since all these issues became apparent around 7 years ago (although I did not anticipate MP3 compression ratios - that was about 5 years ago) the mainstream record industry has obstinately clung to the notion that it must make digital music impossible or impractical to copy. But it is easily shown that this is impossible: If the music is to be delivered, in full fidelity, to the consumer - the consumer can copy it. All attempts at encryption, weirdo file formats etc. are useless to stop this - because the output of the system can be recorded. The other approach is "digital fingerprinting / watermarking". There's a lot of crap written about this by various proponents. If you can hear the watermark, people won't buy the music. If you can't hear the watermark, then perceptual compression systems such as MP3 will strip it out or weaken it without affecting the music. What use is the watermark anyway? Are record companies really going to prosecute purchasers? That would be madness, the best way of destroying trust and the desire to purchase - but it could happen. I wrote about the folly of watermarks in 1997: http://www.cni.org/Hforums/cni-copyright/1997-02/1005.html - Robin http://www.firstpr.com.au http://fondlyandfirmly.com --------------------------------------------------------------------- The Cryptography Mailing List Unsubscribe by sending "unsubscribe cryptography" to majordomo(a)wasabisystems.com

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Re: JYA ping
by mok-kong.shen＠t-online.de 07 Oct '02

07 Oct '02

"Daniel J. Boone" wrote: > > > JYA is temporarily dead online due to work load in the DC area, near the > > armageddon push button, which is located, in case you give a, out on Route > 7 > > disguised as FAA Leesburg. > > > > We paid a surprise Sunday morning visit to the CIA back entrance, got > > surrounded by HMMVs and spiffy guards with hands on guns, interrogated by > a > > swell looking Ms. Security who ran our Duncan Frissell ID card through the > > master file, idled for 1/2 hour observing gaps in the maginot line, and > then > > received a heartfelt thanks for cooperating, Duncan, wink. > > > > Mrs. Frissell hissed bitch as we serpentined the Jersey barriers back out > the > > way in. > > It's worth observing that this prose style is literally inimitable. I'd say > its authentication value (in terms of persuasively suggesting that the > entity long known as JYA authored this also) is at least as strong as a > long-used PGP signature would be. > > Others, having more faith in the abilities of federally-employed creative > writers, might I suppose reasonably differ. It seems to be strange that he wrote at <jya(a)pipeline.com>, an address which is also given on his web page, but ping pipeline.com doesn't work. M. K. Shen

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why bother signing? (was Re: What email encryption is actually in use?)
by Major Variola (ret) 07 Oct '02

07 Oct '02

At 04:45 PM 10/3/02 -0700, James A. Donald wrote: > -- >James A. Donald wrote: >> > If we had client side encryption that "just works" we would >> > be seeing a few more signed messages on this list, >Ben Laurie wrote: >> Why would I want to sign a message to this list? > >Then all the people who read this list, were they to receive a >communication from you, they would know it was the same Ben >Laurie who posts to this list. But Ben is not spoofed here! So there is little motivation. In an environment where spoofing was common, folks would sign (which is not incompatible with retaining anonymity, of course). You could also sign anonymous statements here which you might decide to bind to one of your identities later. In the absence of any need, its not rational to bother.

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(no subject)
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07 Oct '02

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Proofs of security
by Adam Shostack 06 Oct '02

06 Oct '02

Has anyone done any research into how much better new cryptosystems with proofs of security do, as opposed to their unproven cousins? It seems that having a proof of security doesn't actually improve the odds that a system will survive attacks. But thats my intuition, not a proven fact. ;) Has anyone read a stack of papers and done some statistics? -- "It is seldom that liberty of any kind is lost all at once." -Hume

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