title: Using loops observed in Traceroute to infer the ability to Spoof

authors: Lone, Qasim

abstract: Despite source IP address spoofing being a known vulnerability for at least 25 years, and despite many efforts to shed light on the problem, spoofing remains a popular attack method for redirection, amplification, and anonymity. To defeat these attacks requires operators to ensure their networks filter packets with spoofed source IP addresses, known as source address validation (SAV), best deployed at the edge of the network where traffic originates. In this paper, we present a new method using routing loops appearing in traceroute data to infer inadequate SAV at the transit provider edge, where a provider does not filter traffic that should not have come from the customer. Our method does not require a vantage point within the customer network. We present and validate an algorithm that identifies at Internet scale which loops imply a lack of ingress filtering by providers. We found 703 provider ASes that do not implement ingress filtering on at least one of their links for 1,780 customer ASes. Most of these observations are unique compared to the existing methods of the Spoofer and Open Resolver projects. By increasing the visibility of the networks that allow spoofing, we aim to strengthen the incentives for the adoption of SAV.

text: Using loops observed in Traceroute to infer the ability to Spoof Despite source IP address spoofing being a known vulnerability for at least 25 years, and despite many efforts to shed light on the problem, spoofing remains a popular attack method for redirection, amplification, and anonymity. To defeat these attacks requires operators to ensure their networks filter packets with spoofed source IP addresses, known as source address validation (SAV), best deployed at the edge of the network where traffic originates. In this paper, we present a new method using routing loops appearing in traceroute data to infer inadequate SAV at the transit provider edge, where a provider does not filter traffic that should not have come from the customer. Our method does not require a vantage point within the customer network. We present and validate an algorithm that identifies at Internet scale which loops imply a lack of ingress filtering by providers. We found 703 provider ASes that do not implement ingress filtering on at least one of their links for 1,780 customer ASes. Most of these observations are unique compared to the existing methods of the Spoofer and Open Resolver projects. By increasing the visibility of the networks that allow spoofing, we aim to strengthen the incentives for the adoption of SAV.

year: 2017

title: Introduction to papers in this issue

authors: Mills, Judith Patricia

abstract: The overall theme for this issue is the sharing of good ideas and support to look at alternatives - look at what might be familiar in alternative ways, and from alternative perspectives. This issue has three sections offering our professional learning community opportunities to explore pedagogy from early childhood to tertiary, from New Zealand and international authors. One thread in this issue is mathematics education. Another is tertiary education, with articles from the perspectives of the teachers and learners. The four think pieces are designed to provoke and challenge your thinking while providing something useful.

text: Introduction to papers in this issue The overall theme for this issue is the sharing of good ideas and support to look at alternatives - look at what might be familiar in alternative ways, and from alternative perspectives. This issue has three sections offering our professional learning community opportunities to explore pedagogy from early childhood to tertiary, from New Zealand and international authors. One thread in this issue is mathematics education. Another is tertiary education, with articles from the perspectives of the teachers and learners. The four think pieces are designed to provoke and challenge your thinking while providing something useful.

year: 2018

title: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton

authors: Kiff, Shirin

subjects: Ethnography

abstract: This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

text: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

year: 2021