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: Full 2-port vector-corrected network analyzer in the acoustic domain

authors: MacDonell, Marcus Scott Glengarry

abstract: This manuscript presents the theory and design of a Vector-corrected Network Analyzer (VNA) realized in the acoustic domain. This is a novel measurement instrument based on the established microwave vector network analyzer. It employs directional couplers to separate forward and reverse traveling waves in acoustic waveguide. This instrument is intended to supersede the acoustic impedance tube. Advantages include greatly increased measurement speed and potential for traceability to external standards. Traceability is achieved by means of a calibration through an analytical solution of the error matrix produced from the measurement of a limited number of available acoustic standards. Operation is verified through analysis of the acoustic S-parameters of a passive, asymmetrical, reciprocal acoustic device constructed inside the acoustic waveguide. To the best of our knowledge this Acoustic Vector-corrected Network Analyzer (AVNA) is the first of its kind.

text: Full 2-port vector-corrected network analyzer in the acoustic domain This manuscript presents the theory and design of a Vector-corrected Network Analyzer (VNA) realized in the acoustic domain. This is a novel measurement instrument based on the established microwave vector network analyzer. It employs directional couplers to separate forward and reverse traveling waves in acoustic waveguide. This instrument is intended to supersede the acoustic impedance tube. Advantages include greatly increased measurement speed and potential for traceability to external standards. Traceability is achieved by means of a calibration through an analytical solution of the error matrix produced from the measurement of a limited number of available acoustic standards. Operation is verified through analysis of the acoustic S-parameters of a passive, asymmetrical, reciprocal acoustic device constructed inside the acoustic waveguide. To the best of our knowledge this Acoustic Vector-corrected Network Analyzer (AVNA) is the first of its kind.

year: 2022

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016