The blockchain technology empowers secure, trustless, and privacy-preserving trading with cryptocurrencies. However, existing blockchain-based trading platforms only support trading cryptocurrencies with digital assets (e.g., NFTs). Although several payment service providers have started to accept cryptocurrency as a payment method for tangible goods (e.g., Visa, PayPal), customers still need to trust and hand over their private information to centralized E-commerce platforms (e.g., Amazon, eBay). To enable trustless and privacy-preserving trading between cryptocurrencies and real goods, we propose SPENDER, a smart-contract-based platform for Secure and Privacy-PresErviNg Decentralized P2P E-commeRce. The design of our platform enables various advantageous features and brings unlimited future potential. Moreover, our platform provides a complete paradigm for designing real-world Web3 infrastructures on the blockchain, which broadens the application scope and exploits the intrinsic values of cryptocurrencies. The platform has been built and tested on the Terra ecosystem, and we plan to open-source the code later.
We are often faced with the non-trivial task of designing incentive mechanisms in the era of Web3. As history has shown, many Web3 services failed mostly due to the lack of a rigorous incentive mechanism design based on token economics. However, traditional mechanism design, where there is an assumption that the users of services strategically make decisions so that their expected profits are maximized, often does not capture their real behavior well as it ignores humans' psychological bias in making decisions under uncertainty. In this paper, we propose an incentive mechanism design for crypto-enabled services using behavioral economics. Specifically, we take an example of a crypto lottery game in this work and incorporate a seminal work of cumulative prospect theory into its lottery game mechanism (or rule) design. We designed four mechanisms and compared them in terms of utility, a metric of how appealing a mechanism is to participants, and a game operator's expected profit. Our approach is generic and will be applicable to a wide range of crypto-based services where a decision has to be made under uncertainty.
Farjana Khanam Nishi, Mahizebin Shams-E-Mofiz, Mohammad Monirujjaman Khan, Abdulmajeed Alsufyani · 7 authors
An electronic health record (EHR) is a technology that allows you to keep track of your health information. It keeps computerized records of several healthcare organizations. Records are exchanged via enterprise-wide data systems as well as other networking technologies and exchanges. Patients nowadays expect immediate access to their health information. However, the health sector comes with immediate access to data, and there are worries about the privacy and security of medical records of patients. As a result, a blockchain-based solution can assist in resolving this issue. The blockchain has the potential to beat the conventional centralized system, which suffers from a severe lack of accessibility. This is a decentralized technology that has recently been presented to provide a new viewpoint on data security and system efficiency. This paper presents a blockchain-based system that helps the patient’s data be managed and secured into a single record held by the patient. This system was developed using the Ethereum network using Ganache, as well as programming languages, tools, and techniques such as Solidity and web3.js. The measured approach suggested in this paper uses this platform to store patients’ data and execute functions in a decentralized system using blockchain smart contracts. Transactions are communicated through the smart contract once it has been launched, providing security and privacy features. Furthermore, the transaction’s desired alterations can be verified and transmitted to the entire distributed network. There is also a cryptocurrency wallet (MetaMask) that holds a centrally controlled, private information system in which records can be quickly accessed and secured by authorities. Doctors and patients can access the system through the wallet. Moreover, all the data of the doctor and patient will be secured and managed through this system. This proposed system is aimed at doing things such as the following: blockchain technology allows users to obtain the same data at the same time, increasing efficiency, developing credibility, and reducing barriers. It enables the secure storage of data by setting specific access for users. Additionally, this proposed system facilitates the secure transfer of patient medical records. Finally, this paper describes a health-record system and a new protocol that are quick and secure to use. It allows greater openness and ownership of sensitive data to be recorded and secured and also promotes the healthcare sector with blockchain.
Md. Amir Hossain Fahad, Redoyan Chowdhury, Hasan-Al– Shabbir
Web development has greatly advanced from basic static web pages to dynamic, datadriven applications utilizing modern technology. Specifically, this article looks at the past, present, and future of web development, focusing on the importance of artificial intelligence (AI), progressive web apps (PWAs), security measures, and performance improvement. The adoption of contemporary frontend and backend technologies has improved user experience, scalability, and security, while nascent trends like Web3, blockchain integration, and decentralized apps (DApps) are poised to transform the digital environment. Even with these advances, there are still problems, such as cybersecurity risks, accessibility issues, and the need to keep improving online performance. This evaluation shows how important it is to welcome new technologies while also addressing important problems in order to create a safe, effective, and welcoming digital world. Future research must concentrate on enhancing cybersecurity frameworks, refining AI-driven web development, and investigating decentralized computing paradigms. Utilizing advanced technology, web developers may design more intelligent, responsive, and user-centric online apps that satisfy the increasing expectations of the digital age.
Many existing timed-release encryption schemes uses time-lock puzzles to avoid relying on a trusted timeserver or a key holder which could be a weak spot in data security. However, it is unavoidable to consume massive computing power for solving time-lock puzzles and it is difficult for encryptors to predict the amount of time to solve a puzzle by decryptors. In this study, an efficient dual-purpose proof-of-work consensus allows users to release a time-locked content, which is encrypted by an asymmetric key encryption scheme on a blockchain, without trust in any third-party agents. The release time is predictable as the block time in a proof-of-work blockchain is adaptively controlled. The mining work is reproposed so that once a new block was mined on the blockchain network, time-lock puzzles were also solved immediately. No additional work is required to reveal the time-locked contents and the encryption is secured by monetary incentive mechanisms since it would be very costly to arrange an attack attempt, which must overtake the total hash rate of the whole blockchain network.
Web3 is introduced in 2014 to undo all the problems that came about in Web 2.0. This next generation of the internet is focused on shifting power away from big technology companies and towards individual users by Decentralization – instead of relying on a single centralized server, Web3 is built on top of blockchain-powered crypto networks that enable data to be stored across distributed devices worldwide. Ultimately, these distributed nodes can be anything, such as computers, laptops, or even bigger servers. They assist as the framework of the blockchain, collaborating with each other to enable the storage, spread, and safeguarding of data without the need for a trusted third party.
Today, the majority of the web’s content and user data is controlled by a few large tech companies. There is a growing movement to devolve this control evenly across the entire internet, representing the transition to Web3. In order for this movement to be successful, technologies and protocols must be developed to enable web users to use the web securely without trusting any other user. That is, today’s web is structured so that users must trust these companies, so trustless alternatives haven’t already been developed. Broadly, this movement emphasizes developing peer-to-peer networks, blockchains, and distributed storage systems. These systems make use of cryptographic primitives to guarantee security.
Many implementations of smart contracts available in NFT marketplaces today allow the modification of NFT token attributes, without any specific mechanism to control the consistency with off-chain metadata. We believe this is a weakness in overall design of NFTs today. We propose a computation model called the Asset Proxy NFT that guarantees the consistency between the NFT token (on-chain) and its corresponding asset metadata (off-chain). In general, the proposed model can be applied to any type of NFT that requires immutability or controlled mutability of metadata. A second contribution of this paper is the notion of the NFT design patterns which recognizes that a coherent framework for dealing with hybrid assets is required, and that for specific hybrid-asset deployments, suitable technological components must be utilized under the framework.
Centralization has dominated classic scientific, social, and economic developments. Decentralization has also received increasing attention in management, decision, governance, and economics, despite its incomparability in AI. Going beyond centralized and distributed AI, this article reviews and delineates the conceptual map, research issues, and technical opportunities of decentralized AI and edge intelligence. The complementarity and metasynthesis between centralized and decentralized AI are also elaborated. We further assess where decentralized AI and edge intelligence can enable and promote smart blockchain, Web3, metaverse and decentralized science disciplinarily, technically, practically, and more broadly.
This exploration paper is about the conception of a World Wide Web grounded for the conception grounded around machine-readability, also called Web3.0. Web3.0 will review how we interact with the digital world and the change won't just be for individualities. The effect of Web3.0 blockchain on businesses – both traditional and disruptive will be inversely massive. The transition from Web2.0 to Web3.0 still, won't be overnight. This means businesses will have time to look back at their process and see where they fit on the decentralization and translucency radar. But indeed though Web3.0 is in the future, the reality of the moment is that businesses need to start preparing. Let our Blockchain experts help you. Some technologists and intelligencers have varied it with Web2.0, wherein they say data and content are consolidated in a small group of companies occasionally appertained to as"Big Tech". The term"Web3" was chased in 2014 by Ethereumco- founder Gavin Wood, and the idea gained interest in 2021 from cryptocurrency suckers, large technology companies, and adventure capital enterprises. Some experts argue that web3 will give increased data security, scalability, and sequestration for druggies and combat the influence of large technology companies. Others have raised enterprises about a decentralized web, citing the eventuality of low temperance and the proliferation of dangerous content, the centralization of wealth to a small group of investors and individualities, or a loss of sequestration due to further extensive data collection. Crucial Words World Wide Web; Web3.0; Big Tech; cryptocurrency; decentralized web
Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick to announce that he planned to release his horror film Killroy Was Here as an NFT (Alexander); in September 2021 the James Bond film No Time to Die also unveiled a series of collectibles to coincide with the film’s much-delayed theatrical release (Natalee); the distribution and collectible platforms Vuele, NFT Studios, and Mogul Productions all emerged, and the industry rumour mill suggests more start-ups are en route (CurrencyWorks; NFT Studios; NewsBTC). Blockchain disciples say that the technology will solve all the problems of the Internet (Tewari; Norton; European Business Review); critics say it will only perpetuate existing accessibility and equality issues (Davis and Flatow; Klein). Those more circumspect will doubtless sit back until the dust settles, waiting to see what parts of so-called web3 will be genuinely integrated into the architecture of the Internet. Pamela Hutchinson puts it neatly in terms of the arts sector: “the NFT may revolutionise the art market, film funding and distribution. Or it might be an ecological disaster and a financial bubble, in which few actual movies change hands, and fraudsters get rich from other people’s intellectual property” (Hutchinson). There is an uptick in the literature around NFTs and blockchain (see Quiniou; Gayvoronskaya & Meinel); however, the technology remains unregulated and unstandardised (Yeung 212-14; Dimitropoulos 112-13). Similarly, the sheer amount of funding being put into fundamental technical, data, and security-related issues speaks volumes to the nascency of the space (Ossinger; Livni; Gayvoronskaya & Meinel 52-6). Put very briefly, NFTs are part of a given blockchain system; think of them, like cryptocurrency coins, as “units of value” within that system (Roose). NFTs were initially rolled out on Ethereum, though several other blockchains have now implemented their own NFT frameworks. NFTs are usually not the artwork itself, but rather a unique, un-copyable (hence, non-fungible) piece of code that is attached, linked, or connected to another digital file, be that an image, video, text, or something else entirely. NFTs are often referred to as a digital artwork’s “certificate of authenticity” (Roose). At the time of writing, it remains to be seen how widely blockchain and NFT technology will be implemented across the entertainment industries. However, this article aims to outline the current state of implementation in the film trade specifically, and to attempt to sort true potential from the hype. Beginning with an overview of the core issues around blockchain and NFTs as they apply to film properties and adjacent products, current implementations of the technology are outlined, before finishing with a hesitant glimpse into the potential future applications. The Issues and Conversation At the core of current conversations around blockchain are three topics: intellectual property and ownership, concentrations of power and control, and environmental impact. To this I would like to add a consideration of social capital, which I begin with briefly here. Both the film industry and “crypto” — if we take the latter to encompass the various facets of so-called ‘web3’ — are engines of social capital. In the case of cinema, its products are commodified and passed through a model that begins with exclusivity (theatrical release) before progressing to mass availability (home media, streaming). The cinematic object, i.e., an individual copy of a film, is, by virtue of its origins as a mass product of the twentieth century, fungible. The film is captured, copied, stored, distributed, and shared. The film-industrial model has always relied on social phenomena, word of mouth, critical discourse, and latterly on buzz across digital social media platforms. This is perhaps as distinct from fine art, where — at least for dealers — the content of the piece does not necessarily matter so much as verification of ownership and provenance. Similarly, web3, with its decentralised and often-anonymised processes, relies on a kind of social activity, or at least a recorded interaction wherein the chain is stamped and each iteration is updated across the system. Even without the current hype, web3 still relies a great deal on discourse, sharing, and community, particularly as it flattens the existing hierarchies of the Internet that linger from Web 2.0. In terms of NFTs, blockchain systems attach scarcity and uniqueness to digital objects. For now, that scarcity and uniqueness is resulting in financial value, though as Jonathan Beller argues the notion of value could — or perhaps should — be reconsidered as blockchain technology, and especially cryptocurrencies, evolve (Beller 217). Regardless, NFT advocates maintain that this is the future of all online activity. To questions of copyright, the structures of blockchain do permit some level of certainty around where a given piece of intellectual property emerged. This is particularly useful where there are transnational differences in recognition of copyright law, such as in France, for instance (Quiniou 112-13). The Berne Convention stipulates that “the subsistence of copyright does not rest on the compliance with formal requirements: rights will exist if the work meets the requirements for protection set out by national law and treaties” (Guadamuz 1373). However, there are still no legal structures underpinning even the most transparent of transactions, when an originator goes out of their way to transfer rights to the buyer of the accompanying NFT. The minimum requirement — even courtesy — for the assignment of rights is the identification of the work itself; as Guadamuz notes, this is tricky for NFTs as they are written in code (1374). The blockchain’s openness and transparency are its key benefits, but until the code can explicitly include (or concretely and permanently reference) the ‘content’ of an NFT, its utility as a system of ownership is questionable. Decentralisation, too, is raised consistently as a key positive characteristic of blockchain technology. Despite the energy required for this decentralisation (addressed shortly), it is true that, at least in its base code, blockchain is a technology with no centralised source of truth or verification. Instead, such verification is performed by every node on the chain. On the surface, for the film industry, this might mean modes of financing, rights management, and distribution chains that are not beholden to multinational media conglomerates, streamers like Netflix, niche intermediaries, or legacy studios. The result here would be a flattening of the terrain: breaking down studio and corporate gatekeeping in favour of a more democratised creative landscape. Creators and creative teams would work peer-to-peer, paying, contracting, servicing, and distribution via the blockchain, with iron-clad, publicly accessible tracking of transactions and ownership. The alternative, though, is that the same imbalances persist, just in a different form: this is outlined in the next section. As Hunter Vaughan writes, the film industry’s environmental impact has long been under-examined. Its practices are diverse, distributed, and hard to quantify. Cinematic images, Vaughan writes, “do not come from nothing, and they do not vanish into the air: they have always been generated by the earth and sun, by fossil fuels and chemical reactions, and our enjoyment of them has material consequences” (3). We believe that by watching a “green” film like Avatar we are doing good, but it implicates us in the dirty secret, an issue of “ignorance and of voluntary psychosis” where “we do not see who we are harming or how these practices are affecting the environment, and we routinely agree to accept the virtual as real” (5). Beyond questions of implication and eco-material conceptualisation, however, there are stark facts. In the 1920s, the Kodak Park Plant in New York drew 12 million gallons of water from Lake Ontario each day to produce film stock. As the twentieth century came to a close, this amount — for a single film plant — had grown to 35-53 million gallons per day. The waste water was perfunctorily “cleaned” and then dumped into surrounding rivers (72-3). This was just one plant, and one part of the filmmaking process. With the shift to digital, this cost might now be calculated in the extraction of precious metals used to make contemporary cameras, computers, or storage devices. Regardless, extrapolate outwards to a global film industry and one quickly realises the impact is almost beyond comprehension. Considering — let alone calculating — the carbon footprint of blockchain requires outlining some fundamentals of the technology. The two primary architectures of blockchain are Proof of Work (PoW) and Proof of Stake (PoS), both of which denote methods of adding and verifying new blocks to a chain. PoW was the first model, employed by Bitcoin and the first iteration of Ethereum. In a PoW model, each new block has a specific cryptographic hash. To confirm the new block, crypto miners use their systems to generate a target hash that is less than or equal to that of the block. The systems process these calculations quickly, as the goal is to be “the first miner with the target hash because that miner is the one who can update the blockchain and receive crypto rewards” (Daly). The race for
Ian Rogers, Dave Carter, Benjamin A. Morgan, Anna Edgington
Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or provocations concerning music’s commercial and social future. What is convened in this era (pre-2017 blockchain music discourse and practice) is the potential for change: a type of widespread, broadly discussed, reimagination of the 21st-century music industries, productive precisely because near-future applications suggest the realisation of what Baym et al. call dreams. In this article, we aim to examine the Web3 music field as it lies some years later. Taking the latter half of 2021 as our subject, we present a survey of where music then resided within Web3, focussing on how the dreams of Baym et al. have morphed and evolved, and materialised and declined, in the intervening years. By investigating the discourse and functionality of 2021’s current crop of music NFTs—just one thread of music Web3’s far-reaching aspiration, but a potent and accessible manifestation nonetheless—we can make a detailed analysis of concept-led application. Volatility remains throughout the broader sector, and all of the projects listed here could be read as conditionally short-term and untested, but what they represent is a series of clearly evolved case studies of the dream, rich precisely because of what is assumed and disregarded. WTF Is an NFT? Non-fungible tokens inscribe indelible, unique ledger entries on a blockchain, detailing ownership of, or rights associated with, assets that exist off-chain. Many NFTs take the form of an ERC-721 smart-contract that functions as an indivisible token on the Ethereum blockchain. Although all ERC-721 tokens are NFTs, the inverse is not true. Similar standards exist on other blockchains, and bridges allow these tokens to be created on alternative networks such as Polygon, Solana, WAX, Cardano and Tezos. The creation (minting) and transfer of ownership on the Ethereum network—by far the dominant chain—comes with a significant and volatile transaction cost, by way of gas fees. Thus, even a “free” transaction on the main NFT network requires a currency and time investment that far outweighs the everyday routines of fiat exchange. On a technical level, the original proposal for the ERC-721 standard refers to NFTs as deeds intended to represent ownership of digital and physical assets like houses, virtual collectibles, and negative value assets such as loans (Entriken et al.). The details of these assets can be encoded as metadata, such as the name and description of the asset including a URI that typically points to either a file somewhere on the Internet or a file hosted via IPFS, a decentralised peer-to-peer hosting network. As noted in the standard, while the data inscribed on-chain are immutable, the asset being referred to is not. Similarly, while each NFT is unique, multiple NFTs could, in theory, point to a single asset. In this respect ERC-721 tokens are different from cryptocurrencies and other tokens like stable-coins in that their value is often contingent on their accurate and ongoing association with assets outside of the blockchain on which they are traded. Further complicating matters, it is often unclear if and how NFTs confer ownership of digital assets with respect to legislative or common law. NFTs rarely include any information relating to licencing or rights transfer, and high-profile NFTs such as Bored Ape Yacht Club appear to be governed by licencing terms held off-chain (Bored Ape Yacht Club). Finally, while it is possible to inscribe any kind of data, including audio, into an NFT, the ERC-721 standard and the underpinning blockchains were not designed to host multimedia content. At the time of writing, storing even a low-bandwidth stereo audio file on the ethereum network appears cost-prohibitive. This presents a challenge for how music NFTs distinguish themselves in a marketplace dominated by visual works. The following sections of this article are divided into what we consider to be the general use cases for NFTs within music in 2021. We’ve designated three overlapping cases: audience investment, music ownership, and audience and business services. Audience Investment Significant discourse around NFTs focusses on digital collectibles and artwork that are conceptually, but not functionally, unique. Huge amounts of money have changed hands for specific—often celebrity brand-led—creations, resulting in media cycles of hype and derision. The high value of these NFTs has been variously ascribed to their high novelty value, scarcity, the adoption of NFTs as speculative assets by investors, and the lack of regulatory oversight allowing for price inflation via practices such as wash-trading (Madeline; Das et al.; Cong et al.; Le Pennec, Fielder, and Ante; Fazil, Owfi, and Taesiri). We see here the initial traditional split of discourse around cultural activity within a new medium: dual narratives of utopianism and dystopianism. Regardless of the discursive frame, activity has grown steadily since stories reporting the failure of Blockchain to deliver on its hype began appearing in 2017 (Ellul). Early coverage around blockchain, music, and NFTs echoes this capacity to leverage artificial scarcity via the creation of unique digital assets (cf Heap; Tomaino). As NFTs have developed, this discourse has become more nuanced, arguing that creators are now able to exploit both ownership and abundance. However, for the most part, music NFTs have essentially adopted the form of digital artworks and collectibles in editions ranging from 1:1 or 1:1000+. Grimes’s February 2021 Mars NFT pointed to a 32-second rotating animation of a sword-wielding cherubim above the planet Mars, accompanied by a musical cue (Grimes). Mars sold 388 NFTs for a reported fixed price of $7.5k each, grossing $2,910,000 at time of minting. By contrast, electronic artists Steve Aoki and Don Diablo have both released 1:1 NFT editions that have been auctioned via Sotheby’s, Superrare, and Nifty Gateway. Interestingly, these works have been bundled with physical goods; Diablo’s Destination Hexagonia, which sold for 600 Eth or approximately US$1.2 million at the time of sale, proffered ownership of a bespoke one-hour film hosted online, along with “a unique hand-crafted box, which includes a hard drive that contains the only copy of the high-quality file of the film” (Diablo). Aoki’s Hairy was much less elaborate but still promised to provide the winner of the $888,888 auction with a copy of the 35-second video of a fur-covered face shaking in time to downbeat electronica as an Infinite Objects video print (Aoki). In the first half of 2021, similar projects from high-profile artists including Deadmau5, The Weekend, Snoop Dogg, Eminem, Blondie, and 3Lau have generated an extraordinary amount of money leading to a significant, and understandable, appetite from musicians wanting to engage in this marketplace. Many of these artists and the platforms that have enabled their sales have lauded the potential for NFTs to address an alleged poor remuneration of artists from streaming and/or bypassing “industry middlemen” (cf. Sounds.xyz); the millions of dollars generated by sales of these NFTs presents a compelling case for exploring these new markets irrespective of risk and volatility. However, other artists have expressed reservations and/or received pushback on entry into the NFT marketplace due to concerns over the environmental impact of NFTs; volatility; and a perception of NFT markets as Ponzi schemes (Poleg), insecure (Goodin), exploitative (Purtill), or scammy (Dash). As of late 2021, increased reportage began to highlight unauthorised or fraudulent NFT minting (cf. TFL; Stephen), including in music (Newstead). However, the number of contested NFTs remains marginal in comparison to the volume of exchange that occurs in the space daily. OpenSea alone oversaw over US$2.5 billion worth of transactions per month. For the most part, online NFT marketplaces like OpenSea and Solanart oversee the exchange of products on terms not dissimilar to other large online retailers; the space is still resolutely emergent and there is much debate about what products, including recently delisted pro-Nazi and Alt-Right-related NFTs, are socially and commercially acceptable (cf. Pearson; Redman). Further, there are signs this trend may impact on both the willingness and capacity of rightsholders to engage with NFTs, particularly where official offerings are competing with extant fraudulent or illegitimate ones. Despite this, at the time of writing the NFT market as a whole does not appear prone to this type of obstruction. What remains complicated is the contested relationship between NFTs, copyrights, and ownership of the assets they represent. This is further complicated by tension between the claims of blockchain’s independence from existing regulatory structures, and the actual legal recourse available to music rights holders. Music Rights and Ownership Baym et al. note that addressing the problems of rights management and metadata is one of the important discussions around music convened by early blockchain projects. While they posit that “our point is not whether blockchain can or can’t fix the problems the music industries face” (403), for some professionals, the blockchain’s promise of eliminating the need for trust seemed to provide an ideal solution to a widely acknowledged business-to-business problem: one of poor metadata leading
Storage is a promising application for permission-less blockchains. Before blockchain, cloud storage was hosted by a trusted service provider. The centralized system controls the permission of the data access. In web3, users own their data. Data must be encrypted in a permission-less decentralized storage network, and the permission control should be pure cryptographic. Proxy re-encryption (PRE) is ideal for cryptographic access control, which allows a proxy to transfer Alice’s ciphertext to Bob with Alice’s authorization. The encrypted data are stored in several copies for redundancy in a permission-less decentralized storage network. The redundancy suffers from the outsourcing attack. The malicious resource provider may fetch the content from others and respond to the verifiers. This harms data integrity security. Thus, proof-of-replication (PoRep) must be applied to convince the user that the storage provider is using dedicated storage. PoRep is an expensive operation that encodes the original content into a replication. Existing PRE schemes cannot satisfy PoRep, as the cryptographic permission granting generates an extra ciphertext. A new ciphertext would result in several expensive replication operations. We searched most of the PRE schemes for the combination of the cryptographic methods to avoid transforming the ciphertext. Therefore, we propose a new PRE scheme. The proposed scheme does not require the proxy to transfer the ciphertext into a new one. It reduces the computation and operation time when allowing a new user to access a file. Furthermore, the PRE scheme is CCA (chosen-ciphertext attack) security and only needs one key pair.
Abstract: The electronic voting has emerged over time as a replacement to the paper-based voting to reduce the redundancies and inconsistencies. The historical perspective presented in the last two decades suggests that it has not been so successful due to the security and privacy flaws observed over time. This project is about decentralizing authority to record, count and verify votes and the voters, rather than having a central authority. We are using blockchain technology which is a distributed database. With its immutability property and decentralized architecture, it can run and support a voting scheme that is open, fair and independently verifiable. The project will be developed in Ethereum framework which primarily uses Solidity as a language. Ethereum’s backbone is its decentralized virtual machine called Ethereum Virtual Machine. The application will be deployed on the thirdweb(web3.0). Overall this project is a potential roadmap for blockchain technologies developing in the nation to support complex applications. Keywords: Blockchain, Cryptography, Cryptocurrency, Ethereum Framework, Solidity, Decentralization, Hashing, Dapp, Web3, Digitalizing.
This paper examines the effects of inherent risks in the emerging technology of non-fungible tokens and proposes an actionable set of solutions for stakeholders in this ecosystem and observers. Web3 and NFTs are a fast-growing 300 billion dollar economy with some clear, highly publicized harms that came to light recently. We set out to explore the risks to understand their nature and scope, and if we could find ways to mitigate them. In due course of investigation, we recap the background of the evolution of the web from a client-server model to the rise of Web2.0 tech giants in the early 2000s. We contrast how the Web3 movement is trying to re-establish the independent style of the early web. In our research we discover a primary set of risks and harms relevant to the ecosystem, and classify them into a simple taxonomy while addressing their mitigations with solutions. We arrive at a set of solutions that are a combination of processes to be adopted, and technological changes or improvements to be incorporated into the ecosystem, to implement risk mitigations. By linking mitigations to individual risks, we are confident our recommendations will improve the security maturity of the growing Web3 ecosystem. We are not endorsing, or recommending specifically any particular product or service in our solution set. Nor are we compensated or influenced in any way by these companies to list these products in our research. The evaluations of products in our research have to simply be viewed as suggested improvements.
In der Serie wird eine Unterrichtsreihe für die Digitale Grundbildung auf Grundlage des Frankfurt Dreieck vorgeschlagen. Das exemplarische Thema der Unterrichtsreihe ist die Nutzung der Internetprotokolle als Web3. In diesem Beitrag werden die pädagogischen Grundlagen des Konzepts und der verwendete Stack vorgestellt.
BACKGROUND: Recent advancements in digital pathology resulting from advances in imaging and digitization have increased the convenience and usability of pathology for disease diagnosis, especially in oncology, urology, and gastroenteric diagnosis. However, despite the possibilities to include low-cost diagnosis and viable telemedicine, digital pathology is not yet accessible owing to expensive storage, data security requirements, and network bandwidth limitations to transfer high-resolution images and associated data. The increase in storage, transmission, and security complexity concerning data collection and diagnosis makes it even more challenging to use artificial intelligence algorithms for machine-assisted disease diagnosis. We designed and prototyped a digital pathology system that uses blockchain-based smart contracts using the nonfungible token (NFT) standard and the Interplanetary File System for data storage. Our design remediates shortcomings in the existing digital pathology systems infrastructure, which is centralized. The proposed design is extendable to other fields of medicine that require high-fidelity image and data storage. Our solution is implemented in data systems that can improve access quality of care and reduce the cost of access to specialized pathological diagnosis, reducing cycle times for diagnosis. OBJECTIVE: The main objectives of this study are to highlight the issues in digital pathology and suggest that a software architecture-based blockchain and the Interplanetary File System create a low-cost data storage and transmission technology. METHODS: We used the design science research method consisting of 6 stages to inform our design overall. We innovated over existing public-private designs for blockchains but using a 2-layered approach that separates actual file storage from metadata and data persistence. RESULTS: Here, we identified key challenges to adopting digital pathology, including challenges concerning long-term storage and the transmission of information. Next, using accepted frameworks in NFT-based intelligent contracts and recent innovations in distributed secure storage, we proposed a decentralized, secure, and privacy-preserving digital pathology system. Our design and prototype implementation using Solidity, web3.js, Ethereum, and node.js helped us address several challenges facing digital pathology. We demonstrated how our solution, which combines NFT smart contract standard with persistent decentralized file storage, solves most of the challenges of digital pathology and sets the stage for reducing costs and improving patient care and speed of diagnosis. CONCLUSIONS: We identified technical limitations that increase costs and reduce the mass adoption of digital pathology. We presented several design innovations using NFT decentralized storage standards to prototype a system. We also presented the implementation details of a unique security architecture for a digital pathology system. We illustrated how this design can overcome privacy, security, network-based storage, and data transmission limitations. We illustrated how improving these factors sets the stage for improving data quality and standardized application of machine learning and artificial intelligence to such data.
This brief aims to give policymakers an overview of crypto’s core concepts, and highlight some of the policy questions raised by its increasing adoption by citizens and organisations. It begins with a short explanation of the crypto movement’s ideological origins, offers basic primers in cryptocurrencies, blockchain, web3, NFTs, and the metaverse, and concludes with a discussion of the policy implications and suggestions for further reading. Short case studies and a glossary of crypto terminology (denoted by italics) are interspersed throughout. References are made by means of hyperlinks.
A movement for a more transparent and decentralized Internet is globally attracting more attention. People are becoming more privacy-aware of their online identities and data. The Internet is constantly evolving. Web2 focused on companies that provide services in exchange for personal user data. Web3 commits to user-centricity using decentralization and zero-server architectures. The current digital society demands a global change to empower citizens and take back control. Citizens are locked into big-tech for personal data storage and their for-profit digital identity. Protection of data has proven to be essential, especially due to increased home Internet traffic during the COVID pandemic. Citizens do not possess their own travel documents. The European Commission aims to transition this governmental property towards self-sovereign identity, introducing many new opportunities. Citizens are locked into banks with non-portable IBAN accounts and unsustainable legacy banking infrastructures. Migration to all-digital low-fraud infrastructures and healthier competitive ecosystems is essential. The overall challenge is to return the power to citizens and users again. The transition to a more decentralized Internet is the first crucial step in the realization of user-centricity. This thesis presents the first exploratory study that integrates governmental-issued travel documents into a (decentralized) societal infrastructure. These self-sovereign identities form the authentic base to a private and secure transfer of money and data, and can effectively provide trust in authenticity that is currently missing in online conversations. A fully operational zero-server infrastructure that incorporates all our requirements has been developed for Android using the P2P network overlay IPv8, and a personalized blockchain called TrustChain...
How do feminist activists take over our feeds? And can we really escape the shadows of networked visibility? In a series of five case studies, this text and video-based _Perspective applies the method of visual research to analyze and cross-pollinate visual formulas and platform strategies of Pussy Riot’s and LASTESIS’ networked performances. What started as a social media revolution in 2012 has now spread into the realm of cryptocurrencies and Web3 advances. Formerly situated feminist protests become more and more decentralized and ubiquitory—and so do their audiences. Nonetheless, catering to the demands of networked imagery also entails perpetuating its hegemonic, exploitative, and violent nature, which is ultimately at the hands of the viewer’s and researcher’s interaction.
We study a scenario where an adjudication task (e.g., the resolution of a binary dispute) is outsourced to a set of agents who are appointed as jurors. This scenario is particularly relevant in a Web3 environment, where no verification of the adjudication outcome is possible, and the appointed agents are, in principle, indifferent to the final verdict. We consider simple adjudication mechanisms that use (1) majority voting to decide the final verdict and (2) a payment function to reward the agents with the majority vote and possibly punish the ones in the minority. Agents interact with such a mechanism strategically: they exert some effort to understand how to properly judge the dispute and cast a yes/no vote that depends on this understanding and on information they have about the rest of the votes. Eventually, they vote so that their utility (i.e., their payment from the mechanism minus the cost due to their effort) is maximized. Under reasonable assumptions about how an agent's effort is related to her understanding of the dispute, we show that appropriate payment functions can be used to recover the correct adjudication outcome with high probability. Our findings follow from a detailed analysis of the induced strategic game and make use of both theoretical arguments and simulation experiments.
In today’s world, having access to land records is a must and being able to see who owns the land property is important to allow crossverify ownership of the land in order for business purposes or for personal use. In India, maintaining the land record with the current population is a challenging task, and the current system was causing incomplete registries, leading to fraudulent activities. The current system being used by the government is inconsistent and has a lot of intermediaries who have access to the system and make changes to it. The use of Blockchain is increasing day by day, the government is trying to adopt technology, and web3.0 is the future we are heading; adding Land Records in Blockchain is very useful because it provides transparency for everyone. Allowing citizens to view the land record with a visual representation with maps will ensure everyone has access to these land records.
Electronic health records (EHR) play an important role in digital health transition. EHRs contain medical information such as demographics, laboratory test results, radiological images, vaccination status, insurance policy, and claims. EHR is essential for doctors and healthcare organizations to analyze a patient's profile and provide appropriate therapy. Despite this, current electronic health record (EHR) systems lag with difficulties such as Interoperability and security. Better and faster care may be provided with an integrated and secure health record for each patient that can be transmitted easily in real-time across countries. People having health insurance policies are often confronted by insurance jargon and the insurer’s cumbersome requirements while filing a claim for treatment. There are times when the claims processing takes longer than expected. The insurer, Third-Party Administrators (TPAs), and network provider hospitals examine, approve, and initiate the sum claimed. The use of blockchain in the process allows for more efficient information sharing at a lower cost and with more security. Only authorized individuals have access to the shared ledger on a blockchain, making it more confidential and secure. All parties engaged in a health insurance policy, including the insurer, the insured, the TPA, and the network provider hospital, may be members of the blockchain network and have access to the same set of policy data. In our proposed work we implemented a Blockchain-based EHR and Health insurance management system using Ethereum and deployed smart contracts using solidity and created a web application with web3js and React Framework.