Saturday, January 25, 2020

Concepts of Information Security: Politics and Technology

Concepts of Information Security: Politics and Technology The nothing to hide argument has become a very important debate recently. Now, nearly everything we do leaves an electronic trace which along with data mining, can be used to see what we are doing, and even predict our behaviour. With the recently passed Investigatory Powers Act 2016 in the UK (HM Government, 2016), 48 different agencies will have access to communication data, bulk personal data and other information with the purpose of increasing our national security. The acts main aim is to increase security against acts of terrorism, but this comes at the cost of peoples privacy. The most common argument in favour of mass surveillance is that if you have nothing to hide you should have nothing to fear, and if you are acting in an illegal manner than you deserve to be punished, and having this surveillance is there to protect us and our country. Whereas conventional armys movement can be tracked using radar, satellites and drones, terrorists dont have a navy or air force, making this means of gathering information about an attacker irrelevant. Another potential means of gathering information would be inside information, whether it be an informant or someone managing to infiltrate the organisation. However, unlike organised crime, a terrorist attack has the potential to take many lives, and it only takes one successful attack to do so, meaning one successful attack is one too many. Government surveillance can therefore be argued as the best way of protecting a nation as it means conversations can be followed and behaviours can be predicted. (Doyle, 2011). Daniel Solove has said that between the advances in technology and the government surveillance, that there are similarities with George Orwells 1984, and although not as extreme as in the book, it is still possible to track people even if they are just walking around the corner. Along with data mining of information which could be thought of as trivial, the government are predicting whether a person is a terrorist based off purchase histories along with other personal information. Whilst this sounds like it could be useful, what happens when someone is misidentified as a terrorist and added to a no-fly list or arrested? (Doyle, 2011). The European Union has also stated the surveillance on this scale is illegal, and that only targeted information gathering I justified, but with the UK leaving the EU, this will not be a problem for them soon, and will join China and Russia in being a mass surveillance state (Agerholm, 2016). Overall I feel that mass surveillance is not necessary, with targeted surveillance being adequate, and with the lack of a response from the public when this law was first announced, it has shown the government that they can get away with it, and sets a precedent going forward, making me ask the question, When does it stop? When will they have enough information? As much as George Orwells 1984 was a work of fiction, I feel like we are slowly moving in that direction, and if we get there, will there be a way back? Assira CAPTCHA The Asirra CAPTCHA was proposed at ACM CCS 2007 and works by showing the user 12 pictures of cats and dogs, with the user having to select the cat images and none of the dog images. A human can do this within 30 seconds 99.6% of the time, whereas algorithms find it much harder to differentiate between cats and dogs. Basing image classification off colour features gives a 56.9% accuracy, giving an overall probability of 0.2% to solve an Assira CAPTCHA. Assira has a database of over 3,000,000 images of cats and dogs which continues to grow. 13,000 images were collected by having a script which was left to run overnight, that would refresh and download the 12 images from the Assira research page. The images were manually classified into 3 classes of cat, dog and other. A support vector machine(SVM) classifier was used due to having the ability to extract linear combination of features, its predictive power and its scalability. 5-fold cross-validation was used to measure the accuracy of the SVM classifier, with 4 partitions used for training and the last one used to validate the results. The SVM classifier was trained on a combination of colour and texture features. Both the colour and the texture features estimate whether the picture is a cat or dog. An average of the colour and texture features is taken, with a weighting of 1/3 to colour and 2/3 to texture. Images of cats were mapped to the value of 1.0 and dogs to -1.0, meaning if the average returned a positive value, the SVM classifier would predict the image to be of a cat, whilst a negative number would result in a dog. This system resulted in a classifier with 82.7% accuracy, giving a 10.3% probability of breaking the Assira CAPTCHA, which despite being a lot lower than a human, was more than 50 times more successful than the predicted 0.2% for machine vision attacks. Using a token bucket system will greatly help to improve the robustness of the Assira CAPTCHA. Given that a human has a 99.6% success rate, giving a total of 3 attempts before having to complete 2 successful Assira CAPTCHAs greatly reduces the chance of it being broken via machine vision, without reducing the usability for a human too significantly. (Golle, 2008) Impact of Artificial Gummy Fingers on Fingerprint Systems Biometrics is a form of single factor authentication used to identify someone. Fingerprints are one of the most common forms of biometric authentication, with them being used for PCs, smart cards and portable devices. Silicone fingers as well as inked fingerprints on paper where tested before the experiment, finding that all capacitive sensors and some optical sensors rejected the silicone finger, and the inked paper was accepted on one of the systems. A fingerprint system captures data from the finger via a sensing device, extracts features from the data and encrypts it, then stores this information as a template with some personal information. When someone then uses the system, the scan is compared to the database of stored finger data and outputs an acceptance results if there is a matching template. The sensor detects the difference between ridges and valleys of the fingerprint, with optical sensors detecting the difference in reflection, whilst a capacitive sensor detects the difference in capacitance. There are several different attacks that can be performed against a fingerprint system including a criminal forcing the live finger to be used on the scanner, an attack against the authentication system with an unregistered finger, the use of a severed fingertip, a genetic clone of the registered finger or an artificial clone of the finger. To make an artificial finger an impression must first be made of the live finger. The impression of the fingerprint is a mirror reflection of the live finger, meaning the impression can be used as a mould to make the artificial finger. It can also be done by capturing the image of a residual fingerprint with a digital microscope and then making a mould to make the artificial finger which is made from gelatine. Both types of gummy fingers were accepted by the 11 different fingerprint systems used in the experiment, with varying probabilities between 67% and 100%. The number of samples was too small in this experiment to compare the different types of fingerprint systems, but there is enough evidence to show that gummy fingers can bypass this type of biometric security. (Matsumoto, T., Matsumoto, H., Yamada, K. and Hoshino, S, 2002) The best way to improve security would be multi-factor authentication. A finger print falls under the something I am category, so taking something from the something I own category, such as a key fob or card, along with the something I know category, such as a password means that if one of these protective measures is compromised, there are still two other factors an attacker must take into consideration before being able to access the information they are trying to acquire. FREAK SSL/TLS Vulnerability The Factoring RSA Export Keys (FREAK) vulnerability in Secure Socket Layer (SSL) and its successor Transport Layer Security (TLS) was discovered in March 2015 by Karthikeyan Bhargavan and his research team. TLS and SSL are protocols which were designed for secure data transfer between a client and a server through authentication, encryption and integrity. (Muscat, I. 2016), (Caballero, J., Bodden, E. and Athanasopoulos, E. 2016). The vulnerability allows for a man-in-the-middle attack through an implementation error. The vulnerability was due to a US law which restricted RSA public key sizes to 512 bytes. SSL and TLS used ciphersuites with weak keys which were marked eligible for export. If a client is tryhing to connect to a trusted server, the man-in-the-middle attacker can replace the ciphersuite with an RSA_EXPORT ciphersuite of the message sent from the client to the server. The server then responds, and again, the attacker replaces the ciphersuite with an RSA ciphersuite which gets forwarded to the client. The server then sends a strong, 2048 bits, RSA public key which the client receives. The server then sends a ServerKeyExchange message with a weak, 512-bit RSA public key. The client responds with its ClientKeyExchange, ClientCSS and ClientFinished message, which the attacker can use to find the private key. The attacker can then decrypt the pre-master secret from the Client-KeyExchange. The attacker then sends a ServerFinished message to complete the handshake. This works because of a bug in a state machine composition, the message is not rejected and is silently accepted, and the servers strong public key is replaced with the weak public key in the ServerKeyExchange. (Beurdouche, B., Bhargavan, K., et al. 2015). In order to protect against this attack, server administrators would have to remove all RSA export cipher suites from their accepted cipher suite collection. Installing a browser that doesnt support RSA export cipher suites is the best way for clients to protect themselves against FREAK attacks. (Caballero, J., Bodden, E. and Athanasopoulos, E. 2016). DDoS Attacks Distributed Denial of Service (DDoS) attacks are relatively simple, but can be extremely powerful. They are the most advanced form of DoS attacks. They work via packet streams from different sources. The attacks make use of large numbers of coordinated hosts to overrun a critical resource of the target. Depending on the scale of the attack, or the measures put in place to prevent such an attack, the victim could suffer damages from system shutdown, to total loss of service. They are so strong due to not trying to break the system hey are attacking, meaning traditional security mechanisms arent effective, instead causing damage through lethal traffic. When performing an attack, the attacker must select agents to perform the attack. The machines need to have a vulnerability that allows the attacker to gain access with enough resources for the attack. Then the attack must find vulnerabilities in the security of the agents machines to put in the malicious code. The attacker then communicates with handlers to see what agents are running and when to upgrade them. After all of this is done, the attack can commence. There are several different types of DDoS attacks, some of which include: Flood attacks send large amounts of IP traffic to a victim, congesting the bandwidth of the system. Depending on the volume of packets sent, the target can experience reduced system speeds, to crashing the system. Amplification attacks exploit the broadcast IP address found on most routers to amplify and reflect the attack, sending messages to a broadcast IP address. The router sends the packets to all the IP addresses within the broadcast address range. A reflector attack requires a set of predetermined reflectors. These can simply be scattered on the internet. The reflected packets are normal with a legitimate source and cannot be filtered. Protocol exploit attacks use a specific feature or implementation bug of some protocol on the victims system to consume excess resources. Malformed packet attacks use incorrectly formed IP packets and are sent to the victim to crash the system. There are two classifications for DDoS defence. The first one is based on activity deployed. Intrusion prevention aims to stop the attack from being launched in the first place. Intrusion detection means a host computer and network can guard themselves against being a source of an attack as well as being a victim. Intrusion tolerance and mitigation accepts that it is not possible to fully prevent or stop DDoS attacks, so aims to minimise the damage caused by them. Intrusion response identifies the attack sources and blocks its traffic. The second classification splits the DDoS defence into three categories. Most systems designed to fight DDoS attacks have been designed for the victim network as they suffer the greatest impact of an attack. Intermediate network defence is more effective, as they can handle the attack traffic easily and trace back to the attackers. Source network mechanisms aim to stop attacks before they enter the internet. (Douligeris, C. and Mitrokotsa, A. 2004) Wireless networks are easier to attack than wired networks, with DoS attacks by scrambling the bands of frequency that are used. The best way of defending both bandwidth depletion attacks and resource depletion attacks is to design a defence mechanism that detects and responds to the attack. A proposed technique to defending the attacks is the use of a flow monitoring table at each node. By monitoring the previous sending rates with the current rate, they can detect an attack if both rates become the same, in which case the packets from those nodes are discarded. (Arunmozhi, S.A. and Venkataramani, Y. 2011) Bibliography Agerholm, H. (2016) Snoopers charter dealt blow after EUs highest court rules indiscriminate government retention of emails is illegal. Available at: http://www.independent.co.uk/news/uk/politics/snoopers-charter-eu-court-ruling-illegal-investigatory-powers-act-emails-david-davis-a7488041.html (Accessed: 22 December 2016). Arunmozhi, S.A. and Venkataramani, Y. (2011) DDoS attack and defense scheme in wireless ad hoc networks, International Journal of Network Security Its Applications, 3(3), pp. 182-187. doi: 10.5121/ijnsa.2011.3312. Beurdouche, B., Bhargavan, K., Delignat-Lavaud, A., Fournet, C., Kohlweiss, M., Pironti, A., Strub, P.-Y. and Zinzindohoue, J.K. (2015) A messy state of the union: Taming the composite state machines of TLS, 2015 IEEE Symposium on Security and Privacy, . doi: 10.1109/sp.2015.39. Caballero, J., Bodden, E. and Athanasopoulos, E. (2016) Engineering secure software and systems: 8th international symposium, ESSoS .. Available at: https://books.google.co.uk/books?id=j6vWCwAAQBAJpg=PA125dq=FREAK+SSL/TLS+Vulnerabilityhl=ensa=Xved=0ahUKEwjlkuXEr8TRAhWhKMAKHQWMBjMQ6AEIOjAB#v=onepageq=FREAK%20SSL%2FTLS%20Vulnerabilityf=false (Accessed: 15 January 2017). Douligeris, C. and Mitrokotsa, A. (2004) DDoS attacks and defense mechanisms: Classification and state-of-the-art, Computer Networks, 44(5), pp. 643-666. doi: 10.1016/j.comnet.2003.10.003. Doyle, T. (2011) Daniel J. Solove, nothing to hide: The false tradeoff between privacy and security, The Journal of Value Inquiry, 46(1), pp. 107-112. doi: 10.1007/s10790-011-9303-z. Golle, P. (2008) Machine learning attacks against the Asirra CAPTCHA, Proceedings of the 15th ACM conference on Computer and communications security CCS 08, . doi: 10.1145/1455770.1455838. Investigatory Powers Act 2016 2016, c. Available at: http://www.legislation.gov.uk/ukpga/2016/25/pdfs/ukpga_20160025_en.pdf (Accessed: 22 December 2016). Matsumoto, T., Matsumoto, H., Yamada, K. and Hoshino, S. (2002) Impact of artificial gummy fingers on fingerprint systems, , pp. 275-289. doi: 10.1117/12.462719. Muscat, I. (2016) Web vulnerabilities: Identifying patterns and remedies, Network Security, 2016(2), pp. 5-10. doi: 10.1016/s1353-4858(16)30016-2.

Friday, January 17, 2020

National cinema

The concept of national cinema in the age of globalization has several aspects to be debated upon. The matter demands attention specifically to be justified from the cultural point of view as well as commercial point of view. Firstly, the relationship between National identity and Cinema needs to be clarified. Each Nation or Country has some of its specific or salient traits in terms of its food, attire, language, sports, flora and fauna, country flag etc., which may be classified as the specific traits of a nationality, each of the said traits are restricted within the boundary of a nation and signifies the essence of   nativity. Cinema has commonly been analyzed as a medium of expression, specific to a geographically situated culture and within Cinema’s taxonomy, privilege has been granted to national cultures. The term National cinema is commonly used in film theory and film criticism to describe the films associated with a specific country, which   is hard to define, and its meaning is debated by film scholars and critics.A film may be considered to be part of the â€Å"national cinema† of a country based on a number of factors, such as the country that provided the financing for the film, the language spoken in the film, the nationalities or dress of the characters, and the setting, music, or cultural elements present in the film. To define a national cinema, some scholars emphasize the structure of the film industry and the roles played by â€Å"†¦market forces, government support, and cultural transfers. But, as cinema holds its root in the trade industry and it may be expressed in terms of exhibition and consumption, it calls for the importance of its trans-national exposure in this era of globalization. As a sequel, Cinema being an Industry, may be defined explicitly on economic terms, concerning basic infrastructures of production, distribution, exhibition on the capitalization and integration scale, as has also been depicted by Andrew Higson, 1997. It also involves patterns of ownership and control, size and constitution of workforce of the production unit, the size of domestic market, the degree of penetration of foreign markets , extent of foreign intervention ( from economic or cultural perspective) and the relative economic health of the industry. Thus, the history of ‘national’ cinema turns out to be portrayal of the history of a business seeking a secure position in the financial market with a view to maximize profits and generation of employment and hence, it is improper to assume that Cinema and film culture is bound by the national or state limits (Higson, 1997).   Ideally, any commodity when labeled national is bound to be primarily confined and positively contribute towards its place/state of origin. But in today’s era of liberalization /globalization, classification of Cinema cannot be restricted to any nation’s boundary. It would not be imprudent to mention here that ‘cinema’ originating from a specific country can only be termed as ‘national’ in true sense, when it projects the theme of nationhood, highlighting some national specific characters, ideologies, culture, traditions etc., without any sort of deviation from the same. But, in today’s world how many such films are released in the whole world is a million dollar question. The ultimate motive of Cinema which essentially goes transnational is to attain the status of popular Cinema, which is grossly different from so called, national theme cinema, hardly worthy of critical appreciation. Thus, it becomes imperative that it is not at all feasible to use the term national cinema in today’s global era where everything is transnational. Actually, there is only one Cinema of vertical integration, or the cinema which facilitates the production, distribution and consumption of films. Demarcation of   Cinema as ‘French’, ‘American’ or ’British’ concedes far too much to the misguided ideal of national culture. Although, all moves need not be portrayed of a nation, it is proved that when cinema goes global, at least up to some extent, it reflects the culture of its country of origin, the traditions, the economic and political scenario, across the transnational boundaries there by enriching the knowledge of the target audience across the global boundaries facilitating wider acceptance of the same. For instance, as per Scott MacKenzie, University of Glasgow, Canadian cultural and film critics have long debated how Canadian national cinema can be defined, or whether there is a Canadian national cinema. Most of the films shown on Canadian movie screens are US imports. If â€Å"Canadian national cinema† is defined as the films made in Canada, then the canon of Canadian cinema would have to include lightweight teen-oriented fare such as Meatballs(1979), Porky's (1983) or Death Ship (1980). Other critics have defined Canadian national cinema as a â€Å"†¦reflection of Canadian life and culture.† Similarly, France's national cinema includes both popular cinema and â€Å"avant-garde† films. French national cinema is associated with the auteur filmmakers and with a variety of specific movements. Avant-garde filmmakers include Germaine Dulac, Marie and Jean Epstein. Poetic Realism filmmakers include Jean Renoir and Marcel Carne. The French New Wave filmmakers include Jean-Luc Godard and Francois Truffaut. The 1990s and 2000s â€Å"postmodern cinema† of France includes filmmakers such as Jean-Jacques Beinex. German national cinema was influenced by silent and sound â€Å"Bergfilm† (this translates to â€Å"mountain film†). During 1920s and early 1930s, German national cinema was known for the progressive and artistic approaches to filmmaking with â€Å"shifted conventional cinematic vocabulary† and which gave actresses a much larger range of character-types. During the Nazi era, the major film studio UFA was controlled by Propaganda Minister Goebbels. UFA produced â€Å"Hetzfilm† (anti-Semitic hate films) and films which emphasized the â€Å"theme of heroic death.† Other film genres produced by UFA during the Nazi era included historical and biographical dramas that emphasized the achievements in German history, comedy films, and propaganda films as quoted by Sabine Hake (2002). According to film scholar Marek Haltof, the Polish School of directors made films which can be described as the â€Å"Cinema of Distrust.† In the late 1970s and early 1980s, Wajda, Krzysztof Zanussi and Barbara Sass made influentual films which garnered interest outside of Poland. At times, it proves highly tarnishing for the image of the country of origin of the Cinema, when the original piece of work is either, dubbed, subtitled or remade in the local languages, which attributes to wrong portrayal or misinterpretation on the part of the target global viewers and its impact may not be the same in all the nations, as foreseen. Thus, the national cinema need not be the best way to portray the nation trans-nationally. At the same time, if a cinema does well, internationally, its popularity and acceptance hold the nation high and sometimes it becomes a marketable brand. On the contrary, we may view the traveling of cinema effortlessly across the national borders as a powerful means of celebrating cultural diversity, transnational experiences and multinational identities. Even the impact of global cinemas falls on the production of local films, which definitely calls for a better standard, as far as the technical aspects are concerned. For example, reportedly, Boot-legged video cassettes of Jurassic Park (Steven Spielberg, 1993) were available in subway stations in Moscow the day before the film was released in United States. Many Americans, as well as audiences in other nations, have developed a taste for Japanese anim’e and martial art films from Hong Kong. Hong Kong Cinema has influenced the style of Hollywood movies, ranging from the works of   Quentin Tarantino to the Wachowski brothers, if certain elements of American crime films have been appropriated by Hong Kong directors, ninja choreography is at home in Los Angeles, not only in movies but also in dance moves on MTV. Increasingly, we are seeing the emergence of hybrid. Indian films are screened in Africa, England and even United States often catering to diaspora audiences. But at the same time, there lies a risk of the local indigenous cinemas promoting national identities to be displaced. It may be inferred that though it is not feasible to categorize cinema as ‘national’ cinema in this era of globalization, it would certainly culminate to the fact that as cinemas goes trans-national the cohesiveness among the nations based on the portrayed common platform of thoughts or ideologies being conveyed through films/cinema. Also, the cinema personalities, figures happen to become popular and acceptable worldwide. If the concept of ‘modern nation’ is referred, we consider the entire area of reach of a film under the jurisdiction of one single nation, which reaps the benefit of the cinema. Hence, we may consider the national cinema as a global brand in the age of globalization, which enriches, entertains and caters to the intellectual needs of the target audience globally. Bibliography Author : Andrew Higson (1997) – ‘Waving the Flag’ : Construction a National Cinema in Britain, Publisher :Clarendon Press, Oxford Publication. Cinema and Nation , Contributors : Mette Hjort (2000), Editor, Scott Mackenzie, Publisher : Routledge, London Publication. Theorizing National Cinema, Edited by Valentina & Paul (June, 2006) Scott MacKenzie, University of Glasgow. National Identity, Canadian Cinema, and Multiculturalism. Available at: http://209.85.165.104/search?q=cache:tDs13p3Z-rkJ:www.uqtr.ca/AE/vol_4/scott.htm+national+cinema&hl=en&ct=clnk&cd=20 German National Cinema, by Sabine Hake. London and New York: Routledge, 2002. Trade paper, ISBN 0-41508-902-6. Reviewed by Robert von Dassanowsky. Available at: http://www.brightlightsfilm.com/38/booksgerman.htm ^ Shelia Skaff. The cinema that is Marek Haltof's Polish National Cinema. Review of Marek Haltof's book Polish National Cinema. Available at: http://www.kinoeye.org/02/14/skaff14.php World Cinema Critical Approaches, Edited by Johnhill and Pamela Church Gibson, Oxford University Press Publication         

Thursday, January 9, 2020

The Unique Character Of America And The American People

Character: The Unique Character of America and the American people Throughout history, American has been characterized as a distinctive country. One with its own particular set of rules and customs that make its culture very different from cultures in other parts of the world. The idea of a unique America gives rise to two main ideas: The uniqueness of America and the effect of its uniqueness on its people. Many writers and great thinkers have incorporated these ideas into their writings. A commonly made notion is that America’s landscape contributes to the uniqueness of America. The reasoning is that the initial wilderness of America, allowed for the cultivation of a unique American people. As a results the landscape of America can be seen as a reflection of America’s distinct character. Many well know writers of the eighteenth, nineteenth, and twentieth century discuss the connection between the landscape and the distinct character of America and its people. The writi ngs of the eighteenth, nineteenth, and twentieth centuries discuss the character of America in great detail. Thomas Jefferson’s Notes on the State of Virginia is a description of the landscape of the territory of Virginia. It was published in 1781. This eighteenth century book is one of Jefferson’s notable works. In it, he described the landscape of Virginia, its history and its climate. However, Jefferson also romanticized his description of Virginia and thus sets the trend for the romanticized view ofShow MoreRelatedThe Frontier Of American History1567 Words   |  7 PagesThe Frontier in American History was one of the most famous essays by Frederick Turner in the nineteenth century. In this essay, Turner expressed his thoughts about how the frontier set up and created unique American characteristics. He explained the idea of American exceptionalism, which states that America is different than other nations in the world. 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Show Boat revolutionized American musical theatre by changing the setting of the average musical theatre work to America to make the show in herently American, by changing and challenging what topics could be discussed, and by making the songs an integrated part of the musical that emphasize the themes, express the emotions of the characters, and move the story along. Show Boat tells the story of a riverRead MoreNew Uniform and Appearance Standards in Army Regulation 670-1895 Words   |  4 Pagesroutine or repetitive work† to their customer, the American people. Like doctors, lawyers, teachers and priests, Soldiers spend time studying and mastering their unique craft so they can stand ready as subject matter expert’s to deploy, engage and destroy the enemies of the United States of America The profession of arms is unique among American careers because of the lethality of its end state. 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Since the introduction of Superman in 1938, stories of superheroes from short to long episode adventures; have ruled American comic books and traversed into other media. These superheroes and comics have been used to display both negative and positive social and cultural values in the American society. Captain America, , SupermanRead MoreThoughts on Characteristics of Race and Gender: Du Bois vs. De Beauvoir1146 Words   |  5 Pagesand gender In the debate over equality for both African-Americans and women, the question of nature versus nurture inevitably arises. Although most authors acknowledge that there are differences between these historically discriminated-against groups and members of the hegemonic culture, the origin of those differences has been hotly debated. While the African-American intellectual W.E.B Du Bois was inclined to conceptualize African-Americans as a race, feminists of the 1950s like Simone De Beauvoir

Wednesday, January 1, 2020

Chronic Traumatic Encephalophy Case Study - 1180 Words

For nearly a century, researchers, clinicians, doctors, etc., have been aware that chronic traumatic encephalophy (CTE), previously known as dementia pugilistica, is positively correlated with gradual neurological decline (McKee et al., 2009). Although CTE has affected athletes since the 1920s, it has recently received more attention due to many athletes, namely National Football League (NFL) players and boxers, being diagnosed with and suffering from CTE (McKee et al., 2009). Therefore, the remainder of this paper will discuss the clinical symptoms of CTE, diagnostic criteria, and several case studies of athletes with CTE. McKee et al. (2009) described the clinical symptoms of CTE as including: parkinsonism, memory disturbance,†¦show more content†¦80). Of the 10 CTE cases evaluated in this study nine of the individuals were former American football players and one was an ex professional boxer. As CTE appears to be highly prevalent among ex National Football League (NFL) players, Omalu et al. (2005) discussed the autopsy results of an ex NFL player. This particular case was chosen because the autopsy showed neuropathological changes, which were consistent with frequent concussions over a long period of time. Omalu et al. (2005) evaluated the patient’s premortem medical history, which included dysthymia, parkinsonian symptoms, memory and judgment issues, and coronary atherosclerotic disease with dilated cardiomyopathy, which was the cause of his death 12 years after retirement from the NFL. Moreover, the patient did not have any family history of dementia or any history of head trauma besides in football. Furthermore, the autopsy demonstrated that CTE was indicated with â€Å"multiple diffuse amyloid plaques, sparse neurofibrillary tangles, and t-positive neuritic threads in neocortical areas† (Omalu et al., 2005). Overall, Omalu et al. (2005) argued that the results of this study illustrated the potential risks of individuals (i.e., NFL players) who suffer frequent mild traumatic brain injuries. While Omalu et al. (2005) presented on the