FREAK

Abstract: A staple of American popular culture during the nineteenth and early twentieth centuries, the freak show seemed to vanish after the Second World War. But as Rachel Adams reveals in "Sideshow U.S.A.," images of the freak show, with its combination of the grotesque, the horrific, and the amusing, stubbornly reappeared in literature and the arts. Freak shows, she contends, have survived because of their capacity for reinvention. Empty of any inherent meaning, the freak's body becomes a stage for playing out some of the twentieth century's most pressing social and political concerns, from debates about race, empire, and immigration, to anxiety about gender, and controversies over taste and public standards of decency. "Sideshow U.S.A." begins by revisiting the terror and fascination the original freak shows provided for their audiences, as well as exploring the motivations of those who sought fame and profit in the business of human exhibition. With this history in mind, Adams turns from live entertainment to more mediated forms of cultural expression: the films of Tod Browning, the photography of Diane Arbus, the criticism of Leslie Fiedler, and the fiction Carson McCullers, Toni Morrison, and Katherine Dunn. Taken up in these works of art and literature, the freak serves as a metaphor for fundamental questions about self and other, identity and difference, and provides a window onto a once vital form of popular culture. Adams's study concludes with a revealing look at the revival of the freak show as live performance in the late 1980s and the 1990s. Celebrated by some, the freak show's recent return is less welcome to those who have traditionally been its victims. At the beginning of a new century, Adams sees it as a form of living history, a testament to the vibrancy and inventiveness of American popular culture, as well as its capacity for cruelty and injustice. "Because of its subject matter, this interesting and complex study is provocative, as well as thought-provoking."-"Virginia Quarterly Review"

Abstract: The Transport Layer Security (TLS) protocol supports various authentication modes, key exchange methods, and protocol extensions. Confusingly, each combination may prescribe a different message sequence between the client and the server, and thus a key challenge for TLS implementations is to define a composite state machine that correctly handles these combinations. If the state machine is too restrictive, the implementation may fail to interoperate with others; if it is too liberal, it may allow unexpected message sequences that break the security of the protocol. We systematically test popular TLS implementations and find unexpected transitions in many of their state machines that have stayed hidden for years. We show how some of these flaws lead to critical security vulnerabilities, such as FREAK. While testing can help find such bugs, formal verification can prevent them entirely. To this end, we implement and formally verify a new composite state machine for OpenSSL, a popular TLS library.

Abstract: The simulation hypothesis claims that the whole observable universe, including us, is a computer simulation implemented by technologically advanced beings for an unknown purpose. The simulation argument (as I reconstruct it) is an argument for this hypothesis with moderately plausible premises. I develop two lines of objection to the simulation argument. The first takes the form of a structurally similar argument for a conflicting conclusion, the claim that I am a so-called freak observer, formed spontaneously in a quantum or thermodynamic fluctuation rather than through ordinary processes of evolution and growth. The second rejects the basic line of reasoning of both arguments: the sort of evidence they cite is not capable of supporting either the claim that I am a simulant or the claim that I am a freak observer. The evidence that simulants or freak observers exist is not a reason to think that I am one of them.