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Sunday, 30 June 2013

RADIUS explained

Remote Authentication Dial-In User Service (RADIUS) is a client-server protocol deplyed for remote authentication, authorisation and accountancy from (triple-A-system) users of a dial-up connection that serves some network. RADIUS is a widely used centralised standard for dial-up connections on most  common modems, ISDN, VPN, WLAN (IEEE 802.1X) and DSL. Its implementation is not as widely seen in common protocol diameters, which have come to include more broadly encompassing functions, but which aren't entirely backwards compatible.

That been said, it should be clear that a RADIUS server is the equivalent of an authentication server accountable for verifying one's username along with its matching password. It may work both on a physical, fully functional Ethernet standard network or a Virtual Private network such as RAS (Remote Access Services) for windows clients for instance, according to the type of configuration on the proxy server.

Username and password are taken as parameters for the connection  with the host client. It then employs information taken from the configuration data on the RADIUS server or even some data base configuration file determined through requests to further data bases or some directory service onto which access through username and password can be saved.

Out of these elements, regardless of the network infrastructure, the user-defined settings can be centrally managed. A RADIUS server could for instance speed up its own upstream and downstream data transfer on a DSL connection, the highest count of the B channel by ISDN or parameters like IP-, routing or MPLS parameters to be relayed to the RAS service.

CommonRADIUS features. Image retrieved from:
A common advantage to this approach lies in the user's unmatched access records, scattered across the network overall and promptly available by means of simple administrative rights.from a centralised domain and liable for changes.

A RADIUS set up can be allowed to run automatically if it's combined with other web services such as DHCP and PPP.

Saturday, 29 June 2013

Völlerei folly

Gluttony (lat. gula) is spiritually known as the seventh of the seven deadly Sins.

This sin is considered a personal character flaw, a vice marked by the human proneness to overt luxury tastes and the squandering of their brief sojourn on Earth in the search thereof, which entails a lack of thankfulness for the gift of a life crafted after their divine Creator. The ultimate price to pay for the immodest display of gluttonous deportment is a permanent ban to Hell while admitting the suffering of ever-lasting sorrow. The sin of gluttony can also encompass an assortment of other base behaviours such as selfishness for not sharing with the needy and destitute the excess food one has in their possession, electing to consume all of it at which point it will inevitably go to waste due to natural course that any provision takes once it hits the digestive tract. May health ailments are also the result of over consumption of material food, which eventually leads to further pain and death if left unattended. The unsightly shape humans assume upon their frequent overeating is another highly undesirable side effect for which this sin is to account. The opposite of this sin is the virtue of restraint, the ability to have enough presence of mind to not indulge oneself in earthly short-term pleasures.

Georg's Emanuel's Der Völler. Notice the monarch's undue girth while the servants look overall slim and physically fit.

The deadly sin of gluttony isn't just measured by one's selfish thoughts and outright disregard for the dearth of food items in starving communities across the world. It can also spring as a kind of disorder, namely binge eating, to which a gallimaufry of other labels can be plastered such as overeating or compulsive eating disorder. Whichever fancy name you'd like to stick to this despicable issue, those affected by this disorder feel as though they aren't in control of their urges, even though any strong-willed individual would promptly tell them otherwise. Below are some token signs that hint at the ill-favoured demon of gluttony's lurking about:

  • eating even if you're beyond full
  • earnestly trying to gobble up as quickly as possible
  • helplessness about giving in to the sin of gluttony
  • depression
  • anxiety
  • often looking to engage in mindless diets with no real result
  • eating alone with thoughts far away from the chore of eating
  • stashing away empty food containers
  • hoarding edible stuff

Saturday, 22 June 2013

Sonnets and other literary bits

Nothing ambitious nor intending to purport itself to be a grand piece of art. Just a pseudo- sonnet about the lack of virtue in slacking off. I utterly abhor such a habit and could easily write volumes lambasting the lack of respect in those given to idle away their time unproductively. This very moment which you're spending now reading this could be your last. And while it may not be not your last, it can still be the best in your life if you so choose as a plethora of opportunities await in the vastness of the sojourn built by mankind and nature. I won't start on how you can haul ass off this seat and be off on your exercise routine or start learning a new foreign language with the unlimited material available through this also seemingly unlimited amount of http protocols with learning resources galore.

But I ought to speak a little about sonnets and what a piece of poetry needs to be suitably called a sonnet.
A sonnet is primarily made up of 14 lines, although they can be arranged in a number of ways according to whatever the local traditions hold as dear. For instance, the verse in a sonnet may be arrayed in two 4-line stanzas and three 3 line stanzas and three 4-line stanzas (a quatrain) plus a rhyming couplet. What matters most is that we end up with the damned 14 lines. In English language, the predominating form of choice is the Elizabethan sonnet or Shakespearean Sonnet, the features thereof are that they have a fixed verse form having 14 lines that are typically five-foot iambics rhyming according to a prescribed scheme.  It was during the 14th century that Petrarch set the scene for the most widely used sonnet form: the Petrarchan (or Italian) sonnet consisting of an eight-line octave rhyming abbaabba (this means that the last word of the first line rhymes with the last of the fourth as the last on the second matches up in rhyme with the third line). It poses a major qualm or conveys a scenario dominated by clashing emotions. It's then followed by a six-line sestet, of varying rhyme schemes, in order to provide an answer to the proposed matters or at least a point of reflection.The Elizabethan sonnet consists of three quatrains, each with an independent rhyme scheme, and ends with a rhymed couplet.

I should probably explain that, while the idea of the pure Elizabethan sonnet is beautiful in concept, it's also quite hard to apply effectively.  That's why I've elected to not follow the iambic meter rule verbatim as it would potentially stifle my creativity a bit. Nevertheless, I always have great fun drawing up those. Some of them actually come out a ripper, depending on my current level of inspiration.

In the manifold luxury of being at loose ends
stands the bane of any irregular living course
Compounded of an order of designless trends
Silenced before the action it will not endorse

It's in the proneness to stay shut to hard affairs
Like the denying reflection that grows required
It serves to offset all the troubles the body bears
Even at the cost of forgoing any matter desired

Like untouched wealth awaiting in a dimensional rift
In the opinion that fortune lies behind a sealed door
Whose access is the direction to which fate can drift
And happy ends belong in the domain of karma lore.

Beyond lazy comprehension, life's best purposes are all in this dark space
But the baffleness in seeing through it yields to the beholder only disgrace