A software token (a.k.a. soft token) is a piece of a two-factor authentication security device that may be used to authorize the use of computer services. Software tokens are stored on a general-purpose electronic device such as a desktop computer, laptop, PDA, or mobile phone and can be duplicated. (Contrast hardware tokens, where the credentials are stored on a dedicated hardware device and therefore cannot be duplicated — absent physical invasion of the device) Because software tokens are something one does not physically possess, they are exposed to unique threats based on duplication of the underlying cryptographic material - for example, computer viruses and software attacks. Both hardware and software tokens are vulnerable to bot-based man-in-the-middle attacks, or to simple phishing attacks in which the one-time password provided by the token is solicited, and then supplied to the genuine website in a timely manner. Software tokens do have benefits: there is no physical token to carry, they do not contain batteries that will run out, and they are cheaper than hardware tokens. == Security architecture == There are two primary architectures for software tokens: shared secret and public-key cryptography. For a shared secret, an administrator will typically generate a configuration file for each end-user. The file will contain a username, a personal identification number, and the secret. This configuration file is given to the user. The shared secret architecture is potentially vulnerable in a number of areas. The configuration file can be compromised if it is stolen and the token is copied. With time-based software tokens, it is possible to borrow an individual's PDA or laptop, set the clock forward, and generate codes that will be valid in the future. Any software token that uses shared secrets and stores the PIN alongside the shared secret in a software client can be stolen and subjected to offline attacks. Shared secret tokens can be difficult to distribute, since each token is essentially a different piece of software. Each user must receive a copy of the secret, which can create time constraints. Some newer software tokens rely on public-key cryptography, or asymmetric cryptography. This architecture eliminates some of the traditional weaknesses of software tokens, but does not affect their primary weakness (ability to duplicate). A PIN can be stored on a remote authentication server instead of with the token client, making a stolen software token no good unless the PIN is known as well. However, in the case of a virus infection, the cryptographic material can be duplicated and then the PIN can be captured (via keylogging or similar) the next time the user authenticates. If there are attempts made to guess the PIN, it can be detected and logged on the authentication server, which can disable the token. Using asymmetric cryptography also simplifies implementation, since the token client can generate its own key pair and exchange public keys with the server.
Eyes of Things
Eyes of Things (EoT) is the name of a project funded by the European Union’s Horizon 2020 Research and Innovation Programme under grant agreement number 643924. The purpose of the project, which is funded under the Smart Cyber-physical systems topic, is to develop a generic hardware-software platform for embedded, efficient (i.e. battery-operated, wearable, mobile), computer vision, including deep learning inference. On November 29, 2018, the European Space Agency announced that it was testing the suitability of the device for space applications in advance of a flight in a Cubesat. == Motivation == EoT is based on the following tenets: Future embedded systems will have more intelligence and cognitive functionality. Vision is paramount to such intelligent capacity Unlike other sensors, vision requires intensive processing. Power consumption must be optimized if vision is to be used in mobile and wearable applications Cloud processing of edge-captured images is not sustainable. The sheer amount of visual data generated cannot be transferred to the cloud. Bandwidth is not sufficient and cloud servers cannot cope with it. == Partners == VISILAB group at University of Castilla–La Mancha (Coordinator) Movidius Awaiba Thales Security Solutions & Systems DFKI Fluxguide Evercam nVISO == Awards == 2019 Electronic Component and Systems Innovation Award by the European Commission 2018 HiPEAC Tech Transfer Award 2018 EC Innovation Radar - highlighting excellent innovations Award 2018 Internet of Things (IoT) Technology Research Award Pilot by Google 2016 Semifinalist "THE VISION SHOW STARTUP COMPETITION", Global Association for Vision Information, Boston US
IEEE Transactions on Visualization and Computer Graphics
IEEE Transactions on Visualization and Computer Graphics is a peer-reviewed scientific journal published by the IEEE Computer Society. It covers subjects related to computer graphics and visualization techniques, systems, software, hardware, and user interface issues. TVCG has been considered the top journal in the field of visualization. Since 2011, TVCG has allowed authors to present recently accepted papers at partner conferences. These include: IEEE Visualization (VIS), including VAST, InfoVis, and SciVis. IEEE Virtual Reality Conference (IEEE VR) IEEE International Symposium on Mixed and Augmented Reality (ISMAR) ACM Symposium on Interactive 3D Graphics and Games (I3D) IEEE Pacific Visualization Conference (IEEE PacificVis) ACM SIGGRAPH/Eurographics Symposium on Computer Animation (SCA) Eurographics Symposium on Geometry Processing (SGP) Pacific Graphics Conference (PG) Eurovis - The EG and VGTC Conference on Visualization Graphics Interfaces (GI)
Human image synthesis
Human image synthesis is technology that can be applied to make believable and even photorealistic renditions of human-likenesses, moving or still. It has effectively existed since the early 2000s. Many films using computer generated imagery have featured synthetic images of human-like characters digitally composited onto the real or other simulated film material. Towards the end of the 2010s deep learning artificial intelligence has been applied to synthesize images and video that look like humans, without need for human assistance, once the training phase has been completed, whereas the old school 7D-route required massive amounts of human work. == Timeline of human image synthesis == In 1971 Henri Gouraud made the first CG geometry capture and representation of a human face. Modeling was his wife Sylvie Gouraud. The 3D model was a simple wire-frame model and he applied the Gouraud shader he is most known for to produce the first known representation of human-likeness on computer. The 1972 short film A Computer Animated Hand by Edwin Catmull and Fred Parke was the first time that computer-generated imagery was used in film to simulate moving human appearance. The film featured a computer simulated hand and face (watch film here). The 1976 film Futureworld reused parts of A Computer Animated Hand on the big screen. The 1983 music video for song Musique Non-Stop by German band Kraftwerk aired in 1986. Created by the artist Rebecca Allen, it features non-realistic looking, but clearly recognizable computer simulations of the band members. The 1994 film The Crow was the first film production to make use of digital compositing of a computer simulated representation of a face onto scenes filmed using a body double. Necessity was the muse as the actor Brandon Lee portraying the protagonist was tragically killed accidentally on-stage. In 1999 Paul Debevec et al. of USC captured the reflectance field of a human face with their first version of a light stage. They presented their method at the SIGGRAPH 2000 In 2003 audience debut of photo realistic human-likenesses in the 2003 films The Matrix Reloaded in the burly brawl sequence where up-to-100 Agent Smiths fight Neo and in The Matrix Revolutions where at the start of the end showdown Agent Smith's cheekbone gets punched in by Neo leaving the digital look-alike unnaturally unhurt. The Matrix Revolutions bonus DVD documents and depicts the process in some detail and the techniques used, including facial motion capture and limbal motion capture, and projection onto models. In 2003 The Animatrix: Final Flight of the Osiris a state-of-the-art want-to-be human likenesses not quite fooling the watcher made by Square Pictures. In 2003 digital likeness of Tobey Maguire was made for movies Spider-man 2 and Spider-man 3 by Sony Pictures Imageworks. In 2005 the Face of the Future project was an established. by the University of St Andrews and Perception Lab, funded by the EPSRC. The website contains a "Face Transformer", which enables users to transform their face into any ethnicity and age as well as the ability to transform their face into a painting (in the style of either Sandro Botticelli or Amedeo Modigliani). This process is achieved by combining the user's photograph with an average face. In 2009 Debevec et al. presented new digital likenesses, made by Image Metrics, this time of actress Emily O'Brien whose reflectance was captured with the USC light stage 5 Motion looks fairly convincing contrasted to the clunky run in the Animatrix: Final Flight of the Osiris which was state-of-the-art in 2003 if photorealism was the intention of the animators. In 2009 a digital look-alike of a younger Arnold Schwarzenegger was made for the movie Terminator Salvation though the end result was critiqued as unconvincing. Facial geometry was acquired from a 1984 mold of Schwarzenegger. In 2010 Walt Disney Pictures released a sci-fi sequel entitled Tron: Legacy with a digitally rejuvenated digital look-alike of actor Jeff Bridges playing the antagonist CLU. In SIGGGRAPH 2013 Activision and USC presented a real-time "Digital Ira" a digital face look-alike of Ari Shapiro, an ICT USC research scientist, utilizing the USC light stage X by Ghosh et al. for both reflectance field and motion capture. The end result both precomputed and real-time rendering with the modernest game GPU shown here and looks fairly realistic. In 2014 The Presidential Portrait by USC Institute for Creative Technologies in conjunction with the Smithsonian Institution was made using the latest USC mobile light stage wherein President Barack Obama had his geometry, textures and reflectance captured. In 2014 Ian Goodfellow et al. presented the principles of a generative adversarial network. GANs made the headlines in early 2018 with the deepfakes controversies. For the 2015 film Furious 7 a digital look-alike of actor Paul Walker who died in an accident during the filming was done by Weta Digital to enable the completion of the film. In 2016 techniques which allow near real-time counterfeiting of facial expressions in existing 2D video have been believably demonstrated. In 2016 a digital look-alike of Peter Cushing was made for the Rogue One film where its appearance would appear to be of same age as the actor was during the filming of the original 1977 Star Wars film. In SIGGRAPH 2017 an audio driven digital look-alike of upper torso of Barack Obama was presented by researchers from University of Washington. It was driven only by a voice track as source data for the animation after the training phase to acquire lip sync and wider facial information from training material consisting 2D videos with audio had been completed. Late 2017 and early 2018 saw the surfacing of the deepfakes controversy where porn videos were doctored using deep machine learning so that the face of the actress was replaced by the software's opinion of what another persons face would look like in the same pose and lighting. In 2018 Game Developers Conference Epic Games and Tencent Games demonstrated "Siren", a digital look-alike of the actress Bingjie Jiang. It was made possible with the following technologies: CubicMotion's computer vision system, 3Lateral's facial rigging system and Vicon's motion capture system. The demonstration ran in near real time at 60 frames per second in the Unreal Engine 4. In 2018 at the World Internet Conference in Wuzhen the Xinhua News Agency presented two digital look-alikes made to the resemblance of its real news anchors Qiu Hao (Chinese language) and Zhang Zhao (English language). The digital look-alikes were made in conjunction with Sogou. Neither the speech synthesis used nor the gesturing of the digital look-alike anchors were good enough to deceive the watcher to mistake them for real humans imaged with a TV camera. In September 2018 Google added "involuntary synthetic pornographic imagery" to its ban list, allowing anyone to request the search engine block results that falsely depict them as "nude or in a sexually explicit situation." In February 2019 Nvidia open sources StyleGAN, a novel generative adversarial network. Right after this Phillip Wang made the website ThisPersonDoesNotExist.com with StyleGAN to demonstrate that unlimited amounts of often photo-realistic looking facial portraits of no-one can be made automatically using a GAN. Nvidia's StyleGAN was presented in a not yet peer reviewed paper in late 2018. At the June 2019 CVPR the MIT CSAIL presented a system titled "Speech2Face: Learning the Face Behind a Voice" that synthesizes likely faces based on just a recording of a voice. It was trained with massive amounts of video of people speaking. Since 1 July 2019 Virginia has criminalized the sale and dissemination of unauthorized synthetic pornography, but not the manufacture., as § 18.2–386.2 titled 'Unlawful dissemination or sale of images of another; penalty.' became part of the Code of Virginia. The law text states: "Any person who, with the intent to coerce, harass, or intimidate, maliciously disseminates or sells any videographic or still image created by any means whatsoever that depicts another person who is totally nude, or in a state of undress so as to expose the genitals, pubic area, buttocks, or female breast, where such person knows or has reason to know that he is not licensed or authorized to disseminate or sell such videographic or still image is guilty of a Class 1 misdemeanor.". The identical bills were House Bill 2678 presented by Delegate Marcus Simon to the Virginia House of Delegates on 14 January 2019 and three-day later an identical Senate bill 1736 was introduced to the Senate of Virginia by Senator Adam Ebbin. Since 1 September 2019 Texas senate bill SB 751 amendments to the election code came into effect, giving candidates in elections a 30-day protection period to the elections during which making and distributing digital look-alikes or synthetic fakes of the candidates is an offense. Th
Cybernetic Serendipity
Cybernetic Serendipity was an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London, England, from 2 August to 20 October 1968, and then toured across the United States. Two stops in the United States were the Corcoran Annex (Corcoran Gallery of Art), Washington, D.C., from 16 July to 31 August 1969, and the newly opened Exploratorium in San Francisco, from 1 November to 18 December 1969. == Content == One part of the exhibition was concerned with algorithms and devices for generating music. Some exhibits were pamphlets describing the algorithms, whilst others showed musical notation produced by computers. Devices made musical effects and played tapes of sounds made by computers. Peter Zinovieff lent part of his studio equipment - visitors could sing or whistle a tune into a microphone and his equipment would improvise a piece of music based on the tune. Another part described computer projects such as Gustav Metzger's self-destructive Five Screens With Computer, a design for a new hospital, a computer programmed structure, and dance choreography. The machines and installations were a very noticeable part of the exhibition. Gordon Pask produced a collection of large mobiles (Colloquy of Mobiles (1968)) with interacting parts that let the viewers join in the conversation. Many machines formed kinetic environments or displayed moving images. Bruce Lacey contributed his radio-controlled robots and a light-sensitive owl. Nam June Paik was represented by Robot K-456 and televisions with distorted images. Jean Tinguely provided two of his painting machines. Edward Ihnatowicz's biomorphic hydraulic ear (Sound Activated Mobile (SAM, 1968)) turned toward sounds and John Billingsley's Albert 1967 turned to face light. Wen-Ying Tsai presented his interactive cybernetic sculptures of vibrating stainless-steel rods, stroboscopic light, and audio feedback control. Several artists exhibited machines that drew patterns that the visitor could take away, or involved visitors in games. Cartoonist Rowland Emett designed the mechanical computer Forget-me-not, which was commissioned by Honeywell. Another section explored the computer's ability to produce text - both essays and poetry. Different programs produced Haiku, children's stories, and essays. One of the first computer-generated poems, by Alison Knowles and James Tenney, was included in the exhibition and catalogue. Computer-generated movies were represented by John Whitney's Permutations and a Bell Labs movie on their technology for producing movies. Some samples included images of tesseracts rotating in four dimensions, a satellite orbiting the Earth, and an animated data structure. Computer graphics were also represented, including pictures produced on cathode ray oscilloscopes and digital plotters. There was a variety of posters and graphics demonstrating the power of computers to do complex (and apparently random) calculations. Other graphics showed a simulated Mondrian and the iconic decreasing squares spiral that appeared on the exhibition's poster and book. The Boeing Company exhibited their use of wireframe graphics. The innovative computer-generated sculpture, Quad 1, was displayed at the Cybernetic Serendipity exhibit. Created by the American abstract expressionist sculptor, Robert Mallary, in 1968, Quad 1 is widely believed to be the world's first Computer Aided Design sculpture. Keith Albarn & Partners contributed to the design of the exhibition. Reflecting the prominence of music in the show, a ten-track album Cybernetic Serendipity Music was released by the ICA to accompany the show. Artists featured included Iannis Xenakis, John Cage, and Peter Zinovieff, a detail of whose graphic score for 'Four Sacred April Rounds’ (1968) was used as the cover artwork. == Attendance == Time magazine noted that there had been 40,000 visitors to the London exhibition. Other reports suggested visitor numbers were as high as 44,000 to 60,000. However, the ICA did not accurately count visitors. == After-effects == The exhibition provided the energy for the formation of British Computer Arts Society which continued to explore the interaction between science, technology and art, and put on exhibitions (for example Event One at the Royal College of Art). Several pieces were purchased by the Exploratorium in 1971, some of which are on display to this day. In 2014 the ICA held a retrospective exhibition Cybernetic Serendipity: A Documentation which included documents, installation photographs, press reviews and publications and a series of discussions in one of which Peter Zinovieff took part. To coincide with the exhibition, Cybernetic Serendipity Music was re-released as a limited-edition vinyl LP by The Vinyl Factory. The Victoria and Albert Museum marked the 50th anniversary with an exhibition in 2018 entitled "Chance and Control: Art in the Age of Computers". The V&A exhibition included many works by artists who featured in the original ICA show, plus related ephemera. "Chance and Control" subsequently toured to Chester Visual Arts and Firstsite, Colchester. In 2020, The Centre Pompidou exhibited the replica of Gordon Pask's 1968 Colloquy of Mobiles, reproduced by Paul Pangaro and TJ McLeish in 2018. In 2022 the Australian National University's School of Cybernetics launched the school by presenting an exhibition Australian Cybernetic: a point through time. The exhibition included works from Cybernetic Serendipity (1968), Australia ‘75: Festival of Creative Arts and Science (1975), and contemporary pieces curated by the School of Cybernetics. In describing Reichardt's Cybernetic Serendipity exhibition the school stated that it "represented points of expanding the cybernetic imagination" and was a "ground-breaking" "glimpse of a future in which computers were entangled with people and cultures, and through this she fashioned a blueprint for the future of computing that has since inspired generations".
Confusion matrix
In machine learning, a confusion matrix, also known as error matrix, is a specific table layout that allows visualization of the performance of an algorithm, typically a supervised learning one. In unsupervised learning it is usually called a matching matrix. The term is used specifically in the problem of statistical classification. Each row of the matrix represents the instances in an actual class while each column represents the instances in a predicted class, or vice versa – both variants are found in the literature. The diagonal of the matrix therefore represents all instances that are correctly predicted. The name stems from the fact that it makes it easy to identify whether the system is confusing two classes (i.e., commonly mislabeling one class as another). The confusion matrix has its origins in human perceptual studies of auditory stimuli. It was adapted for machine learning studies and used by Frank Rosenblatt, among other early researchers, to compare human and machine classifications of visual (and later auditory) stimuli. It is a special kind of contingency table, with two dimensions ("actual" and "predicted"), and identical sets of "classes" in both dimensions (each combination of dimension and class is a variable in the contingency table). == Example == Given a sample of 12 individuals, 8 that have been diagnosed with cancer and 4 that are cancer-free, where individuals with cancer belong to class 1 (positive) and non-cancer individuals belong to class 0 (negative), we can display that data as follows: Assume that we have a classifier that distinguishes between individuals with and without cancer in some way, we can take the 12 individuals and run them through the classifier. The classifier then makes 9 accurate predictions and misses 3: 2 individuals with cancer wrongly predicted as being cancer-free (sample 1 and 2), and 1 person without cancer that is wrongly predicted to have cancer (sample 9). Notice, that if we compare the actual classification set to the predicted classification set, there are 4 different outcomes that could result in any particular column: The actual classification is positive and the predicted classification is positive (1,1). This is called a true positive result because the positive sample was correctly identified by the classifier. The actual classification is positive and the predicted classification is negative (1,0). This is called a false negative result because the positive sample is incorrectly identified by the classifier as being negative. The actual classification is negative and the predicted classification is positive (0,1). This is called a false positive result because the negative sample is incorrectly identified by the classifier as being positive. The actual classification is negative and the predicted classification is negative (0,0). This is called a true negative result because the negative sample gets correctly identified by the classifier. We can then perform the comparison between actual and predicted classifications and add this information to the table, making correct results appear in green so they are more easily identifiable. The template for any binary confusion matrix uses the four kinds of results discussed above (true positives, false negatives, false positives, and true negatives) along with the positive and negative classifications. The four outcomes can be formulated in a 2×2 confusion matrix, as follows: The color convention of the three data tables above were picked to match this confusion matrix, in order to easily differentiate the data. Now, we can simply total up each type of result, substitute into the template, and create a confusion matrix that will concisely summarize the results of testing the classifier: In this confusion matrix, of the 8 samples with cancer, the system judged that 2 were cancer-free, and of the 4 samples without cancer, it predicted that 1 did have cancer. All correct predictions are located in the diagonal of the table (highlighted in green), so it is easy to visually inspect the table for prediction errors, as values outside the diagonal will represent them. By summing up the 2 rows of the confusion matrix, one can also deduce the total number of positive (P) and negative (N) samples in the original dataset, i.e. P = T P + F N {\displaystyle P=TP+FN} and N = F P + T N {\displaystyle N=FP+TN} . == Table of confusion == In predictive analytics, a table of confusion (sometimes also called a confusion matrix) is a table with two rows and two columns that reports the number of true positives, false negatives, false positives, and true negatives. This allows more detailed analysis than simply observing the proportion of correct classifications (accuracy). Accuracy will yield misleading results if the data set is unbalanced; that is, when the numbers of observations in different classes vary greatly. For example, if there were 95 cancer samples and only 5 non-cancer samples in the data, a particular classifier might classify all the observations as having cancer. The overall accuracy would be 95%, but in more detail the classifier would have a 100% recognition rate (sensitivity) for the cancer class but a 0% recognition rate for the non-cancer class. F1 score is even more unreliable in such cases, and here would yield over 97.4%, whereas informedness removes such bias and yields 0 as the probability of an informed decision for any form of guessing (here always guessing cancer). According to Davide Chicco and Giuseppe Jurman, the most informative metric to evaluate a confusion matrix is the Matthews correlation coefficient (MCC). Other metrics can be included in a confusion matrix, each of them having their significance and use. Some researchers have argued that the confusion matrix, and the metrics derived from it, do not truly reflect a model's knowledge. In particular, the confusion matrix cannot show whether correct predictions were reached through sound reasoning or merely by chance (a problem known in philosophy as epistemic luck). It also does not capture situations where the facts used to make a prediction later change or turn out to be wrong (defeasibility). This means that while the confusion matrix is a useful tool for measuring classification performance, it may give an incomplete picture of a model’s true reliability. == Confusion matrices with more than two categories == Confusion matrix is not limited to binary classification and can be used in multi-class classifiers as well. The confusion matrices discussed above have only two conditions: positive and negative. For example, the table below summarizes communication of a whistled language between two speakers, with zero values omitted for clarity. == Confusion matrices in multi-label and soft-label classification == Confusion matrices are not limited to single-label classification (where only one class is present) or hard-label settings (where classes are either fully present, 1, or absent, 0). They can also be extended to Multi-label classification (where multiple classes can be predicted at once) and soft-label classification (where classes can be partially present). One such extension is the Transport-based Confusion Matrix (TCM), which builds on the theory of optimal transport and the principle of maximum entropy. TCM applies to single-label, multi-label, and soft-label settings. It retains the familiar structure of the standard confusion matrix: a square matrix sized by the number of classes, with diagonal entries indicating correct predictions and off-diagonal entries indicating confusion. In the single-label case, TCM is identical to the standard confusion matrix. TCM follows the same reasoning as the standard confusion matrix: if class A is overestimated (its predicted value is greater than its label value) and class B is underestimated (its predicted value is less than its label value), A is considered confused with B, and the entry (B, A) is increased. If a class is both predicted and present, it is correctly identified, and the diagonal entry (A, A) increases. Optimal transport and maximum entropy are used to determine the extent to which these entries are updated. TCM enables clearer comparison between predictions and labels in complex classification tasks, while maintaining a consistent matrix format across settings.
Play Integrity API
Play Integrity API (formerly known as SafetyNet) consists of several application programming interfaces (APIs) offered by the Google Play Services to support security sensitive applications and enforce DRM. Currently, these APIs include device integrity verification, app verification, recaptcha and web address verification. It uses an environment called DroidGuard to perform the attestation. == Attestation == The SafetyNet Attestation API, one of the APIs under the SafetyNet umbrella, provides verification that the integrity of the device is not compromised. In practice, non-official ROMs such as LineageOS fail the hardware attestation and thus prevent the user from using a non-compliant ROM with third-party apps (mainly banking) that require the API. Due to this, some consider this a monopolistic practice deterring the entrance of competing mobile operating systems in the market. It requires a network connection to Google servers and validates the hardware signatures. Amongst the checks, the API looks for bootloader unlock status, ROM signatures, kernel strings, it also uses AVB2.0 and dm-verity attestations. Upon successful checks, Google Play will mark the device as Certified. The attestation runs in an environment called DroidGuard (com.google.android.gms.unstable). The SafetyNet Attestation API (one of the four APIs under the SafetyNet umbrella) has been deprecated. As of 6 October 2023, Google planned to replace it with the Play Integrity API by the end of January 2025. The transition ended on 20 May 2025, breaking applications which hadn't been updated. These attestations are offered by Google Play Services and thus are not available on free Android environments, like AOSP. Therefore, developers can require the API to be available and may refuse to execute on AOSP builds. == Google Play Protect == Under the same umbrella, Play Protect is a mechanism to find and remove "vulnerable" apps from one's Android device as well as store apps. Although it's meant to scan for malware-containing apps, it also looks for non-DRM compliant apps. == Criticism == Multiple groups have criticised SafetyNet and the Play Integrity API. Criticisms include that it offers weaker protection compared to alternatives such as Android's hardware attestation API, which provides a stronger form of verification while having the ability to remain compatible with more secure Android operating systems like GrapheneOS. Critics argued it undermines competition by effectively requiring developers to rely on Google's proprietary services, strengthening its monopoly over the Android ecosystem and disadvantaging alternative, privacy-focused operating systems. Users have also developed tools, such as the Play Integrity Fix module for Magisk/KernelSU/APatch, which tricks the attestation using leaked fingerprints of vulnerable devices. Furthermore, some have questioned the effectiveness of the attestation, claiming it does not deliver the level of security promised by Google and instead serves more as a form of vendor lock-in than a meaningful security measure. Activists have also raised concerns that it may violate antitrust and competition laws, like the Digital Markets Act.