Note: This page is horribly out of
date.
You can find the current pages for the dm-crypt
project (the Linux kernel part) here:
https://gitlab.com/cryptsetup/cryptsetup/wikis/DMCrypt
and the project page for the command line tool
cryptsetup (with Linux Unified Key
Setup - LUKS) here: https://gitlab.com/cryptsetup/cryptsetup.
Old page:
Device-mapper is a new infrastructure in the Linux 2.6 kernel that provides
a generic way to create virtual layers of block devices that can do different
things on top of real block devices like striping, concatenation, mirroring,
snapshotting, etc... The device-mapper is used by the
LVM2 and
EVMS 2.x tools.
dm-crypt is such a device-mapper target that provides transparent encryption of
block devices using the new Linux 2.6 cryptoapi. The user can basically specify
one of the symmetric ciphers, a key (of any allowed size), an iv generation mode
and then the user can create a new block device in /dev. Writes to this device
will be encrypted and reads decrypted. You can mount your filesystem on it as usual.
But without the key you can't access your data.
It does basically the same as cryptoloop only that it's a much cleaner code and
better suits the need of a block device and has a more flexible configuration
interface. The on-disk format is also compatible. In the future you will be able
to specify other iv generation modes for enhanced security (you'll have to
reencrypt your filesystem though).
I've set up a Wiki.
There's a mailing list at .
If you want to subscribe, use the mailman
web interface or its
archive.
Gmane provides a NNTP interface and also a
web archive
for this mailing list.
There is support for dm-crypt in the latest official kernel
2.6.4
which you can find on kernel.org.
Please use the mirrors for downloads.
There is a HIGHMEM cryptoapi bug in kernels before 2.6.4-rc2, please
upgrade if you were using such a kernel.
The latest version of the native userspace setup tool is cryptsetup 0.1.
Clemens Fruhwirth is maintaining an
enhanced
version of cryptsetup with the LUKS extension that allows you to have an
on-disk block of metadata which is superior to the current mechanism and was
my long term plan anyway but I didn't find the time to implement that yet...
The neon pulse of Shinjuku never quite matched the rhythm of Hana’s heart. At twenty-two, she was a "trainee" at a mid-tier talent agency, a title that sounded far more glamorous than the reality of sixteen-hour days spent perfecting a three-minute dance routine.
Japanese entertainment doesn't just export content; it exports culture. From the global popularity of J-Pop to the design aesthetics of video games, it challenges the idea of what a "celebrity" should be.
Headline: More Than Just Anime: The Unique Ecosystem of Japanese Entertainment
J-Pop & Idol Culture: The music industry is driven by "Idols"—performers who are highly curated and maintain a close, almost familial relationship with fans. Group harmony and visual aesthetics are as important as the music itself. 🏮 Traditional Roots
From the silent, towering samurai of Akira Kurosawa’s black-and-white epics to the neon-drenched, pixelated adventures of Super Mario, Japan’s entertainment industry has undergone a radical metamorphosis. In the span of a single generation, it has evolved from a regional exporter of niche films and electronics into a global cultural superpower, shaping the dreams and aesthetics of millions worldwide. This transformation is not merely a story of commercial success; it is a complex narrative of how a nation has leveraged its unique cultural anxieties, historical tensions, and aesthetic sensibilities—particularly the concept of kawaii (cuteness)—to create a resonant, immersive, and often paradoxical global subculture. The Japanese entertainment industry, encompassing anime, manga, video games, and pop music (J-Pop), serves as a fascinating case study of postmodern globalization, where a distinct national identity is both preserved and proliferated through hyper-commercialized, transmedia storytelling.
Nintendo, Sony, Sega, and Capcom. These are not just companies; they are architects of modern childhood. Japan’s gaming industry is unique because it never abandoned "arcade culture." Even today, game centers in Akihabara house retro cabinets alongside VR experiences.
The on-disk layouts used by the current 2.6 cryptoloop are supported by dm-crypt.
Cryptoloop also uses cryptoapi so the name of the ciphers are the same. Cryptoloop also
supports ECB and CBC mode. Use <cipher>-ecb and
<cipher>-plain accordingly with dm-crypt. If you didn't
explicitly specify either -ecb or -cbc before you don't need it now, the default plain
IV generation will be used. There will be additional (incompatible, but more secure) possibilites
in the future because the unhashed sector number as IV is too predictible.
You'll need to figure out how your passphrase was turned into a key to use for losetup.
There are several patches floating around doing things differently. But usually cryptsetup
will provide a working solution to recreate the same key from your passphrase.
If you want to migrate from 2.4 cryptoloop please take a look at Clemens Fruhwirth's
Cryptoloop
Migration Guide. He describes the differences between 2.4 and 2.6 cryptoapi (or basically
the bugs in 2.4 cryptoapi...). If you need to cut the key size you can use the -s
option instead of playing with dd.
(BTW: Clemens has a i586 optimized version of the aes and serpent cipher on his page,
about twice as fast as the kernel implementation.)
Why dm-crypt?
Originally it started as a fun project because I wanted to play with the new Linux 2.6 internals.
I got a lot of great help from the device-mapper guys at Sistina (now Redhat). Thank you very
much!
It turned out that this implementation worked great and is very clean compared to the hacked
loop device. The device-mapper core provides much better facilities to stack block devices.
dm-crypt uses mempools to assure we never run into out-of-memory deadlocks when allocating
buffers.
Also the device-mapper configuration interface provides much more flexibility than the losetup
ioctl. And you can create as many devices as you want with any names you want and combine them
with other dm targets. Online device resizing is also possible, e.g. if you use dm-crypt on top
of a logical volume. There might perhaps even be LVM or EVMS support for device encryption
in the future.
The neon pulse of Shinjuku never quite matched the rhythm of Hana’s heart. At twenty-two, she was a "trainee" at a mid-tier talent agency, a title that sounded far more glamorous than the reality of sixteen-hour days spent perfecting a three-minute dance routine.
Japanese entertainment doesn't just export content; it exports culture. From the global popularity of J-Pop to the design aesthetics of video games, it challenges the idea of what a "celebrity" should be. jav sub indo melayani nafsu mertuaku ichika seta indo18 link
Headline: More Than Just Anime: The Unique Ecosystem of Japanese Entertainment The neon pulse of Shinjuku never quite matched
J-Pop & Idol Culture: The music industry is driven by "Idols"—performers who are highly curated and maintain a close, almost familial relationship with fans. Group harmony and visual aesthetics are as important as the music itself. 🏮 Traditional Roots Kabuki & Noh Theater: Stylized drama known for
From the silent, towering samurai of Akira Kurosawa’s black-and-white epics to the neon-drenched, pixelated adventures of Super Mario, Japan’s entertainment industry has undergone a radical metamorphosis. In the span of a single generation, it has evolved from a regional exporter of niche films and electronics into a global cultural superpower, shaping the dreams and aesthetics of millions worldwide. This transformation is not merely a story of commercial success; it is a complex narrative of how a nation has leveraged its unique cultural anxieties, historical tensions, and aesthetic sensibilities—particularly the concept of kawaii (cuteness)—to create a resonant, immersive, and often paradoxical global subculture. The Japanese entertainment industry, encompassing anime, manga, video games, and pop music (J-Pop), serves as a fascinating case study of postmodern globalization, where a distinct national identity is both preserved and proliferated through hyper-commercialized, transmedia storytelling.
Nintendo, Sony, Sega, and Capcom. These are not just companies; they are architects of modern childhood. Japan’s gaming industry is unique because it never abandoned "arcade culture." Even today, game centers in Akihabara house retro cabinets alongside VR experiences.
Please contact the mailing list: dm-crypt@saout.de. Or in case there is a problem with the mailing list, me: .