The original Post Quantum 2016 competition yielded the core trio we all know already: ML-KEM (Kyber) for key encapsulation, plus ML-DSA (Dilithium), SLH-DSA (SPHINCS+), and FN-DSA (Falcon) for signatures. But three of those four signatures, ML-DSA and FN-DSA, are lattice-based. That’s a known concentration risk. If someone finds a serious break in structured lattices, you lose your KEM and most of your signatures at once. SLH-DSA is the only hash-based hedge, and it’s large and slow.
So, six years later in 2022, NIST opened a separate “on-ramp” call specifically for signatures, with two stated goals: schemes built on different math (code-based, multivariate, MPC-in-the-head, isogeny). It was to expand beyond one assumption, and find schemes with better performance profiles for cases where lattice signatures are awkward, like small signatures or fast verification.
NIST has announced they have selected nine candidates for the third round of the Additional Digital Signatures process, which reflect the deliberate mathematical spread: SQIsign is isogeny-based (very small signatures), MAYO/QR-UOV/SNOVA/UOV are multivariate, FAEST/SDitH/MQOM are MPC-in-the-head, HAWK is lattice but a different construction.
After 18 months of evaluation, NIST has selected nine candidates for the third round of the Additional Digital Signatures for the Post-Quantum Cryptography (PQC) Standardization Process.
A state-funded Berlin chorus says it will end its season at the Philharmonie with the soundtrack of the Nazi Third Reich, and introduce it in the regime’s own voice.
The Philharmonischer Chor Berlin sings what Goebbels called the standard for Nazi German music on 31 May, conducted by Florian Benfer, under the Berlin Senate cultural administration. Perhaps most interesting for Holocaust researchers is a state-funded program today promotes Goebbels’s “popularity” framing and even ends on Orff’s own letter to his publisher celebrating German works be “pulped” under Hitler’s orders. That disposal word is Orff giving a shout out to 1930s Nazi book purges, printed as if a charming verb in 2026, despite prefiguring the genocide.1933 Berlin, national book burnings were ordered by Hitler after he was “elected” to make Germany great again
Mit den ‚Carmina Burana’ beschließen wir unsere Saison. Die sehr weltlichen Gesänge aus Benediktbeuern zählen in der Vertonung von Carl Orff zu den populärsten Chorwerken des 20. Jahrhunderts. Sie entfachen die Lust am Leben, an Tanz und Genuss, und sind mit der Göttin Fortuna im Zentrum ein kraftvolles Sinnbild für die Veränderlichkeit und Unberechenbarkeit menschlichen Daseins. Nach der erfolgreichen Uraufführung im Jahre 1937 schrieb Orff an seinen Verleger: „Alles, was ich bisher geschrieben und was Sie leider gedruckt haben, können Sie nun einstampfen! Mit Carmina Burana beginnen meine gesammelten Werke.”
“Pulped” borrows the verb the regime was using on Mendelssohn, who held the Sommernachtstraum score in the repertoire; banned, Orff took the commission.
It borrows the vocabulary used on Kestenberg, who ran Prussian music education; exiled, the field he built was open for Orff to claim as his own.
It borrows the vocabulary used on Maria Leo and the Berlin pedagogy, and on Keetman’s authorship, all folded under Orff’s name with zero credit to the originators.
Maria Leo’s Stolperstein, Pallasstraße 12, Berlin-Schöneberg. HIER WOHNTE / MARIA LEO / JG. 1873 / FREITOD / 2.9.1942. The NS in 1933 banned her from teaching because she was Jewish. On 2 September 1942 she killed herself rather than be deported by NS. Around that time Carl Orff began drawing a salary from Gauleiter Baldur von Schirach for appropriating the Berlin music education tradition of Maria Leo and Leo Kestenberg. The concept of Orff Schulwerk was Hitlerjugend programs that excluded Jewish children. The Nazis had already paid Orff to erase Mendelssohn for being Jewish.
All the people Orff replaced as he took the honor of Nazi “success” were being erased by him, which gives his “pulped” letter its actual context. He literally refused to use his high status in the Nazi regime to help his friend, who was then executed, and then he stole that dead man’s valor after the war to preserve himself. Competition with Orff, meaning his route to recognition, was defined by his lies and Nazi persecution doctrine. He never apologized, and never in his life criticized Nazism, instead in the 1960s still calling “his” stolen works the “wildflower” among the pulp.
The persecution did not merely happen around his music. It is the condition his music’s “success” was built on, and the 2026 program celebrates that while disappearing the conditions of Nazi Germany.
Note how they print the year 1937 with zero context.
Uraufführung im Jahre 1937 schrieb Orff an seinen Verleger…
Reichspost insignia, 1937. Every letter, including Orff’s celebration of “pulping” earlier works, was mailed under inspectors wearing the swastika. The marks on his letters came from the system that surveilled correspondence and used it to kill.
By then the camps were open, the Nuremberg Laws were two years in force stripping his Jewish colleagues of work and standing, and that same summer the regime mounted the Entartete Kunst exhibition in Munich, its public purge of the canon, weeks after the premiere. The program reaches back ninety years to declare 1937 a triumph for Orff and leaves out everything that made the year what it was for everyone else.
I’ve created this simple table for analysis of the Nazi rhetoric being promoted today by the German state.
Programmtext
NS-Bezug
Mit den Carmina Burana beschließen wir unsere Saison.
The Nazi anthem, Hitler’s signature work, is the 2026 place of honor. Coronation, top billing.
Die sehr weltlichen Gesänge aus Benediktbeuern zählen in der Vertonung von Carl Orff zu den populärsten Chorwerken des 20. Jahrhunderts.
Nazi popularity is now a century-wide chart position. Goebbels called it the standard for German music and made it symbolically the most performed new work in the Reich, to invoke Nazism. Aus Benediktbeuern Nazis use medieval Bavarian register.
Sie entfachen die Lust am Leben, an Tanz und Genuss
This is Nazi vitality cultism, verbatim. Healthy German life-affirmation set against everything the regime branded sick, foreign, degenerate. Nazi press praised the work as clear, stormy, and always disciplined.
und sind mit der Göttin Fortuna im Zentrum ein kraftvolles Sinnbild für die Veränderlichkeit und Unberechenbarkeit menschlichen Daseins.
The fascist hand on a wheel sold as cosmic fate. Mendelssohn down and Orff up, Kestenberg into exile, Maria Leo into death, Orff onto the Gottbegnadeten list. Persecution made into modern German drama. Kraftvoll carries the Nazi strength fetish.
Nach der erfolgreichen Uraufführung im Jahre 1937
Success of Hitler and the Third Reich.
Alles, was ich bisher geschrieben und was Sie leider gedruckt haben, können Sie nun einstampfen!
This is the key to the propaganda. This word is straight from the Nazi censorship campaign. Banned writing on the Liste des schädlichen und unerwünschten Schrifttums was pulled and pulped. Orff is overtly celebrating Nazism, his former friends and colleagues being eliminated, announcing he has aligned with the deadly racist “pulping” system.
Mit Carmina Burana beginnen meine gesammelten Werke.
Hitler as year zero for Orff aligned to the regime’s. Rebirth dated to the Nazi system of eliminating his competition and paying him a salary to replace them.
If The Onion wrote about network infrastructure, I imagine they would make up stories like this real Cisco critical advisory CVE-2026-20223.
A vulnerability in the access validation of internal REST APIs of Cisco Secure Workload could allow an unauthenticated, remote attacker to access site resources with the privileges of the Site Admin role.
The thing that turned its CVSS into a perfect 10 instead of a 9.8 was the cross-tenant reach (Scope Changed), which means a breach escapes the security boundary and reaches resources under a different authority. On a microsegmentation product, the scored vector is literally saying its segmentation boundary does not segment.
Is a fence that has no fence still a fence?
Do you take a fence when you find design flaws?
CWE-306 is how Cisco classified it: Missing Authentication for Critical Function. A security replacement for the perimeter that depends on the perimeter for security is Onion-level engineering.
One of America’s “leading contemporary poets” passed away in 1941 on May 19. Her name was Lola Ridge.
When you tell mama
You are going to do something great
She looks at you
As though you were a window
She were trying to see through,
And say she hopes you will be good
Instead of great.
a blog about the poetry of information security, since 1995
