Dynamic Application Level Security Sensors

The battle for cyber supremacy is a cat and mouse game: evolving threats from internal and external sources make it difficult to protect critical systems. With the diverse and high risk nature of these threats, there is a need for robust techniques that can quickly adapt and address this evolution. Existing tools such as Splunk, Snort, and Bro help IT administrators defend their networks by actively parsing through network traffic or system log data. These tools have been thoroughly developed and have proven to be a formidable defense against many cyberattacks. However, they are vulnerable to zero-day attacks, slow attacks, and attacks that originate from within. Should an attacker or some form of malware make it through these barriers and onto a system, the next layer of defense lies on the host. Host level defenses include system integrity verifiers, virus scanners, and event log parsers. Many of these tools work by seeking specific attack signatures or looking for anomalous events. The defenses at the network and host level are similar in nature. First, sensors collect data from the security domain. Second, the data is processed, and third, a response is crafted based on the processing. The application level security domain lacks this three step process. Application level defenses focus on secure coding practices and vulnerability patching, which is ineffective. The work presented in this thesis uses a technique that is commonly employed by malware, dynamic-link library (DLL) injection, to develop dynamic application level security sensors that can extract fine-grain data at runtime. This data can then be processed to provide stronger application level defense by shrinking the vulnerability window. Chapters 5 and 6 give proof of concept sensors and describe the process of developing the sensors in detail

Европейский и национальный контексты в научных исследованиях

Tом 3. Predstavleny trudy molodyh uchenyh po estestvennym i tochnym naukam, tehnicheskim i prikladnym naukam. = Т.3. Представлены труды молодых ученых по естественным и точным наукам, техническим и прикладным наукам

Critical Programming: Toward a Philosophy of Computing

Beliefs about the relationship between human beings and computing machines and their destinies have alternated from heroic counterparts to conspirators of automated genocide, from apocalyptic extinction events to evolutionary cyborg convergences. Many fear that people are losing key intellectual and social abilities as tasks are offloaded to the everywhere of the built environment, which is developing a mind of its own. If digital technologies have contributed to forming a dumbest generation and ushering in a robotic moment, we all have a stake in addressing this collective intelligence problem. While digital humanities continue to flourish and introduce new uses for computer technologies, the basic modes of philosophical inquiry remain in the grip of print media, and default philosophies of computing prevail, or experimental ones propagate false hopes. I cast this as-is situation as the post-postmodern network dividual cyborg, recognizing that the rational enlightenment of modernism and regressive subjectivity of postmodernism now operate in an empire of extended mind cybernetics combined with techno-capitalist networks forming societies of control. Recent critical theorists identify a justificatory scheme foregrounding participation in projects, valorizing social network linkages over heroic individualism, and commending flexibility and adaptability through life long learning over stable career paths. It seems to reify one possible, contingent configuration of global capitalism as if it was the reflection of a deterministic evolution of commingled technogenesis and synaptogenesis. To counter this trend I offer a theoretical framework to focus on the phenomenology of software and code, joining social critiques with textuality and media studies, the former proposing that theory be done through practice, and the latter seeking to understand their schematism of perceptibility by taking into account engineering techniques like time axis manipulation. The social construction of technology makes additional theoretical contributions dispelling closed world, deterministic historical narratives and requiring voices be given to the engineers and technologists that best know their subject area. This theoretical slate has been recently deployed to produce rich histories of computing, networking, and software, inform the nascent disciplines of software studies and code studies, as well as guide ethnographers of software development communities. I call my syncretism of these approaches the procedural rhetoric of diachrony in synchrony, recognizing that multiple explanatory layers operating in their individual temporal and physical orders of magnitude simultaneously undergird post-postmodern network phenomena. Its touchstone is that the human-machine situation is best contemplated by doing, which as a methodology for digital humanities research I call critical programming. Philosophers of computing explore working code places by designing, coding, and executing complex software projects as an integral part of their intellectual activity, reflecting on how developing theoretical understanding necessitates iterative development of code as it does other texts, and how resolving coding dilemmas may clarify or modify provisional theories as our minds struggle to intuit the alien temporalities of machine processes

Chaos in music: historical developments and applications to music theory and composition

The Doctoral Dissertation submitted by Jonathan R. Salter, in partial fulfillment of the requirements for the degree Doctor of Musical Arts at the University of North Carolina at Greensboro comprises the following: 1. Doctoral Recital I, March 24, 2007: Chausson, Andante et Allegro; Tomasi, Concerto for Clarinet; Bartok, Contrasts; Fitkin, Gate. 2. Doctoral Recital II, December 2, 2007: Benjamin, Le Tombeau de Ravel ; Mandat, Folk Songs; Bolcom, Concerto for Clarinet; Kovacs, Sholem-alekhem, rov Fiedman! 3. Doctoral Recital III, May 3, 2009: Kalliwoda, Morceau du Salon; Shostakovich, Sonata, op. 94 (transcription by Kennan); Tailleferre, Arabesque; Schoen eld, Trio for Clarinet, Violin, and Piano. 4. Dissertation Document: Chaos in Music: Historical Developments and Applications to Music Theory and Composition. Chaos theory, the study of nonlinear dynamical systems, has proven useful in a wide-range of applications to scienti c study. Here, I analyze the application of these systems in the analysis and creation of music, and take a historical view of the musical developments of the 20th century and how they relate to similar developments in science. I analyze several 20th century works through the lens of chaos theory, and discuss how acoustical issues and our interpretation of music relate to the theory. The application of nonlinear functions to aspects of music including organization, acoustics and harmonics, and the role of chance procedures is also examined toward suggesting future possibilities in incorporating chaos theory in the act of composition. Original compositions are included, in both sheet music and recorded form

CTRL SHIFT

CTRL SHIFT makes a case for design under contemporary computation. The abstractions of reading, writing, metaphors, mythology, code, cryptography, interfaces, and other such symbolic languages are leveraged as tools for understanding. Alternative modes of knowledge become access points through which users can subvert the control structures of software. By challenging the singular expertise of programmers, the work presented within advocates for the examination of internalized beliefs, the redistribution of networked power, and the collective sabotage of computational authority

High-Tech Trash

High-Tech Trash analyzes creative strategies in glitch, noise, and error to chart the development of an aesthetic paradigm rooted in failure. Carolyn L. Kane explores how technologically influenced creative practices, primarily from the second half of the twentieth and first quarter of the twenty-first centuries, critically offset a broader culture of pervasive risk and discontent. In so doing, she questions how we continue onward, striving to do better and acquire more, despite inevitable disappointment. High-Tech Trash speaks to a paradox in contemporary society in which failure is disavowed yet necessary for technological innovation.  “Leonard Cohen sang ‘There’s a crack in everything…that’s how the light gets in.’ Here, Carolyn Kane teaches us how to see that light, one crack at a time.” FRED TURNER, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties  “Kane profiles art practices and media discourses that exploit and celebrate, rather than filter or suppress, all kinds of errors and noises. A welcome intervention in a number of discursive fields.” PETER KRAPP, author of Noise Channels: Glitch and Error in Digital Culture  “An original work of scholarship that addresses some of the most pervasive phenomena and foundational questions in the contemporary media environment.” ROBERT HARIMAN, coauthor of The Public Image: Photography and Civic Spectatorship  CAROLYN L. KANE is Associate Professor of Communication at Ryerson University and author of Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code