Limiting DNS covert channels and network validated DNS

Despite the variety and number of network security devices and policies available, sensitive data, such as intellectual property and business data, can still be surreptitiously sent via the Internet to unscrupulous receivers. Furthermore, few security mechanisms address securing or limiting covert channels. This study defines a framework for determining a rule set to minimize covert channel capacity on the DNS protocol specifically. The information and techniques used in this study may be useful in aiding security professionals and developers with enforcing security policies on DNS and other Internet protocols.;This research resulted in the development of a rudimentary tool, referred to as NV-DNS, capable of detecting and effectively limiting the capability of covert channels in DNS communication packets

Machinic Eyes: New and Post-Digital Aesthetics, Surveillance, and Resistance

This work concerns the rise of the New Aesthetic, an art project developed by James Bridle in 2012. The New Aesthetic, as envisioned by Bridle, was chiefly concerned with the overlapping of physical and digital realities through both the artifacts produced by this overlapping and the systems involved therein. I introduce the advent of the New Aesthetic and present the major criticisms: the lack of a robust theoretical and scholarly framework, the lack of a historical framework, the privileging of artifacts over systems as new Aesthetic, and the fragmented scholarly outlook on the New Aesthetic. Upon further examination, I discovered that the New Aesthetic is less of an art project but a metaphor for a global surveillance apparatus that is the result of clandestine partnerships between multinational technology corporations and intelligence agencies associated the Five Eyes consortium. In this dissertation, I critique the New Aesthetic from a scholarly viewpoint, offer a historical precedent of how the New Aesthetic came to be from cultural and technological perspectives, examine the rise of the global surveillance apparatus within the New Aesthetic, and offer ideas of how to resist surveillance as a result of our reliance upon computational technologies

Fractal Analysis

Fractal analysis is becoming more and more common in all walks of life. This includes biomedical engineering, steganography and art. Writing one book on all these topics is a very difficult task. For this reason, this book covers only selected topics. Interested readers will find in this book the topics of image compression, groundwater quality, establishing the downscaling and spatio-temporal scale conversion models of NDVI, modelling and optimization of 3T fractional nonlinear generalized magneto-thermoelastic multi-material, algebraic fractals in steganography, strain induced microstructures in metals and much more. The book will definitely be of interest to scientists dealing with fractal analysis, as well as biomedical engineers or IT engineers. I encourage you to view individual chapters

1999 Eleventh Annual IMSA Presentation Day

Abstracts can be found attached in alphabetical order under the first presenter.https://digitalcommons.imsa.edu/archives_sir/1025/thumbnail.jp

05. 1999 Eleventh Annual IMSA Presentation Day

https://digitalcommons.imsa.edu/class_of_2000/1004/thumbnail.jp

Music 2025 : The Music Data Dilemma: issues facing the music industry in improving data management

© Crown Copyright 2019Music 2025ʼ investigates the infrastructure issues around the management of digital data in an increasingly stream driven industry. The findings are the culmination of over 50 interviews with high profile music industry representatives across the sector and reflects key issues as well as areas of consensus and contrasting views. The findings reveal whilst there are great examples of data initiatives across the value chain, there are opportunities to improve efficiency and interoperability

Resource materials on technology-enabled crime

Designed to assist prosecutors and members of the judiciary faced with proceedings involving technology-enabled crime, the report will be a useful general guide to concepts and terms for other non-technical people

The effect of machining marks within the pick interval cusp and a 5 axis milling simulation model

The use of 5-axis milling to produce a freeform component has become more popular than conventional die casting in many industries. Turbocharger compressor wheels are one of the components that require long a life-time and high durability. Improvements in 5-axis milling lead manufacturers to use this method to produce such wheels, because the cutting is more precise and there are fewer imperfections in the material. A ball end cutting tool is one of the commonest tools used to cut materials in 5-axis milling. This cutting tool leaves cusp marks on the surface across the feed direction. In this work, an optical inspection machine has been used to inspect the topography of the cusp surface. A model has been developed to simulate the marks generated by 5-axis milling using a ball end cutting tool. This model incorporates the cutter shape, number of cutting edges and the lead and tilt angles of the cutting tool, and it uses transformation matrixes to define the cutter position and cutting locus to simulate the cutting edge’s motion. By filtering the lowest surface of the cutting locus, it creates the surface that simulates the final surface. This result contained a continuous cutting mark that simulates a surface under perfect cutting conditions and with different cutting parameters. The difference between actual cutting trials and the simulation is less than 5.6%. Also, the feed interval marks within the pick interval cusps have been investigated using cylindrical form removal, wavelet filtering and polynomial filtering. Cylindrical form removal is a function in Alicona Infinite Focus Measurement G4. The wavelet filtering and polynomial filtering are provided by software called SurfStand. The results show that the arithmetical mean height (Sa) of a surface increased in proportion to the feed rate since the faster tool feed rate creates vibration during the cutting process, and if the spindle speed was too slow there was less cutting action

Европейский и национальный контексты в научных исследованиях

В настоящем электронном сборнике «Европейский и национальный контексты в научных исследованиях. Технология» представлены работы молодых ученых по геодезии и картографии, химической технологии и машиностроению, информационным технологиям, строительству и радиотехнике. Предназначены для работников образования, науки и производства. Будут полезны студентам, магистрантам и аспирантам университетов.=In this Electronic collected materials “National and European dimension in research. Technology” works in the fields of geodesy, chemical technology, mechanical engineering, information technology, civil engineering, and radio-engineering are presented. It is intended for trainers, researchers and professionals. It can be useful for university graduate and post-graduate students

Transmission+Interference: A New Materialist and Machine-Oriented Approach to Collectively Make-With Noise

This thesis explores the materiality at play within installation and performance artworks from across the interdisciplinary fields of media arts, digital arts and contemporary technological arts and is positioned at the noisier end of the artistic spectrum of these disciplines. The practice-led research presented here deals with the shift away from clean digital media environments of production in order to embrace a more material focused approach that has emerged within recent years (see the emergence of physical computing and electronics practices), especially across sonic arts practices (see also the re-emergence of modular synthesis). The aim is to unfold an understanding of the creative potential within the movement and flow of noise in machines or systems utilising light and sound. Central to this aim is the discussion around the physical objects at play within tools / devices / technological machines in order to realise the power in the non-human object and its extended interactions. This is not meant in order to ignore the human but rather as a case to present a more entangled discourse of human, object and machine where the influence of minuscule particles over actions and activities of a machine are viewed as equally important as the hand, flesh and brain that engages with them for creative, artistic purposes. This approach engages with fields of theoretical discourse emerging from post-humanism, in particular Object-Oriented Ontology (OOO) and New Materialism. This theoretical discourse offers the platform for dealing with the fields of assemblages, territories, resonance, noise, in-between, interference, interaction, and agency through the writings of, among others, Deleuze and Guattari, Ian Bogost, Levi Bryant, Jane Bennett, Elisabeth Grosz, and Michel Serres. In order to deal with the creative complexity in the topic and to aid the contextualisation of the discourse a variety of practical projects are introduced throughout as examples of and influences upon this practice-led research. These works range from historically influential media and sonic artists such as Nam June Paik and John Cage through to contemporary media and sonic artists and makers such as Martin Howse and John Richards. Entangled throughout this discourse the author presents the collaborative practical research project by David Strang and Vincent Van Uffelen: transmission+interference. This practice develops noise devices through open, collaborative workshops exploring the creative potential of noise in light and sound. As many of these devices are constructed for sonic output they suggest the term ‘instrument’ but that seems to carry too much of a classical connotation of standard musical practice or too scientific - for the purposes of this thesis, the discourse, following Levi Bryant (2014), engages with the term of the ‘machine’. The term ‘machine’ does not ignore the technical objects entangled together and suggests a physicality in support of the materiality of the objects. It also encourages thought around the imperfections of machines (they are not scientific) and suggests that they are, in someway, following from Deleuze and Guattari and Manuel Delanda’s discourse of assemblages, appropriated to arrive at the form they take. The creative art practices that are discussed each offer a unique discourse within the themes of the thesis. The practice of transmission+interference is introduced at the start of this thesis in order to contextualise later discussions around the project. It is here where we first encounter the combinations of objects, things, materials, noise and workshop practices at a surface level before dealing with the complexities of that matter in later sections. This section acts to frame the thesis and subsequent discourse by mapping out the territories of the practice-led research in order to understand what is being made (what objects, things, materials are involved), how it is being made (what forms of collaboration are involved) and what the overall outcomes from the practice are (performances or installations). The thesis then shifts to deal with the physical matter of things, objects and materials at play within the practice of transmission+interference to focus on what Jane Bennett calls ‘the power of things’ (2010) in order to examine the influence and impact of objects across creative workshops and begin to flatten the ontology between the human and non-human components interacting within. The fields of OOO and New Materialism are introduced here as the core theoretical grounding for the thesis as the discourse navigates from objects and things and vibrant units (Bogost) to more complex assemblages (Deleuze and Guattari, DeLanda) and structurally open machines (Bryant). Following on from this materials focused discourse the thesis then presents the largest object at play within the practice: noise. This section explores the capacities of and for noise from within the fields of sonic arts, avant-garde music, and information theory to present the creative potential of noise within the making process. Presented here is a noisy vitalism (a form of resonance) drawn from the objects and things of the previous section that is now acting within systems to form new emergent machines. Finally, the thesis discusses the making process itself - the creative workshop, where the physical materials of chapter one and the noise of chapter two are entangled in an assemblage of interactive and intra-active (Barad, 2007) making. This section engages in discourse that has recently moved away from the limiting field of D.I.Y (Do It Yourself) practices to the more openly collaborative D.I.W.O (Doing It With Others). It is here where the entanglement of human and non-human is most richly experienced as the ‘Others’ is ontologically flattened to include all objects, things, materials, and humans. What is presented here in this practice-led research is anew methodology embracing in the noisy entanglements of human and non-human materiality that is influenced by sonic arts practices. Through OOO and New Materialism humans are opened up to the inner powers and intra-actions of objects and materials through chance wanderings to reveal new creative potential for sonic arts performances and interactive installations