Techniques for Application-Aware Suitability Analysis of Access Control Systems

Access control, the process of selectively restricting access to a set of resources, is so fundamental to computer security that it has been called the field's traditional center of gravity. As such, a wide variety of systems have been proposed for representing, managing, and enforcing access control policies. Prior work on evaluating access control systems has primarily relied on relative expressiveness analysis, which proves that one system has greater capabilities than another. Although expressiveness is a meaningful basis for comparing access control systems, it does not consider the application in which the system will be deployed. Furthermore, expressiveness is not necessarily a useful way to rank systems; if two systems are expressive enough for a given application, little benefit is derived from choosing the one that has greater expressiveness. On the contrary, many of the concerns that arise when choosing an access control system can be negatively impacted by additional expressiveness: a system that is too complex is often harder to specify policies in, less efficient, or harder to reason about from the perspective of security guarantees. To address these shortcomings, we propose the access control suitability analysis problem, and present a series of techniques for solving it. Suitability analysis evaluates access control systems against the specific demands of the application within which they will be used, and considers a wide range of both expressiveness and ordered cost metrics. To conduct suitability analysis, we present a two-phase framework consisting of formal reductions for proving qualitative suitability and simulation techniques for evaluating quantitative suitability. In support of this framework we present a fine-grained lattice of reduction properties, as well as Portuno, a flexible simulation engine for conducting cost analysis of access control systems. We evaluate our framework formally, by proving that it satisfies a series of technical requirements, and practically, by presenting several case studies demonstrating its use in conducting analysis in realistic scenarios

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object