« L'art numérique » semble se constituer une place notoire dans les différentes pratiques artistiques contemporaines. Sous cette expression générique francophone, le regroupement opéré reste problématique, car il suscite de nombreuses interrogations. À quoi correspond ce mouvement, l'art numérique est-il délimité, délimitable, l'art numérique existe-t-il ? Est-ce pertinent d'opérer un tel regroupement ? Quelles sont les répercussions sur la pratique qu'il désigne, à moins qu'il s'agisse de l'inverse ? À quoi correspond l'art numérique ? Est-ce un art nouveau ? Ces questions sont à l'origine de cette thèse, en adjacence à une pratique plastique questionnant « matériellement » le numérique. L'objectif est d'analyser la question de « l'art numérique », d'en identifier précisément les caractéristiques et d'éclairer ces interrogations. Cette recherche témoigne des rapports qu'entretiennent pratiques et théories. Peuvent-elles s'enrichir mutuellement ? Doivent-elles se développer dans leurs propres directions ? Se pose alors la question de la pertinence de leur segmentation, et de la dénomination « art numérique » ? Est-ce significatif ? Qu'en est-il aujourd'hui de ces nouvelles technologies qui font partie de notre quotidien, y compris dans le domaine artistique ? Comment rendre compte d'un phénomène aussi vaste sans en restreindre artificiellement la complexité ? / It seems that the «Art Numérique» (Digital Art) is taking an ever-growing place in the various contemporary artistic practices. It is however still a problem to clearly define what is actually meant by this French generic expression, as what is currently associated with «Art Numérique» still generates numerous questions. How can this trend be defined? What are its boundaries? Are there any boundaries? Does «Art Numérique» actually exist? Is it relevant to categorize specific practices and techniques as «Art Numérique»? What is the influence of these categorization on the actual definition of the Art, or inversely, what should the subject «Art Numérique» include? How can «Art Numérique» be defined? Is it new? These questions are at the root of this thesis, developed in simultaneously with numerous plastic and practical experiments aiming at «physically» questioning and challenging the digital technology. My objective is to analyze the subject of «digital art», to precisely identify its characteristics, and to open new perspectives. This research highlights the relationship between practice and theory. Can they benefit from each other? Should they be studied and developed separately, each in their own direction? This raises the question of the relevance of their segmentation, and of the term «Art Numérique». Is it significant? What is the current status of all these new technologies, which are part of our daily life, including in the artistic field? Is it possible to report on such a vast phenomenon without artificially restricting its complexity?

Applikationer och system flyttar i allt större utsträckning från lokala installationer på den enskilda datorn, ut i “molnet” där data skickas och hanteras via Internet. Traditionella “Desktop applikationer” blir webbapplikationer för att centralisera drift och öka tillgänglighet. Detta skifte medför ett ökande antal träffytor för personer som av en eller annan orsak vill åsamka skada eller tillskansa sig, alternativt manipulera eller förstöra, känslig eller hemlig information. Den här rapporten har för avsikt att utvärdera hur väl man kan skydda sig mot tre av de just nu vanligaste attackformerna mot webbapplikationer generellt, men WordPress specifikt. Nämligen attackformerna SQL-injection, Cross site scripting och Cross site request forgery. Resultaten av undersökningen visar att det genom en väl implementerad hantering av in- och utgående data går att skapa ett fullt acceptabelt grundskydd för att desarmera attacker av dessa typer.

This essay will make a close reading of a selection of poems written by the poet and essayist Marilyn Hacker which explores the relationship between motherhood and lesbianism. The poetry is analyzed from a lesbian feminist view that uncovers how lesbianism can be used to politicize the construct of motherhood. The four poems that will be read contain passages where the poet relates to her experiences of motherhood with a lesbian sensibility. The analysis accounts for the political subject positions that lesbians can take account of in their writing. The study has found that in the poems, lesbianism becomes a creative force that can deconstruct the patriarchal hegemony of motherhood.

This thesis deals with the area of honeypots and honeynets. It defines their classification and contains detailed descriptions of their properties and features. It further elaborates on several freely available systems. The main focus is given to honeypot Nepethes that was being run for one month on an unfiltered Internet connection. A detailed analysis of the collected data is then given.

Growth Hacker Marketing is a relatively new concept that has emerged as the digitalization and the development of the internet occurred. The purpose of the study is to gain an understanding of the meaning of GHM and how it is used, a concept that is widely applied in the marketing industry but not as widespread in theory. The study has been carried out with a qualitative deductive approach, which means that it is based on the investigated theories, continues to the empirical data in the terms of interviews and then lands in the analysis. The study also shows that a growth hacker that works data driven and with the help of tracking tools, achieves growth for the organization, something that is fundamental within GHM. The growth hacking funnel, which is a method within the subject, is widely used by the investigated companies, however, the explicit term is not necessarily applied. The results also show that the work process within GHM can look different depending on the specific organization and its activities, for example if the company works B2B or B2C. In summary, there are both some similarities and differences regarding the meaning of GHM between theory and empiricism, which could be due to the gap between the academic world and marketing industry.

Diese Arbeit verbindet zwei Perspektiven, nämlich den Blick auf die soziale Praxis des digitalen Ungehorsams mit dem anhaltenden Diskurs über zivilen Ungehorsam in der politischen Theorie. Digitaler Ungehorsam entwickelte sich im Verlauf der Evolution digitaler Informations- und Kommunikationstechnologien in überraschendem Facettenreichtum: vom BTX Hack des Chaos Computer Clubs über den Widerstand der Cypherpunks für die weltweite Verbreitung von Verschlüsselung hin zu Anonymous, Aaron Swartz und Edward Snowden. Reload Disobedience plädiert für eine Revision des dominierenden Verständnisses von zivilem Ungehorsam und stützt sich dabei auf Theorien von Hannah Arendt, Michael Walzer und Etienne Balibar. Viele Beispiele in der Geschichte des digitalen Ungehorsams werden diesem neuen Verständnis durchaus gerecht, doch gibt es gleichzeitig Faktoren, die weitere Fragen aufwerfen: Kann ziviler Ungehorsam anonym sein oder automatisiert durchgeführt werden? Wie verändert sich das kollektive Handeln, das maßgeblicher Teil der Tradition zivilen Ungehorsames ist, durch die globale Vernetzung? Um diese und andere Effekte digitalen Handelns zu verstehen, diskutiert die Autorin die Entscheidungen der digital Ungehorsamen sowie Möglichkeiten und Grenzen digitalen Handelns im Kontext demokratie-theoretischer Überlegungen. Eine Kernthese der Arbeit ist, dass ziviler Ungehorsam in digitalen Formen potentiell eine neue Direktheit des Politischen erzeugen kann. Gleichzeitig muss sich diese Praxis einer besonderen Unsicherheit sowie neuen Risiken und Herausforderungen stellen, um dem demokratischen Geist des zivilen Ungehorsams unter neuen Bedingungen gerecht zu werden. / This work combines two perspectives, namely the social and activist history of digital forms of disobedience with the ongoing discourse around civil disobedience in political theory. In the course of the internet’s evolution, digital disobedience developed in a surprisingly multifaceted nature: From cases like the BTX Hack of the Chaos Computer Club, to the Cypherpunks and their effort to spread encryption, from Anonymous to Aaron Swartz or Edward Snowden. This work argues for a broader understanding of civil disobedience than the mainstream in political thinking suggests based on arguments from a radical democratic line of thinking, inspired by Hannah Arendt, Michael Walzer and Etienne Balibar. Many cases of digital disobedience meet the spirit of this new understanding, while at the same time their digital nature provokes a new set of questions as well. For instance the question, if civil disobedience may be anonymous or even automated. How does the internet change collective action which is often seen as a core element of the tradition of civil disobedience? The author discusses the choices and principles behind digitally disobedient action as well as the possibilities and limits of digital action in the context of democratic theory. She shows that civil disobedience in digital action even develops a new directness of encounter that adds a new potential to this delicate form of political action. Nevertheless, digital practices of civil disobedience are at the same time precarious and faced with new risks and challenges, like automation of and the risk of elitist tech-avant-gardes overriding the democratic spirit that civil disobedience is rooted in.

Made available in DSpace on 2016-04-25T20:21:49Z (GMT). No. of bitstreams: 1 Wilken.pdf: 1398546 bytes, checksum: 829e2098dbfebfbb3ec091d6b72d1bfd (MD5) Previous issue date: 2007-05-25 / This dissertation approaches the construction of a collaborative model of knowledge production disseminated by the Free Software Movement and its opposition to the current law of intelectual property. It describes the genesis of the free software movement as well as how it has become consolidated as an independent domain of knowledge production. In order to better illustrate the model of production proposed by the Free Software Movement and its virtual communities, this paper presents an analysis on the Debian project´s organization and structure for the making of decisions. It explores the limitations of the current model of intelectual property and how it has become a powerful tool for making knowledge a prisoner of private institutions. At last, this dissertation presents how this new model of collaborative production surpasses the software development and begins to influence different areas of knowledge, leaving behing the idea of intelectual property and becoming a concept of intelectual inheritance / A dissertação trata da construção de um modelo colaborativo de produção do conhecimento pelo Movimento de Software Livre e seu embate com a atual legislação de propriedade intelectual. É descrita a gênese do movimento de software livre e como ele vem sendo consolidado como um campo autônomo de produção do conhecimento. Para exemplificar o modelo de produção proposto pelo Movimento de Software Livre e suas comunidades virtuais, é feita uma análise da organização e da estrutura para tomada de decisões do projeto Debian. A dissertação explora as limitações do atual modelo de propriedade intelectual e como este vem se tornando uma poderosa ferramenta para o aprisionamento do conhecimento dentro de instituições privadas. Por fim, é apresentado, de que forma esse novo modelo de produção colaborativa ultrapassa o desenvolvimento de softwares e passa a influenciar outras áreas do conhecimento, abandonando a idéia de propriedade intelectual e aproximandose do conceito de patrimônio intelectual

Made available in DSpace on 2016-04-26T14:56:24Z (GMT). No. of bitstreams: 1 Wilken.pdf: 1398546 bytes, checksum: 829e2098dbfebfbb3ec091d6b72d1bfd (MD5) Previous issue date: 2007-05-25 / This dissertation approaches the construction of a collaborative model of knowledge production disseminated by the Free Software Movement and its opposition to the current law of intelectual property. It describes the genesis of the free software movement as well as how it has become consolidated as an independent domain of knowledge production. In order to better illustrate the model of production proposed by the Free Software Movement and its virtual communities, this paper presents an analysis on the Debian project´s organization and structure for the making of decisions. It explores the limitations of the current model of intelectual property and how it has become a powerful tool for making knowledge a prisoner of private institutions. At last, this dissertation presents how this new model of collaborative production surpasses the software development and begins to influence different areas of knowledge, leaving behing the idea of intelectual property and becoming a concept of intelectual inheritance / A dissertação trata da construção de um modelo colaborativo de produção do conhecimento pelo Movimento de Software Livre e seu embate com a atual legislação de propriedade intelectual. É descrita a gênese do movimento de software livre e como ele vem sendo consolidado como um campo autônomo de produção do conhecimento. Para exemplificar o modelo de produção proposto pelo Movimento de Software Livre e suas comunidades virtuais, é feita uma análise da organização e da estrutura para tomada de decisões do projeto Debian. A dissertação explora as limitações do atual modelo de propriedade intelectual e como este vem se tornando uma poderosa ferramenta para o aprisionamento do conhecimento dentro de instituições privadas. Por fim, é apresentado, de que forma esse novo modelo de produção colaborativa ultrapassa o desenvolvimento de softwares e passa a influenciar outras áreas do conhecimento, abandonando a idéia de propriedade intelectual e aproximandose do conceito de patrimônio intelectual

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My thesis aims to show that Wittgensteins view of rule-following involves a misleading picture of the rule. Since he saw the rule as something fundamentally independent of the rule-follower and something with which the rule-follower must comply, he inevitably became entangled in the paradox of compliance: that is, the idea that there must be something other than the rule-follower for rule-following to exist, even though he knew that there was really nothing there to guide the rule-follower or to measure his action. This paradox, dimly expressed within key Wittgensteinian problems relating to how one is able to follow a rule and whether one can follow a rule privately, eventually gave rise to the question over the social nature of rules. In that debate, Wittgensteins commentators vigorously argued, and continue to argue, whether the concept of rule-following presupposes a community of practitioners or not. I argue that this debate itself is misguided, since both sides in this debate take as their starting point a picture of compliance which sees rule and rule-follower as essentially different. In contrast to a compliant picture, I offer a different picture of the rule, which I will call the pliant picture of the rule. I will show that rule and rule-follower are fundamentally the same, and are related to one another, not socially or grammatically, but genealogically. This relationship of identity is in fact exhibited in the relationship between teacher and pupil, when the pupil becomes what his teacher already is through following his teacher. Although compliance can be said to define this relationship initially, it ends with the pupil learning, or becoming, the rule. To conceive of the rule in this way is to avoid the paradox of compliance; that is, it is to go beyond Wittgensteins picture of a paradox.