Thesis (M.S.)--Computing, Georgia Institute of Technology, 2008. / Committee Chair: Wenke Lee; Committee Member: Jonathon Giffin; Committee Member: Mustaque Ahamad.

Typescript. Includes bibliographical references (leaves 218-220).

Orientador: Milton Lahuerta / Banca: Carlota Josefina M. C. Reis Boto / Banca: Gabriel Henrique Burnatelli de Antônio / Banca: Ana Lúcia de Castro / Banca: Raul Fiker / Resumo: O Objetivo dessa tese foi a de criar um protótipo de tese virtual, que esteja de acordo com as novas formas de produção de conteúdo. A criação desse protótipo, que nada mais é do que a transposição de uma tese escrita para a forma de blog permite que a Universidade se aproprie do espaço Web, uma vez que a Universidade tem perdido o seu papel enquanto instituição de formação. Em uma época de excesso de informação, onde usuários comuns se apropriam da liberdade de criar conteúdo, filtrar informação necessária se torna um problema. Humberto Eco, em um texto sobre o papel das universidades, frente ao fenômeno do mídia mass, diz que é "preciso inventar, e difundir, uma nova arte da depuração", o que esse protótipo se objetiva a ser. É por isso, que chamamos a tese como obra de arte, pois o papel, o texto, a norma precisou ser reinventada para seja possível a apropriação do espaço da world wide web. Em seguida, reforço o argumento da reprodutibilidade técnica, incitando o leitor a conduzir a realizar sua própria mediação de maneira imanente. Desse modo, a paródia do texto de Walter Benjamim A obra de arte na era de sua reprodutibilidade técnica, parodiado como: A tese como obra de arte na era de sua reprodutibilidade técnica; crítica, de forma não discursiva, as normas da abnt, aliando o problema da quantidade no lugar de qualidade a sua forma de exposição e compilação de dados. Nesse sentido, a nota de rodapé, a citação, entre outras normas da abnt são pensadas em uma dimensão vi... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The objective of this thesis was to create a virtual prototype thesis, which is in accordance with the new forms of content production. The creation of this prototype, which is nothing more than the implementation of a written thesis in the form of blog, allows the University to appropriate web space, since the University has lost its role as a training institution. In an age of information overload, where ordinary users appropriated the freedom to create content filter through necessary information becomes a problem. Umberto Eco, in a text on the role of universities, compared to the mass media phenomenon, says it is "necessary to invent, and impart a new art clearance", which this prototype is to be objective. That's why we call the thesis as a work of art, for the paper, the text, the standard needed to be reinvented for possible ownership of the world wide web space. Then reinforcing the technical reproducibility of the argument, urging the reader to lead to carry out its own mediation immanent way. Thus, the parody of text Walter Benjamin The Work of Art in the Age of Mechanical Reproduction (1936), parodied as The thesis as a work of art in the age of technical reproducibility; critical, not discursive form, the norms of abnt, combining the problem of quantity instead of quality to their way of exposure and data compilation. In this sense, the footnote, citation, among other standards abnt are thought in a virtual dimension. Number of pages become unnecessary when you can install a tool search. Thus, this study presents the following manner: 1) Thesis Virtual and Critique of abnt: Where has the methodology that was presented by version 1.02 (printed version, and transmedia, moving between the role of information and virtual content via QR-codes). Followed, the presentation of the virtual prototype (version 2.0) finalized on defense on June 9, 2016. And the preparation of the thesi... (Complete abstract click electronic access below) / Doutora

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“The Freedom of Information Hacked: Console Cowboys, Computer Wizards, and Personal Freedom in the Digital Age” examines depictions of computer hackers in fiction, the media, and popular culture, assessing how such depictions both influence and reflect popular conceptions of hackers and what they do. In doing so, the dissertation demonstrates the central concerns of hacker stories—concerns about digital security, privacy, and the value of information—have become the concerns of digital culture as a whole, hackers laying bare collective hopes and fears regarding digital networks.

This project examines the protection methods suggested by hackers to guard against online victimization through the lens of Situation Crime Prevention. Data were collected from 85 webpages representing three categories of electronic communications: forums, blogs, and fan pages. The goal of this project was to identify which of the 25 opportunity reduction techniques the hacking community recommend most often, as well as, what level of expertise was associated with the suggested security measures. Results indicate that the technique most recommended by the hacking community was to remove targets with 27% of the total codings. From the results three themes were found: (1) most recommendations are such that implementing the strategies would serve to protect against opportunistic, low-skilled attacks; (2) most recommendations could be considered routine precautions, that when bundled, would secure most people against cyber-theft; and finally, (3) the Situational Crime Prevention framework was not fully realized because much of cyber-theft does not involve direct victim-perpetrator interactions. From these three themes policy recommendation and limitations are presented as well as avenues for future research.

Over the past decade, webcriminality has become a real issue. Because they allow the botmasters to control hundreds to millions of machines, botnets became the first-choice attack platform for the network attackers, to launch distributed denial of service attacks, steal sensitive information and spend spam emails. This work aims at designing and implementing a honeynet, specific to IRC bots. Our system works in 3 phasis: (1) binaries collection, (2) simulation, and (3) activity capturing and monitoring. Our phase 2 simulation uses an IRC redirection to extract the connection information thanks to a IRC redirection (using a DNS redirection and a "fakeserver"). In phase 3, we use the information previously extracted to launch our honeyclient, which will capture and monitor the traffic on the C&C channel. Thanks to our honeynet, we create a database of the activity of IRC botnets (their connection characteristics, commands on the C&C ), and hope to learn more about their behavior and the underground market they create.

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Prenant pour point de départ les controverses contemporaines sur la liberté d’expression et la vie privée à l’ère numérique, cette thèse propose de revisiter l’histoire d’Internet au croisement de l’histoire du droit, des théories politiques et de l’histoire des sciences et des techniques. À travers une enquête de temps long sur l’affrontement des stratégies de pouvoir et de résistance associées aux techniques de communication, elle se veut une contribution à l’histoire de l’espace public et de l’activisme numérique. À partir de la « naissance » de l’imprimerie, la première partie retrace les formes de contrôle de l’espace public qui se structurent en même temps que l’État moderne, et la manière dont elles sont reconduites dans le cadre des régimes représentatifs-libéraux (XVe-XXe siècle). Dans un deuxième temps, l’étude suit l’émergence des projets antagonistes qui ont présidé au développement des réseaux informatiques, et ce afin d’expliquer la profonde ambivalence des appropriations politiques de ces technologies, à la fois instrument de la domination technocratique et outil d’émancipation (1930-1990). La troisième partie revient sur les premières controverses autour des libertés sur Internet et la structuration de l’activisme numérique, Internet étant bientôt investi comme un espace et un objet de luttes politiques, dans une période marquée par la mondialisation néo-libérale (1990-2001). La quatrième illustre, à travers les mesures de contrôle d’Internet adoptées au nom de la « guerre contre le terrorisme » et à travers la répression de certaines franges de l’activisme numérique, les mutations illibérales des États (2001-2017). L’étude entend ainsi contribuer à une réflexion collective sur l’un des en jeux identifiés par Michel Foucault dans ses écrits sur le pouvoir, à savoir : « comment déconnecter la croissance des capacités » – en l’espèce, les capacités associées aux « techniques de communication » – « et l’intensification des relations de pouvoir » ? / Taking contemporary debates on freedom of expression and privacy in the digital age as a starting point, this thesis revisits the history of the Internet at the intersection of legal history, political theory and history of science and technology. Through a long-time study of the clash between power and resistance strategies associated with communication technologies, it aims to contribute to the history of the public sphere and of digital activism. From the inception of the printing press on, the first part provides an overview of the forms of control of the public sphere developed under the modern state power, and of their extension under liberal-representative regimes (15th 21st century). In the second part, the study follows the antagonist utopias that shaped the development of computing technologies to explain the pro found ambivalence of their political appropriations, these technologies being construed both as an instrument of technocratic domination and a tool for emancipation (1930-1990). The third part analyses early controversies around the protection of civil rights online and the growth of digital activism, as the Internet becomes a locus of political struggles in a period marked by neoliberal globalization (1990-2001). Finally, the fourth part surveys recent Internet control measures adopted in the name of the "war on terror" and the repression of some segments of digital activism to illustrate the illiberal drift in state practices (2001-2017). The study thus aims to advance a collective thinking on one of the key questions identified by Michel Foucault in his writings on power: "How can the growth of capabilities" – and more specifically those brought about by "techniques of communication" – "be disconnected from the intensification of power relations?"

Desde os primeiros filmes realizados em jogos digitais nos anos 1990, a noção de machinima vem sendo associada às convenções do cinema clássico. Com isso, ela falha em abranger a diversidade das obras audiovisuais produzidas em ambientes virtuais interativos em tempo real. Assim, o presente estudo busca contribuir com uma melhor compreensão dessa noção, através da análise interpretativa dos seus filmes experimentais e da bibliografia específica. Ele também pretende colaborar com a sua expansão como meio de comunicação e expressão artística. Em um primeiro momento, busca-se evidenciar a associação da noção de machinima com o cinema clássico, através da apresentação dos filmes relevantes durante a sua história e também de uma análise interpretativa das primeiras publicações teóricas. A partir dessa constatação, são apresentadas práticas audiovisuais precedentes e filmes experimentais realizados nos seus anos iniciais. Em seguida, pretende-se demonstrar que o afastamento da narrativa representado pelas obras experimentais de machinima abre espaço para a identificação de outros elementos que possam colaborar com um entendimento mais aprofundado da sua noção. Dessa forma, as seguintes características são apresentadas e analisadas em relação a essa ideia: a performance, a intervenção e o registro. Essa aproximação é prosseguida pela análise interpretativa dos filmes Formation (Difference and Repetition), de Baden Pailthorpe, 30 Seconds or More One Animation a Day, de Victor Morales e Abstract Livecoded Machinima (Missile Command), de David Griffiths. Ao enfatizar as obras experimentais de machinima, a proposta deste estudo é evidenciar que há uma diversidade de caminhos, entre a narrativa e a experimentação, a serem percorridos pelos artistas com machinima e que a sua noção deve abranger a pluralidade dessas produções audiovisuais. / Since the first films accomplished in digital games in the 1990s, the concept of machinima has been associated to the conventions of classical cinema. Therewith, it fails to embrace the diversity of audiovisual works produced in real-time interactive virtual environments. Therefore, this study aims to contribute to a deepen comprehension of this concept through an interpretative analysis of its experimental films and also of the specific bibliography. It also intends to collaborate with its expansion as a communication and an artistic expression medium. First, it is aimed to evince the association of the idea of machinima with the classical cinema, through the presentation of the relevant films of its history and also through an interpretative analysis of the first theoretical publications. From this verification, the previous audiovisual practices and experimental movies accomplished in its first years are presented. Then, it is intended to demonstrate that the distance from narrative represented by the experimental works in machinima makes room for the identification of other features that may collaborate to a deepening understanding of its concept. Thus, the following features are presented and analyzed in relation to this idea: the performance, the intervention, and the record. This approximation is followed by the interpretative analysis of the films Formation (Difference and Repetition), by Baden Pailthorpe, 30 Seconds or More One Animation a Day, by Victor Morales, and Abstract Livecoded Machinima (Missile Command), by David Griffiths. By emphasizing the experimental works in machinima, the proposal of this study is to evince that there is a diversity of paths, between the narrative and the experimentation, to go through by the artists with machinima. Thus, its concept must include the plurality of these audiovisual productions.