Thesis (M.S.)--Worcester Polytechnic Institute. / Keywords: Adaptive prefetching; Large-scale multivariate data visualization; Semantic caching; Hierarchical data exploration; Exploratory data analysis. Includes bibliographical references (p.66-70).

Digital forensics is the investigation and recovery of data from digital hardware. The field has grown in recent years to include support for operating systems such as Windows, Linux and Mac OS X. However, little to no support has been provided for less well known systems such as the FreeBSD operating system. The project presented in this paper focuses on creating the foundational support for FreeBSD via Volatility, a leading forensic tool in the digital forensic community. The kernel and source code for FreeBSD were studied to understand how to recover various data from analysis of a given system’s memory image. This paper will focus on the base Volatility support that was implemented, as well as the additional plugins created to recover desired data, including but not limited to the retrieval of a system’s process list and mounted file systems.

Made available in DSpace on 2014-07-29T16:28:00Z (GMT). No. of bitstreams: 1 dissertacao getuilio chartier cultura visual.pdf: 3402794 bytes, checksum: 864660c78942fde3a809ac95c9b372f7 (MD5) Previous issue date: 2010-03-10 / Based on the methodological approach of action-research, this study examines play and playing memories as resources for subjective manifestations that include images, actions and expression of imaginary universes. Integrated in the formal educational process of a group of future female teachers, play experiences are analyzed as inciting situations which allow and provoke socialization associated not only to entertainment but, also, to conflict and discrimination episodes. The study privileges dialogues about how play integrates and stimulates perceptions, interpretations and reactions of the students collaborators, discussing and reflecting about teaching work as a proposal constructed through playing actions. The voice and circumstances of two students are emphasized in order to put in evidence the flows between memory and subjectivity and, furthermore, to underline the importance and contribution of playing in the re-creation of daily situations. In this sense, play establishes conditions of possibilities for reflecting and collectivizing experiences lived in family, school and other spaces / Através da abordagem metodológica da pesquisa-ação, este estudo investiga o brincar e memórias de brincadeiras como recursos para manifestação de subjetividades que incluem imagens, ações e expressão de universos imaginários. Inserida no processo de formação de um grupo de futuras professoras, alunas de um curso de magistério, a experiência do brincar foi analisada como deflagradora de situações que permitem e provocam a socialização, associada não apenas a formas de diversão, mas, também, a episódios de conflitos e discriminação. A pesquisa privilegia o diálogo sobre questões referentes ao modo como o brincar integra e aciona percepções, interpretações e reações das colaboradoras, discutindo e refletindo sobre o trabalho docente como proposta construída através de ações lúdicas. A voz e circunstâncias de duas alunas colaboradoras são colocadas em destaque para evidenciar trânsitos entre memória e subjetividade e, sobretudo, para sublinhar a importância e contribuição do brincar na recriação de situações cotidianas. Nesse sentido, o brincar estabelece condições de possibilidades para refletir e coletivizar experiências vividas em família, na escola e em outros espaços

Made available in DSpace on 2017-07-10T18:56:07Z (GMT). No. of bitstreams: 1 ELENI_TA.pdf: 6379839 bytes, checksum: ffb41203b6dc361310a2403cf7d37b74 (MD5) Previous issue date: 2016-08-18 / The research presented here focuses on reflections and analyses about woman‟s image according to the literary works of Julia Lopes de Almeida. It aimed at recalling woman‟s image from the nineteenth century in transition to the twentieth one, based on the following works: the brides‟ book (1896), Ladies and maidens‟ book (1906) and The intruder (1908). They were written by Julia Lopes de Almeida to understand the present‟s relationship with memory and past, consequently perceive that a new look can print new features to this story. This is a bibliographic research that is supported by authors who treat image, literature, history, memory and fiction, such as Benjamin (1989; 1994), Yates (2007), Ginzburg (1999, 2001), Assmann (2011), Guattari and Rolnik (1986), Needell (1993), Thompson (1998) Gagnebin (2005), Le Goff (1996), White (2001), Burke (1992), Halbwachs (1990) and Stallybrass (2008). This research also had access to the author's personal collection. As an investigation result, we can assure that Julia Lopes narratives provided elements to capture the different images of a woman, which are present on social life regarding the transition from the nineteenth to the twentieth century: a housewife, a bourgeois woman, a professional woman, a mother and devoted wife, as well as the woman in the convent. It was observed that there is not a single image of woman, but all women, somehow, are free to play her own role although, at the same time, they are trapped in social conventions. It concerns about a woman that has been idealized by the author from her experiences, in interaction of her subjectivities with singularities, and also asa social impersonation of the period / A pesquisa ora apresentada focalizou-se em reflexões e análises acerca da imagem da mulher nas obras de Julia Lopes de Almeida. Buscou-se rememorar a imagem da mulher do século XIX, na transição para o século XX, nas obras Livro das noivas (1896), Livro das donas e donzelas (1906) e A intrusa (1908), de Julia Lopes de Almeida, a fim de compreender a relação do presente com a memória e com o passado, entendendo que um novo olhar pode imprimir novos traços para essa história. Trata-se de uma pesquisa de cunho bibliográfico que se ancorou nos autores que tratam da imagem, literatura, história, memória e da ficção, tais como Benjamin (1989; 1994), Yates (2007), Ginzburg (1999; 2001), Assmann (2011), Guattari e Rolnik (1986), Needell (1993), Thompson (1998), Gagnebin (2005), Le Goff (1996), White (2001), Burke (1992), além de Halbwachs (1990) e Stallybrass (2008). A pesquisa contou também com o acesso ao acervo pessoal da autora. Como resultado de investigação, podemos afirmar que as narrativas de Julia Lopes forneceram elementos para captarmos as diversas imagens de mulher, presentes na vida social do século XIX na passagem para o século XX: a mulher dona de casa, a mulher burguesa, a mulher profissional, a mulher mãe e esposa dedicada, a mulher no convento. Foi possível perceber que não há uma única imagem de mulher, porém, todas as mulheres, de alguma forma, são livres para desempenhar cada qual o seu papel e, ao mesmo tempo, presas em convenções sociais. Trata-se de uma mulher apresentada pela autora a partir de suas experiências e vivências, na interação de suas subjetividades com as singularidades, também como uma representação social do período.

Cultural memory and its media have a productive power in constructing historical nar- ratives. Especially, in Central and Eastern Europe, memory is mostly created through bottom- up processes: The past is mediated in the public sphere and imagined in popular culture (Blacker, Etkind 2013: 10). The velvet revolution is followed by a memory boom in the Czech Republic, in which media acts as memory activists addressing tabooed memories. At a time where the last witnesses of the expulsion are passing away, the dying voice is taken up by media This thesis aims to explore the determinant patterns of the Czech narrative in post-1989 fiction. Particularly, it focuses on postmemorial representations. The thesis is based on an anal- ysis of five fictional works dealing with the expulsion of the Sudeten Germans. The expulsion is embedded in the century-long co-habitation with the Sudeten German depicted as a neigh- bour. However, the Sudeten Germans are only incorporated into a regional but not the national Czech identity. While the expulsion is reframed in an ethical-legal framework, on a narrative level strategies of individualisation and universalisation are employed to make the past acces- sible for those born later.

La réminiscence et l’apparition des images par des facteurs affectifs déclencheurs font partie inhérente du processus de création picturale qui est issue d’une nécessité intérieure. Les affects inscrits dans les souvenirs alimentent la force créatrice en s’actualisant par l’acte de réminiscence. C’est dans cette dynamique de l’intériorité que le langage pictural se forme en engageant la mémoire où le surgissement des images est soumis à l’affect. La métaphore de la nuit nous a permis d’interroger davantage l’incertitude de la mémoire et de l’état après le rêve, où les images d’intimité sont enfouies. La revalorisation de la subjectivité, de l’intime et du désir témoigne de l’intention d’une archéologie émotionnelle qui ramène la peinture à ses origines premières. Travaillant à partir des images d’images, les artistes contemporains explorent l’articulation du souvenir au présent. Nourrie de cet usage qui repose sur une interaction de l’ordre du « toucher » avec l’image, la « durée » picturale correspond à la réminiscence.La peinture, comme une forme intériorisée du réel, se déploie dans une mise en scène des multiples temporalités par une stratification de la matière picturale. Dans cet espace, le souvenir s’actualise dans la sensation de la couleur. En tant que qualité affective, la couleur permet d’exprimer le climat émotionnel attaché à un souvenir et de rendre visible l’affect. La surface du tableau est un tissu chaotique, mais également génératrice d’ « accidents proustiens », de retrouvailles et d’énigmes. Ici, la mémoire est la source d’où émane l’imagination. / The reminiscence and the appearance of images triggered by the emotional factors are inherited in the process of pictorial creation that comes from the inner necessity. By becoming actualized by the act of reminiscence, the affects inscribed in the memories nourish the creative force. In these dynamics of interiority, pictorial language is formed by the engagement of the memory. The emergence of images is subject to affect in the memory. The metaphor of the night has allowed us to question further the uncertainty of the memory and the after-dream state, where the images of intimacy are buried.The increase of subjectivity, the intimacy and desire reflect the intention of an emotional archaeology that brings the painting back to its origins. The use of images of the images in the contemporary artist’s works explores the connection of remembrance with the present. The pictorial time length, nurtured by this use based on an interaction between the emotional “touch” and the image, corresponds to the reminiscence.Painting, as an internalized form of the real, spreads out in a staging of multiple temporalities by a stratification of pictorial matter. In this space, memory refreshes itself in the sensation of the colour. As an affective quality, the colour enables the expression of the emotional climate attached to a remembrance and makes the affect visible. The surface of the painting is a chaotic material, but also source of "Proustian accidents," reunions and enigmas. Here, memory is the origin from which emanates the imagination.

Modern fluorescence microscopy modalities, such as light-sheet microscopy, are capable of acquiring large three-dimensional images at high data rate. This creates a bottleneck in computational processing and analysis of the acquired images, as the rate of acquisition outpaces the speed of processing. Moreover, images can be so large that they do not fit the main memory of a single computer. Another issue is the information loss during image acquisition due to limitations of the optical imaging systems. Analysis of the acquired images may, therefore, find multiple solutions (or no solution) due to imaging noise, blurring, and other uncertainties introduced during image acquisition. In this thesis, we address the computational processing time and memory issues by developing a distributed parallel algorithm for segmentation of large fluorescence-microscopy images. The method is based on the versatile Discrete Region Competition (Cardinale et al., 2012) algorithm, which has previously proven useful in microscopy image segmentation. The present distributed implementation decomposes the input image into smaller sub-images that are distributed across multiple computers. Using network communication, the computers orchestrate the collective solving of the global segmentation problem. This not only enables segmentation of large images (we test images of up to 10^10 pixels) but also accelerates segmentation to match the time scale of image acquisition. Such acquisition-rate image segmentation is a prerequisite for the smart microscopes of the future and enables online data inspection and interactive experiments. Second, we estimate the segmentation uncertainty on large images that do not fit the main memory of a single computer. We there- fore develop a distributed parallel algorithm for efficient Markov- chain Monte Carlo Discrete Region Sampling (Cardinale, 2013). The parallel algorithm provides a measure of segmentation uncertainty in a statistically unbiased way. It approximates the posterior probability densities over the high-dimensional space of segmentations around the previously found segmentation. / Moderne Fluoreszenzmikroskopie, wie zum Beispiel Lichtblattmikroskopie, erlauben die Aufnahme hochaufgelöster, 3-dimensionaler Bilder. Dies führt zu einen Engpass bei der Bearbeitung und Analyse der aufgenommenen Bilder, da die Aufnahmerate die Datenverarbeitungsrate übersteigt. Zusätzlich können diese Bilder so groß sein, dass sie die Speicherkapazität eines einzelnen Computers überschreiten. Hinzu kommt der aus Limitierungen des optischen Abbildungssystems resultierende Informationsverlust während der Bildaufnahme. Bildrauschen, Unschärfe und andere Messunsicherheiten können dazu führen, dass Analysealgorithmen möglicherweise mehrere oder keine Lösung für Bildverarbeitungsaufgaben finden. Im Rahmen der vorliegenden Arbeit entwickeln wir einen verteilten, parallelen Algorithmus für die Segmentierung von speicherintensiven Fluoreszenzmikroskopie-Bildern. Diese Methode basiert auf dem vielseitigen "Discrete Region Competition" Algorithmus (Cardinale et al., 2012), der sich bereits in anderen Anwendungen als nützlich für die Segmentierung von Mikroskopie-Bildern erwiesen hat. Das hier präsentierte Verfahren unterteilt das Eingangsbild in kleinere Unterbilder, welche auf die Speicher mehrerer Computer verteilt werden. Die Koordinierung des globalen Segmentierungsproblems wird durch die Benutzung von Netzwerkkommunikation erreicht. Dies erlaubt die Segmentierung von sehr großen Bildern, wobei wir die Anwendung des Algorithmus auf Bildern mit bis zu 10^10 Pixeln demonstrieren. Zusätzlich wird die Segmentierungsgeschwindigkeit erhöht und damit vergleichbar mit der Aufnahmerate des Mikroskops. Dies ist eine Grundvoraussetzung für die intelligenten Mikroskope der Zukunft, und es erlaubt die Online-Betrachtung der aufgenommenen Daten, sowie interaktive Experimente. Wir bestimmen die Unsicherheit des Segmentierungsalgorithmus bei der Anwendung auf Bilder, deren Größe den Speicher eines einzelnen Computers übersteigen. Dazu entwickeln wir einen verteilten, parallelen Algorithmus für effizientes Markov-chain Monte Carlo "Discrete Region Sampling" (Cardinale, 2013). Dieser Algorithmus quantifiziert die Segmentierungsunsicherheit statistisch erwartungstreu. Dazu wird die A-posteriori-Wahrscheinlichkeitsdichte über den hochdimensionalen Raum der Segmentierungen in der Umgebung der zuvor gefundenen Segmentierung approximiert.