abstract: Due to the increase in computer and database dependency, the damage caused by malicious codes increases. Moreover, gravity and the magnitude of malicious attacks by hackers grow at an unprecedented rate. A key challenge lies on detecting such malicious attacks and codes in real-time by the use of existing methods, such as a signature-based detection approach. To this end, computer scientists have attempted to classify heterogeneous types of malware on the basis of their observable characteristics. Existing literature focuses on classifying binary codes, due to the greater accessibility of malware binary than source code. Also, for the improved speed and scalability, machine learning-based approaches are widely used. Despite such merits, the machine learning-based approach critically lacks the interpretability of its outcome, thus restricts understandings of why a given code belongs to a particular type of malicious malware and, importantly, why some portions of a code are reused very often by hackers. In this light, this study aims to enhance understanding of malware by directly investigating reused codes and uncovering their characteristics. To examine reused codes in malware, both malware with source code and malware with binary code are considered in this thesis. For malware with source code, reused code chunks in the Mirai botnet. This study lists frequently reused code chunks and analyzes the characteristics and location of the code. For malware with binary code, this study performs reverse engineering on the binary code for human readers to comprehend, visually inspects reused codes in binary ransomware code, and illustrates the functionality of the reused codes on the basis of similar behaviors and tactics. This study makes a novel contribution to the literature by directly investigating the characteristics of reused code in malware. The findings of the study can help cybersecurity practitioners and scholars increase the performance of malware classification. / Dissertation/Thesis / Masters Thesis Computer Science 2020

Le sujet de ce travail est le rôle du son dans le cinéma d’animation, à partir du concept d’audio-vision. Ce concept, provenant du théoricien Michel Chion, exprime une activité ou une modalité de la perception qui s’active –est qui est la face subjective– des produits audiovisuels qui dans le cas de l’animation donnent lieu à des expériences singulières. Le lieu de rencontre entre ces instances est la scène sémiotique d’une expérience de sens où une forme de textualité (résultat d’une écriture sonore et visuelle) inscrite dans un support matériel s’active et rencontre un corps vivant, qui la transforme en un récit audiovisuel, ou bien aussi en une pure expérience corporelle, rythmique ou vibratoire, qui est aussi une forme de sens. Cette scène pratique est comprise d’après le concept de dispositif, provenant de la théorie filmique, mais ici liée à la théorie de l’énonciation. Pour aborder cette scène si complexe, j’ai choisi de mettre l’accent sur un aspect particulier : le son, l’écoute, et les approches sémiotiques que se sont occupées de cette dimension de l’expérience perceptive, notamment la sémiotique du son. Pour tester cette approche, dans cette thèse on fait des analyses pratiques d’un type de productions animées que, selon le critère, on peut appeler « indépendantes », « expérimentales », ou même « abstraites » : les courts métrages animés de Norman McLaren et de Mirai Mizue. Néanmoins, pour éloignées que semblent ces productions de l’animation traditionnelle on va proposer qu’à la base de toutes ces productions il y a un même dispositif et un même type de pratique (dans le sens sémiotique du terme), un « faire technique » sur lequel on projettera des contenus divers (narratifs, dynamiques, musicaux, énergétiques). / The subject of this work is the role of sound in animation, from the concept of audio-vision. This concept, from theorist Michel Chion, expresses an activity or mode of perception that is activated –and that is is the subjective side- of audiovisual productions. In the case of animation this activity gives rise to unique experiences. The meeting point between these aspects is the semiotic scene of a meaningful experience, where a form of textuality (the result of an aural and a visual writing) registered in a physical medium, is activated by a living body. This experience is interpreted as an audio-visual narrative, or as a pure physical experience of rhythm and vibration, which is also a form of sense. This practical scene is understood from the concept of ‘apparatus’, coined in the field of the film theory, but connected here with enunciation theory. To address this complex scene, I chose to focus on a particular aspect: sound and listening, from a semiotic perspective. To test this approach, in this work I propose practical analysis of a type of animated productions that according to the criteria, can be called

Submitted by Reginaldo Soares de Freitas (reginaldo.freitas@ufv.br) on 2017-04-06T16:52:26Z No. of bitstreams: 1 texto completo.pdf: 4191091 bytes, checksum: 67b3ee3d09284166950eddcbd0d51fde (MD5) / Made available in DSpace on 2017-04-06T16:52:26Z (GMT). No. of bitstreams: 1 texto completo.pdf: 4191091 bytes, checksum: 67b3ee3d09284166950eddcbd0d51fde (MD5) Previous issue date: 2016-08-16 / Após séculos de opressão e de lutas, muitos dos grupos indígenas brasileiros sobreviveram apenas nas narrativas da história. Contudo, em alguns casos, eles deixaram fragmentos de cultura entrelaçados aos modo de vida urbana na atualidade. Na Zona da Mata mineira, região das últimas fronteiras liberadas para ocupação territorial a partir do último quarto do século XVIII e início do século XIX, encontrou-se registros paroquiais de batismos com evidências de resistência de um desses povos de floresta, o povo indígena Puri. Estes índios habitaram também no território da atual cidade de Miraí, antiga Freguesia de Santo Antônio do Muriahé, e parte de suas tradições estão mantidas, ainda que de forma esmaecida, como fragmentos de cultura ancestral presentes nas famílias que se auto-declaram como descendentes deste povo de floresta. Investigá-las no entanto, é um exercício da memória. / After centuries of oppression and fights, many aborigine Brazilians groups survived just in the narratives of history. However, in some cases, they culture. They left fragments of the culture interlaced the urban way of life in the present. The Forest Zone of Minas Gerais, of the last frontiers released for territorial occupation form the last quarter of the eighteenth century and early nineteenth century. We found registration of documents of Parish church of baptism with evidence of resistance to one of these people of the forest, the Puri aborigine. These aborigines also lived in the territory at the present Miraí, older Parish of Santo Antonio do Muriahé, and part of their traditions are maintained. Still dimmed form, an ancestral culture fragments investigate them. However, it is an exercise of memory.

There are several vulnerabilities and consequences resulting from the use of the authentication method of default username and password. This study uses the Mirai attack targeting Dyn in 2016 as the main motivation. The key vulnerability in the attack on Dyn, was the authentication method of default username and password. This study performs an analysis on the Internet of Things devices available for Swedish consumers with the focus on identifying and mapping devices using the method of default username and password. Other methods of authentication are also identified as well as analyzed. The results show that most of the devices does not use the authentication method of default username and password, this does not necessarily result in a simple answer on whether the product is secure or not. Factors such as how the authentication method is implemented and how the method works in the real-world is important. The information on implementation and real-world use found in the manuals has not always been clearly detailed by the manufacturers, raising further questions on the security of IoT devices.