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ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
The digital forensics community has neglected email forensics as a process, despite the fact that email remains an important tool in the commission of crime. Current forensic practices focus mostly on that of disk forensics, while email forensics is left as an analysis task stemming from that practice. As there is no well-defined process to be used for email forensics the comprehensiveness, extensibility of tools, uniformity of evidence, usefulness in collaborative/distributed environments, and consistency of investigations are hindered. At present, there exists little support for discovering, acquiring, and representing web-based email, despite its widespread use. To remedy this, a systematic process which includes discovering, acquiring, and representing web-based email for email forensics which is integrated into the normal forensic analysis workflow, and which accommodates the distinct characteristics of email evidence will be presented. This process focuses on detecting the presence of non-obvious artifacts related to email accounts, retrieving the data from the service provider, and representing email in a well-structured format based on existing standards. As a result, developers and organizations can collaboratively create and use analysis tools that can analyze email evidence from any source in the same fashion and the examiner can access additional data relevant to their forensic cases. Following, an extensible framework implementing this novel process-driven approach has been implemented in an attempt to address the problems of comprehensiveness, extensibility, uniformity, collaboration/distribution, and consistency within forensic investigations involving email evidence.
ContributorsPaglierani, Justin W (Author) / Ahn, Gail-Joon (Thesis advisor) / Yau, Stephen S. (Committee member) / Santanam, Raghu T (Committee member) / Arizona State University (Publisher)
Created2013
Description
In order to catch the smartest criminals in the world, digital forensics examiners need a means of collaborating and sharing information with each other and outside experts that is not prohibitively difficult. However, standard operating procedures and the rules of evidence generally disallow the use of the collaboration software and techniques that are currently available because they do not fully adhere to the dictated procedures for the handling, analysis, and disclosure of items relating to cases. The aim of this work is to conceive and design a framework that provides a completely new architecture that 1) can perform fundamental functions that are common and necessary to forensic analyses, and 2) is structured such that it is possible to include collaboration-facilitating components without changing the way users interact with the system sans collaboration. This framework is called the Collaborative Forensic Framework (CUFF). CUFF is constructed from four main components: Cuff Link, Storage, Web Interface, and Analysis Block. With the Cuff Link acting as a mediator between components, CUFF is flexible in both the method of deployment and the technologies used in implementation. The details of a realization of CUFF are given, which uses a combination of Java, the Google Web Toolkit, Django with Apache for a RESTful web service, and an Ubuntu Enterprise Cloud using Eucalyptus. The functionality of CUFF's components is demonstrated by the integration of an acquisition script designed for Android OS-based mobile devices that use the YAFFS2 file system. While this work has obvious application to examination labs which work under the mandate of judicial or investigative bodies, security officers at any organization would benefit from the improved ability to cooperate in electronic discovery efforts and internal investigations.
ContributorsMabey, Michael Kent (Author) / Ahn, Gail-Joon (Thesis advisor) / Yau, Stephen S. (Committee member) / Huang, Dijiang (Committee member) / Arizona State University (Publisher)
Created2011
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
The Web is one of the most exciting and dynamic areas of development in today’s technology. However, with such activity, innovation, and ubiquity have come a set of new challenges for digital forensic examiners, making their jobs even more difficult. For examiners to become as effective with evidence from the Web as they currently are with more traditional evidence, they need (1) methods that guide them to know how to approach this new type of evidence and (2) tools that accommodate web environments’ unique characteristics.
In this dissertation, I present my research to alleviate the difficulties forensic examiners currently face with respect to evidence originating from web environments. First, I introduce a framework for web environment forensics, which elaborates on and addresses the key challenges examiners face and outlines a method for how to approach web-based evidence. Next, I describe my work to identify extensions installed on encrypted web thin clients using only a sound understanding of these systems’ inner workings and the metadata of the encrypted files. Finally, I discuss my approach to reconstructing the timeline of events on encrypted web thin clients by using service provider APIs as a proxy for directly analyzing the device. In each of these research areas, I also introduce structured formats that I customized to accommodate the unique features of the evidence sources while also facilitating tool interoperability and information sharing.
In this dissertation, I present my research to alleviate the difficulties forensic examiners currently face with respect to evidence originating from web environments. First, I introduce a framework for web environment forensics, which elaborates on and addresses the key challenges examiners face and outlines a method for how to approach web-based evidence. Next, I describe my work to identify extensions installed on encrypted web thin clients using only a sound understanding of these systems’ inner workings and the metadata of the encrypted files. Finally, I discuss my approach to reconstructing the timeline of events on encrypted web thin clients by using service provider APIs as a proxy for directly analyzing the device. In each of these research areas, I also introduce structured formats that I customized to accommodate the unique features of the evidence sources while also facilitating tool interoperability and information sharing.
ContributorsMabey, Michael Kent (Author) / Ahn, Gail-Joon (Thesis advisor) / Doupe, Adam (Thesis advisor) / Yau, Stephen S. (Committee member) / Lee, Joohyung (Committee member) / Zhao, Ziming (Committee member) / Arizona State University (Publisher)
Created2017
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Pandora is a play exploring our relationship with gendered technology through the lens of artificial intelligence. Can women be subjective under patriarchy? Do robots who look like women have subjectivity? Hoping to create a better version of ourselves, The Engineer must navigate the loss of her creation, and Pandora must navigate their new world. The original premiere run was March 27-28, 2018, original cast: Caitlin Andelora, Rikki Tremblay, and Michael Tristano Jr.
ContributorsToye, Abigail Elizabeth (Author) / Linde, Jennifer (Thesis director) / Abele, Kelsey (Committee member) / Department of Information Systems (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05