Andy Goldsworthy: Concepts of the Landscape

Andy Goldsworthy: Concepts of the Landscape Title: ‘Travel constructs a fictional relationship between gaze and landscape’ (M. Auge, â€Å"Non-Places,† 1995; p86). Does this statement seem to you to express a central insight about landscape and travel in the 20th century? Please discuss in relation to the work of Andy Goldsworthy. The Earthworks art of Andy Goldsworthy challenges, firstly, a classical art-historical conception of the landscape, and can also be implicitly responsive to the ‘supermodern’ sense of landscape and place, theorised by Marc Auge, in which â€Å"Vocabulary†¦ educates the gaze, informs the landscape[1].†. Goldsworthy captures the essence of place through texture, allusion to process and a mutual dependability on nature, as if to transform both the materials of the objects and the meaning of their often banal contexts. It is immediately evident that Goldsworthy’s works, in general, strongly accentuate texture and shape. Goldsworthy describes the working process as a tactile expression, implying the involvement of a multi-sensory extension of the body, a recurring artistic intention, especially through cues signifying touch and vision. â€Å"For me, looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins[2].† This obsession with recurring forms in nature using different materials has a ritualistic edge, where the earthworks have lost the purpose and functionalism of the commercial product. This tactile gaze, used as the central way of identifying the object, is further evoked through the use of text. For example, in a photograph of a spherical ice ball positioned aside a bleak Autumn bridge, his texts connotes the image not only in terms of its visual impact but also the texture implied by its aural qualities: â€Å"Stacked ice – sound of cracking.[3]† The shape and texture of the river in the 1988-9 Leadgate and Lambton Earthworks[4] symbolizes its sensual form in a way which still identifies it as relating to a river, but without the non-abstracted seamless visual art representation of a river. Goldsworthy describes this process: â€Å"The snake has evolved through a need to move close to the ground, sometimes below and sometimes above, an expression of the space it occupies[5].† Similarly, rather than use the language of signposts to designate a river (in its non-place), the use of more tactile cues reclaims the spectator’s newness of vision: in Auge’s words, the traveller (AG) is recapturing the landscape like it is â€Å"the first journey of birth†¦the primal experience of differentiation[6].†While Auge asserts that non-places â€Å" exist only through the words that evoke them,[7]† AG’s words work to clarify the gaze rather than condense it to a unified vision. But what constitutes this gaze? When we refer to his earthworks, are we referring only to the symbolic object, or the whole space inside the photo frame? Like a travel writer, a heightened perception or rediscovery of the landscape is the central tenet of Goldsworthy’s working process: â€Å"Some places I return to over and over again, going deeper- a relationship made in layers over a long time.[8]† There is a suggestion by AG that site or context affects and, to an extent, has a significant role in generating the features of his objects: When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it†¦The energy and space around a material are as important as the energy and space within[9] While the train, for Auge, is one of the greatest culprits behind the spectator’s fleeting vision of space, Goldsworthy’s immobilization and transposition of the train track and its practical function to a snaking †¦in the Lambton earthworks?, is a way for AG to recapture the essence of the landscape, to shift its perceptual status from non-place to place: â€Å"Staying in one place makes me more aware of change[10].† However, part of this awareness is awareness that the land itself is fleeting and transforming according to environmental ‘whim,’ and that the photograph merely represents a certain moment in a process. His emphasis on spontaneity and change according to environmental and climactic conditions, as well as his own sense of navigation, is significant because he is able to evoke the history of the object through capturing a synchronic moment in its processes. If we look at several of his works in which piles of material are neatly centred with a hollow hole[11], we sense their impermanence and a foreboding decay from seeing their present formal cohesion. A Cambridge earthwork with leaves is accompanied by this awareness in text, where a materialistic description of the object is transformed into a narrative of it: â€Å"Torn Hole/horse chestnut leaves stitched with stalks around the rim/moving in the wind[12].† Perhaps more than these smaller-scale earthworks, the earthworks in County Durham most forcefully use the concept of environmental process to allude to the movement of travel, not only through their obvious association with trains, but through the movement implied by the object, as â€Å" ripples from a thrown stone[13]†. Freezing these processes is a way of reawakening the senses, by both seeing the object statically without moving too fast and by being aware of its continuing narrative, rather than being driven by the â€Å"perpetual series of presents[14]† of those unrecognised non-places, exaggerated in Thomas Gursky’s digital photos . According to Auge, the language of signposts etc. does not heighten the spectator’s perception of a place, but merely substitutes their relationship to it as a mere passing acknowledgement.[15] Goldsworthy’s works seem to reclaim that historicity of the natural object that is lost in the immediacy of the commercial product[16], including the signs that describe and name features and punctuations in the land, trying to give it a sense of place. Challenging the prescriptions of discourse on our subjectivity, however, has always been a preoccupation in landscape art. Constable’s landscape paintings, for example, could represent a different challenge to the supermodern construction of landscape into a fleeting ‘non-place,’ through his holistic, static, formalist and panoramic vision of the land. While Goldsworthy reconfigures the landscape’s gaze beyond the static to an awareness of its morphology, materiality, unpredictability and precariousness, Constable and the landscape painters of the 18th century synchronized these natural irregularities, painting the clouds and sun simultaneously and consciously at different periods and freezing the movement of the Hay wain into a stance.[17] In Goldsworthy’s work, therefore, landscape is no longer a site, implying static, but a process, implying diachronic, in which the object and its place are interdependent. Throughout the earthworks photographs and their accompanying text, two main interconnected subjectivities emerge, both of which seem threatened by the dislocation through the â€Å"non-place:† organic nature and Goldsworthy, who is simultaneously a conscious manipulator of nature’s autonomous processes as well as driven by the manipulations of nature itself. The larger scope of his County Durham Leadgate and Lambton Earthworks, encourages a more structural and slightly cartographic gaze. A disused railway track becomes the site for a snaking sand track photographed aerially alongside rows of monotonous houses. Their juxtaposition, their mutual encroachment on one another and the snaking imprint’s echo of movement, in one sense seem to re-establish the inter-dependency of urban structures and nature, and the similarities in the way we perceive them despite serving different functions. In this sense, it allows greater insight to its organic qualities by its association. In a technical sense, it could be argued that there is a tension between Goldsworthy’s organic creations and their technological control by the intrinsic features of the photograph. However, any hint of the artist’s exploitation, evoked in works such as â€Å"Snowball in trees†[18] or in references to the name of the excavator driver in the Leadgate and Lambton Earthworks, is balanced out, in exchange, by their precarious existence in nature, where a rock could be precariously balanced on a boulder.[19] This relationship between nature and its manipulations is significant because it represents a reappropriation of our relationship with those places, designated by the artist’s symbols rather than the symbols of industry with which â€Å"individuals are supposed to interact only with texts, whose proponents are not individuals but ‘moral entities’ or institutions[20]†. Goldsworthy navigates and finds his non-prescribed place, by being led by climactic and environmental factors rather than such ‘moral entities.[21] Auge defines non-place in detail against the anthropological concept of place, where the traveller occupies a non-communicative, solitary space with the language of ticket machines and train timetables.[22] Accordingly, these public facilities and structures give the spectator an image of their individuality, or a ‘distanced’ simulated familiarity,[23] by discursively framing and displacing the ‘gaze’ and the individual ‘essence’ towards a simultaneous collective individuality, through the â€Å"individualization of references[24].† In contrast, by allowing the serendipitous influence of nature to produce a unique result on each object, each of the processes in the Earthworks produces individual objects, which, not over-prescribed by images and signs, evolve in partial autonomy. BIBLIOGRAPHY Auge, Marc, Non-Places: introduction to an anthropology of supermodernity, London: Verso, 1995. Baudrillard, Jean, The ecstasy of communication, trans. Bernard Caroline Schutze, ed. Slyvere Lotringer, Brooklyn, N.Y. : Autonomedia, 1988 Goldsworthy, Andy, Andy Goldsworthy, London: Penguin Group, 1990. Hand to Earth, Ed. Andy Goldsworthy. New York: Harry N. Abrams, Inc., 1993. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. Durham, NC: Duke University Press, 1991. Rosenthal, Michael, Constable, London Thames and Hudson Ltd, 1987 Rosenthal, Michael, â€Å"The Victorians and Beyond,† British Landscape Painting, Oxford: Phaidon Press Ltd., 1982 Footnotes [1]Marc Auge, Non-Places:introduction to an anthropology of supermodernity, 1995: Verso, London , p108 [2]Andy Goldsworthy, Andy Goldsworthy, 1990:Penguin Group, London , p1 [3]Andy Goldsworthy, â€Å"Stacked ice sound of cracking,† Hampstead Heath, 28 December 1985 [4] Andy Goldsworthy, â€Å"Leadgate and Lambton earthworks,† County Durham, Winter-Spring 1988-9 [5] Goldsworthy, p3 [6] Auge, p84 [7] opcit, p95 [8] Goldsworthy, p1 [9] ibid [10] ibid [11] For example, â€Å"Bracken,† Borrowdale, Cumbria, 13 February 1988; â€Å"Slate,† Stonewood, Dumfriesshire, Summer 1987, â€Å"Plane Leaves,† Castres, France, 19 October 1988. [12] Cambridge, 24 July 19886 [13] AG, p4 [14] Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. Durham, NC: Duke University Press, 1991. [15] Auges, p97 [16] Jean Baudrillard, The ecstasy of communication, trans. Bernard Caroline Schutze, ed. Slyvere Lotringer, Brooklyn, N.Y. : Autonomedia, 1988 [17]Michael Rosenthal, Constable, London Thames and Hudson Ltd, 1987 [18] [19] Rock on boulder work [20] Auge, p96 [21] AG, p1 [22] Auge, p107-8 [23] Auge, p106 [24] Auge, p109

Always Wanting More: Imperialism and Expansionism Essay -- American H

Going to the local grocery store while hungry is always on the list of things not to do. Why? Because while walking up and down the aisles, hunger decides to strike and more grocery items are added to the shopping cart. Another not to do idea for grocery shopping is taking little kids along for the trip. Why not for this one? Because the little kids will want even more in the cart than the hunger attack would. The 19th and 20th century United States of America was the little kids and the hunger attack in the scenario given above. America wanted more. They wanted more land, more power, more international influence, and more control. After being under the hands of Britain for majority of the 18th century, America was ready to explode and make a name for their self, and by their self. With this, no one was going to get in the way until America had made a name for itself. The plan may not have gone as smoothly as the political figures would have liked, but their plan must have worked. Since America is known for having the most resources and being one of the greatest problem solvers in the world , the game plan of making a name worked successfully. Expansion begins within oneself. America was not completely foolish and began trying to exhort their authority in matters where they did not belong when it was still just an eastern coast country. No, instead Americans and their political authorities had the brilliant idea of Manifest Destiny. The United States did not try to expand in any international way; instead they followed the baby steps method. Manifest Destiny was the beginning to expansion that will probably never end. With this, America expanded physically as well as mentally. The Manifest Destiny idea gave Americans the moti... ...hens, GA, September 26, 2011. Farber, David. Taken Hostage: The Iran Hostage Crisis and America's First Encounter With Radical Islam. Princeton, NJ: Princeton University Press, 2005. Logli, Michael. "Greencastle Banner-Graphic: Local News: Lee Hamilton talks about American influence in the world (3/16/11)." Banner Graphic. March 16, 2011. http://www.bannergraphic.com/story/1710813.html (accessed November 22, 2011). Platt Amendment. CourseReader. Detroit: Gale, 2010. "President Dwight D. Eisenhower Explains the Domino Theory." Public Papers of the Presidents: Dwight D. Eisenhower, 1954. Washington: U.S. Government Printing Office, 1958. 381-90. CourseReader. Detroit: Gale, 2010. University of Houston. "Westward Expansion: Manifest Destiny." Digital History. 2006. http://www.digitalhistory.uh.edu/database/article_display.cfm?HHID=311 (accessed November 22, 2011).

Satire in Oscar Wildes The Importance of Being Earnest Essay -- The I

Satire in Oscar Wilde's The Importance of Being Earnest The Importance of Being Earnest is a comedy of manners, whereby Oscar Wilde uses satire to ridicule marriage, love and the mentality of the Victorian aristocratic society. It can also be referred to as a satiric comedy. What is a satire and what is Oscar Wilde trying to emphasize by employing it in his play? A satiric comedy ridicules political policies or attacks deviations from social order by making ridiculous, the violators of its standards of morals or manners. Usually, a satiric piece doesn't serve only as a form of criticism, but to correct flaws in the characters or to somehow make them better in the end. The pun on the word "Earnest" suggests two things; it stands for the name but also refers to honesty and integrity. It is also known as a `one joke' or a play on words. Though the name is spelt as "Ernest" the reader still recognizes the double meaning of the title. Two of the main characters, Jack and Algernon, strive to be "Ernest" and "Earnest" in the play, yet they both deceive others to escape lives which they grow tired of. They both hope to marry the girls that they love, yet they are starting the relationships base on false pretence and lies. It is ironic that they both call themselves "Ernest," a name that suggests honesty and sincerity, yet they both create stories to escape something or the other. Jack creates a brother called "Ernest" in the city that he uses as a `scape goat' to leave his prim and proper, respectable country life, whereas Algernon creates a friend by the name of "Bunbury" to escape his aunt's high class society parties. He shows his lack of interest in s uch social events when he tells Jack, She will place me next to Mary Far... ... and the stern mask that Lady Bracknell wears slowly turns into a smile. In conclusion, The Importance of Being Earnest strongly focuses on those of the upper class society and the vanity of the aristocrats who place emphasis on trivial matters concerning marriage. Both Algernon and Jack assume the identity of "Ernest" yet ironically, they both are beginning their marital lives based on deception and lies. Lady Bracknell represents the archetypal aristocrat who forces the concept of a marriage based on wealth or status rather than love. Through farce and exaggeration, Wilde satirically reveals the foolish and trivial matters that the upper class society looks upon as being important. As said earlier, a satiric piece usually has a didactic side to it. In this case, Lady Bracknell learns that the same person she was criticising is actually her own flesh and blood. Satire in Oscar Wilde's The Importance of Being Earnest Essay -- The I Satire in Oscar Wilde's The Importance of Being Earnest The Importance of Being Earnest is a comedy of manners, whereby Oscar Wilde uses satire to ridicule marriage, love and the mentality of the Victorian aristocratic society. It can also be referred to as a satiric comedy. What is a satire and what is Oscar Wilde trying to emphasize by employing it in his play? A satiric comedy ridicules political policies or attacks deviations from social order by making ridiculous, the violators of its standards of morals or manners. Usually, a satiric piece doesn't serve only as a form of criticism, but to correct flaws in the characters or to somehow make them better in the end. The pun on the word "Earnest" suggests two things; it stands for the name but also refers to honesty and integrity. It is also known as a `one joke' or a play on words. Though the name is spelt as "Ernest" the reader still recognizes the double meaning of the title. Two of the main characters, Jack and Algernon, strive to be "Ernest" and "Earnest" in the play, yet they both deceive others to escape lives which they grow tired of. They both hope to marry the girls that they love, yet they are starting the relationships base on false pretence and lies. It is ironic that they both call themselves "Ernest," a name that suggests honesty and sincerity, yet they both create stories to escape something or the other. Jack creates a brother called "Ernest" in the city that he uses as a `scape goat' to leave his prim and proper, respectable country life, whereas Algernon creates a friend by the name of "Bunbury" to escape his aunt's high class society parties. He shows his lack of interest in s uch social events when he tells Jack, She will place me next to Mary Far... ... and the stern mask that Lady Bracknell wears slowly turns into a smile. In conclusion, The Importance of Being Earnest strongly focuses on those of the upper class society and the vanity of the aristocrats who place emphasis on trivial matters concerning marriage. Both Algernon and Jack assume the identity of "Ernest" yet ironically, they both are beginning their marital lives based on deception and lies. Lady Bracknell represents the archetypal aristocrat who forces the concept of a marriage based on wealth or status rather than love. Through farce and exaggeration, Wilde satirically reveals the foolish and trivial matters that the upper class society looks upon as being important. As said earlier, a satiric piece usually has a didactic side to it. In this case, Lady Bracknell learns that the same person she was criticising is actually her own flesh and blood.

Art and History Displayed at the Pompeii Exhibition at LACMA Essay

The Pompeii exhibition at LACMA was an astounding visualization of history. The exhibition provided all sorts of objects; from sculptures, glass figures, painted art, and more. These art pieces specify the kind of life that was taking place in the Bay of Naples during the second century. As we know the cities around the Bay of Naples, which include Pompeii and Herculaneum, became tourist attractions when the cities were excavated after they were buried from the volcanic eruption of Mount Vesuvius. However, the comprehension of how the art pieces made their way into the museum is just a little fact of the history behind them. With this exhibition we are able to feel like we are back in time and living in the exhilarating time of Pompeii. At the start of the exhibition we are presented with various busts and sculptures of certain, and presumably famous, figures. It is when we see the sculpture of Aphrodite (see Fig. 1) that we start sensing the significance of the exhibition. These sculptures were the norm during the second century in the Bay of Naples, and by viewing the intricate details in each art piece we understand how worthy each work meant to each of the artists. The sculpture of Aphrodite portrayed a serene greeting to the exhibitors. She stood in the middle welcoming us with a soft and warm smile. Through this sculpture we view how the Pompeii artist was following the Greek perception of the human body such as what we see in Polykleitos’ sculpture, Doryphoros; Aphrodite stands with the weight shifted on to her left foot portraying the cross balance of the human body. Once we appreciate the first art room we are then presented with various pieces of the gardens that were found around the Bay of Naples. In, w... ...hristen Kobke were on display including The Forum at Pompeii. The Forum painting depicts a tragic scene of Pompeii as it sits torn and destructed. Novels and photo albums also are displayed at the end of the exhibition. However, one of the last sculptures on view, Nydia, The Blind Girl of Pompeii (see Fig. 4), provides us with the fact that many people were truly inspired by the great tragic story of Pompeii. The sculpture of Nydia expresses the sadness and horror that many had experienced during that time. The Pompeii exhibition featured a number of objects, and how these objects were showed to the public presented a story. We were welcomed by the people into the home and gardens. Later we were given our parting with the photo albums and illuminated Pompeii art. This exhibition shows how much information and history can be presented in a few pieces of art.

Dos Attack & Mitigation

DDOS Attack and its Mitigation – Simulation in GNS3 Summary: A private LAN network comprising of hundreds of end devices and several servers in DMZ is protected by Cisco ASA (Firewall). In the internet the most commonly found network attack is to take down enterprise resources by DDOS(Distributed Denial of Service) attack either on Servers(which will impact hundreds of end users) or on the network resources like routers itself.In this practical simulation we will analyse how a DOS attack happens on web server placed in DMZ from the internet via traffic flooding, and how we can fine tune ASA to mitigate and stop further attacks on the network. Devices used: a) b) c) d) e) Attacker PC – Windows XP – Service Pack3 Web server (Simulated in GNS3) ASA Version 8. 4 (Simulated in GNS3) Cisco Router – 3750 (Simulated in GNS3) Ethernet Switch (Simulated in GNS3) Software used: a) Wireshark (version – 1. 6. 8) b) GNS3 (Version – 0. 8. 3. 1) c) Net tools (Version – 5. 0. ) Step 1: Install Windows XP (SP3) on a virtual machine, (in this case we have used Oracle’s virtual box). This step is to make sure that the system may not get infected with the virus which comes packed with hacking and network monitoring tools. Furthermore, as we are using a virtual operating system, we will be sure that, our actual working pc may not be affected with our experiments. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 1 Image 1: The Oracle virtual box manager showing windows XP(SP3) Step 2: Install GNS3 (Graphical Network Simulator) inside the virtual XP.Image 2: Image of GNS3 installed and running on virtual XP In the above image, the circle shows the virtual network appliances, i. e. routers, switches, bridges, firewall and IPS/IDS are available for simulation using GNS3. In most cases GNS3 comes with Putty, Wireshark bundled. In case if GNS3 doesn’t have Wireshark, we have to instal l Wireshark on the virtual XP machine too. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 2 Image 3: This image represents the Wireshark software, installed and running on virtual XP.Step 3: Install Net Tools (Network monitoring & Hacking Tool) in the same virtual XP machine. This tool can be used to monitor Network activities and can be used as a potential hacking tool. In this simulation we will use this tool to flood the server with icmp packets, which will lead to a DOS attack on the server. Image 4: This represents the Net Tools, which is installed and running on Virtual XP. Step 4: Now, we will setup the devices required to simulate a DOS attack, in the GNS3 software. a) Setup a Microsoft loopback adapter in Windows XP and assign a public IP address to this.This virtual XP will act as the attacker PC from the internet. b) To create a loopback adapter, the first step is to go to command prompt and type the command â€Å"hdwwiz. exeà ¢â‚¬ , this is the shortest way to add a new hardware. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 3 c) Now the â€Å"Add new hardware† wizard will come up and select the second option which says, â€Å"Install the hardware manually†, as shown in the above image. d) On the next screen, please select â€Å"Network Adapters†, from the hardware list, as shown in the above image. ttps://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 4 e) On the next screen, please select â€Å"Microsoft† from the vendor list and â€Å"Microsoft Loopback Adapter† from the Network adapter list as shown in the above image. f) Now Microsoft loopback adapter is added to windows XP, and this can be viewed under Network Connections in Control panel, as seen in the below image. g) Next step is to configure an ip address to this loopback adapter, so that this adapter can be connected to one of the routers in the simulated internet cloud in GNS3.At this point we have to make sure that the Loopback adapter’s ip address should be something in the public IP range and the interface of the router which is pointing towards the internet should be in the â€Å"same†, public IP range. h) Let us configure the loopback adapter’s ip address as 20. 1. 1. 100/24, and set the default gateway as 20. 1. 1. 1 as shown in the below image. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 5 i) The above configuration means that the virtual XP can also be access by the ip address 20. 1. 1. 100 and the default gateway i. . router’s interface which is connecting to the switch has an ip address of 20. 1. 1. 1. j) In the next step, we are going to create a topology, through which we can simulate the DOS attack, after we create the topology, we have to connect our virtual XP to the topology, which actually represents the interne t cloud, a server placed in the DMZ of a corporate (in actual configuration it is placed in Inside zone) and the attacker PC in the internet (i. e. the virtual XP). Between the internet(outside) and the Corporate LAN, we have placed an ASA(Adaptive security Appliance) version 8. , which is has all the functionalities of a firewall and features like NAT, Routing, VPN, AAA services etc. hence it is called UTM(Unified Threat Management) device. The topology which we are going to use for the DOS simulation is in the below image. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 6 Configuration: a) Web Server – IP address: 10. 1. 1. 100/24 Zone: Inside Device: Router c7200 used as a web server. Running configuration of this device : version 12. 2 interface FastEthernet0/0 ip address 10. 1. 1. 100 255. 255. 255. speed auto duplex auto ip http server no ip http secure-server ip route 0. 0. 0. 0 0. 0. 0. 0 10. 1. 1. 1 b) Firewall – IP address : https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 7 Inside zone interface – 10. 1. 1. 1 (which acts as gateway for LAN users) Outside zone interface – 1. 1. 1. 1 Access-lists: Configuration before DOS security on firewall ASA Version 8. 4(2) ! hostname ciscoasa enable password 8Ry2YjIyt7RRXU24 encrypted passwd 2KFQnbNIdI. 2KYOU encrypted names ! interface GigabitEthernet0 nameif outside security-level 0 ip address 1. 1. . 1 255. 255. 255. 0 ! interface GigabitEthernet1 nameif inside security-level 100 ip address 10. 1. 1. 1 255. 255. 255. 0 access-list out-in extended permit icmp any any access-group out-in in interface outside route outside 0. 0. 0. 0 0. 0. 0. 0 1. 1. 1. 2 1 c) Gateway router for attacker PC: Ip address – Interface towards firewall – 1. 1. 1. 2/24 Interface towards attacker PC – 20. 1. 1. 1/24 Configuration – https://www. elance. com/s/feroz_sm/ https://www. odesk. com/use rs/~013128626566145b05 Page 8 interface FastEthernet0/0 ip address 1. 1. 1. 2 255. 255. 255. 0 duplex auto speed auto ! nterface FastEthernet0/1 ip address 20. 1. 1. 1 255. 255. 255. 0 duplex auto speed auto ! ip forward-protocol nd ip route 10. 1. 1. 0 255. 255. 255. 0 1. 1. 1. 1 no ip http server no ip http secure-server Attacker PC: Ip address – 20. 1. 1. 100/24 Operating system – Windows XP – SP3 Location – Internet Connectivity Tests: Now that we have all the devices setup and connected, we should test whether the attacker PC can actually reach the web server, after all if there is no reachability, the DOS attack is not possible. We can find this using a simple and trace route test, as shown in the below images. https://www. lance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 9 https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 10 By the above images, we can find that, the attacker pc has access network reachability to the webserver from the internet. Launch of the attack on webserver using Net tools: In our simulation task we use Net tools 5, which is a network monitoring tool and a hacking tool as well. In the first step, we will check whether the Net tools is able to ping the webserver, by going into network tools -> ping option, as shown in the below image. ttps://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 11 We can verify that the software is able to send successful ICMP packets to the web server. This is possible, as we have opened an access control list (ACL) in the firewall which allows any ICMP packets from the internet to the LAN or DMZ. We will analyse what is happening during the Ping, at the packet level using Wireshark. As we can see, four ICMP packets have been sent from the source 20. 1. 1. 100 to destination 10. 1. 1. 100(web server) and the ping is successful.We can also observe that all the 4 packets we sent and received from the internet to the web server in 2 seconds. In the next step we are actually going to deliver the DOS attack on the server, without enabling DOS security on the firewall. To create the DOS attack, first we need to go to Network tools and Http flooder (DOS) in the NetTools, as shown in the below image. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 12 In our case we need to give 10. 1. 1. 100 as the Ip to flood instead of 127. 0. 0. 1.As soon as we hit the start button, the web server is under DOS attack as seen in the below wireshark analysis. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 13 As we can observe that hundreds of syn packets from the source 20. 1. 1. 100 are flooded to destination 10. 1. 1. 100 in less than â€Å"one† second. The below image from Cisco’s website, clearly elaborates, what happens in a typical syn flood attack, which represents the above Wireshark capture. The description of each packet says it is a â€Å"SYN† packet, that means it is a half open connection, without the TCP 3 way handshake.With these SYN packets, a certain amount of buffer is allocated for each SYN packet and in less than a minute all the server resources are allocated to these half open connections and the servers failed to respond to genuine queries, stating that it us under Denial Of Service (DOS) attack. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 14 Mitigation techniques: As we have already discussed, a Cisco ASA firewall can be very helpful in mitigating and stopping DOS attacks on LAN or DMZ servers. The above image from Cisco’s website, describes how ASA firewall stop syn flood attacks can.In this process we will limit the number of â€Å"embryonic† or â€Å"half open connections† a client can have. If the embryonic connection limit is reached, then the se curity appliance responds to every SYN packet sent to the server with a SYN+ACK, and does not pass the SYN packet to the internal server. If the external device responds with an ACK packet, then the security appliance knows it is a valid request (and not part of a potential SYN attack). The security appliance then establishes a connection with the server and joins the connections together.If the security appliance does not get an ACK back from the server, it aggressively times out that embryonic connection. In this scenario we have used Modular Policy Frame work, which limits number of half open connections to the server and thus stops DOS attack. We have used the below configuration in the Firewall to stop half open connections, which will have a maximum of â€Å"100† open connections, a maximum of â€Å"200† embryonic connections, and a maximum of â€Å"10† embryonic connections from a particular client (identified by an IP address).Furthermore we have set con nection timeout timer for a normal connection as 2 hours, timeout for embryonic connections as â€Å"45† seconds and â€Å"25† minutes for a half closed connection. Firewall(config)#class-map tcp_syn Firewall(config-cmap)#match port tcp eq 80 Firewall(config-cmap)#exit Firewall(config)#policy-map tcpmap https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 15Firewall(config-pmap)#class tcp_syn Firewall(config-pmap-c)#set connection conn-max 100 Firewall(config-pmap-c)#set connection embryonic-conn-max 200 Firewall(config-pmap-c)#set connection per-client-embryonic-max 10 Firewall(config-pmap-c)#set connection per-client-max 5 Firewall(config-pmap-c)#set connection random-sequence-number enable Firewall(config-pmap-c)#set connection timeout embryonic 0:0:45 Firewall(config-pmap-c)#set connection timeout half-closed 0:25:0 Firewall(config-pmap-c)#set connection timeout tcp 2:0:0 Firewall(config-pmap-c)#exit Firewall(config-pmap)#exit Firewall(config)#service-policy tcpmap global Now we will run a DOS attack on the server after the security is enabled and check what will be Wireshark output. The below image shows that the attacker PC is still able to ping the web server, after we have enabled DOS security, but it is able to ping because, this is a normal ping. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 16 The above image represents the wireshark capture between the Internet router and the firewall, which clearly shows that syn flood attack is happening from source 20. 1. 1. 100 to destination 10. 1. 1. 100, and we can see hundreds of packets flooding 10. 1. 1. 100 in less than a second.At the same time the above image shows the wireshark capture between the firewall and web server, which clearly explains that all the syn-flood packets have been dropped by the firewall as soon as they reach it. At the same time we can obser ve normal ping packets which came from th e attacker pc which have been passed by the firewall. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 17 Inference: The above simulation experiment shows that the firewall before the corporate network has stopped one of the most common attacks over servers, i. e. the DOS attack, using Modular Policy Frame work, which can be used to define intersting traffic and the actions to be taken on that traffic. https://www. elance. com/s/feroz_sm/ https://www. odesk. com/users/~013128626566145b05 Page 18

Concept Analysis Process

image Analysis Process Aim/ solve To clarify the meaning of the term undecomposed Definition Expert 1. A individual who has a especial(a) skill or knowledge in some peculiar(a)(a) sphere of influence specialist authority 2. In the military it is noted as the highest evaluate in rifle sharpshootership, above that of marksman and sharp shooter. Or B which is the mortal who has attained that high rating 3. Possessing special skill or knowledge adroit by practice skilled 4. Pertaining to, sexual climax from, or characteristic of an right i. e. in force(p) advice Attributes- experience, specialized, theoretical, and practical knowledge, highly developed skills, a priori patterns of functioning, recognition by others. Antecedents 1. A schoolchild of the particular field of study he/she wishes to become an practised in 2. An invention with the accreditation to teach/train others in the particular field 3. The earning of the highest educational degree afforded to a person in side that particular field of study 4. At least 5 years of experience/practice within the particular field Consequences . Individual obtains assurance 2. Individual makes more indep haltent decisions in relation to skilled knowledge 3. Peers notice intimidated by individual 4. Peers go to individual for advice empirical Refinements-consensus amongst those in a profession for defining criteria and specific competencies slipway of clear-sighted Empirical know was utilize by the group as a whole and individually. Empirical is the scientific study found in data, observations, research, inquiries and so forth. eccentric Empirical knowledge was used for understanding and defining the term expert. Aesthetical knowing is allied to creativity transforming the intangible to tangible. Example Aesthetical knowing was in walkaway during this statement. After reading our assignments, research, discussions understanding of mental object while transform into reality via the end product, the finished paper. Personal knowing is obtained by means of life our ancestrys, home life, and recreation. After expert is defined, our experiences defines what the term means to each of us.For some, expert is a resource person that we opposition to lead projects or captain a team. An expert can be a role model that we aspire to mime or someone we and our colleagues place in a position of authority. Ethical knowing is what guides us. It is the center of who we are and what we know as right vs. wrong. Ethical knowing is obtained through our culture, religion and belief system. Example the loss leader utilized ethical knowing to assign each of us equal, fair job duties for this assignment.

Media Violence Not Good for Children Essay

The effects of media abandon on tykeren have been studied for over thirty days, with researchers repeatedly finding correlations between aggressive/ crimson way and the viewing of media violence. These education and psychology researchers began asserting years ago that a cause-and-effect relationship existed, i.e., viewing media violence was one of the causative factors in aggressive doings in children. We oft use the phrase that children atomic number 18 impressionable. We mean that children do not adjoin the man through the same filter of experience that adults do. Children see things more literally. They do not yet experience the sophisticated sensibilities to distinguish fiction from reality. It matters a broad deal, therefore, how much TV children watch and what they view.Young children often mimic what they see. Parents and caretakers observe this regularly. If children see race punching and kicking, they whitethorn act out that same behavior. Older children devel op, through years of watching, sub-conscious mental plans of how they will fight in conflict situations. For years they have seen conflicts resolved by violence, and they sub-consciously develop the same reaction plan. When confronted with a conflict, the temperament is to react the way they have seen countless others reactin a combative, aggressive or violent manner. Researchers call this developing a cognitive script. finished television, video games, and movies, children and teens view countless acts of violence, brutality, and terror as part of entertainment. They become conditioned to associating violence with entertainment. This is the untainted conditioning. First-person shooter video games develop our childrens skills in operating weapons. The games reward marksmanship, and further reinforce the standoff of killing with entertainment.In the past, the heroes of movie and television shows were unremarkably people who strictly followed the law. Now, heroes are often people who take the law into their own hands, who see an iniquity or evil and seek to rectify it personally, sometimes brutally, regardless of the consequences. Such portrayals signal to a child societys approval of that behavior. Lacking the astuteness that comes with age, a child who feels he has been dealt with unfairly may copy that behavior, with disastrous consequences