A Novel Trust Model In Detecting Final-Phase Attacks in Substations

Summary Excavations at Newton have revealed three phases of land use. Mesolithic activity was restricted to small flint working and domestic sites. A Neolithic phase appears to relate to a fragile soil resource which rapidly declined in quality. The final phase, possibly related to a Christian Irish presence on the island, occurs late in the sequence.

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Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah

Journal of Musicology ◽

10.1525/jm.2015.32.1.40 ◽

2015 ◽

Vol 32 (1) ◽

pp. 40-77

Author(s):

Peter Mercer-Taylor

Keyword(s):

Second Phase ◽

Divine Presence ◽

Final Phase ◽

Public And Private ◽

The Public ◽

The Third ◽

Interpretive Approach ◽

Will To Live ◽

Three Phases

The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

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Research on mobile Internet mobile agent system dynamic trust model for cloud computing

China Communications ◽

10.23919/jcc.2019.07.014 ◽

2019 ◽

Vol 16 (7) ◽

pp. 174-194 ◽

Cited By ~ 3

Author(s):

Weijin Jiang ◽

Yang Wang ◽

Yirong Jiang ◽

Jiahui Chen ◽

Yuhui Xu ◽

...

Keyword(s):

Cloud Computing ◽

Mobile Agent ◽

Trust Model ◽

Mobile Internet ◽

System Dynamic ◽

Agent System ◽

Dynamic Trust

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Dynamic trust model of P2P networks based on task ranking

Management Innovation and Information Technology ◽

10.2495/miit130821 ◽

2014 ◽

Author(s):

Linsheng Zhao ◽

Xuedong Li

Keyword(s):

Trust Model ◽

P2p Networks ◽

Dynamic Trust ◽

Task Ranking

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Aplikasi Pendayagunaan Asam In-Situ pada Kulit Pikel Terbuang untuk Pembuatan Gelatin Pangan

Jurnal Riset Teknologi Industri ◽

10.26578/jrti.v9i2.1717 ◽

2016 ◽

Vol 9 (2) ◽

pp. 187-197

Author(s):

Sugihartono Sugihartono

Keyword(s):

Food Industry ◽

Type A ◽

Collagen Fibers ◽

Final Phase ◽

Acid Base ◽

Salt Hydrate ◽

Food Grade ◽

Hydrolyze Collagen ◽

Waste Acid

Skinswaste at pre-tanning operations can be processed into food grade gelatin. The degradation of collagen using acid, base, or enzymes produced gelatin. Pickle skins is skins that acidified, the results of the final phase of the pre-tanning operations. The addition of salt on the skin makes the skins pickle not swollen, produced a wide space between collagen fibers and collagen can not be degraded. Thereby directly extract pickle skins or waste will not be obtained gelatin.This study discussed the processing of food gelatin type A pickle skins through the utilization of waste acid it contains. The discussion includes the components of animal skins, pre-tanning waste, acidification of skins, processing gelatin and gelatin from skins picklewaste and usefulness for the food industry. Salt hydrate collagen fibers in the skin pickle including waste can be separated by washing, to a certain extent still acidic skins waste. The remaining acid on the skins pickle waste can be utilized to hydrolyze collagen into gelatin. The resulting gelatin is gelatin type A, that can be used for food industry.ABSTRAKKulit limbah pada operasi pra-penyamakan dapat diolah menjadi gelatin pangan. Pemecahan kolagen menggunakan asam, basa, atau enzim dihasilkan gelatin. Kulit pikel merupakan kulit yang diasamkan, hasil dari tahap akhir operasi pra-penyamakan. Penambahan garam pada kulit pikel menjadikan kulit tidak bengkak, menghasilkan ruang lebar diantara serat kolagen dan menjadikan kolagen tidak dapat terdegradasi. Hal ini berarti ekstrak secara langsung kulit pikel atau limbahnya tidak akan diperoleh gelatin. Dalam kajian ini dibahas pengolahan gelatin pangan tipe A dari kulit pikel limbah melalui pendayagunaan asam yang dikandungnya. Bahasan mencakup komponen kulit hewan, limbah pra-penyamakan, pengasaman kulit, pengolahan gelatin, dan pengolahan gelatin dari kulit pikel limbah melalui pendayagunaan asam yang dikandungnya serta kegunaannya untuk industri pangan. Garam yang menghidrasi serat kolagen pada kulit pikel termasuk limbahnya dapat dipisahkan dengan cara pencucian, sampai batas tertentu kulit limbah masih bersifat asam. Asam yang tersisa pada kulit pikel limbah tersebut dapat didayagunakan untuk menghidrolisis kolagen menjadi gelatin. Gelatin yang dihasilkan adalah gelatin tipe A, dapat digunakan untuk keperluan industri pangan. Kata kunci : Kulit pikel limbah, gelatin, pengasaman, pangan.

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Before Six Years After. Notes on the re-emergence of a film archive in Guinea-Bissau

Widok. Teorie i Praktyki Kultury Wizualnej - Siła kobiet ◽

10.36854/widok/2014.7.1429 ◽

2014 ◽

Author(s):

Tobias Hering

Keyword(s):

Documentary Film ◽

Film Production ◽

Final Phase ◽

Guinea Bissau ◽

Ongoing Project

In 2011, the artist Filipa César was given access to the archive of the Instituto Nacional de Cinema e Audiovisual (INCA) in Bissau, which holds the remains of a precarious but dedicated documentary film production during the final phase of the liberation war and the first years of independence in Guinea-Bissau (roughly from 1972 to 1980). Together with two of the film-makers involved, Flora Gomes and Sana na N'Hada, and a group of researchers and film-makers from Bissau, Filipa César is since then engaged in an ongoing project experimenting with various forms of re-visualization and re-evaluation of this archive. Tobias Hering has participated in this process on several occasions and wrote about it in the essay "Before six years after," published for Filipa César's exhibition at Jeu de Paume (Paris) in October 2012. The text published here is a critically revised and annotated version of this earlier essay.

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