1,720,965 research outputs found
HackCar: a test platform for attacks and defenses on a cost-contained automotive architecture
No full textIn this paper, we introduce the design of HackCar, a testing platform for replicating attacks and defenses on a generic automotive system without requiring access to a complete vehicle. This platform empowers security researchers to illustrate the consequences of attacks targeting an automotive system on a realistic platform, facilitating the development and testing of security countermeasures against both existing and novel attacks. The HackCar platform is built upon an F1-10th model, to which various automotive-grade microcontrollers are connected through automotive communication protocols. This solution is crafted to be entirely modular, allowing for the creation of diverse test scenarios. Researchers and practitioners can thus develop innovative security solutions while adhering to the constraints of automotive-grade microcontrollers. We showcase our design by comparing it with a real, licensed, and unmodified vehicle. Additionally, we analyze the behavior of the HackCar in both an attack-free scenario and a scenario where an attack on in-vehicle communication is deployed
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Nello studio dell’architetto. La prassi del disegno nell’attività professionale di Giacomo Quarenghi
No full textNella sterminata produzione grafica di Giacomo Quarenghi, i disegni rappresentano momenti diversi dell'attività dell'architetto e dei suoi collaboratori. Il saggio esamina in questa chiave alcune serie di disegni: disegni di presentazione, autografi e in collaborazione; disegni destinati a organizzare il lavoro delle maestranze; disegni ordinati e conservati nelo studio dell'architetto a documentazione del proprio lavoro.In Giacomo Quarenghi's endless graphic production, the drawings represent different moments of the work of the architect and his collaborators. The essay examines some series of drawings in this key: presentation drawings, autographs and in collaboration; drawings intended to organize the work of the workers; drawings ordered and kept in the architect's studio to document his work
1.25 Istituto delle damigelle nobili presso il Monastero di Smol'nyi, San Pietroburgo
No full textanalisi dei disegni e del progetto di Giacomo Quarengh
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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