Protection of an intrusion detection engine with watermarking in ad hoc networks

Mobile ad hoc networks have received great attention in recent years, mainly due to the evolution of wireless networking and mobile computing hardware. Nevertheless, many inherent vulnerabilities exist in mobile ad hoc networks and their applications that affect the security of wireless transactions. As intrusion prevention mechanisms, such as encryption and authentication, are not sufficient we need a second line of defense, Intrusion Detection. In this pa-per we present an intrusion detection engine based on neural networks and a protection method based on watermarking techniques. In particular, we exploit information visualization and machine learning techniques in order to achieve intrusion detection and we authenticate the maps produced by the application of the intelligent techniques using a novel combined watermarking embedding method. The performance of the proposed model is evaluated under different traffic conditions, mobility patterns and visualization metrics

Creating an Unbroken Line of Becoming in Live Music Performance

The dissertation provides an approach to the pedagogy of musical expression in applied music study. Exercises are provided which support a student’s mastery of the mechanics of grouping, and this mastery is put to work in an adaptation of the work of the great Russian acting teacher, Constantine Stanislavski. Mapping of embodiment schema in the manner of Lakoff and Johnson (1980) is asserted as a useful interface between grouped pitch objects and meaning; mappings are utilized by the instrumental music performer in the same manner as Stanislavski taught his acting students to utilize given circumstances. The discourse situates all of these skills in a gradually-emerging present; the exercises challenge the student to achieve what Stanislavski calls an unbroken line—a spontaneous and unique line of continually-restructuring narrative that evolves in real-time. Throughout the work, the phenomenon of grouping is examined in terms of (1) its relationship to meaning, (2) the physiology which supports it, (3) the Gestalt laws of similarity and trajectory which model it, (4) the parameters of unmarked performance nuance (vibrato, articulation, etc.) which can be used by a performer to project it, and (5) the state of continual evolution which characterizes it in the diachronic context of music

Activity in area V3A predicts positions of moving objects

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