Cruise Missile Integrated Air Defense System Penetration: Modeling the S-400 System

This research determines improved flight-path routes that make maximum utilization of terrain-masking opportunities, and defending radar and missile system equipment performance and launch timing constraints, in order to avoid radar detection and tracking, and to mitigate subsequent missile shoot-down risks. The problem is formulated as one of constrained optimization in three dimensions. Advantageous solutions are identified using the A* Algorithm in conjunction with detailed equipment performance and constraint calculations and high-resolution digital terrain elevation maps. Topographical features in digital terrain are exploited by the algorithm to avoid radar detection and tracking. The model includes provisions for all-aspect/all-frequency radar cross section variations, radar horizon masking, and specific factors relevant to the TLAM BGM-109 cruise missile and the Russian S-400 long-range and Pantsir point-defense IADS systems. Research conclusions indicate that intelligent exploitation of modeled system technical and performance capabilities and limitations yields improved survivability in conjunction with, and supplementing, terrain masking

Analisis Sentimen Penonton Pada Video Habib Ja’Far Melalui Aplikasi MAXQDA

Abstrak: Jeda Nulis adalah sebuah channel Youtube milik ulama muslim muda ternama di Indonesia yaitu Habib Husein Ja’far Al Hadar. Adapun isi konten – konten dakwah Habib Ja’far Al Hadar antara lain memiliki sasaran para kaum muda muda millennial di Indonesia. Salah satu contohnya adalah konten video yang berjudul “Avenger Endgame” yang berisi obrolan para beberapa pemuka agama di Indonesia yang membahas tentang Toleransi Beragama. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana respon Netizen Indonesia dalam menyikapi dan berkomentar dalam konten tersebut yang dimana tema dari konten tersebut cukup sensitif bagi beberapa masyarakat. Metode penelitian yang digunakan adalah metode analisis sentimen dengan dibantu menggunakan aplikasi MAXQDA. Konten yang berjudul “Avenger Endgame” tersebut tentunya dapat membuat prespektif baru dalam konteks Toleransi Beragama di Indonesia, bagaima respon Netizen Youtube Indonesia apakah setuju atau tidak setuju tentang pesan – pesan yang di sampaikan tentang Toleransi Beragama dalam konten tersebut. Abstract: Jeda Nulis is a Youtube channel owned by a well-known young Muslim cleric in Indonesia, namely Habib Husein Ja'far Al Hadar. The content of Habib Ja'far Al Hadar's proselytizing content, among others, has the target of young millennial young people in Indonesia. One example is the video content entitled "Avenger Endgame" which contains chats between several religious leaders in Indonesia discussing Religious Tolerance. The purpose of this study is to find out how Indonesian netizens respond to and comment on the content where the theme of the content is quite sensitive for some people.  The research method used is the sentiment analysis method assisted by the MAXQDA application.  The content entitled "Avenger Endgame" can certainly create a new perspective in the context of Religious Tolerance in Indonesia, such as the response of Indonesian Youtube Netizens whether they agree or disagree about the messages conveyed about Religious Tolerance in the conten

The reflection of the wastelands of Waiting for Godot and Endgame in electronic media

The Reflection of the Wastelands of Waiting for Godot and Endgame in Electronic Media is a study of the wasteland settings of Waiting for Godot, Endgame, and the Internet according to the method of play analysis established by Bruce McConachie in American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947- 1962. Chapter One establishes my justification, methodology, structure, and survey of literature. Chapters Two-Four explore isolation and language, magic, and death in regard to Godot, Endgame, and the Internet, respectively. Chapter Four also briefly concludes the work. This thesis invites spectators to examine Waiting for Godot and Endgame in regard to electronic media, which helps us to understand both Beckett\u27s work and electronic media in a scholarly, theatrical context that discrete analyses could not singularly achieve

Feckham, Peckham, Fulham, Clapham…Hammersmith: Beckett at Riverside Studios

By 1980 Samuel Beckett had directed and supervised productions of his drama in a number of major UK and European theatres including the Royal Court, the National Theatre and the Schiller Theater. Why were his final theatrical productions rehearsed at an arts centre in Hammersmith? Situated on the banks of the Thames in Hammersmith, West London, and on the margins of London’s theatrical and artistic centre, during the 1980s the Riverside Studios was an international arts centre that programmed major artists including Tadeusz Kantor, Dario Fo, Joan Miro and David Hockney. In what would be the last productions he would work on, Beckett directed the San Quentin Drama Workshop on productions of Endgame (1980) and Waiting for Godot (1984); productions that would begin their life in London and later be produced worldwide under the title ‘Beckett directs Beckett’. Complementing the story of how Beckett’s theatrical presence in London prospered through the support shown to him by George Devine at the Royal Court, this chapter will discuss how Beckett’s time at the Riverside was a fulcrum for working friendships and developing new networks. For example, Beckett’s collaborations with the San Quentin Drama Workshop stemmed from his productive friendship with the former San Quentin prisoner turned actor, Rick Cluchey, and such friendly work with the company allowed rehearsals to become a performance laboratory observed by artists, directors, journalists, photographers and academics. This chapter will analyse how these collaborative rehearsals contributed to what has been called Beckett’s ‘continuous creative process’ as a writer, translator and director. Furthermore, through judicious use of previously unpublished archival materials and interviews, the chapter will discuss how Beckett returned support for Riverside regarding its funding and political issues. The chapter will contextualise Beckett’s place in the Riverside’s eclectic international programming and discuss the later productions of his work staged at the Riverside from 1980-1990, which in turn involved renowned practitioners such as Joe Chaikin, Billie Whitelaw and Max Wall. This multifaceted history will culminate by looking at issues of legacy regarding the 1989-1990 production of Krapp’s Last Tape and Catastrophe with David Warrilow; the first production of Beckett’s drama staged after his death, produced by his friends, at his alternative London theatrical home

Spartan Daily, March 12, 2019

Volume 152, Issue 20https://scholarworks.sjsu.edu/spartan_daily_2019/1019/thumbnail.jp