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In the last decade, the progress of internet technologies has led to a significant increase in security and privacy issues for users. This study aims to investigate how computer science students perceive computer network security. Thirty three students participated in the study in which we gathered data through a questionnaire. In this paper, we present an analysis that is inspired by the phenomenographic approach. Our conclusion is that the students have different levels of understanding of computer network security depending on their usage of the concepts they have learned, their theoretical or practical orientation to the subject, and their interest in the field.
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Broadly, on-line communication platforms are online resources that allow the exchange of information using the Internet. They include Email, Instant Messaging, Online Open Forums, Online Blogging and Social Networking Sites. All these platforms have their own specialties and properties. In education, there are great advantages for high-schools to utilize these online communication platforms, especially Online Open Forums and Social Networking Sites. Communication is the backbone of education. Everything from classroom teaching to school policy making depends on effective communication [1]. With these new communication platforms at hand, schools can develop more adaptable and friendly channels among students, teachers and management (only the first two interveners are covered under this study). Various components of the schools will essentially work together in a more collaborative and regenerative way [2]. This research paper analyses how online communication platforms are changing the internal nature of education. It takes sample populations from two schools in Macao (Pre-University of the University of Saint Joseph, USJ, and Colégio Diocesano de São José, CDSJ) with different backgrounds such as medium of language, level of degree, professor's background and style of teaching. Teachers of these schools are communicated first for their opinion on key elements to improve learning with online communication platforms. These factors are implemented in a platform such as Social Networking Sites. As expected, students are instructed to utilize this platform (Facebook) to enhance their learning practice and experience. The result of this utilization is assessed in terms of student opinions and feedback.
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This paper is motivated by two observations in the large civil aircraft (LCA) industry. (1) Boeing and Airbus are significantly different in the degree of offshoring. (2) The degree of offshoring also changes among different aircraft models. To offer an explanation, this paper focuses on issues related to fragmentation. Existing literature has established the tie between fragmented technology and offshoring. However, it is assumed that production can be fragmented readily and at no cost; and only exogenous global economic factors have impact on the degree of fragmentation. This model distinguishes itself from others by incorporating endogeneity in fragmentation. A final-good firm can spend on R&D specifically for its own fragmented technology. As a result, the final-good firm can optimally choose the portion of components to be offshored. A strategic trade policy model is used to show that the degree of offshoring depends on the firm's own cost of production, the host country's cost of production, the global state of technology as well as the government trade policies. In particular, export subsidy and subsidy on R&D of fragmented technology are shown to be policy substitutes. Keywords: Fragmentation; Offshoring; Outsourcing; Aircraft; Export subsidy; R&D subsidy; Boeing; Airbus JEL classification: F12; F13; F23; L13
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At EA/CITAR (School of Arts/Research Centre in Science and Technology of the Arts), sound has always assumed a fundamental role, both in academic research and curricular offer, featuring a Master Program in Sound Design and a Doctoral Program Specialization in Computer Music. This paper presents an overview of some recent artistic/research projects undertaken by students and researchers at this institution, which stimulate the user/listener awareness for the acoustic phenomenon. Furthermore, we describe three pedagogical practices, stemming from Soundscape and Film Sound studies, which aim at training students to avoid the devious influence of sight on the assessment of soundscapes.
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Nowadays, contemporary art practices have been expanding into fields outside their own borders. According to Claire Bishop (2012), this expanded field of post-studio practices currently goes under a variety of names: socially engaged art, community-based art, experimental communities, dialogic art, littoral art, interventionist art, participatory art, collaborative art, contextual art and (most recently) social practice. By engaging, artists nurture the sense of belonging and search for an identity of the place they inhabit. In Hong Kong and Macao, as well as in the Pearl River Delta and China in general, the speed of urban transformation is forcing artists to reconsider their participation in the city in order to develop a creative place making process that is according to the new identity of the place. By doing so, they are also included in what has been defined as “creative industries” that tries to build a new image of the urban fabric. Linked with this sort of collective attitude, there is also an attempt to find a sense of local identity that has been disappearing in the face of these major developments. Engaging with the city and the communities may constitute, therefore, a challenge for the young generation, especially in hybrid places such as Hong Kong and Macao, where artists find themselves in an effort to understand the core values of their fragmented identity. In this paper we will analyze some projects that artists are doing in both SAR´s, in order to create a sense of place in this state of transition.
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Crime fiction in China emerged in the 1890s in translations of Western works, and evolved from the mere imitation of Western crime fiction to becoming an autonomous literary genre. Despite fluctuations in popularity, the genre of Chinese crime fiction, the plots of which are based on true cases, has retained a reasonably constant presence on the literary scene, and has captured the popular imagination in contemporary China and, more recently, across the world. After the demise of Mao, under whose governance the genre was banned, the government of the early Deng regime began to favor so-called “legal system literature” (fazhi wenxue), and aimed to use it to propagate moral principles and maintain political control in opposition to writers who strived for independence and originality. Since the mid and late 1980s, which were considered the heyday of Chinese crime fiction, and the expansion of the legal system and legal institutions, crime fiction has served to illuminate the role of law and to display new social perceptions. To investigate these attitudes, I focus on works of contemporary Chinese crime fiction by arguing that they are expressions of a confluence of cultural exchange and new trends. Several factors may have contributed to such a change, from the impact of the cinema and television serials in China to the celebrity status of Chinese detectives, lawyers and judges both as crime solvers and writers in the Chinese mainland and amongst the Chinese writing diaspora. An important finding is that besides giving detailed descriptions of legal procedures, all of the works studied have clearly shifted away from the traditional formula of Chinese crime fiction, that is, of the quest of a hero for justice, punishment, and revenge, to focus on the process of solving crime and the rendering of justice through legal processes. It seems that crime fiction is becoming crucial in conveying a new understanding of citizen’s rights in an attempt to fit into ongoing contemporary debates on universalistic notions of justice and the competence of legal institutions to provide justice to increasingly marginalized sectors of contemporary China.
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