Dynamic Dimensions of Radicalization and Violent Extremism in Sabah, Malaysia

Malaysia offers a unique lens to evaluate the changing dynamics of radicalization and extremism in Southeast Asia, as the threat of both home-grown and external extremism grows. The country’s geographic location, bordering multiple active centers of violent extremism (the southern Philippines, southern Thailand, and Indonesia), makes it particularly vulnerable to further threats from violent extremism and terrorism, as regional and local violent extremist organizations (VEOs) exploit Malaysian geohistorical contexts and growing grievances related to social and political instability. Threats and risks of violent extremism are especially pronounced and manifest with severe consequences in the Malaysian state of Sabah. This policy note advances a granular review of the dynamics underlying radicalization risk in Sabah, Malaysia, in order to extrapolate an analysis of emerging areas of threat and risk of violent extremism facing Southeast Asia. It offers an opportunity to better understand current and future threats and risks of violent extremism facing Southeast Asia and identifies important trends and recommendations for policymakers and practitioners in mitigating the spread of violent extremism and radicalization to violence in Sabah. The policy note also considers how building local preventing and countering violent extremism (P/CVE) capacity can mitigate Malaysia’s role as a staging area, transit hub, and conduit for the transportation of weapons, operatives, finances, and supporters to other regional and global terrorist organizations.

Seeing

This chapter recounts an experience of the author’s family taking a summer trip to Italy, approximately eight months after his diagnosis, and the many questions and struggles he experienced related to having Parkinson’s disease. He recalls an experience of existential angst and spiritual questioning while in Vatican City and visiting St. Peter’s Square, and a subsequent experience of watching an older Italian man craft a beautiful decorative metal handrail working from the back of his small car, which encouraged the author. Through that man, the author saw that significant, even beautiful works can be created with rather modest resources. The chapter ends with the memory of his family happening upon an outdoor fashion show in Florence and his watching the lead designer drive up to the staging area and being helped out of his car and into a wheelchair by a woman (presumably his wife), which also encouraged him and showed that those with disabilities make significant contributions.

JEPAPLOK: KOREOGRAFI PENGGAMBARAN HEWAN MITOLOGI JAWA

Jepaplok merupakan judul dari sebuah karya tari kelompok yang di dalamnya melibatkan sembilan penari perempuan. Kata Jepaplok yaitu berasal dari Njeplak (Manggap) dan Nyaplok (mencaplok). Karya tari ini berawal dari pertunjukan Jaranan di Tulungagung Jawa Timur. Barongan atau biasa disebut Caplokan/Jepaplok adalah penggambaran hewan mitologi berupa ular naga sebagai penguasa hutan yang jahat. Sosok yang dilihat dari segi visualnya menyeramkan dan ganas, serta dari sudut geraknya yang sangat ekspresif. Gerak-gerak dasar yang digunakan antara lain seperti leang-leong, ngaplak, ngepruk, sondongan, pattetan, dan sundangan. Karya tari Jepaplok terdiri dari 4 bagian adegan. Pada bagian introduksi dipertunjukkan sosok Barongan dan Jaranan yang berbeda ruang dan kemudian saling menyerang. Bagian 1 berfokus pada gerak Barongan tanpa menggunakan properti topeng. Pada bagian 2 persiapan penyerangan terhadap penari Jaranan, sehingga dalam bagian ini sudah menggunakan properti topeng. Bagian 3 lebih kepada esensi penggunakan topeng dan diolah dengan permainan ritme dan menggunakan komposisi berpasangan. Bagian 4 yaitu akhir dari pertunjukan karya tari Jepaplok yaitu perangan Barongan dan Jaranan. Tetapi pada bagian akhir ini tidak semata-mata saling berhadapan satu dengan yang lain melainkan hanya sebatas permainan per kelompok. ABSTRACT Jepaplok is the title of a workgroup in which dance involving nine female dancers. The word Jepaplok is derived from Njeplak (Mangap) and Nyaplok (annexed). This dance originated in the works of interest in dance salon when watching a show used Jaranan (dance horse) in Tulungagung, East Java. The point of view of the Director of the dance stopped when one of the characters enter the staging area performance Barongan. Suspenseful atmosphere emerges when section toward the battle between used Horse and Barongan. Barongan or commonly called Caplokan/Jepaplok is the depiction of mythological animals in the form of a dragon serpent as ruler of the evil forest. The figure is seen in terms of the Visual sinister and vicious, as well as from the point of highly expressive movements that inspired the stylist for him to dance in a group dance with paper based on motion and feel the music used Jaranan Sentherewe Tulungagung, East Java. The focus of the implementation work of the dance called Jepaplok is more to perangan and Barongan figures. Basic motion-motion that is used among other things such as leang-leong, ngaplak, ngepruk, sondongan, pattetan, and sundangan. In the work of this Jepaplok dance doesn't bring up the story and consists of four parts of the scene. On the introduction of a dance figure demonstrating Barongan and different spaces used Horse and then each other. Part one is more focused on motion the Barongan poured into members of the body of a dancer without using the mask property. In part two, namely more to preparation which showed Barongan attacks against dancers used Horse, so in this section are already using property mask. Part three more to the essence of the use of mask and mingled with the game rhythm and composition using paired. Part four, namely the ending of the show dance work Jepaplok, as in general the final part of the art used Horse namely perangan and Barongan used Horse. But in the end, it does not solely face each other with one another but rather only as a game between groups.

Security Architecture for Multi Tenant Cloud Migration

In today’s competitive IT world Cloud Computing is the word rolling around in all activities of IT companies. Thus, everyone is transforming their infrastructure from legacy infrastructure to cloud computing which is very feasible, and Cost effective. Finally, it can scale up and scale down instantly on demand basis. When companies think about the cloud adoption, security is the biggest issue and data is stored in software defined environment. This paper addresses security parameters which need to be mainly considered for cloud migration. Cloud service provider is responsible for building fence around the underlying infrastructure i.e. Compute, network and storage. Security is the main controller for adopting the cloud environment. In Cloud computing, security issues are identified with different layers. In this paper, new architecture is proposed for achieving data confidentiality and data integrity in multitenant workload migration into cloud. This architecture ensures that tenant has secure relationship between source and destination data centers via staging area. This staging area has capability to migrate the workload in different hypervisors. Workload meets security guidelines through this migration process from beginning to end.

The Lawn and the Rotunda

This chapter talks about University of Virginia (UVA) president Teresa Sullivan, who sent an e-mail to the university board that appeared to make light of the alt-right's intentions. It mentions how Sullivan states that participants of the rally only intend to see Thomas Jefferson's architecture and the lawn. It also talks about the organizers of the Unite the Right rally, such as Chris Cantwell, that focused on a local Walmart as an initial staging area. The chapter discusses Jalane D. Schmidt, an associate professor of religious studies that read online chatter regarding the plan for the evening torch march. It analyzes how the university's decision not to sound any emergency alert to the UVA community regarding the Unite the Right group's torch march was criticized.

The Day of the Klan

This chapter describes the Klan's rally at Justice Park, where counterprotestors came openly carrying firearms or knives and wearing Black Lives Matter shirts. It describes how the police divided Justice Park into four zones for all groups to conduct their protest. It also mentions the media staging area that was established on East Jefferson Street, wherein the police allowed members of the media to enter the buffer zone. The chapter details the arrival of Antifa members at Justice Park, who were highly prepared for potential physical confrontation as they wore helmets, shields, body armor, padded clothing, and gas masks. It discloses how the police were not able to prevent the counterprotesters from tossing punches, hurling fruit and bottles, and berating the Klan with catcalls and insults during their rally.

Extract Transform Load (ETL) Process in Distributed Database Academic Data Warehouse

While data warehouse is designed to support the decision-making function, the most time-consuming part is Extract Transform Load (ETL) process. Case in Academic Data Warehouse, when data source came from faculty’s distributed database, although having a typical database but become not easier to integrate. This paper presents the ETL detail process following Data Flow Thread in data staging area for identifying, profiling, the content analyzing including all tables in data sources, and then cleaning, confirming dimension and data delivery to the data warehouse. Those processes are running gradually from each distributed database data sources until it merged. Dimension table and fact table are generated in a multidimensional model. ETL tool is Pentaho Data Integration 6.1. ETL testing is done by comparing data source and data target and DW testing conducted by comparing the data analysis between SQL query and Saiku Analytics plugin in Pentaho Business Analytic Server.