This defense-in-depth discussion scenario is an intentional cybersecurity attack on the water utility’s SCADA system. It occurs during the fall after a dry summer in Fringe City. The water utility’s Information Technology (IT) person did not receive an expected pay raise and decides to reprogram the SCADA system to shut off the high-lift pumps. The operator’s familiarity with the SCADA system allows him to reprogram the alarms that typically notify operators of a high-lift pump failure. In addition, he prevents access to the SCADA system by others. A wildfire breaks out on the outskirts of the city. Please identify what type(s) of new countermeasures should have been implemented to prevent this cyberattack from occurring.
discuss what type(s) of new countermeasures should have been implemented to prevent the cyber attack described above from occurring.
be impossible to gather together a woman character as anything beyond the two incarnates – Madonna and Whore. Women in India were not expected to express their feelings or to develop their personalities rather get accustomed to their individual subjugation and succumb to the same. To use a women character in a film is to represent a traditional figure as a symbolic image but many a times it is a mere wishful desire. For the present discussion I have chosen the character Paroma as the centre subject, it being a film directed by a female auteur Aparna Sen. The central character in the film Paroma is a middle class Bengali housewife who is played by Raki Gulzar. This film makes a very strong statement about the perception women have on their own body juxtaposed with a man’s perception about her. The word Paroma in the ancient Indo-Aryan language which is Sanskrit means ‘the supreme’ or ‘the very best’. In Hindu religion it is used as a prefix to show admiration or reverence. In this film it takes a very long time to bring out her individuality almost to the second half of the film. The film embarks upon the title credits rolling over a Hindu Goddess Kali symbolizing the bestower of liberation. Goddess Kali is an image of the vengeful mother-goddess. Her name Paroma which roughly translates as ‘the ultimate woman’ in this film is subsumed by the many relational identities associated with her in the family. She is called by different names in the family such as bhabi (sister-in-law), kaki (aunt), mami (aunt), ma (mother) and bahu (daughter-in-law). This marks the beginning of her identity -the given name Paroma being hidden and lost in the different roles she plays within the family. Paroma’s mother-in-law, we can say the doyen of the family makes a mention to a group of women that she is alive only because her daughter-in-law (Paroma) takes very good care of her and this establishes the fact that Paroma is indeed of very great importance to the family. There is a point being made when the foreign -returned photographer’s assistant Sarah, tries to understand if Paroma has an identity of her own and this is made sense to her and explained by the patronizing males in the family. But Rahul Rai initiates her identity when he refuses to cast her as Bhabi or Kaki even though Paroma suggests he addresses her either as Bhabi or kaki as he wished indicating her parameters and hinting that she would be safe within these roles which act as barriers for a woman and prohibiting any trespassers within the boundaries of decorum. It is a custom in many Indian families where the female head has to serve hot food to their family and if this is not done they take up the blame for being a terrible house-wife. A scene where Paroma’s children return from school screaming “Ma, ma have you not prepared cold coffee for us?” is quite interesting as one can see the duties of a mother in a close-knit Hindu family and yet her limitations are countless when it comes to doing her own things at leisure. For example, Paroma never finds the time to play the traditional instrument Sitar. Her education had an abrupt end and her interest in sitar and poetry fades out because of her responsibilities as a Hindu house-wife. No one in the family pays much attention to what a woman wants in life. Very rarely do we see members of the family obtain the permission or suggestion from Paroma on what is to be done. This is evident as Paroma’s husband asks his mother if she has any problem in Paroma modeling for their guest – Rahul. As the head of the family Paroma’s mother-in-law agrees and internally suggests it’s the least they can do to entertain their valuable guest. The scene that preludes her children returning from school is an interesting one wher>GET ANSWER