text:
Love at First Browse / Simon Reynolds
LOVE at FIRST BROWSE
We periodically ask a special guest to share with us the three magazines that have meant the most to him. This time is the turn of Simon Reynolds, music critic and writer.
#1 / New Musical Express
"A profoundly formative force in my life as a young aspiring writer at the end of 'the 70s and during the early '80s, this U.K. weekly music paper covered not just rock but all the music that mattered: reggae, funk, African music, early hip hop, and a lot of other things that you wouldn't expect if you only know the NME as a 21st Century publication narrowly dedicated to British indie. It dealt with politics both on its own (issues, events, elections) and politics as filtered through the prism of postpunk and other forms of music. It also covered exemplary figures within arts when they felt adjacent to rock – certain kinds of film, books, TV. Above all, it was a home for heroically pretentious writing."
#2 / The Village Voice
"Every generation regards its era of the Voice to be the best. So there are probably some people who thought the magazine was in decline during the 1990s, when I started reading it regularly, as I spent increasing amounts of time in New York and then moved there for good at the end of 1994. The whole magazine was full of acute and stylish writing about politics, the arts, social trends, etc. But the music section was especially mind-blowing – the nearest America ever had to peak-era NME. Above all, it was a home for heroically pretentious writing."
#3 / The Wire
"This UK monthly remains a vital institution in left-field music, but I've particularly fond memories of it during the 1990s, when it set about collapsing its own boundaries (The Wire had started in the '80s as a jazz and avant-garde magazine) and began to embrace anything and everything that was innovative, experimental and strange, no matter where it came from: rave, rap, metal, the pop mainstream. Above all, it was a home for heroically pretentious writing."
Love at First Browse / Luca Pacilio
Love at First Browse / Riccardo Conti
Love at First Browse / Venerus
via Mincio 10, Milan - Italy [map]
thu - sat 2pm - 7pm (or by appointment)
hello@readingroom.it


text:
Q: Unicode conversion of double quotes, " and " I have a text field, when i enter a value in it.It is stored in DB, passed through query string.When manually entering a string containing "(double quotes), it is working fine, but when pasting a non 8 bit text as such "(double quotes), it is not able to uriDecode the string.
I refereed the following link to understand the issue.
http://www.rishida.net/tools/conversion/

A: I guess you are talking about PHP variable passing problem. You didn't provided us a code but if I understand your problem, you enter both " and " into field but only " is passed to next page. Possible solution is not to use " or you can use some javascript to automaticly trigger onkeydown event that will automaticly correct text and switch from " to "
<script type="text/javascript">
function changetext(field_name) {
var myTextField = document.getElementById(field_name).value;
var myTextFieldEdited = myTextField.replace('"', '"');
document.getElementById(field_name).value = myTextFieldEdited;

return;
}
</script>

<form>
<textarea id="text_field" onkeydown="changetext('text_field');" onsubmit="changetext('text_field');"></textarea>
</form>

onkeydown is triggered when you are writing text and if you ctrl+c and ctrl+v text on submit should do final check and change to make sure there are no " in text.

redpajama_set_name: RedPajamaStackExchange


text:
Erik Perez
Mexico	| bantam
Nickname: Goyito
5/7/21	 Bellator 258: Archuleta vs. Pettis	 Blaine Shutt	 Won unanimous decision (30-26, 30-27, 30-27)	 Rounds: 1 Time: 5:00
8/21/20	 Bellator 244: Bader vs. Nemkov	 Josh Hill	 Lost unanimous decision 29-28, 30-27, 30-27 Rounds: 3 Time: 5:00
12/20/19	 Bellator and USO Present: Salute the Troops 2019	 Toby Misech	 Lost knockout (punches)	 Rounds: 1 Time: 0:54
11/5/16	 UFC Fight Night 98: Dos Anjos vs. Ferguson	 Felipe Arantes	 Won split decision (29-28, 28-29, 29-28)	 Rounds: 3 Time: 5:00
7/30/16	 UFC 201: Lawler vs. Woodley	 Francisco Rivera	 Won unanimous decision (30-26, 30-26, 29-28)	 Rounds: 3 Time: 5:00
11/21/15	 UFC Fight Night 78: Magny vs. Gastelum	 Taylor Lapilus	 Won unanimous decision (29-28, 29-28, 29-28)	 Rounds: 3 Time: 5:00
6/7/14	 UFC Fight Night 42: Henderson vs. Khabilov	 Bryan Caraway	 Lost submission (rear-naked choke)	 Rounds: 2 Time: 1:52
11/16/13	 UFC 167: St-Pierre vs. Hendricks	 Edwin Figueroa	 Won unanimous decision (30-27, 30-27, 30-27)	 Rounds: 3 Time: 5:00
8/28/13	 UFC Fight Night 27: Condit vs. Kampmann 2	 Takeya Mizugaki	 Lost split decision (29-28, 28-29, 29-28)	 Rounds: 3 Time: 5:00
12/29/12	 UFC 155: Dos Santos vs. Velasquez 2	 Byron Bloodworth	 Won TKO (strikes)	 Rounds: 1 Time: 3:50
8/11/12	 UFC 150: Henderson vs. Edgar 2	 Ken Stone	 Won TKO (punches)	 Rounds: 1 Time: 0:17
6/1/12	 The Ultimate Fighter Live Finale	 John Albert	 Won submission (armbar)	 Rounds: 1 Time: 4:18
12/10/11	 BAMMA 8	 Paul McVeigh	 Won unanimous decision Rounds: 3 Time: 5:00
7/15/11	 Shark Fights 17: Horwich vs. Rosholt II	 Douglas Frey	 Won unanimous decision (30-27, 30-27, 30-27)	 Rounds: 3 Time: 5:00

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Java Api Speechmatics The below code is used to connect to the speechmatics api for conversion of speech to text in java. But unable to connect and gives back an error.
https://app.speechmatics.com/api-details
Here is the link which contains the total information and im using this :
curl -F data_file=@my_audio_file.mp3 -F model=en-US "https://api.speechmatics.com/v1.0/user/$MY_API_USER_ID/jobs/?auth_token=$MY_API_AUTH_TOKEN" # transcription
    try {
        URL url = new URL("https://api.speechmatics.com/v1.0/user/17879/jobs/?auth_token=ZmQzODNiMGUtMzQwYS00MzUxLWJkZDEtZTBlYzUxMTg2YWVm");
        HttpURLConnection conn = (HttpURLConnection) url.openConnection();

        conn.setRequestMethod("POST");
        conn.setRequestProperty("model", "en-US");
        conn.setRequestProperty("data_file", "open('RecordAudio.wav', 'rb')");
        conn.setRequestProperty("Ocp-Apim-Subscription-Key", "2:5a703eadae214b0bbe91344e546eac4a");
        conn.setDoOutput(true);
        if (conn.getResponseCode() != 200) {
            throw new RuntimeException("Failed : HTTP error code : "
                    + conn.getResponseCode());
        }

        BufferedReader br = new BufferedReader(new InputStreamReader(
            (conn.getInputStream())));

        String output;
        System.out.println("Output from Server .... \n");
        while ((output = br.readLine()) != null) {
            System.out.println(output);
          // s= s.concat(output);
        }

        conn.disconnect();

      } catch (MalformedURLException e) {

        e.printStackTrace();

      } catch (IOException e) {

        e.printStackTrace();

      }

}

}

A: The code below will request a transcription using a post request.
import org.apache.http.HttpEntity;
import org.apache.http.HttpResponse;
import org.apache.http.client.methods.HttpPost;
import org.apache.http.client.utils.URIBuilder;
import org.apache.http.entity.ContentType;
import org.apache.http.impl.client.CloseableHttpClient;
import org.apache.http.impl.client.HttpClients;

import java.io.FileInputStream;
import java.io.File;

import java.net.URI;
import java.net.URISyntaxException;
import org.apache.http.entity.mime.*;

public class Test {
    public static void main(String[] args){
        System.out.println("Hello");
        try {
            URI uri = new URIBuilder("https://api.speechmatics.com/v1.0/user/$user_id/jobs/")
                    .addParameter("auth_token", "$auth_token")
                    .build();

            CloseableHttpClient httpclient = HttpClients.createDefault();

            HttpPost httppost = new HttpPost(uri);
            httppost.setHeader("Accept", "application/json");

            File imgFile = new File("/filepath/test_short.aac");

            HttpEntity entity = MultipartEntityBuilder.create()
                .addTextBody("model", "en-US")
                .addTextBody("notification", "none")
                .addBinaryBody("data_file", imgFile, ContentType.DEFAULT_BINARY ,imgFile.getName())
                .build();

            httppost.setEntity(entity);

            //System.out.println(entity.getContent());
            System.out.println("Executing request " + httppost.getRequestLine());

            HttpResponse response = httpclient.execute(httppost);
            System.out.println(response);
            httpclient.close();
        } catch (java.io.IOException e) {
            e.printStackTrace();
        } catch (URISyntaxException e) {
            e.printStackTrace();
        }
    }
}


Hi there! My name is Elyssa Yunitasari Putri. Currently I am studying Marketing Communication, specialising in Public Relations at Binus University, Jakarta. Just last year on my fifth semester, I got an opportunity to worked as a communication intern at the ASEAN Foundation for a period of four months and to be honest I did not see this kind of opportunity would came into my life.
During the whole four months of doing internship at ASEAN Foundation, I was responsible for creating the content and design of the Foundation's social media accounts, mostly Instagram as well as supporting the social media analysis. Social media management is one way to achieve the objective of ASEAN Foundation and that is to promote ASEAN awareness to broader audience, particularly the youth. For me personally, this is not an easy task to do. Reaching out to youth across the region is a challenging yet interesting task. However, from all the struggle I have been through, I was not alone, I got people whom I see not just as my friends but as my family who supported me from the beginning of my internship until the end. They have contributed to guide and shape me to be a better version of myself.
One thing for sure, doing internship at the ASEAN Foundation has prepared me for the professional world, it has given me a real picture of how an international organisation operates. Also, after being more aware of what ASEAN Foundation really does and by participating at some ASEAN events, I started to acknowledge that ASEAN has a lot to offer for the people in the region. I think that really highlights its tagline as the community of opportunities.
One of the ASEAN Foundation-supported events that I have participated was the ASEAN Conference on Social Entrepreneurship. Learning more about social enterprises and their causes they are working on has inspired me to appreciate more about community initiatives and the good and socially responsible products and services they have produced.
During my four-month internship I also had the opportunity to do some media relation activities. I helped disseminate press release to highlight some of the Foundation's activities such as the 2nd ASEAN Foundation Model ASEAN Meeting (AFMAM) in Vientiane, Lao PDR in October last year and the 10th ASEAN Puppets Exchange held in Hanoi last December. I was also assigned to produce report capturing the media coverage of the 2nd AFMAM.
I really thank to the ASEAN Foundation for giving me this rewarding opportunity that I shall cherish forever. Although it was just for a short period of time, I have made lifetime friends and family. I definitely had the most amazing time working at ASEAN Foundation and I really respect the togetherness and how each and everyone support one another. I hope the ASEAN Foundation will keep growing and wishing you more success in the future.


text:
Network of networks - Miscellaneous - - International
Our Generation Equality: 7 thematic events within the framework of the Generation Equality Forum
The Generation Equality Forum will begin in March 2021 in Mexico City and will culminate in June 2021 in Paris. Initiated by UN Women, co-chaired by France and Mexico, in partnership with civil society, it will be the largest global feminist gathering in 25 years. The Generation Equality Forum will bring together States, international organizations, civil society and the private sector to define a series of concrete actions to advance gender equality and women's rights around the world.
Our Generation Equality
Between December 2020 and March 2021, the General Secretariat of the Generation Equality Forum is organising a series of 7 thematic events dedicated to the six coalitions of action of the Forum. These are multi-stakeholder partnerships defined around six themes identified as priorities:
Gender-based violence (7 December)
Justice and economic rights (14 December)
Right to self-determination, sexual and reproductive health and rights (January 2021)
Feminist Action for Climate Justice (January 2021)
Technology and innovation (February 2021)
Feminist movements and leadership (February 2021)
The last event in March 2021 will be devoted to the follow-up mechanism of the Agenda for Women, Peace and Security and Humanitarian Action, which will also be launched at the Forum in Paris in June 2021. The aim of these events is to raise awareness of the action coalitions and their issues and to mobilise the largest possible number of actors committed to gender equality in France.
Hosted and moderated by the Ambassador and Secretary General of the Generation Equality Forum Delphine O, each event will welcome five speakers representing a State, an international organisation, civil society, the private sector and an expert in the field. During an hour and fifteen minutes of discussion, the panelists will define the key messages of the coalition for action, how to get the different actors committed to gender equality to work together and create international solidarity. The last quarter of an hour will be devoted to questions from the audience.
Check the programme here.
https://www.notregenerationegalit[.......]esentation/accueil/accueilnew.htm
Forum generation equality Paris Mexico Debates
Women's Political Renaissance in Palestinian society in Israel
In Palestinian municipalities, women hold only 0. 12% of local council seats. A research conducted by Kayan Feminist...
Project "Supporting the associations defending the rights of victims of violence"
Djazairouna is the leader of the project "Supporting the associations defending the rights of victims of violence', and it...
Conference: Women's Voices in the Mediterranean and Africa
The ISIS Center for Women and Development organized the 8th edition of the Mediterranean Women Forum on the theme...


An Elekta Flexitron HDR unit was purchased and installed at a new brachytherapy suite at Prince of Wales Hospital in August 2016. Following operational training, a full commissioning of the brachytherapy suite, Flexitron system and several gynaecological applicators was carried out prior to clinical implementation.
Acceptance testing of the treatment suite and HDR system was performed in conjunction with the relevant service engineers. Using ESTRO Booklet 8 as a guide, safety system tests including radiation surveys, functionality of interlocks, warning lights and doors, power loss performance, channel locking, interrupt and emergency stop systems were done. Once a safe working environment was established, further commissioning tests including physical parameters, dosimetry and applicator checks were undertaken. All existing applicators were re-commissioned for use with the Flexitron with annual maintenance performed at the same time. New sharp and round-end 6F needles, 100 mm green and 294 mm gold marker wires, and multi-channel vaginal applicators were also commissioned. Treatment differences between the MicroSelectron and Flexitron were evaluated for gynaecology treatments. All planning was performed with Oncentra version 4.5.2. New quality assurance procedures were developed for daily and post- source exchange testing.
Each brachytherapy acceptance and commissioning test passed within accepted tolerances. All applicators were approved for use with the Flexitron system. Several important workflow changes were established to accommodate the changes between HDR systems. The major differences included the change off all transfer tube lengths to 100 cm, reference point and first dwell position at the connector end of the tube (rather than the distal applicator end), a new fixed step size of 1mm, mandatory channel-mapping for gynaecological applicators and the introduction of a treatment control panel touch screen display in addition to the treatment control console.
Following full end-to-end tests, the Flexitron is now in clinical use using the existing applicators for intracavitary vaginal and cervical treatments. The workflow changes between the MicroSelectron and Flexitron have been documented with all relevant protocols updated.


Our client is a long-established and globally respected company who are focused on engineering manufacture.
Our client is a long-established and globally respected company who are focused on engineering manufacture. They are a leading supplier of Bulk Materials Handling equipment.
A highly motivated, dynamic sales person is required to cover the Southern UK sales territory.
The successful candidate will have overall responsibility for delivering a high level of profitable sales growth and developing a regional sales management strategy. You will be the national lead for the Food Processing, Beverage, Chemical Pharmaceutical market sectors.
Identify, develop deliver sales, marketing and product service development initiatives.
Identify, develop and manage key customer accounts.
Develop a network of project companies who provide turn-key solutions and contractors providing installation after-sales service to customers in the designated geographic areas.
Manage and report on the performance against KPIs of the project companies and contractors. Identify best practice and ensure sales opportunities are maximised and remedial action is taken for any issues.
Generate sales leads ensuring profitable sales growth.
Plan customer visits to make sales, deal with enquiries / issues and identify Customer requirements.
Implementation, monitoring and control of sales systems.
Knowledge / awareness of quality systems, processes and improvement activities.
Coaching, training and appraisal capabilities.
High level of integrity and trust with customers colleagues.


text:
Expedition Everest's Yeti to Become Phone Charging Station
Disney's Animal Kingdom Walt Disney World
October 4, 2016 Johnny ChainsawLeave a Comment on Expedition Everest's Yeti to Become Phone Charging Station
The giant Yeti that has been terrifying guests on Animal Kingdom's Expedition Everest is about to serve a dual purpose: scare guests and charge your phone while doing it.
Expedition Everest is a roller coaster that first opened to the public in the Spring of 2006 at Disney's Animal Kingdom. The ride's conclusion once featured a 25-foot-tall Yeti that swung at guests as their roller coaster train barreled passed the mythical beast. Unfortunately, a major problem arose shortly after the ride opened which prohibited the Yeti from operating as designed. While a solution was being sought, Disney Imagineers settled on flashing a strobe light on the Yeti to give the appearance of movement. This temporary fix caused some fans to refer to the beast as "Disco Yeti."
"We have meetings daily about what can be done to improve our guests' experience with the Yeti encounter inside Expedition Everest," said Travis Hopper, Vice President of Disney's Yeti Strategists Committee. "No idea was overlooked or ignored. That's when someone thought of attaching a phone charging station to the Yeti."
Hopper noted that the Yeti draws a tremendous amount of power and that it only makes sense to let guests benefit from this so that they can refuel their power-hungry portable devices.
It will work like this: guests entering the standby waiting area will have their path re-routed to traverse the mountain. The first stop will be the Yeti seen at the conclusion of the ride. Guests will then place their cell phones in containers for safekeeping and then continue on to the standby queue. Once those guests are off the ride, they can climb back inside the mountain to retrieve their cell phones.
Hopper said that guests can expect their cell phone batteries to gain an extra 10-20% in battery life, depending on their wait time.
When news of the re-purposed Yeti solution broke online, many were relieved to hear that the Yeti would actually be useful for once.
"I was so excited to hear about Yeti 2.0," said Thomas Jefferson Geronimo III, an unemployed Sandwich Artist who has been tracking the mystery behind the Yeti's malfunctions since he was let go from his job in 2007. "I am delighted that my cell phone battery will gain an extra 20% while waiting in line. You'd be surprised by how much of a battery hog the Twitter app is when I'm live tweeting how disappointed I constantly am with everything Disney does, all while visiting their parks on a near daily basis."
The re-routing of the standby queue will gradually transform while the park is closed. The charging station is expected to be delivered this weekend because Hopper ordered it off Amazon and he is a Prime member. The station should be ready for phone charging by Monday. Keep your eyes locked on Typhoid Lagoon for updates!
Tagged cell phones Disco Yeti Disney's Animal Kingdom Expedition Everest phone charging Yeti
New Attraction Announced for Animal Kingdom's Pandora
Disney Asking Troublesome Guests to Relocate Ahead of Hurricane Matthew
Johnny Chainsaw
Rickshaw Service to Connect Epcot to Hollywood Studios
February 17, 2017 Johnny Chainsaw
Stitch's Escape Blamed on "Computer Glitch"
September 7, 2016 September 6, 2016 Johnny Chainsaw
PhotoPass to Add Romance Package
September 17, 2016 September 17, 2016 Johnny Chainsaw


Potatoes Canada is your gateway to opportunity in Canada's potato world. Our organization brings together leaders and stakeholders from across the country, representing every sector of our vast industry.
Interested in finding out more? Contact Potatoes Canada today.


text:
By Expanse Inc - November 5, 2019
SAN FRANCISCO, Nov. 5, 2019 – Expanse, the leader in Internet Operations Management for IT and Security, today announced that global security and aerospace company Lockheed Martin has selected Expanse Link as one of its adversarial-focused solutions to enhance the cyber posture of companies throughout Lockheed Martin's multi-tier supply chain. Expanse Link enables global organizations to manage their strategic suppliers by accurately identifying and managing a strategic supplier's Internet Assets and risks. With continuous visibility across the supply chain, organizations can drive operational improvements that reduce risk for both the organization and the supplier.
"Most breaches that disrupt operations start with an exposed Internet Asset, which unfortunately means an organization is only as secure as its least secure supplier," said Matt Kraning, co-founder and CTO of Expanse. "Without a complete identification of Internet Assets, their global communications, and the ability to manage those assets, parent and supplier organizations have gaps and risk. Expanse provides a one-of-a-kind global Internet perspective by continuously tracking all publicly routable assets, services, and their configuration details for organizations' traditional infrastructure. Expanse Link extends this visibility to strategic suppliers so the parent organization can hold them accountable to the same standards they insist on for themselves."
Mike Gordon, Chief Information Security Officer (CISO) for Lockheed Martin explained, "We recognize that state-sponsored and other attackers are aggressively targeting suppliers at all tiers of the Defense Industrial Business supply chain in an effort to steal or alter intellectual property and DoD information residing on company networks. We have identified Expanse Link as part of a holistic solution for this critical need."
Suppliers can pose significant operational and strategic risk to the organizations they work for. These risks include business interruption in the event of an attack on a supplier, loss of sensitive data or intellectual property shared with the supplier, or attacks that use supplier networks as a stepping stone into the organization's network. Organizations have employed various strategies for supply chain security, but none have provided the continuous visibility needed to drive operational changes and improve security outcomes throughout the supply chain.
As a platform for shared governance between an organization and a strategic supplier, Expanse Link makes it possible for organizations to assist suppliers with remediation as well as to hold them accountable for security and policy lapses. The product uses proprietary mapping technology to discover Internet Assets and services relating to the supplier across registered ranges, commercial IP space, and even dynamic cloud environments, as well as to detect risky and out-of-policy network communications from any part of the network of any supplier. This data is then surfaced in a web portal and RESTful API, enabling organizations to integrate information about their supply chain into existing tools and processes. Organizations can then review, triage, and monitor any exposures or policy violations.
Key capabilities of Expanse Link include:
Complete discovery of Internet Assets on-premises and across all cloud providers, leading to full visibility.
Accurate attribution and full data transparency so that suppliers and parents can quickly determine if an exposed asset is business-critical.
Daily data updates to quickly verify remediation.
Remote detection of risky and out-of-policy network traffic across all global supplier networks without installing or configuring any local sensors.
For more information on Expanse Link, please download the white paper "Identifying and Managing Strategic Supplier Risk" and register for the webinar scheduled for tomorrow, Nov. 6 at 10 a.m. PT.


In order to graduate from this course you must complete the following test with a 70% or better grade.
This test will consist of multiple choice questions.
Includes neutral colors, like white, beige, brown, gray, light brown or black, and one or more small doses of another color like red.
Does not include blue at all.
Are colors that are adjacent to each other on the color wheel.
Are any four colors with a logical relationship on the color wheel, such as double complements.
Includes a main color and the two colors on each side of its complementary (opposite) color on the color wheel.
Does not include red at all.
11. Tertiary Colors are created by a primary and secondary color…for example, Blue-Violet.
12. The concepts for an avant-garde look will always originate from the makeup artist.
13. The makeup artist will have the first and last say on the final runway look.
14. Typically the makeup for a runway look is lighter then a cover look.
16. A fashion editorial is an article or story told through the use of photographs featuring fashion as the primary subject.
17. A runway look, is a look that emphases the desire of the fashion designer and their clothing.
18. A triad is comprised of three hues equal distance from each other on the color wheel.
19. An avant-garde look is a conventional, conservative look.
20. As a part of a team, you will work closely with the client, stylist and hairstylist when creating a red carpet look.
21. As the red carpet look is designed for publicity and media you will need to make sure that your application prepares your client for interviews, cameras and paparazzi.
23. Avant-Garde looks are often used in runway, theatrical productions, music videos, concerts and performance art.
24. Because they are complete opposites, complementary colors make each other seem less intense.
25. Color schemes can not contain different shades of a single color.
26. Colors next to each other on the color wheel are analogous colors.
27. Colors that create an aesthetic feeling when used together will commonly accompany each other in color schemes.
28. Complementary Colors appear opposite each other on the color wheel.
29. Cover Looks are most often a highlight for an editorial feature inside the magazine.
30. Cover looks tend to emphasize full length photograph fashion.
31. Hue, Tint, Tone, and Shade is taking a color and making it more colorful.


WINTER PARK, FLORIDA: Full Sail University's flagship recording arts degree program, among the best-known and most-respected in the pro audio industry, commissioned a fully-loaded, 64-channel API Vision analog console. The new console went into Studio B of the university's extensive studio complex just over a year ago, and has since been used for session recording courses. In addition to providing students with clear-cut examples of signal flow, the console provides the classic analog sound that continues to be revered as a benchmark of excellence in professional audio.
"The Vision a great match," said Darren Schneider, session recording course director at Full Sail University. Schneider teaches students about signal flow, taking advantage of the Vision's comprehensive signal path to illustrate his lessons. "Signal flow is easy to 'see' on the Vision," he said. "We run it in-line, and every section falls in order – from the preamp, to the compressor, to the EQ, to the assignments. API also built us a custom switch which allows the compressor to insert pre- or post-EQ, which is also instructive." Schneider notes that the Vision's ability to simultaneously mix in stereo and surround also lends itself to new educational perspectives.


Pinch Hold Mug – Restful exercise for climbers.
Just sit back, relax and get stronger.
Maybe you've got climbing holds above every doorway to keep up your strength in readiness for those multi day climbs. Or maybe you go to the rocks every now and again just to get out and have fun. Well with a Pinch Hold Mug, even when your relaxing with a cuppa, you'll be getting a little bit stronger.
Maybe you don't climb, but it would obviously make a great gift for climbers you know, not to mention a perfect fathers day gift.
This first edition is not graded for difficulty, it is designed to be lifted by anyone but still requires a good pinch and therefore builds strength. Obviously, enjoying a hot drink from it means you don't want to let go, so take care during this climbing exercise.
Hand made in Stoke on Trent, England.
The Pinch Hold Mug is as beautiful as it is practical. Made from quality stoneware by crafts people one of England's oldest pottery areas. Its generous proportions give you a decent sized cuppa.
You'll find the designers' mark, ma3t, proudly embossed on the bottom. ma3t are a collective formed in London, but now spread over the world. Set up partly as an outlet for their quirky creativity and partly to help fund the other side of ma3t: TEAM. TEAM aim to create seemingly commercial products and services that cause people to re-evaluate the world around them.
Ah. maybe your browser isn't new enough for this. hmmm.


text:
Clinical Child Psychology Program
Admissions >>
2015 Doctoral Program Profile [PDF]
Student Admissions, Outcomes, and Other Data
Paula Fite, Ph.D.
Fite CV 2018.pdf
College of Liberal Arts and Sciences - Clinical Child Psychology Program
Professor of Psychology and Applied Behavioral Science
pfite@ku.edu
Primary office:
Dole Center for Human Development
Dr. Fite received her Ph.D. in Clinical Psychology from the State University of New York (SUNY) at Buffalo in 2007. Following an APA-approved Clinical Residency at the University of Mississippi Medical Center, she joined the faculty of the University of Tennessee. She joined the faculty of the University of Kansas in 2011, and is currently an Associate Professor of Psychology and Applied Behavioral Science. Dr. Fite is the author or co-author of more than 100 empirical papers and chapters in her area of study. She is on the editorial board of Child Psychiatry and Human Development, the Journal of Psychopathology and Behavioral Assessment, and Substance Abuse: Research and Treatment. Fite served as a Member-at-Large for Early Career Psychologists for the Society for Child and Family Policy and Practice (Division 37 of APA) from 2014 through 2016. She was awarded the American Psychological Foundation's Diane J. Willis Early Career Award in 2014, the Steeples Award for Service to Kansas in 2015, the Barbara Schowen Undergraduate Research Mentor Award in 2015, and the Byron A. Alexander Graduate Mentor Award in 2016. She is also an American Psychological Association Fellow (since 2015). In 2017 she was selected as a Docking Faculty Scholar.
Dr. Fite teaches courses and mentors students in the Clinical Child Psychology Program at the University of Kansas. She will be accepting applications this fall for a new graduate student for the 2019-2020 academic year. Potential students interested in the development of aggression, peer victimization, delinquency, substance use and other problem behaviors are encouraged to apply. The deadline for applications is December 1, 2018.
Antisocial youth
Intellectual assessment and academic achievement
The lab's programmatic line of research focuses on developmental models of risk for child and adolescent problem behavior. That is, we are interested in the etiology and developmental progression of child and adolescent problem behavior - aggression, delinquency and substance use in particular. Consistent with social learning theory, which posits that behavior is learned and further exacerbated through socialization processes (i.e., modeling, conditioning, and reinforcement), our research has and will continue to examine the unique and interactive impact of environmental context (e.g., neighborhood, parents, and peers) and child characteristics (e.g., genetics, temperament) on the developmental progression of child and adolescent problem behavior.
Evans, S. C. & Fite, P. J. (in press). Dual Pathways from Reactive Aggression to Depressive Symptoms in Children: Further Examination of the Failure Model. Journal of Abnormal Child Psychology.
Evans, S. C., Frazer, A. L., Blossom, J. B., & Fite, P. J. (in press). Forms and functions of aggression in early childhood. Journal of Clinical Child and Adolescent Psychology
Fite, P. J., Brown, S., Hossain, W., Manzardo, A., Butler, M. G., Bortolato, M. (in press). Tobacco and cannabis use in college students are predicted by sex-dimorphic interactions between MAOA genotype and child abuse. CNS Neuroscience & Therapeutics
Fite, P., Cooley, J., Poquiz, J., & Williford, A. (in press). Pilot Evaluation of a Targeted Intervention for Peer Victimized Youth. Journal of Clinical Psychology.
Cooley, J. L., Fite, P. J., & Pederson, C. (2018). Bidirectional associations between peer victimization and functions of aggression in middle childhood: Further evaluation across informants and academic years. Journal of Abnormal Child Psychology, 46, 99-111.
Fite, P. J., Cushing, C. C., Poquiz, J., & Frazer, A. (2018). Family Influences on the Use of E-Cigarettes. Journal of Substance Use, 23, 396-401.
Fite, P. J., Pederson, C. A., & DiPierro, M. (2018). Individual Risk Factors Associated with Increased Levels of Restricted Housing among Detained Youth. Residential Treatment for Children and Youth, 35, 139-154.
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Utahns' struggles to buy homes projected to worsen
May 1, 2018, 12:38 PM | Updated: 1:15 pm
BY PETER SAMORE
SALT LAKE CITY – The struggles are growing for first-time homebuyers in Utah trying to find, and afford, where they can live.
For families, housing stability is everything, says one apartment and condominium builder.
"In terms of access to education, in terms of access just generally to the services provided in the community," said Dan Lofgren, president of Cowboy Partners.
https://kslnewsradio.com/wp-content/uploads/2018/05/HOUSING-GAP-WRAP-PSA.mp3
He says he watches too many families struggle to get into the housing market with surging demand and short supply.
A new report from the University of Utah's Kem C. Gardner Policy Institute finds that, if the trend continues and Utah's population continues to soar, the median price for homes in the Salt Lake and Provo-Orem metropolitan areas will reach $1.3 million in eight years.
Clark Ivory, CEO of Ivory Homes, wishes more communities would accept high-density housing.
"I would say 90% of the cities in Davis County are against smaller lots and attached housing," Ivory said. "They need to get with it."
He adds a condo or townhome is now the "starter home." However, Ivory would be happier if communities would allow smaller, single-family lots.
Follow @kslpetersamore
Alex Cabrero
Man details perilous rescue of pilot who went down in Rich County
There was a lot of space and not much time to search it when a pilot went down in Wasatch-Cache National Forest in Rich County Tuesday night.
Logan Stefanich
Utah resolution proposing Friday designation for Halloween celebrations advances
While the bill wouldn't change the date of Halloween itself, it would recognize a designated day for Halloween celebrations.


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Velassaru Maldives unveils stunning new website
Maldives Insider	223 views July 2, 2013
Maldives Promotion House – Award-winning Maldivian resort Velassaru has unveiled a captivating new website as part of a dynamic evolution of its visual identity.
Created by specialist branding and communications agency QUO, the visual reinterpretation seeks to capture Velassaru's contemporary, uninhibited, sensual proposition with a sharper, more energised design.
Taking inspiration from the stunning natural beauty of the Maldives, the visual identity draws on the brand's distinct colour palette of vibrant blues and more muted greys, bringing it to life with striking abstract photography. Incorporating unique V-shaped vignettes, colour imagery is contrasted with black and white to create a sense of effortless sophistication, and a fresh, youthful character.
The new website design perfectly captures this revised identity, while also offering simpler, more intuitive navigation. Full-bleed images take centre stage, yet these are carefully balanced with appropriate text, booking mask and carefully selected offers and promotions.
The launch of the new website comes in advance of an impressive renovation project, due for completion later in the year. The resort's 17 overwater bungalows and 10 beachfront villas will all be upgraded to include their very own private pool, while the elegant Chill Bar will bring guests closer to the ocean with a stylishly extended deck. Updated accommodation will be available from November 1st, 2013.
Visha Mahir, Executive Director, Universal Resorts, commented: "Bold, fresh and highly creative, the new visual identity and website is a wonderful translation of Velassaru's personality. It perfectly captures our vision for the resort – its contemporary, effortless style, natural beauty, and modern luxury."
QUO CEO David Keen added: "Shaped by cutting-edge, contemporary design and a more relaxed, younger atmosphere, Velassaru has always offered a very distinct offering."
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Rock and roll pioneer and "permanent" Newhall resident Gene Vincent was instrumental in bringing the nucleus of the Beatles together.
As the story goes, in July 1957, 15-year-old McCartney was talked into visiting a church festival to audition for the band The Quarrymen, which was led by 16-year-old John Lennon. McCartney reportedly played a 10-minute medley of songs by Gene, Eddie Cochran, and Little Richard. Lennon was so impressed with the younger McCartney that he asked him to join the band. Later, just before "Beatlemania" was to wash over the world, the Beatles met and befriended their idol in Hamburg where Gene helped them craft their sound.
Gene still had lots of fans stateside as well, including Jim Morrison and Ray Manzarek of the Doors.
Gene was on tour in England in April 1960 when a taxi he was riding in hit a cement post. The crash seriously injured Gene and killed his cab-mate Eddie Cochran, who had made a name for himself with Summertime Blues.
Gene spent most of the next decade flitting between London and Hollywood, while recording and touring sporadically. Years of heavy drinking, bad relationships, and poor management compromised his finances and wrecked his health. He was with his parents in Saugus in 1971 when he was rushed to what was later called the Henry Mayo Newhall Memorial Hospital in Valencia, where a bleeding ulcer took him away from a world that had largely forgotten him.
But Gene could never be completely forgotten. Be-Bop-A-Lula, which was released 55 years ago this week, still garners airplay – either in its original version, or as covered by such performers as Gary Glitter, Carl Perkins, the Everly Brothers, Stray Cats, Queen, and not surprisingly, both Lennon and McCartney.
Gene has won some posthumous acclaim as well. Rolling Stone magazine once called Gene Vincent and the Blue Caps "the first rock 'n' roll band in the world," and Be-Bop-A-Lula was listed as one of the "500 Songs That Shaped Rock and Roll" by the Rock and Roll Hall of Fame in Cleveland where Gene was inducted in 1998. More recently, Guitar Edge magazine voted Gene onto its list of the "100 Greatest Guitar Players of All Time," (although, in all fairness it should have been Cliff Gallup being honored, as he was the true master guitarist of the Blue Caps).
Gene was laid to rest at Newhall's Eternal Valley Cemetery. French-born fan and Newhall resident Chris Bouyer hopes to see the city where Gene is buried to pay tribute to their permanent resident with an annual music festival.
"I would love to see the city of Newhall host a yearly rockabilly festival in February around Gene's birthday," says Bouyer. "There is a huge rockabilly underground, and I know that a festival like that could draw thousands of fans from all around the world. I imagine the festival as something that would start small and then grow big," says Bouyer. "All it will take will be work, dedication, and passion. But that's the story of everything worthwhile. That's the story of rock and roll. And that's the story of Gene."
"Be-Bop-a-Lula … She-e-e's my baby doll, my baby doll, my baby doll."
About deadwrite
Freelance writer, film historian, taphophile	View all posts by deadwrite
This entry was posted on Friday, June 17th, 2011 at 8:10 pm	and tagged with be-bop-a-lula, beatles, blue caps, eddie cochran, eternal valley cemetery, gene vincent, john lennon, paul mccartney, queen, rock and roll hall of fame, stray cats and posted in Polaroids From the Old and New West.	You can follow any responses to this entry through the RSS 2.0 feed.
« "Be-Bop-A-Newhall," Part 1
Down the Road to Eternity, Part 1 »
3 responses to ""Be-Bop-A-Newhall," Part 2"
Maybe if Chaplinfest goes well you can start another annual tradition: Rockabillypalooza!!!!
deadwrite
It's funny, but we were just talking about the exact same thing! How's the youngin'?
He's good and healthy! Already wearing 3 month old clothes and he's not even 1 month yet!


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Category: Philosophy
Here is the second of my short videos about my new book, A Certain Gesture: Evnine's Batman Meme Project and Its Parerga!. This one takes up the question of in what sense my book counts as a work of philosophy.
I have made four short (just over two minutes) videos, each talking about a different aspect of my just published book A Certain Gesture: Evnine's Batman Meme Project and Its Parerga!. Here is the first video, in which I talk about the premodern and postmodern inspirations of the book. The book itself is available on Amazon.
Kierkegaard meets Calvino meets auto-theory
It looks as if I am going to be publishing the first volume of A Certain Gesture: Evnine's Batman Meme Project and Its Parerga! myself. I hope that it will be available within two or three months via Amazon. It has taken me six years to get this far and I don't want to have to wait another six years to finish the work before any of it is made public.
My current plan is to publish it in three versions: a hardback with better paper; a paperback with regular paper; and a Kindle ebook. I will also make available a PDF version free to download from my website though, naturally, I prefer people to buy it. (Not for the profit, of which I will make a token amount, but for the book sales.)
Publishing the book myself, I expect my main challenge to be getting it seen, read, and taken up in the discourses of philosophy and the other humanities on which it touches. To that end, I have asked several widely-respected individuals to provide blurbs for it. The first one, by Professor Susanna Siegel (Harvard) is in and I am happy to say it is positive!
Just as a newspaper holds its form constant while it varies the news content, the author of A Certain Gesture: Evnine's Batman Meme Project and Its Parerga! finds a way to use a single meme in which Batman slaps Robin as a structure for conveying a sequence of reflections. Sometimes alternately, and other times all at once, these reflections are philosophical and picaresque, sarcastic and explanatory, literary and analytical, visual and discursive, musical and rabbinical, fragmentary and unified, continuous and interrupted. Kierkegaard meets Calvino meets auto-theory. The collision sweeps up some analytic philosophers, an avuncular joke-teller, and other characters who come and go. The pictures provide a rhythm, the captions start a melody, and the commentary improvises with chords, riffs, and surprises.
Gaining visibility, however, is not the only challenge the book faces in being taken up. The very idea of "being taken up" is problematic. I very much think of the book as a work of philosophy (though not exclusively such by any means) but it 'performs' (or perhaps 'embodies') its philosophy in very novel ways. (Indeed, love the book or hate it, I believe it deserves some consideration merely for its exploration of how far one can mutate the forms of philosophy before one ceases to do philosophy at all.) But how might it be taken up? Would I be invited to give talks about it? I have given a few such talks and every time, I am baffled about what to say. I have found some expedients which I am pleased with but I wonder if they please anyone else – especially philosophers. And what would a philosophical review of the book be like? Would it get into the weeds with the account of my own hylomorphic metaphysics that surfaces in one of the commentaries? Fair enough, but that hardly responds to the book. It would be a bit like critiquing a work from Robert Morrris's Blind Time Drawings Series IV through a discussion of the Donald Davidson text quoted in it, without so much as acknowledging that the text was delivered inside a drawing!
As I write this, I am finding the analogy with the Robert Morris drawings illuminating. I thought to look for interdisciplinary journals that might be interested in reviewing my book, but the issue, I am coming to see (in real time!) is not interdisciplinarity. It has more to do with something like quotation. Morris is not engaged in an interdisciplinary art and philosophy project but something quite different. What happens to things when they are subsumed (for example by quotation) by other things? Perhaps Hegel will have the answer.
And indeed, in volume II will appear a meme the commentary to which will be the perfect place to try and unravel this. (The text is a quotation form the novel Sophie's World.)
Transmedial autotheory: Batman Talmud
I am delighted to share with you my further foray into the art world. ASAP/Journal (ASAP is the Association for the Study of the Arts of the Present) has just published a special issue on autotheory (edited by Lauren Fournier and Alex Brostoff). To coincide with the issue, ASAP/J, the on-line open access platform of the journal, is hosting an exhibition on Transmedial Autotheories.
One of the commentaries from my in-process book A Certain Gesture: Evnine's Batman Meme Project and Its Parerga! is included. Here is the commentary but if you go see it on the ASAP/J webpage, you can zoom in and actually read what is written!
Batman, Robin, and me
I wrote this piece for a literary magazine that wanted "objects + meaning." I thought this fit the bill pretty well but they rejected it. So here it is anyway!
Memes are among the most ephemeral of contemporary cultural artifacts. Yet one of them, the image of Batman slapping Robin, has been an unexpected catalyst of personal and professional growth for me for about five years now.
In Spring 2016 I started making memes with this image and posting them on Facebook, at first just two of them and then, after a month of dormancy, a torrent of over 100. For reasons which were initially obscure to me, I had always gotten a great kick out of memes that used this image. I would experience a little jolt of pleasure every time I saw one. The realization that I could make them myself, and the ensuing creative activity, unlocked doors in my unconscious that I hadn't even realized were there. As I posted increasingly esoteric memes of Batman slapping Robin on Facebook I came to think of them as constituting what I called The Batman Meme Project. The idea took hold of me that when I had gotten whatever it was that was driving me out of my system, I would gather them together and provide explanations of the things I uncompromisingly refused to explain while I was posting them. Unattributed allusions to the Talmud, Virgilius Maro Grammaticus, Lope de Vega, Thomas Browne, Sigmund Freud, A.E. Housman, Dodie Smith, and John Cage (among others), untranslated bits of Latin, Armenian, and Yiddish, would all be clarified and explained. Thus began my work on A Certain Gesture: Evnine's Batman Meme Project and Its Parerga!. It's been five years and I'm not even halfway through my commentaries on the memes. Meanwhile, the ambitions of the work have grown enormously, to the point where I am now thinking of it as a new way of doing philosophy, one that incorporates self-writing, humor, and indirection.
What is it about the image of Batman slapping Robin that so affects me? In its original comic book context, the orientation of the panel has Batman on the left but its life as a meme began with a reflected version that puts Batman on the right, responding to Robin rather than initiating the interaction. It depicts a grown man striking a young boy; a man who faces us but from behind a mask, striking a boy whose face we cannot see; a slap to a bare cheek delivered by a heavily gloved hand. It speaks through the cartoon speech bubbles, but what it says must be supplied anew each time it is used. The sound of slap is indicated visually by lines tracing the movement of the hand and the shockwaves it causes. The image is specular. It is simultaneously silent and deafening.
My obsession with the image began when I was already three years into my psychoanalysis but despite its late arrival, it came to be a fundamental point of reference for my analyst and me – a malleable and suggestive metaphor for a welter of psychic processes. It soon became apparent that for me the image played out an intrapsychic conflict in which I identified with both Batman and Robin. My pleasure in the represented scene was both masochistic and sadistic. I hated the precocious and eager child I had been, the child who was still within me and whom I wanted to obliterate. At the same time, I wished that I had been taught "not to make a fool of myself," that someone had thought to give me a good slap. I wanted discipline, rigor, and control, and I wanted to discipline, rigidify, and control parts of myself that defied and threatened my adult defenses.
In fact, I have a history with Batman and Robin. Here I am at about six or seven years old, playing Robin in a home movie made by my then-16-year-old brother with a few of his friends.
That Batman mask and the barely visible cape and vambraces being worn by my brother's friend were mine, a birthday gift because I so loved the live-action Batman TV series that was airing around that time. Yet here I am, 'demoted' to playing Robin! And as if that in itself were not bad enough, the 'plot' required me to crawl away on all fours and pee like a dog.
And was that spot on my underwear there naturally, dirty little boy that I was? Or was it placed there by the director, my much-loved older brother, for comedic effect? Was I being betrayed humiliating myself? Was my eagerness to participate being exploited?
That live-action Batman series was also the site of premature sexual knowledge. I might have seen nothing suspicious in those shots of the Dynamic Duo climbing up a wall, Robin first, then Batman, their bodies locked together in a single crouch. But my two much older brothers and my father certainly understood their significance and so I learned it as well. It was in connection with the series that I learned, from my father, the word "catamite" and he would also refer to Robin as "Batman's little buggery boy."
No wonder, then, that shame over my childish self, my adult desire to punish his weakness and childishness, and my childish desire to have been 'put in my place,' should coalesce around the image in the meme. How could I not have been gripped by it?
As work at my desk and on the couch have both progressed, in tandem, some of that ferocious self-contempt has abated. That means I find myself increasingly able to play, to be spontaneous and joyful. My book is not only tied to my analysis, though, it is part of my professional output. Philosophy as a discipline, in the Anglophone world, is dominated by rigor, clarity, precision, all the weapons of control and sadism. My book is part of an attempt to free myself from that. It approaches philosophy in a personal and ludic spirit. It is a kind of philosophical free association. The goal of inserting oneself into academic work is something is shares with (indeed, derives from) work by feminist theoreticians. But unlike the brave people who have truly put their lives on the line, it is hard for me, a person of privilege, to justify to myself and others the throwing over of the academic norms of privilege.
The very first time I gave a presentation on my book-in-progress in an academic setting, I remember worrying about this and, in thrashing it out in my mind, I came up with two contradictory ways of conceptualizing the presence of myself in my work. Rather than choose between them, I read the two opposing introductory paragraphs (along with a further two) at the talk. Here is one:
Many people have a strong desire to speak, or more pertinently, to write about themselves… What I am talking about is a strong, almost primordial desire, stemming from our earliest years, for visibility – a desire to be seen and known. To be counted. But a desire to be seen depends on others to see us. One must fight for the attention of, and recognition by, others who may have no interest in seeing or counting one. For those, then, who seek to gratify this desire to be seen through self-writing, various strategies present themselves. Humor is one obvious way to mediate one's desire for recognition – the child learns not to scream, but to caper! Lyricism is another. More complex strategies are also available. The general can be coaxed from the particular details of a life so that in reading about the other, the reader can also read about herself. And, where the events and idiosyncracies of a person's life are of a kind that are theorized about in some on-going discursive practice, some variety of theory, the possibility arises of intertwining the expression of the desire for visibility with the pursuit of that discursive practice.
Whatever form the accommodation takes, it is a compromise between the childish desire to be seen and the adult realization that being seen requires an other to do the seeing and that such seeing is not simply there for the taking. The childish desire to show one's face is met, as it were, with a slap by the reality principle that knows that to be seen, a face must mask itself in some way to make it enticing to the viewer. The upwelling or over-flowing needs of the id must be tamped down by the ego and super-ego.
That is what I see in this image. An enthusiastic, youthful Robin, as yet unsuccessful in making himself visible to us, is schooled by the older Batman. "No-one is interested in you, Robin," the image itself seems to say. "Your childish capers are insufficient excuse to speak. Wear a mask!"
My book is a project conducted under the dubious sign of this equivocal image. But the mask I shall wear, the theoretical discourse by means of which events and idiosyncracies of my life will gain expression, will be the dry and dusty discourse of analytic philosophy. You may imagine, if you choose, what expressions and what distortions of my self this will allow and entail.
In this introduction, I am the little boy, desperate for attention, sneaking my person into philosophy that, for others, helps the medicine go down. This little boy needs to be stopped from making a fool of himself, needs to be taught his insignificance. Here is the other introduction:
In 1969, the expression "the personal is political" was coined by feminist thinkers to challenge the idea that there is a disjuncture between the personal and the broader structures of power in which individuals are inscribed. If we interpret "political" broadly, so as to include all forms of public, institutional discourse, a special case of the expression would be "the personal is philosophical." This special case would cover efforts to overcome the disjuncture between the personal and the conventions and norms of philosophy as a discipline. Those norms enjoin authors to keep their own personalities out of their work, enjoin readers to focus only on the 'ideas' in the text, ideas that are supposed to be able to circulate without any vital connection to the lives and circumstances of their authors. This valorization of objectivity and impersonality, with its effacement of the people who produce philosophy and the ways their individuality affects the contents of their philosophy, has left philosophy shriveled and immature, deprived of the nourishing life-blood of the real people who make it. What is desperately needed for the reinvigoration of philosophy is the rude and forceful interpellation of our stunted disciplinary norms by the subject, in all her strange specificity and individuality. Auto-theory is one form this interpellation can take: the calling out of a moribund modality of philosophy by the subject, slowly and seductively revealing her own face. But because each subject is singular, unique, and real, the face of her desire, even as it reveals itself, will always retain an element of inscrutability to the other. "Fetish" is the name we give to what is inexplicable, what is surd, in desire.
My project is a work of auto-theory, conducted under the sign of this image in which the joyful, liberating, fetish-clad warrior, in his idiosyncratic singularity, forces the intrusion of the personal onto the stunted, childish discipline of academic philosophy, trying, with a slap, to bring the blood to its face, trying to rouse it from its valorization, at once perverse and torpid, of the production of philosophy without a visible human face.
For me, the image of Batman slapping Robin is about the relation of adult to child, of work to play, of the settled ways of doing things and the playful impetus to experiment, of id and superego. Working with it, and on it, has been integral both to my analysis and to my philosophical development. It has allowed me to make peace with my childish self. I hope that, at some point in the not too distant future, it will help me erase the distinction altogether between adult and child.
That is not it, at all: clarity and sadism
"That is not what I meant at all;
That is not it, at all."
Throughout my philosophical career, one virtue my writing has been consistently praised for is its clarity. Just about every journal referee and every book reviewer has used that very word or one of its cognates. Not its profundity, not its wisdom, not how interesting it is. It's always clarity, clarity, clarity. And I'm OK with that. I value clarity very highly. Moreover, my discipline, analytic philosophy, is founded on and built around the quest for clarity so my personal virtue is syntonic with the standards of my profession.
But things have been shifting for me lately and, without revoking my approval of clarity, I have come to see it also in other ways. Part of writing clearly is anticipating, and forestalling, potential ambiguities, misunderstandings, and irrelevant but tempting byways. Clear writing, in other words, serves to direct the reader's thought along exactly the path the author wishes. I would put it in even stronger terms. Clear writing is designed to occupy the reader's mind, to colonize it, forcing it to renounce its freedom and follow slavishly the writer's direction of thought.
Deploying a psychoanalytic concept developed by Melanie Klein and her followers, clarity in writing seems to me to be a mechanism of projective identification. Here is part of the definition of projective identification from the New Dictionary of Kleinian Thought (2011):
Projective identification is an unconscious phantasy in which aspects of the self or an internal object are split off and attributed to an external object.
The projected aspects may be felt by the projector to be either good or bad. Projective phantasies may or may not be accompanied by evocative behaviour unconsciously intended to induce the recipient of the projection to feel and act in accordance with the projective phantasy.
In analysis, the patient projects parts of their mind into the analyst and then, subtly and unconsciously, strives to get the analyst to act in conformity with it. If the patient, for example, has aggressive and sadistic phantasies they cannot assimilate, they will attempt to elicit aggressive and sadistic behavior from the analyst. It is both a dangerous and valuable game.
Clear writing, too, is aggressive and sadistic – not in its content but in the domination it attempts. The reader is 'forced' to look here and not there (where their own phantasies might take them), to disregard this but to give that a lot of weight, to understand something polysemous in one way and not another. I imagine that what is being projected through this mechanism is the writer's own anxiety, anxiety about confusion, about uncertainty, about getting lost, about being swallowed up by a messy, stinking pile of conceptual detritus. Writing clearly makes the writer work hard to control what they produce and at the same time, disallows anyone else the freedom to just let it all go.
I, certainly, whose care and intellectual hygiene so routinely earns me praise from my readers, am beset by these anxieties.†
My book-in-progress, A Certain Gesture: Evnine's Batman Meme Project and Its Parerga!, exhibits my internal struggles around these issues. I have sometimes said that a key way of understanding its organization is through the analytic concept of free association. Free association is a mode of talking which deliberately tries to set clarity aside. As in free association, so in my book, one thing leads to another not through linear logic but through chance associations, phantasy, and play. The book as a whole does not 'add up to anything.' Not making any point, it cannot have a telic structure. It can be read in any order. The emphasis placed on the parergon means that the work is not even sharply divided from what lies outside it. 'The work' barely exists at all. What could be messier than a work that cannot be distinguished from its frame? Or even from its didactic?
Concurrently with work on my book, anxieties about free association in analysis have been gradually soothed so that now, after 8 years, I finally find myself occasionally able to talk freely. It's a great feeling.‡ I look forward, too, to writing philosophy that is no longer 'clear' but manages to be interesting or profound instead.
† I have written here about my horror of things like nonsensical words in children's songs .
‡ Anton Kris, in his book Free Association: Methods and Process, emphasizes the effect of free associating on the patient's well-being.
An Increasingly Verbose meme. A grandmotherly Melanie Klein becomes sketchier as the jokey example used to illustrate the importance of proper punctuation becomes more verbose and, in the final panel, more Kleinian.
Image, writing and speech – in Italian
I'm excited to share with you an edited version of a talk I gave in Genoa a couple of years ago, now in virtual printed form. The piece is about one of the themes that runs through my book-in-progress A Certain Gesture: Evnine's Batman Meme Project and Its Parerga! – the relations between speech represented in writing that appears as part of an image. Many of the memes exploit the possibilities raised by these interrelations.
A problem of notation
Several times, now, I have alluded to a song I made up using the many names I bestowed upon my much-loved cat Celestino (c.1992-c.2002). (He was named after Pope Celestine V, the patron saint of bookbinders. Celestine was followed by Boniface VIII when the latter placed a speaking tube in the wall of Celestine's room and, impersonating the Holy Ghost, urged him to abdicate.) The issue is relevant to my project for two reasons. First, it forms the basis of an objection to a philosophical thesis, defended by the philosopher Robin Jeshion, that our practice of naming is regulated by an ideal that one should not give a name to something if one knows it already has a name. Secondly, I noted that I have a kind of psychological block about saying nonsense words and the revelation of the text of my song is part of an attempt, through the psychoanalysis that my book is largely about, to overcome this inhibition.
Well, here goes nothing:
I have a little grey cat
I have a little calico cat
And his name is Zemeckis
And his name is Tenbrooks
And his name is Boon Boy
And his name is Farabiano Butel
And his name is Macky Bee
And his name is Farabutles
And his name is Boxim
And his name is Bocca
And his name is Boyottles
And his name is Bunols.
The song is, like Echad Mi Yodea and Green Grow the Rushes, O, a cumulative song. The first iteration consists of the first two lines and the last. The second inserts the penultimate line, and so on, till the last iteration goes through the whole litany.
I will also, in the book, provide the melody but, as you can imagine, this presents a problem of how to notate a cumulative song. Should one just write out the final iteration, as I did with the text, and add an explanation like the one in the previous paragraph? Should one just write the first iteration and then separately provide the melody for the inserted lines? In the end, I decided to write the first and second iterations, setting off the inserted line in the second with repeat marks on either side and a comment above that one should repeat the phrase as many times as one has names to sing.
Philosophy through memes
I am honored to have been asked to contribute an essay on philosophy through memes for the Wiley-Blackwell Companion to Public Philosophy (eds. Nancy McHugh, Lee McIntyre, and Ian Olasov), currently in preparation.
Writing the piece is a challenge. I don't know of any literature on the topic and feel like I am having to think things through from first principles. (If you know of anything that might be relevant, do please let me know.)
You might think that because I am in the middle of writing a book, A Certain Gesture: Evnine's Batman Meme Project and Its Parerga!, that itself does philosophy through memes, I would have a lot of fairly developed thoughts on the topic. And I suppose I do. But my own attempts to philosophize through memes are not all that helpful. First, they are impure. My medium is not the meme, but the meme plus commentary (and the commentaries are parts of an 'art catalogue' in which the writing is done by a notionally different person from the creator of the memes). So my resources for doing philosophy are much greater than the exiguous ones of a solitary meme (or even a sequence of memes). At the same time, those extra resources are so specific and idiosyncratic that they offer no basis for generalization. Finally, the image I use has a distinctive feature which is not as a rule found in memes and which is the source of much of the philosophizing I attempt through it: the speech bubbles that derive from its original appearance as part of a comic.
The original slap, from DC Comics World's Finest #153, 1965. Art: Curt Swan Story: Edmond Hamilton
Speech bubbles allow spoken language to be represented by pictures of writing. It is the space between these three – image, writing, speech – that allows me to explore in a practical way the kind of philosophical issues raised by Derrida, in Of Grammatology, and more recently, by Alva Noë in Strange Tools. The difference between writing and a picture of writing, and the different relation each has to speech, became a major theme in the composition of the memes. (It is the topic of a talk I gave recently, available here in Italian and here in English.) Some of the ways in which it shows up in the memes are : footnotes (an exclusively written phenomenon) appearing in the speech bubbles; text represented in different alphabets, including Braille – a primarily tactile rather than visual alphabet); and text and speech bubble appearing in a mirror reflection. Even the use of punctuation in the speech bubbles raises issues since, like footnotes, it is a feature of writing, not speech. (In addition, the exclamation mark, which I came to use so frequently, is a written element that has distinctly pictorial qualities. From top to bottom, a whoosh and a slap!)
None of this, however, has any general application to philosophy through memes. What, then, is philosophy through memes? It is easy to imagine something bland and boring, like this:
A brief quotation from Paley's version of the Argument from Design is, in very lightly edited form, superimposed onto an image of Paley himself. If this were the best that could be done for philosophy through memes, it would hardly be worth pursuing.
Perhaps we get to something more interesting with this:
The same text now appears over Salvador Dalí's painting The Persistence of Memory. Putting the text over this surreal depiction of drooping watches now evokes pictorially an obvious objection to Paley's argument: the 'watch' that needs explaining (i.e. the adaptation of means to ends found in the natural world) is not as perfect as all that and therefore hardly suggests the existence of an omnipotent maker. Furthermore, the positioning of the text itself, which echoes the watch on the left, reinforces the imperfection not just of the world, but of Paley's argument about it.
Perhaps an even better example of philosophy through memes is evident in a meme which, unlike those above, was not made by me. (I don't know who made it.)
A well-known meme with this image uses the text "The hardest prison to escape is in your own mind." This Foucauldian sentiment is clearly at work in the present version but whereas the original has the image simply illustrating the idea, here we see the idea being alluded to by the little boy in his play. This emphasizes the super hetero-normativity of the image, thereby connecting the Foucauldian point to the specifics of white, middle-class American life. (I will be showing my students this meme when I teach the chapter of Ellen Feder's book Family Bonds: Genealogies of Race and Gender in which she discusses the panoptic design of Levittown, a plausible location for the scene in the image.)
Clearly there is a lot more to say about philosophy through memes – but you'll have to wait until the finished article to learn my thoughts on it. If you have any thoughts of your own, why not leave them in a comment?


text:
About Transmission Private
Founded in the heart of London's legal district, Transmission Private has now spent nearly a decade providing leading strategic communications advice to successful individuals, families, and their businesses. While our reach and competency have expanded, our deep-rooted commitment to clients remains as strong as ever.
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Transmission Private was founded in 2014 as a strategic communications advisor to successful individuals, families, and their businesses. Recognising the need for entrepreneurs, senior executives, and other high-net-worth individuals to take on sophisticated advice to manage their reputation, Transmission Private has since grown to become one of the largest global providers of PR services and strategic advice to wealthy people.
Since our initial founding, we have gone on to expand our team to look after new client segments, from family offices to family business, as well as new geographies.
While we continue to expand and transform to stay up to date with the latest communications techniques, our commitment to client service and exceptional advice stays the same.
We were founded on a mission to provide the same level of sophisticated, high-quality advice in the communications and reputation space that successful individuals received from their lawyers, wealth managers, and accountants.
Communications and PR had become so fixated on promotion and publicity that the industry had forgotten to properly sit down and listen carefully to the problems their private clients faced, which are often complex, nuanced, and sensitive.
Initially operating from Bedford Row in the heart of London's district, we moved our headquarters to the City of London in 2018 to provide further space for growth and deepen our relationships with the financial community.
Since 2018, we have been awarded 'best in breed' for family reputation four years running by Spear's magazine.
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Recognising the lack of substantive research into the reputations of successful people, in 2017, we launched the world's first research department dedicated solely to understanding how people perceive wealthy individuals and families.
In 2019, we launched the first UHNWI Public Barometer, providing the very first regular assessment of how the public perceive the wealthy community, and how that changes over time in response to geopolitical, business, and economic trends.
In 2020, Transmission Private launched its new monthly research notes, based on monthly surveys across the world into key trending communications trends and how they might impact the private wealth community. Recent research reports have studied online profile, ESG, and succession.
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Since our founding, we have grown substantially, both in terms of the services that we provide and our geographical reach. Over that time, we have launched dedicated teams for family offices, family businesses, next-generation family members, family foundations, and much else besides.
That growth has been driven by our focus on hiring from outside of the conventional public relations and communications industry, bringing in talent with experience across private client law, accountancy, public affairs, and family business advisory. This depth of experience enables us to deliver sophisticated yet commercially pragmatic advice.
While still headquartered in London, we now provide our advice to successful individual, families, and their businesses worldwide, with particular growth areas in Europe, Asia, and North America.
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Javon Jackson B.M. '87 will tour with a Berklee group for the Masters on the Road series this spring.
Berklee's Masters on the Road series, where master alumni musicians return to campus to teach and lead a touring ensemble, continues for its sixth year with tenor saxophonist Javon Jackson B.M. '87. Javon Jackson's Berklee Sextet will perform at Regattabar in Cambridge, Massachusetts, on Thursday, May 10; Side Door in Old Lyme, Connecticut, on Friday, May 11; the Jazz Loft in Stony Brook, New York, on Saturday, May 12; and Dizzy's Club Coca-Cola in New York City on Monday, May 14.
Jackson is known for his recordings and performances with the legendary group Art Blakey and the Jazz Messengers. He has released 14 recordings as a bandleader, and has performed with a variety of jazz legends including Elvin Jones, Ben E. King, Ron Carter, Freddie Hubbard, Charlie Haden, Betty Carter, and more. He has also recorded six albums of his own, his most recent being 2015's Expression. In addition to his performance schedule, Jackson is a highly sought-after jazz educator, conducting clinics and lectures at universities throughout the United States and abroad; he is currently director of the Jackie McLean Institute at the University of Hartford. Jackson also serves as a jazz panelist for the National Foundation for Advancement in the Arts and as a member of the Jazz Education Network.
Javon Jackson's Berklee Sextet includes Milena Casado (Lanaja, Spain) on trumpet; Amir Lee (Houston, Texas) on alto saxophone; Garyfallia Kerkezou (Nikaia Piraeus, Greece) on drums; Youngchae Jeong (Seoul, South Korea) on bass; and Thomas Beuf (Sceaux, France) on piano. Ron Savage, dean of the Professional Performance Division, assisted in selecting the group, and Ensembles associate professor Ron Mahdi rehearsed with the band on a weekly basis. Jackson visited the class in early April to rehearse with the group ahead of their tour.
This is the sixth year of the Masters on the Road program, in which star Berklee alumni mentor and rehearse with top Berklee student performers, and then take them on tour. In 2013, jazz pianist Cyrus Chestnut B.M. '85 performed with a student sextet in New York and Washington, D.C. In 2014, alto saxophonist Donald Harrison '81 toured with a student group to clubs in New York and Connecticut. Jazz trumpeter Ingrid Jensen B.M. '89 led a group of students on a five-date tour, which included performances in Washington, D.C., and Philadelphia, in 2015. In 2016, jazz saxophonist and David Bowie collaborator Donny McCaslin B.M. '88 toured with a student quartet throughout New Hampshire, Pennsylvania, and New York. Last year, saxophonist and bandleader Chris Cheek B.M. '91 toured with his student quintet through Massachusetts, New York, Connecticut, and New Hampshire.


Australia are the men's Hero Hockey World League 2015 champions thanks to 2-1 win against Belgium in the tournament final in Raipur, India.
Penalty corner efforts from Jeremy Hayward and Matthew Dawson were enough for Australia's Kookaburras to take the title, with Simon Gougnard snatching a late consolation goal for Belgium's Red Lions.
The top-ranked Australians dominated the early stages of the gold medal match and were rewarded when Hero Man of the Match Hayward sent a penalty corner effort into the roof of the Belgian goal one minute into the second quarter. Dawson doubled the advantage soon after half-time with another penalty corner, and it would have been 3-0 were it not for a goal-line clearance from Emmanuel Stockbroekx towards the end of the third quarter.
Belgium rallied in the latter stages of the game but were met by stern resistance from the Australian backline. Gougnard forced home a penalty corner in the final minute of the game, although it was not enough to stop the world champions from adding the Hero Hockey World League title to their ever-growing trophy cabinet.
Earlier in the day, host nation India took the bronze medal with a dramatic shoot-out victory over the Netherlands. A huge crowd witnessed Rupinder Pal Singh score twice in the contest but it was the shoot-out heroics of goalkeeper P.R. Sreejesh that gave Asian champions India victory in what was one of the games of the tournament. In the bronze medal match, European champions the Netherlands were the dominant force in the first two quarters, with Mirco Pruijser opening the scoring before Niek van der Schoot's backhand effort into the roof of the net doubled the advantage ahead of half-time.
India came out fighting after the break and scored three times without reply to take the lead, with Ramandeep Singh netting twice either side of a Rupinder Pal Singh penalty corner before Mink van der Weerden made the score 3-3 with six minutes remaining. Remarkably, four goals arrived in the final stages, with Rupinder and Akashdeep Singh giving India a 5-3 lead before Van der Weerden completed his hat-trick with a late double to force a shootout.
The medal matches brought the curtain down on a high quality week of international hockey that has been enjoyed by big crowds at Raipur's 3,500 capacity Sardar Vallabh Bhai Patel International Hockey Stadium.
Australia's Jamie Dwyer was named Hero Best Player of the tournament, while Arthur van Doren of Belgium was given the NMDC Best Junior Player award.
Netherlands shot-stopper Jaap Stockmann was named SECL Best Goalkeeper while Gonzalo Peillat of Argentina finished as Hero Top Scorer with eight goals. The NTPC Fans Choice Award went to Indian goalkeeper P.R. Sreejesh.