text:
THE SAFEGUARDING ALLIANCE in partnership with INFINITE LEARNING
ONLINE SAFEGUARDING COURSES HERE
The Safeguarding Alliance and Infinite Learning – delighted to announce their Partnership!
The Safeguarding Alliance and Infinite Learning are excited to announce their Partnership. Both organisations are committed to ensuring that the highest possible standard of Safeguarding practice is firmly embedded across all relevant industries in the region.
In Partnership with Infinite Learning, The Safeguarding Alliance have launched The Safeguarding Standard in the UAE. The Safeguarding Standard is an international quality benchmark for any organisation working with children, young people and vulnerable adults. It supports the organisation to ensure that Safeguarding is fully embedded in all aspects of operational and strategic practice.
The Safeguarding Standard, which acts as a full external Safeguarding audit, has been carefully designed to ensure that best Safeguarding practice can be evidenced throughout Parts 1 – 8 of the British School Overseas ('BSO') Standards. Undertaking The Safeguarding Alliance Standard offers Schools the opportunity to effectively demonstrate how they have gone beyond the Statutory requirements prescribed by the BSO Standards and DSIB.
The Standard is carried out over a three-day audit and accreditation is awarded to those that meet the Standard, in order to evidence outstanding Safeguarding practice.
The Safeguarding Standard gives the successful organisation four successful outcomes:
External Validation: a Certificate which declares both the organisation's compliance with these high standards and a statement of quality;
Quality Report: to support the organisation's internal work, and ongoing development and improvement;
Safeguarding Alliance Accreditation: to allow the organisation to demonstrate externally, that Safeguarding is given the utmost priority, which in return increases customer confidence;
Continued Support: a 12-month and a 24-month review allows the organisation to ensure continued professional best practice in Safeguarding is maintained, both as an organisation and individually.
In September, The Safeguarding Alliance, in Partnership with Infinite Learning, successfully completed its first Safeguarding Standard Audit in the UAE, at Jumeirah English Speaking School, Dubai.
The Safeguarding Standard is now available across the region. For further information and enquiries please contact rebecca@infintielearning.ae
@TheSafeguarding
@infiniteUAE
www.thesafeguardingalliance.org.uk
www.infinitelearning.ae


text:
Stephanospora är ett släkte av svampar. Stephanospora ingår i familjen Stephanosporaceae, ordningen Russulales, klassen Agaricomycetes, divisionen basidiesvampar och riket svampar.

Källor

Basidiesvampar
Stephanospora

redpajama_set_name: RedPajamaWikipedia


text:
One Hundred Ghost Stories
Animation, Experiential, Interactive
helenkwok
A book installation inspired by the One Hundred Ghost Stories experience in Japan. The popular parlour game involves sharing ghost stories with friends in a dark room filled with a hundred candles. After each frightening tale, a candle is extinguished. Upon the last candle going out, a spirit is said to be summoned. The aim of my studio project was to recreate this experience in the form of a light projection to transport the user into "another world". I created and animated three of the ghost stories: Okiku (the ghost in the well); Koheiji (the ghost from the swamp); and Oiwa (the ghost in the lantern). Using the Leap Motion as a tracking device, the installation invites the user to extinguish the candle flame after every animation, before releasing a myriad of ghosts in a climatic ending. The installation was completed as part of my first semester studio project for the Master of Animation, Games & Interactivity program at RMIT University in Melbourne.
Corporate Values 2016
Animation, Film
In early 2016, the Housing Authority launched a new set of corporate values. Rather than a standard "head-to-camera interview" approach to promote them, we opted to do a stop-motion animation. The goal was to create something fun, universal and reusable across many platforms. By focusing on just objects to bring these new values to life, we were able to demonstrate the values in an abstract and interesting way. The use of classic board and card games as props were an instant hit with staff. They loved the playful references, and the Scrabble pieces allowed us to highlight important information in an engaging way. I was involved in the creative direction, including the overall idea development, planning, storyboarding, filming and post-production (editing, sound effects and music). Work completed while employed by the Housing Authority. (Contact Helen for preview password)
Dance of the Spirits
Animation, Music
Dance of the Spirits is a music visualisation created for the "Make a Noise!" showcase event at the Northbridge Piazza. I was one of the local Perth creatives who showcased their work on the big screen on the night. The event was run by the City of Perth, and led by Perth composer and sound designer, Josh Hogan. I composed the music in Ableton Live, and created abstract visuals in After Effects to complement the music. I decided to compose an orchestral track due to my love for film scores. The music was inspired by traditional Chinese and Mongolian music. The song tells the story of a dance between the two main instruments: the cello and the flute. The blood red smoke represents the cello, and the bamboo green smoke represents the flute. Showcased on the big screen at the Northbridge Piazza on 11 December 2015.
Compass Learning Management System
Animation, Branding, Interactive
The Housing Authority changed to a new learning management system called Compass in 2015. As part of the change, we needed a suite of learning resources and promotional material to distribute to staff. We wanted a visual style that was fun, colourful and bold – a huge contrast to the corporate branding staff was used to seeing. The style needed to align with the Compass logo. I was in charge of designing, creating and implementing a consistent visual style across all content, including: A short promotional video/animation for the launch of Compass A series of interactive online tutorials aimed at both learners and managers A series of booklets with step-by-step instructions on how to use the system Work completed while employed by the Housing Authority. (Contact Helen for preview password)
Soul is a music visualisation to "Song for Little Sparrow" by Abel Korzeniowski. It was a competition entry to the Screen & Sound Fest 2014, a competition that applauds visual interpretations of symphonic music. Soul is the story of a man's soul and its journey, from earth to the cosmos, as the man contemplates death on the edge of a building rooftop. Along the way, the soul experiences the desolation and ruins of mankind, escaping into space to avoid chaos, but only to return to earth after seeing the beauty of life. This transformational journey of the soul is matched to the expressive violin solo of the musical piece – its various intonations and rhythms visualized as the "soul" dances across the screen.
Habitat Animation
An animation about the introduction of a new housing tenancy management system (that was to replace a widely-used but older system). The purpose of the animation was to communicate to staff why we are moving to a new system, and reassure them that different types of support are available. Our aim was to make it fun and easy to understand, with the use of cartoon characters to make the video more accessible, and the use of an analogy to cars in the narrative to make it more relatable to staff. This different approach and style, which was vastly different to the standard corporate video staff are used to seeing, garnered great feedback throughout the organisation. My role in this project was working on the animation, music and sound effects. Work completed while employed by Department of Housing. (Contact Helen for preview password)
Visualizing Music
Animation, Research
A music visualisation research project completed during my Design Honours year. Over the years, artists had delved in the field of visual music using a variety of media and techniques. However, their venture into the digital had seen a shift in focus from the "wonderfully evocative metaphors" found in their works to a physical translation of sound to image. The aim of this research project was to explore the possibilities of creating meaningful music visualizations using generative techniques in digital media. A PDF version of my dissertation is available here (PDF 890kb). The results of my research and experimentation are also compiled into an interactive Adobe Flash package, broken down into five musical modules.

redpajama_set_name: RedPajamaCommonCrawl


1. Set a large sauce pot over medium heat. Add the olive oil, chopped onions, celery, ginger, and garlic. Saute for 5-6 minutes to soften. Then add the chicken breasts, broth, carrots, apple cider vinegar, crushed red pepper, turmeric and 1 teaspoon sea salt.
2. Bring to a boil, lower the heat, and simmer for 20+ minutes, until the chicken breasts are cooked through. Then remove the chicken with tongs and set them on a cutting board to cool.
3. Add the broccoli, peas, and parsley to the pot. Continue to simmer to soften the broccoli. Meanwhile, shred the chicken breasts with two forks, and stir it back into the soup. Once the broccoli is tender, taste, then salt and pepper as needed. Serve warm.


BIOGRAPHICAL/HISTORICAL NOTE: The township system was created to encourage denser settlement on the frontier and greater white immigration to the province. Although similar schemes with this intent had been proposed earlier, the system did not achieve fruition until Governor Robert Johnson proposed a comprehensive scheme to the Board of Trade in 1730. The board agreed to the substance of the plan and instructed Johnson to establish eleven townships, each to be located at least sixty miles from Charles Town and to consist of 20,000 acres.
Each settler was to receive fifty acres for each person in the household and a town lot. S.C. Statute 1731(3)289 appropriated monies for the cost of surveying the townships and purchasing tools and equipment for poor immigrants. The provincial government granted the immigrants land free of the usual fees. The tools and provisions were known as the bounty and the fee-free grants as bounty grants. Not all township settlers were immigrants or bounty recipients.
Township grants initially were recorded with the other land grants. This series was created in 1735 when the secretary began separate volumes of specialized grants concurrent with the main series. Some township grants were recorded in the Colonial Land Grants series or, if bounty grants, in the Bounty Grants series.
SUMMARY SCOPE NOTE: This series consists of records on pre-printed forms of lands and town lots granted in the townships. Each entry includes the name of the grantee, the number of acres granted; the lot number of the town lot, if any; the township and county in which the grant was located; the boundaries, with the names of surrounding landholders; the quitrent requirements; the conditions of the grant; the certification date of the plat; and the date of the grant. Bounty grants are so annotated. The final volume in the series (2G) was used to record other types of grants after 1759.
INDEX/FINDING AID: The 429 grants in this series that were not copied into Colonial Land Grants (Copy Series) are included in the repository's On-line Combined Index to Multiple Record Series, 1675- 1929, and in the Combined Alphabetical Index produced by the repository on computer output microfilm (COM) in 1991. These indexes include the names of the grantees and surrounding landowners and all geographic locations and features mentioned in the grants. The numeric code 0002 007 was used to designate this series in the computer output microfilm index.
The names of the grantees (only) in all the volumes in this series, which bear the letter designations DD, EE, FF, and GG, are included in the nineteenth century consolidated index to the 2-letter volumes of the Colonial Land Grants series. Volume EE was divided into two parts when it was restored in 1966. The volumes also contain internal indexes.
GENERAL NOTE: Most documents in this series were transcribed into Colonial Land Grants (Copy Series).


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Tag Archives: artificial intelligence
Drones, Future War
Video Game AI and the Future UCAV Top Gun
July 15, 2013 Matt Hipple 2 Comments
Alright, Roomba, now start sweeping for enemy units.
A Roomba is useful because it can sweep up regular messes without constant intervention, not because it can exit and enter its docking station independently. Although the Navy's new X-47B Unmanned Combat Air Vehicle (UCAV) has, by landing on a carrier, executed an astounding feat even for humans, this ability only means our weapons have matured past their typical one-way trips. The real challenge will be getting a UCAV to defend units while sweeping up the enemy without remote guidance (i.e. autonomously). The answer is as close as the games running on your Xbox console.
Player One: Insert Coin
Simulated fighters are UCAVs having an out-of body experience.
Considering the challenge of how an air-to-air UCAV might be programmed, recall that multiple generations of America's youth have already fought untold legions of advanced UCAV's. Developers have created artificial "intelligences" designed to combat a human opponent in operational and tactical scenarios with imperfect information; video games have paved the way for unmanned tactical computers.
A loose application of video game intelligence (VGI) would work because VGI is designed to operate in the constrained informational environment in which a real-life UCAV platform would operate. Good (i.e. fun) video game AI exists in the same fog of war constraints as their human opponents; the same radar, visual queues, and alerts are provided to the computer and human players. The tools to lift that veil for computer and human are the same. Often, difficulty levels in video games are not just based on the durability and damage of an enemy, but on the governors installed by programmers on a VGI to make competition fair with a human opponent. This is especially evident in Real Time Strategy (RTS), where the light-speed all-encompassing force management and resource calculations of a VGI can more often than not overwhelm the subtler, but slower, finesse of the human mind within the confines of the game. Those who wonder when humans will go to war using autonomous computers fail to see the virtual test-bed in which we already have, billions of times.
This Ain't Galaga
No extra lives, and forget about memorizing the level's flight patterns.
Those uninitiated must understand how VGI has progressed by leaps and bounds from the pre-programmed paths of games such as the early 1980's arcade shooter Galaga; computer opponents hunt, take cover, maneuver evasively, and change tactics based on opportunities or a sudden states of peril. The 2000's Half-Life and HALO game series were especially lauded for their revolutions in AI – creating opponents that seemed rational, adapting to a player's tactics. For the particular case of UCAV air-to-air engagements, since the number of flight combat simulators is innumerable, from Fighter Pilot on the Commodore 64 in 1984 to the Ace Combat series. Computers have been executing pursuit curves, displacement rolls, and defensive spirals against their human opponents since before I was born.
However, despite its utility, VGI is still augmented with many "illusions" of intelligence, mere pre-planned responses (PPR); the real prize is a true problem-solving VGI to drive a UCAV. That requires special programming and far more processing power. In a real UCAV, these VGI would be installed into a suite far more advanced than a single Pentium i7 or an Xbox. To initiate a learning and adapting problem-solving tactical computer, the DARPA SyNAPSE program offers new possibilities, especially when short-term analog reasoning is coordinated with messier evolutionary algorithms. Eventually, as different programs learn and succeed, they can be downloaded and replace the lesser adaptations on other UCAVs.
I've Got the Need, The Need For Speed
Unlike Maverick, drones will never have to go through motorcycle safety training.
When pilots assert that they are more intuitive than computer programs, they are right; this is, however, like saying the amateur huntsman with an AR-15 is lesser trained than an Austrian Arabesquer. The advantage is not in the quality of tactical thought, but in the problem solving rate-of-fire and speed of physical action. A VGI executing air-to-air tactics in a UCAV can execute the OODA loop encompassing the whole of inputs much faster than the human mind, where humans may be faster or more intuitive in solving particular, focused problems due to creativity and intuition. Even with the new advanced HUD system in their helmets, a human being cannot integrate input from all sensors at an instant in time (let alone control other drones). Human pilots are also limited in their physical ability to maneuver. G-suits exist because our 4th and 5th generation fighters have abilities far in excess of what the human body is capable. This artificially lowers aircraft tactical performance to prevent the death or severe damage of the pilot inside.
Pinball Wizard: I Can't See!
VGI doesn't have a problem with the how, it's the who that will be the greatest challenge when the lessons of VGI are integrated into a UCAV. In a video-game, the VGI is blessed with instant recognition; its enemy is automatically identified when units are revealed, their typology is provided instantly to both human and VGI. A UCAV unable to differentiate between different radar contacts or identify units via its sensors is at a disadvantage to its human comrades or enemies. Humans still dominate the field of integrating immediate quality analysis with ISR within the skull's OODA loop. Even during the landing sequence, the UCAV cheated in a way by being fed certain amounts of positional data from the carrier.
We've passed the tutorial level of unmanned warfare; we've created the unmanned platforms capable of navigating the skies and a vast array of programs designed to drive tactical problems against human opponents. Before we pat ourselves on the back, we need to effectively integrate those capabilities into an independent platform.
Matt Hipple is a surface warfare officer in the U.S. Navy. The opinions and views expressed in this post are his alone and are presented in his personal capacity. They do not necessarily represent the views of U.S. Department of Defense or the U.S. Navy.
artificial intelligencedronesUCAS-DUCAVVideo GamesX-47B
Thinking Weapons are Closer Than We Think
April 15, 2013 Matt Hipple Leave a comment
This piece also at USNI News.
The Defense Advanced Research Projects Agency (DARPA) has constructed a neuromorphic device—the functioning structure of a mammalian brain—out of artificial materials. DARPA's project, SyNAPSE (Systems of Neuromorphic Adaptive Plastic Scalable Electronics) signals a new level for biomimicry in engineering. The project team included IBM, HRL, and their subcontracted universities.
Biomimicry is not new. The most recent example is the undulating "robojelly" developed by the Universirty of Texas at Dallas and Virginia Tech. This new drone swims through the sea like a jellyfish, collecting energy from the oxygen in the water, as does any breathing organism. There is also the graceful Pesto SmartBird, an aerial drone that mimics the shape and physical flight of birds. A knockoff was found crashed in Pakistan. If not the shape, at least the actions are often mimicked, as shown by UPenn's quadrotors being programmed to use crane claws like predatory birds rather than construction cranes. However, these examples of biomimicry only cover the external actions of an animal. SyNAPSE goes deeper, building a synthetic version of the mind that develops these actions.
In the quest for autonomous machines, the suggestions have been either-or: machines programmed to be like brains or the integration of biological processors to provide that processing flexibility. DARPA has found the "middle path" in constructing a series of synthetic synapses out of nano-scale wire. This takes the physical form of those biological processors and constructs them from the base material of conventional computers. According to James Gimzewski at UCLA, the device manages information through a method of self-organization, a key trait of autonomous action and learning, "Rather than move information from memory to processor, like conventional computers, this device processes information in a totally new way." Moving past the surface mimicking of physical shape and function, SyNAPSE will mimic living organisms' basic way of processing information.
However, as the possibility for real autonomy approaches, the legal challenge becomes more urgent. An article in Defense News summarizes the catalogue of problems quite well, from accidental breaches of airspace/territorial waters, to breaches in navigational rules, to accidental deaths all caused by machines not having a direct operator to hold responsible. However, as the director of naval intelligence Vice Admiral Kendall Card noted, "Unmanned systems are not a luxury; they are absolutely imperative to the future of our Navy." Like the CIA's armed predator program, someone will eventually open Pandora's box and take responsibility for their new machines to gain the operational edge. DARPA's SyNAPSE project is that next step toward an autonomous reality.
A DARPA scale of the make-up of a neuromorphic circuit and their biological equivalents.
artificial intelligenceBiomimicryComputersDARPA


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CultureHive > Authors > The Wallace Foundation
31st May 2017 Sara Lock
Resources by The Wallace Foundation
Extending reach with technology
This case study by Bob Harlow, published by The Wallace Foundation, explores Seattle Opera's multipronged experiment to deepen relationships and reach new audiences.
Thriving arts organisations, thriving arts
The Wallace Foundation explores some of the challenges in the U.S. that are making audience-building a complicated enterprise.
The Road to Results: effective practices for building arts audiences
Explore the practices that have enabled ten organisations in the U.S. to build audiences for the arts. This publication was written by Bob Harlow and published by The Wallace Foundation.
Taking out the guesswork: a guide to using research to build arts audiences
This publication by Bob Harlow, published by The Wallace Foundation, provides guidelines to help you design and manage your own audience research. It explores how research can help you learn about potential audiences, create more effective promotional materials and track progress towards your audience-building goals.
Staying relevant in a changing neighbourhood
Discover how Fleisher Art Memorial is adapting to shifting demographics in its Southeast Philadelphia community. This case study by Bob Harlow was published by The Wallace Foundation.
Converting Family into Fans: how The Contemporary Jewish Museum expanded its reach
This case study by Bob Harlow and Cindy Cox Roman, published by The Wallace Foundation, shares how The Contemporary Jewish Museum achieved a nine-fold increase in family visitors of all backgrounds.
Ballet Austin: expanding audiences for unfamiliar works
This article by Andrew Decker, published by The Wallace Foundation, explores the steps Ballet Austin has taken to expand its audiences for unfamiliar works.
Based in New York City, The Wallace Foundation is a philanthropy working nationally to answer important questions that, if solved, could help strengthen practices and policies within a field.
Its mission is to foster improvements in learning and enrichment for disadvantaged children and the vitality of the arts for everyone.
The Wallace Foundation May 31st, 2017Sara Lock
@WallaceFdn
http://www.wallacefoundation.org/


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Q: C# AES CBC PKCS7 to Python I'm currently trying to translate a simple AES code from C# to Python. I know both of these languages pretty well, but I have no idea about the encryption field (especially AES). I wrote this AES code before in C#, but now I have no idea how to make it work in Python (I'm using PyCrypto since Python2.7 does not have built-in AES). Below is my C# code:
using System.Collections;
using System.Text;
using System.Security.Cryptography;

namespace DefaultClasses
{
    public class SimpleAES
    {
        private const string KEY = "someKey";
        private const string IV = "someIV";
        private AesCryptoServiceProvider _aes;
        private ICryptoTransform _crypto;

        public SimpleAES()
        {
            _aes = new AesCryptoServiceProvider();
            _aes.BlockSize = 128;
            _aes.KeySize = 256;
            _aes.Key = ASCIIEncoding.ASCII.GetBytes(KEY);
            _aes.IV = ASCIIEncoding.ASCII.GetBytes(IV);
            _aes.Padding = PaddingMode.PKCS7;
            _aes.Mode = CipherMode.CBC;
        }

        public string encrypt(string message)
        {
            _crypto = _aes.CreateEncryptor(_aes.Key, _aes.IV);
            byte[] encrypted = _crypto.TransformFinalBlock(
                ASCIIEncoding.ASCII.GetBytes(message), 0, ASCIIEncoding.ASCII.GetBytes(message).Length);
            _crypto.Dispose();
            return System.Convert.ToBase64String(encrypted);
        }

        public string decrypt(string message)
        {
            _crypto = _aes.CreateDecryptor(_aes.Key, _aes.IV);
            byte[] decrypted = _crypto.TransformFinalBlock(
                System.Convert.FromBase64String(message), 0, System.Convert.FromBase64String(message).Length);
            _crypto.Dispose();
            return ASCIIEncoding.ASCII.GetString(decrypted);
        }
    }
}

Please note that I want also to have BlockSize = 128, KeySize = 256, Padding = PKCS7, and Cipher CBC for Python. Thanks in advances!

A: I realize this question is almost a year old but I found it when looking for some solutions to communicate with a legacy windows process that uses the PKCS7 padding in its implementation of AES.  Here is a quick example that works great for me.  Hopefully it proves useful to someone else down the line.  I had the same block size, key size, and padding as the question author specified.
from Crypto.Cipher import AES
from pkcs7 import PKCS7Encoder
import base64

shared_key = "abc123ty9TW1abc123ty9TW1" #some random key for a working example
IV = "rTF25nTrrTF25nTr"

clear_text = "Testing 123"
aes = AES.new(shared_key, AES.MODE_CBC, IV)
aes.block_size = 128
cipher_text = base64.b64encode(aes.encrypt(PKCS7Encoder().encode(clear_text)))
print(cipher_text)

aes_decrypter = AES.new(shared_key, AES.MODE_CBC, IV)
aes_decrypter.block_size = 128
clear_text = PKCS7Encoder().decode(aes_decrypter.decrypt(base64.b64decode(cipher_text)))
print(clear_text)

The pkcs7 padding utility I'm using was copied from a Github project:
import binascii
import StringIO

class PKCS7Encoder(object):
    def __init__(self, k=16):
       self.k = k

    ## @param text The padded text for which the padding is to be removed.
    # @exception ValueError Raised when the input padding is missing or corrupt.
    def decode(self, text):
        '''
        Remove the PKCS#7 padding from a text string
        '''
        nl = len(text)
        val = int(binascii.hexlify(text[-1]), 16)
        if val > self.k:
            raise ValueError('Input is not padded or padding is corrupt')

        l = nl - val
        return text[:l]

    ## @param text The text to encode.
    def encode(self, text):
        '''
        Pad an input string according to PKCS#7
        '''
        l = len(text)
        output = StringIO.StringIO()
        val = self.k - (l % self.k)
        for _ in xrange(val):
            output.write('%02x' % val)
        return text + binascii.unhexlify(output.getvalue())

redpajama_set_name: RedPajamaStackExchange


text:
Q: Comma between two items before the equal sign There is a program that has
 x, wrap_flag_x = wrap(x + cos(angle), N)

My question is, what is it doing when you put a comma in between two things to the left of the equals sign.
I get for example x = 5 so is it the same as x,y = 5 where x= 5 and y = 5?

A: Look at what happens when I do this:
In [1]: x,y = 1,2

In [2]: x
Out[2]: 1

In [3]: y
Out[3]: 2

Thus, wrap(x + cos(angle), N) returns two values, and the first of those values gets assigned to x while the second gets assigned to wrap_flag_x. Think about it this way:
In [4]: def myfunc():
   ...:     return 'a', 'b'
   ...:

In [5]: x,y = myfunc()

In [6]: x
Out[6]: 'a'

In [7]: y
Out[7]: 'b'

In [8]: myfunc()
Out[8]: ('a', 'b')


text:
When did you last feel shame? Today? Yesterday? Last week? Last year? In my case, I reckon the answer is 1983.
Now, there may be many reasons why I have felt no shame for the last twenty-nine years. It could be that I am a saint, or a sociopath; that I never do anything shameful or am pathologically unable to recognise it when I do. It could be that I am misidentifying my emotions. Maybe on occasions when I think I am feeling embarrassment, or regret, or guilt, or anger at myself, in fact I am feeling shame. But I doubt it.
Looking back over a week of posts about shame on this blog, in which shame has been analysed philosophically, politically, aesthetically, and sexually, I am all the more convinced that it's just not a feeling I have in my repertoire. I understand the logic of shame as a kind of unseen substance invoked in connection with publicly acknowledged moral failures. And I might quite frequently and sincerely state that I am ashamed of myself for falling short of some personal or professional ideal. But,as I hinted in my questions to the philosophers of shame on Monday none of this involves me feeling anything much at all, let alone a clear and distinct emotion. In other words, I don't share their belief that the primary meaning of 'I am ashamed' is 'I am currently feeling the emotion of shame'.
According to the authors of In Defense of Shame, shame is primarily the name of an emotional episode in which a shamed individual has clear physical symptoms such as blushing, averting their eyes, and covering their face, while believing themselves to have fallen short of some dearly held ideal. Does that regularly happen to you? As I say, for me I think the last time was in 1983, on an occasion when my mother discovered that I had been lying to her, and I recall a deep sense of upset, a burning red face, and an inability to look her in the eye. These days, if I find myself feeling ashamed, it tends to be in private, not to involve blushing, nor averting my eyes, nor feeling physically churned up in any way (unlike, say, when I find myself enraged or grief-stricken).
As with any interesting emotion word, 'shame' is ambiguous and multivalent. I certainly seem to mean something slightly different by 'shame' than do the authors of In Defense of Shame, and no doubt my concept of shame differs from that of Plato, of modern political theorists, and of Steve McQueen too. Looking at the history of the English word 'shame', its ancestors in Old English and Germanic languages include terms with connotations of disgrace and infamy, which in turn were used to translate at least two different Latin terms, pudor (modesty, bashfulness) and rubor (blush, disgrace). The OED's primary definition of the modern English term treats shame as a 'painful emotion' arising from something either dishonouring or offensive to modesty or decency. The association between nudity and shame fits into the category of offences to modesty, and can be traced all the way back to the Garden of Eden when Adam and Eve, originally quite unashamed by their nudity, like happy naturists, are suddenly stricken by bourgeois shame after eating from the tree of knowledge of good and evil.
This semantic and etymological history also holds some clues, I think, about the origin of my sense that shame either is not an emotion at all, or is one that I have never experienced as an adult. There are two points here. First, I think that somehow I have ended up with a pre-modern sense of shame. I think of shame not as a feeling but as an invisible moral quality that attaches to actions and people – something more like indecency, immodesty, or dishonour – none of which is an emotion. I find it easier to imagine asking someone, in moral outrage, 'Have you no shame?' than 'Do you not feel shame?'. Easier to imagine, but still pretty implausible. Because even if shame is some kind of feeling or emotion, it seems to be one that arises as part of a thought-world that I simply don't inhabit – one in which a person can be dishonoured, or their modesty offended. These are alien concepts to me.
Finally, then, this is an instance when the history of emotions can help us to understand our own mental lives. In her Natalie Zemon Davies lectures, recently published as Emotions in History: Lost and Found, Ute Frevert explores the moralised, ritualised and hierarchical emotional systems bound up with codes of chivalry and honour in early-modern Europe. Her book includes wonderfully vivid accounts of how civilised men, even up to the end of the nineteenth century, would seek to settle offences to their own and their family's honour, by 'calling out' the adversary who had shamed them, seeking satisfaction in a duel. Frevert goes on to explore the practice, observable up to the present, and evident in recent atrocities in both Europe and Africa, of the shaming of enemies by the sexual violation of their women. The message of history seems to be that the emotion of shame is deeply connected with honour and violence, especially sexual violence. We should expect societies with strong moral codes of honour connected to female sexual integrity to be particularly shame-filled. Tabloid newspapers, unlike my daily life, provide just such a context.
But let's end Shame Week on a note of bathos rather than real tragedy. Frevert finds a modern counterpart of the duelling ethos in the infamous behaviour of Zinédine Zidane in the World Cup Final of 2006. Zidane, the French captain, was sent off, during his final professional match, for an apparently inexplicable act of violence against one of his Italian opponents, Marco Materazzi.
France went on to lose the match. Zidane, one might imagine, would have experienced great pangs of shame arising from the defeat of his nation as a result of this impetuous unprofessional conduct. Writing for the Guardian at the time, Richard Williams described Zidane's exit as a 'walk of shame'.
But, in fact, it turned out, Zidane saw his actions as quite the opposite. Materazzi had apparently called Zidane's sister a whore. From Zidane's point of view doing nothing would have been the shameful option. Sexual innuendo directed against the family's honour had to be avenged. In the nineteenth century it might have been pistols at dawn. In the world of twenty-first century football it was a swift headbutt to the chest.
This entry was posted in Emotional Currents, Philosophies of Emotion and tagged Adam, duels, Eve, Genesis, honour, shame, Ute Frevert, Zinedine Zidane by Thomas Dixon. Bookmark the permalink.
5 thoughts on "Shameless"
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Douglas Curt Lyons on March 18, 2012 at 3:29 am said:
I suggest John Bradshaw (1988) "Healing the SHAME that /Binds you"
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Padraig O'Morain on June 29, 2012 at 7:37 am said:
George Herbert Mead's (http://www.iep.utm.edu/mead/) idea of the internalised society in our heads is also important in relation to shame I think. What the "society" in one person's head makes them feel ashamed of might not be the same as what the "society" in another person's head makes that person feel ashamed of.


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I'm Fine, But You Appear to Be Sinking by Leyna Krow
Reviewed by John Baum
Featherproof Books, 2017
With Leyna Krow's story collection, I'm Fine, But You Appear to Be Sinking, Featherproof Books has succeeded in their stated mission to publish "strange and beautiful fiction." Both strangeness and beauty play a big role in these pages—as do humor and heart and honesty.
Call it strange or innovative, but tucked in between the table of contents and the first story is an "Index of Things to Come," an alphabetical catalog of subjects, themes, and situations included in the collection. If only most books opened on such an interesting, unexpected note. A random sampling of the entries includes "BMX bikes," "Conversations with neighbors," "Internet research (futile)," "Trouble in kitchens," "Uncomfortable encounters at the grocery store," and "Unidentifiable animals." The two entries with the most references are "Dead parents" and "Visions of the future," a good indicator the of book's ironic sense of yin and yang: an eye on the future with a mind on the past.
Although the environmental predictions depicted in some of these pieces are not so rosy, Krow does not depend on the pyrotechnics of cataclysm to tell a story. Wisely, she depends on good, old fashioned, flawed human nature. These characters struggle against each other, themselves, and their pasts, no matter what natural threat looms.
What makes the "Visions of the future" stories work so well is their realism. Krow's simple view of the near future lacks fantastical details like flying cars, underwater cities, or a moonscape crowded with condos and futuristic freeways. In other words, Epcot got it wrong. The world in these stories is not that different from the present. The people in these stories struggle with the general complexities and conflicts of life as we know it, with only minor tweaks to the physical world, changes that are mostly environmental.
In "Habitat," an invasive species of fern and the snake that seems to accompany the fern's growth play a large thematic role, but are not the overall focus, as two siblings dismantle their aging father's house, the house in which they both lived until adulthood.
"Spud and Spud II" toggles between 2077 and 2090, featuring a lonely adolescent son, the aunt struggling to raise him, and a marine biologist cum astronaut recounting his successes and failures as a human being as his shuttle suffers a power outage. Especially interesting to note is the arrangement of the "Spud" stories: in between each of the collection's full length stories are tiny alternating chapters of "Spud & Spud II," an ongoing story that involves its own narrative arc, gaining speed as it reaches the end.
In "End Times," the repeatedly incarnated narrator has experienced seven apocalypses, and she posits that "the universe is stuck in a never-ending loop of creating and destroying itself." While the world reincarnates itself, and characters return as themselves go on to live multiple lives, the narrator will "always cash out at the gym on the same day in June," thus giving her the advantage of watching how others change and grow around her.
As time passes and disasters mount, human nature appears to stay the same, and that is what Krow explores in her odd and humorous storytelling style.
In some ways, the present-day stories are the more outlandish pieces. In the title story, a mediocre reporter for Popular Anarchist Quarterly and a vegan intern are stranded in the Pacific after their shipmates—the only people on board with a working knowledge of the boat—pilot an inflatable dinghy to protest a whaling ship only to disappear in a fog bank. With the delivery of a stand-up comedian, the narrator wonders if the anti-whaling cause might gain more support if humpback whales were "a bit cuddlier. Or at the very least, not covered in humps." In a story laced through with a sense of doom, it is a very real, funny moment. Krow does a wonderful job of applying this kind of humor throughout the collection.
The recently fired second person narrator in "Excitable Creatures" discovers an unidentifiable animal in his backyard, befriends it, and names it Walter: "It has a wide muscle-y body, a pushed up nose, and big, sympathetic eyes" and it seems to enjoy cheese. The unidentified animal may be behind the disappearance of neighborhood cats, but it is also the lifeline of connection that gives the story—and the unidentifiable animal—heart. "You tentatively scratch at the top of its bulky head, which it allows. This is the most satisfying interaction you will have with another living being all day."
The final story in the collection, "Mr. Stills' Squid Days" details a widow's attempt to differentiate between a dream and a childhood memory of a squid festival on the shores of Monterey Bay. Krow effortlessly weaves in the widow's struggle to find evidence of the squid festival, her unlikely connection to the young marine biologist willing to help her, and the tense but warming relationship with her grand-niece, a nineteen-year-old with a "surly disposition" who "dyes her hair black and wears dark make-up and dark clothes most of the time, baggy black pants cascading over black boots."
Like many stories in this collection, the oddity of this piece does a great deal of work. A dreamt or actual festival where men hurl beached squids back into the ocean while onlookers eat squid bits and ink pops brings the widow's loneliness into sharp relief, but does not send her slinking into a corner. The wheelchair-bound widow does not wither.
The repeated appearances of oceans and outer space, sea creatures and terrestrial beasts create an ironically intimate view of humanity. While the nagging concern of Mother Nature's next move hovers over some of the stories, others wriggle beneath the shadowy threat of human nature's instinctual transgressions.
Krow's stories are sometimes funny and sometimes sad, with comedic irreverence and darkness mixed in, but nevertheless, a strong undercurrent of hope pulses beneath the surface. They are good stories to read these days.
Leyna Krow's stories have appeared in Hayden's Ferry Review, Prairie Schooner, Ninth Letter, and other publications. She lives in Spokane, Washington.
John Baum's stories have been published in Blue Mesa Review, Booth, St. Anne's Review, WhiskeyPaper and elsewhere, with work forthcoming in Jellyfish Review. At work on a novel and a short story collection, he lives in Atlanta with his wife and their two dogs. www.johnpbaum.com.


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Matthew Arndt
Matthew Arndt is an Associate Professor of Music Theory at the University of Iowa. He holds a Ph.D. in Music Theory with a double minor in Music Composition and Philosophy from the University of Wisconsin–Madison, an M.M. in Music Composition from the University of Colorado at Boulder, and a B.A. with honors in Music Composition from Lewis & Clark College. At the University of Colorado at Boulder, he studied with Richard Toensing of blessed memory. Professor Arndt has taught at Mercer University, Lawrence University, and the University of Wisconsin–Madison. He studies musical poetics, three-voiced chant from the Republic of Georgia, and other instances of spirituality in music. He has arranged Georgian chant for the Divine Liturgy of Saint John Chrysostom into English. He is the author of The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg (Routledge, 2018) and several articles. Professor Arndt primarily composes music for choir, flute, and piano. His music is influenced by Georgian chant, Byzantine chant, Bach, Beethoven, Schoenberg, Robert Johnson, Theolonius Monk, Olivier Messiaen, Jacques Ibert, Arvo Pärt, and others. Besides his contribution to Heaven and Earth, other recent compositions include four sonatas and a theme and variations for flute and piano, all of these works dedicated to his wife, Katherine, several liturgical pieces, a choral setting of the Jesus Prayer, and a piano fantasy on that setting.
Matthew Arndt Discography


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UA Undergraduate Researcher Earns Prestigious National Award
Daniel Fried, a UA senior in the Honors College, is one of 14 Churchill Scholars selected for the 2014-2015 academic year.
DanielF.jpg
Daniel Fried is the second student from the UA to receive the Churchill award. The first Churchill Scholar from the UA was Diane M. Thomson, selected for the 1994-1995 year to study environment and development. (Photo credit: Beatriz Verdugo/UANews)
A University of Arizona Honors College student is one of 14 students in the U.S. selected as a 2014-2015 Churchill Scholar by the Winston Churchill Foundation of the United States, which provides funding for one year of graduate school in the United Kingdom.
The awards range from $50,000 to $60,000 – depending on the student's field of study – for tuition and fees, a living allowance and transportation.
Daniel Fried, a Tucson native, has three majors: computer science, information science and technology and mathematics. He plans to use the scholarship to study at the University of Cambridge, where he will pursue a Master of Philosophy in advanced computer science.
Fried is the second student from the UA to receive the prestigious award. The first Churchill Scholar from the UA was Diane M. Thomson, selected for the 1994-1995 year to study environment and development.
Fried, a highly accomplished student, entered the UA as a Flinn Scholar, selected for his academic and personal achievements. He also was named a 2013 Goldwater Scholar, chosen for his strong potential to pursue a research career in the fields of science, technology, engineering or mathematics.
In addition to conducting research at the UA, Fried has studied in Germany and Japan. His main interest is in artificial intelligence, focusing on computational linguistics and machine learning.
"Cambridge is particularly strong in my main research interest: computational semantics, or automatically producing representations of the meaning of language," Fried said. "The Churchill Scholarship will give me the chance to investigate this area further and prepare for future research in natural language processing and machine learning."
While at the UA, Fried has served as a teaching assistant and as an ambassador in the College of Science.
"Daniel is a wonderful representative of the University of Arizona," said Karna Walter, assistant dean for student engagement in the UA Honors College. "He will make the most of being part of the Churchill Scholars and Cambridge communities."
Ultimately, Fried is interested in creating computer systems that not only store and retrieve information, but also understand the information and process it.
Fried said he is grateful to UA faculty members Paul Cohen, Stephen Kobourov and Kobus Barnard; professor Kevin Duh at the NARA Institute of Science and Technology in Japan; and also Felix Wolf and Ali Jannesari at Germany's RWTH Aachen in Germany "for giving me such great research opportunities and supporting and advising me throughout our projects."
After finishing his year at Cambridge, Fried plans to complete doctoral studies in computer science, and then pursue a career in research.
"Recently, huge amounts of knowledge have become available electronically – for example, through scanned books and the billions of Web pages on the Internet," Fried said.
"If we can develop methods for extracting structured meaning from these sources of data," he said, "we should be able to create better artificial intelligence systems to help us answer questions, make plans and reason about the world."
The UA's Office of Nationally Competitive Scholarships facilitates the application process for UA students applying for national fellowships and scholarships. To learn more, contact Emily Kotay, scholarship adviser for the office, at 520-621-0162 or emkotay@email.arizona.edu.
Danielle D'Adamo
Student Affairs Marketing
dcdadamo@email.arizona.edu
Karna Walter
UA Honors College
karna@email.arizona.edu


As you probably know we're going to participate in trade fair FSB in Cologne next week, that's why we would like to inform you about our special offer.
After trade fair you'll have an opportunity to buy our products which you could see during the trade fair. It includes Dometo 1-2, Infano 6, Sidi 3.


How Do Leaders Problem Solve Effectively?
…all hat and no cattle?
They have a self accountable mind set where they believe they can make a situation better.
They gather facts and data on the situation by actively engaging others who are impacted. This usually involves a formal or informal "campaign" of providing information on the impact of the problem and asking for suggestions in solution development.
They are decisive in choosing a solution supported by insight stemming from #2 above and then applying a solution.
But this next step is where some of the people who are exceptional at proactive leadership show their stuff… they have a campaign advertising the effectiveness of the problem-solving applied solution. People want to know that their input was put to work.
Success energizes the group and they are ready for more. If not, fatigue often takes over.
If we want data to support this process, review the work of Harvard professors as reported in Working Knowledge, August 30 2010. This research shows that information campaigns led to a 74% increase in suggestions to improve and even more when people learned about the effectiveness of working solutions.


I may as well come right to it. I awoke from a most distressing dream about you being dead and gone from this plane of existence. And as I wandered around, alone on this planet all I could think about was, I had lost my one and only true friend. The only and best friend I ever had and I felt and still feel the residual of how very much I missed you, and how very much I miss you now as I write this email to you. I know it's not a good way to start off the morning, especially with Elia coming, but maybe in a strange sort of way, you can share your grief over your loss of your mother, she over her father and now me over this dream and how lonely life would be for me without you next to me. You are the only person I have ever truly loved and you are my only love. I know you will feel the power of my heart ripped wide open now as I try to write these words to you through a tear filled glaze. I had to stop at this last sentence to get more tissue. Regardless of how many times a day I tell you I love you, I will never express how much I love you and how proud of you I am. You fill my life here and give me reason for being here. If I only came here for one person and one soul and that's all it ever was, then it was so worth it to recognize you when you strolled in my office with Jack Shaffer in your raccoon coat and spike heels that first day and I am so complete knowing that the one person I came to Earth for was you, my dear wife and love. I will always remember your lithe body, naked in bed with me, on the beach or on the boat in Belize and I will always be eternally in love with you. I live to serve you and I know how much you will save this email and cherish it, even if you don't die on me and Gabriella and we both live to be old and decrepit and see our daughter grow into a woman. I wanted to get this to you while I was still in the spirit of the dream and with my heart wide open. Love like ours is exceedingly rare on this planet and every opportunity I have I want you know how much I love you.
Now I'll try to go back to sleep for another hour of so before descending back into the world of the real dead and dying here in Chicago.
Once in each age, true love transcends time and space and becomes eternal, for this age it is our love.


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Biden Gets Scolded and Yelled at by Angry Americans in New Jersey
September 8, 2021, 6:20 am
New Jersey is a blue state. That said, just like with New York and California, despite being deeply blue, there are also pockets of sense.
One of those is Manville, New Jersey, probably not as blue an area as say Newark or some areas.
They had a ton of flooding because of Hurricane Ida and Joe Biden went there to visit to inspect the damage.
Remember how Barack Obama hugged New Jersey resident Donna Van Zant after Hurricane Sandy in 2012? A famous shot that may have helped him to win the election. Then he never talked to her again and never gave her the help he promised to give her. Hey, he got what he wanted from her and from New Jersey Gov. Chris Christie.
But one has to wonder if the Democrats were trying to pull from the same playbook here when they had Joe Biden hugging a cute little kid who gave him a letter.
President Biden hugs a boy in Manville, NJ, while touring Ida's destruction and speaking with affected families. pic.twitter.com/QqWG5gBduT
— Geoff Bennett (@GeoffRBennett) September 7, 2021
Some context via @EugeneDaniels2 https://t.co/Mcj10sq7GZ
But then there was a little harsh reality for Biden, that didn't fit the propaganda piece he was trying to put out.
Folks for whom much of what Biden has done was still very raw, scolded and yelled at Joe Biden about the debacle he caused in Afghanistan, shouting, "You leave people behind!… We will leave you behind." You could see someone behind a fence holding a Trump flag. But there were several different voices shouting at Biden.
New Jerseyans slams Biden: "You leave Americans behind!" pic.twitter.com/mebOFuiwYr
— The Post Millennial (@TPostMillennial) September 7, 2021
They even shouted the name of a member of the military who had been killed presumably in Afghanistan in 2011, trying to impress upon Biden the consequences of his failed actions. "What! He lost his life for what!"
Here's a longer clip, with more yelling.
Warning for graphic language
"It's sad that America has come to this."
BIDEN takes a barrage of heckles from people behind a fence waving a Trump flag as he tours flood damage in the Lost Valley neighborhood of Manville, N.J. pic.twitter.com/dEN8oyu4bM
— Zach Purser Brown (@zachjourno) September 7, 2021
"You guys should be ashamed of yourselves," someone yelled at Biden. "It's sad that America has come to this."
So even when the Biden handlers are hoping for positive optics of Biden looking caring, his real actions are still there, coming back to haunt him. He was so convinced that Americans wouldn't care if he just left people. But they do care, even after such great harm to themselves in the hurricane, they care about what he's done to America and to those he left behind. That's pretty powerful stuff and he's not going to be able to simply turn the page and move on as he's trying to do.
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Neco may refer to
Neco (Manoel Nunes 1895–1977), Brazilian association football midfielder
Neco (footballer, born 1964) (Manoel Carlos de Lima Filho), Brazilian football winger and manager
Neco Brett (born 1992), Jamaican football forward
Neco Celik (born 1972), Turkish-German filmmaker
Neco Martínez (born 1982), Colombian football goalkeeper
Neço Muko (1899–1934), Albanian singer and composer
Neco Williams (born 2001), Welsh football player
Danilo Neco (born 1986), Brazilian football player

See also
Necho (disambiguation)


"This means that the main driver of the oil market for 2018 will be global growth. This is based on the assumption that an increase (between 1.4 million barrels per day (bpd) and 1.5mbpd) of production in the United States, and other non-OPEC producers should satisfy the increase (between 1.3mbpd and 1.4mbpd) of world oil demand. The 24 signatories of the 'Declaration of Cooperation' will continue to maintain their adjustments until the end of 2018; and OPEC will neutralise the 'special conditions' of Libya and Nigeria, including an increase in the rate of adjustment of production provided for at the 171st Meeting of the Conference on November 30, 2016.
Nigeria's Minister of State, Petroleum Resource, Dr. Ibe Kachikwu stated: "I think the whole idea of getting both OPEC and non-OPEC countries together was a fantastic idea. We all pushed for it, and the sheer momentum that has gathered and what it has done for the industry has been unbelievable. More importantly, it's helped forge unity, even among OPEC Members. All in all, it's been good. I think the Secretariat has done an excellent job, while taking on an additional workload.


My friend: I enter wedding receptions these days and everywhere I turn, I see "Yoruba demons"
Fact: Girls love them some Yoruba demons. We like the psycho ones that stare at us from behind the dark lenses; the ones who make us feel uneasy and uncertain; the guy that says like 5 words per day , that smells like a Tom Ford lab and throws us an occasional side grin. Yes, The one that uses his eyeball-print as the passcode to his phone and has at least 3 aliases- Jimi on the mainland, Jay-Eye on the island and Jim off the shores of Nigeria.
As for the simple, nice guys with the ready grin, one universal name and no passcode on his phone....... though, bleh, not so much.
Why? Why do we tend to fall for the no-good demon and ignore the good guy?
A study shows that we like bad boys because our minds think they might make good fathers for our kids.... I know, they lost me there too. Here's the weird biological explanation.
Women are drawn to bad boys because bad boys are confident, assertive, exciting and the biological interpretation of this to the female mind is that these confident, assertive creatures will produce after their kind, that is, produce confident, assertive children who have a better chance of surviving on the planet. Remember "survival of the fittest", this principle is engrained into our biological psyche and our decision-making process unknowingly depend on it in this case. Somewhere in our minds, the Bad boy is the alpha male and we are drawn to him because we believe he will give us viable offspring that will survive the elements.
Basically at the root of this is the need to procreate and multiply.
Note that in theory, women say they want a nice, adorable guy; the type of guy who treats his girl like a queen and loves her for who she is. But in reality, what she really wants is to fall into the clutches of a bad bad bad boy who will turn her mind to mush and give her demon babies that survive the elements!
That's just jacked up. Lol.
Then the plot thickens, a study shows that we get more to attracted to bad boys when we are ovulating! Tsk! Your own body trying to set you up to be a single parent. I can't believe it. We really are our own worst enemies.
So, if there is a wide-eyed nice guy and a Yoruba demon up for grabs, chances are that the more aggressive guy-demon will be chosen and nice guy gets the bench. The warm friendship bench.
Girls are not stupid though, we know you are bad....so as sharp girls who want to eat their demon and have it, we choose to fix the bad boy; we want him to go to church with us, join the ushering department and submit his phone password. Just like that!
We want Bad boy to retire because we suddenly show up on the scene. It doesn't work that way. You'll realize this once you discover that you can't get the leopard to go spotless or to wear velvet. Demons don't change. I don't know where we get this change idea from.
I blame Disney movies for this false understanding of the concept of change in relationships. There's an implicit understanding that change is guaranteed once you get into a relationship with someone. For example, Beauty and the Beast, the guy changed because she showed up and kissed him; the little Mermaid, she kissed him and changed into a human to be with the guy; Tarzan ditched his hot signature loin cloth for a suit at some point. Since we were kids, fairy tales have been tied to the "He will change. Kiss him, he will change". Ain't no demon changing here. He won't change. If you do kiss him, you'll probably change-into a mum, a single mum thanks to your ovulating ovaries. Sigh. Girls won't stop liking the demons, they are here to stay. As for the good boys, 1 in 3 will eventually become a demon and we'll all live happily ever after.


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Hulu Adds 10 New Original Shows With Retina Display Support to Their Summer Lineup
Submitted by Marshall Walker on Tue, 05/22/2012 - 15:01
Hulu announced its new slate of summer programing adding ten new Hulu Original Series and Hulu Exclusives. Hulu's new series Spoilers kicks off on June 4th. The multi-act show is hosted by Kevin Smith, and features animation, reenactments, interviews and discussion about the summer's biggest films. Richard Linklater's Up to Speed is a travel series starring Speed Levitch, and We Got Next is an "offensive bro-mantic comedy" geared towards It's Always Sunny in Philadelphia fans.
iPad owners will be able to watch all of Hulu's new shows with a "re-engineered, optimized video player" and Retina display support. Hulu version 2.5, available now, also features improved AirPlay mirroring, and HDMI video out.
Hulu's new summer lineup will be available on both the free Hulu and paid Hulu Plus services.
For fans of: "Inside the Actors' Studio," "Comic Book Men," "Real Time with Bill Maher," "Conan," "The Late Show with Jimmy Fallon"
Premieres: June 4, 2012
New episodes premiere every Monday beginning on June 4; Entire series available on August 6
Kevin Smith's Movie "Revue" – This multi-act film extravaganza mixes lively group chats, interviews with movie and pop culture icons and animated shorts. Each week, Kevin, special guests and movie lovers passionately sound off on the year's most anticipated summer blockbusters, gushing over their favorite scenes and debating the details frame by frame. The series, produced by SModCo, premieres on June 4th on Hulu and Hulu Plus at www.hulu.com/spoilers. Ten (10) episodes.
For fans of: "Anthony Bourdain: No Reservations," "The Cruise," "Waking Life," "Dazed and Confused," "Exit Through the Gift Shop"
Premieres: August 2012
A Travel Show About The Road Less Traveled – This new travel series was created by filmmaker Richard Linklater ("Bernie," "Dazed and Confused") and represents his first foray into episodic TV storytelling. Each week "Up to Speed" follows tour guide, historian and flaneur Timothy "Speed" Levitch ("The Cruise") as he visits the monumentally-ignored monuments of America's cities, from the shoe gardens of San Francisco to the luckiest subway grate in New York City. The series, produced by Cinetic Media, premieres on Hulu and Hulu Plus in August.
Said Richard Linklater, "Speed Levitch is one of the most effusive, articulate people I know, and one of America's funniest freethinkers. Hulu has a highly engaged and intellectually curious audience, and I'm excited to give them a glimpse of Speed's unique and idiosyncratic worldview as we take the concept of a travel show and turn it on its head."
We Got Next
For fans of: "It's Always Sunny in Philadelphia," "The League," "Men of a Certain Age"
A Bro-mantic Comedy – "We Got Next" is a raunchy, sarcastic and out-of-bounds half-hour show about a pick-up basketball team of four guys who should never have been friends in the first place. Each week, the guys' courtside banter consistently escalates into a run of terrible advice and poor decision-making. Cast includes Paul Bartholomew ("Paul The Male Matchmaker"), Lance Barber ("Big Bang Theory"), Bumper Robinson ("The Game") and Bill Fagerbakke ("Coach"). Executive produced by Kenya Barris (co-creator of "America's Next Top Model"), Hale Rothstein (writer, producer of "The Game") and E. Brian Dobbins, with co-executive producer Danny Leiner ("Harold & Kumar Go To White Castle") directing. The series premieres in August on Hulu and Hulu Plus.
Said co-creator Kenya Barris, "This is a show built around what guys do when it's just the guys. It's as raw and honest as it is ridiculous and raunchy. That's the comedy of real life. I'm excited to bring this show to Hulu."
HULU EXCLUSIVES
For fans of: "The Office" (U.K.), "Peep Show," "Spaced," "Parks & Recreation," "House"
New episodes premiere every Sunday beginning on June 3; Entire series available on August 26
Meet The Rev. Adam Smallbone. From a sleepy, rural parish, the newly promoted vicar has moved to the busy, inner-city world of St. Saviour's in East London. It's a world in which he has little experience, and it shows. It really shows. "Rev." is a contemporary sitcom about the enormous daily frustrations and moral conflicts of an inner-city vicar. Cast includes Tom Hollander ("Pirates of the Caribbean"), Olivia Colman, Steve Evets, Miles Jupp, Lucy Liemann, Simon McBurney and Ellen Thomas. Originally broadcast on BBC Two in the U.K., the show has received widespread critical acclaim, winning the 2011 BAFTA's "Best Sitcom," and nominated for the 2012 BAFTA's "Best Sitcom," and Hollander receiving a nod for "Best Male Performance in a Comedy Program." The series premieres on Hulu and Hulu Plus on June 3rd from BBC Worldwide Americas Digital Distribution. Six (6) episodes in season one; seven (7) episodes in season two.
For fans of: "South Park," "Family Guy," "It's Always Sunny in Philadelphia," "Summer Heights High," "The Wire," "Archer," "Arrested Development"
New episodes premiere every Thursday beginning on June 7; Entire series available on July 12
A mockumentary miniseries that originally aired on HBO Canada, "The Yard" offers a bizarre juxtaposition of two rival cliques of elementary school children, where tension develops much like the quintessential crime-family thriller. The show has comically been referred to by Canadian television critics as "'The Wire' and 'The Sopranos' with kids." The cast and crew have respectively been nominated for the 2012 Young Artist Award and the 2011 Directors Guild of Canada Award. The series, brought to Hulu by Entertainment One (eOne) and produced by Whizbang Films, premieres on Hulu and Hulu Plus on June 7th. Six (6) episodes.
Derren Brown: Inside Your Mind
For fans of: "Criss Angel," "Penn & Teller: Tell a Lie," "Fact or Faked," "Mythbusters," "Lie to Me," "Psych," "The Late Show with Jimmy Fallon," "Conan"
Premieres: July 7, 2012
New episodes premiere every Saturday beginning on July 7; Entire series available on July 28
Derren Brown is a performer like none other in the world. He uses psychology, magic, showmanship and suggestion to achieve things that for anyone else would be impossible. In the U.K., he is multi-award winning performer and has done a variety of huge and baffling stunts including predicting the national lottery and playing Russian roulette on live TV. Brown brings his elaborate feats to U.S. audiences in this specially shot compilation. His technique challenges traditional preconceptions of magic in the grand tradition of Houdini and modern performers such as Penn & Teller, David Blaine and Criss Angel. However, Brown's mind-reading of unsuspecting, everyday people gives magic a new angle that never ceases to amaze. The series premieres on Hulu and Hulu Plus on July 7th. Four (4) episodes.
The Booth at the End (Season Two)
For fans of: "The Booth at the End" (Season One), "Lie To Me," "Bones," "Castle," "Grimm," "Touch," "Lost," "Psych," "Fringe," "The X-Files"
Premieres: July 2012
Xander Berkeley, best known for his roles as "George Mason" in FOX's "24" and "Percy" in The CW's "Nikita," stars as an enigmatic man occupying the corner booth of a diner. He possesses the power to grant desires, contingent upon recipients performing mysterious tasks. This half-hour psychological thriller begs the question: "How far would you go to get what you want?" Directed by Adam Arkin ("Justified," "Grey's Anatomy"), season two premieres on Hulu and Hulu Plus in July. Five (5) episodes.
Pramface
For fans of: "My So Called Life," "New Girl," "Awkward," "Secret Life of the American Teenager," "Up All Night," "Skins" (U.S. and U.K.), "Hart of Dixie," "One Tree Hill," "Teen Mom"
Premieres: July 19, 2012
New episodes premiere every Thursday beginning on July 19; Entire series available on August 23
Jamie and Laura are two young, free and single teenagers who, after hooking up at a party, soon find they have a very big complication on their hands. Laura is pregnant. So even though they barely know each other, they now have one thing in common – and it's getting bigger. "Pramface" brings humor and heart to a tricky subject, following these two unexpected parents-to-be as they try, and frequently fail, to negotiate family, sex and what happens once nine months is up... The series premieres on Hulu and Hulu Plus on July 19th from BBC Worldwide Americas Digital Distribution. Six (6) episodes.
"The Promise
For fans of: "Homeland," "Munich," "Persepolis," "Pillars of the Earth"
Premieres: August 11, 2012
New episodes premiere every Saturday beginning on August 11; Entire series available on September 1
With nearly a decade of extensive field research on the part of award-winning writer and director Peter Kosminsky, "The Promise" is a BAFTA-nominated, four-part political thriller and love story. The serial drama examines the origins of the Middle East conflict in events that took place under British rule sixty years ago. The bold and honest series cuts between the life of Erin, an 18-year old Londoner in present day Israel and Gaza, and that of her military grandfather who was part of the British peace-keeping force in Palestine at the end of the second World War. The miniseries garnered widespread critical acclaim upon its airing in the U.K. and was subsequently nominated for "Best Drama Serial" by both BAFTA and Royal Television Society. The series premieres on Hulu and Hulu Plus on August 11th. Four (4) episodes.
For fans of: "Modern Family," "Arrested Development," "Parenthood"
Premieres: June 28, 2012
New episode premiere every Thursday beginning on June 28; Entire series available on August 23
"Little Mosque" is a light-hearted and comedic fish-out-of-water tale about a small Muslim community that rents the parish hall of a small town church to use as a mosque. The multi award-winning, half-hour series features a cast of both Muslims and non-Muslims in storylines that the New York Times says "explore the funny side of an often misunderstood life." "Little Mosque" has received awards from around the world including the prestigious "Search for Common Ground Award" for promoting cross-cultural understanding. It has been lauded for its frank and authentic portrayal of real issues within the Muslim community as well as its delicate balance of the irreverent with the reverent. "Little Mosque" is available in 90 countries including Israel, the West Bank, Gaza, United Arab Emirates and Turkey. Produced by WestWind Pictures, "Little Mosque" will premiere on Hulu and Hulu Plus this summer. 91 episodes.
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text:
import DisplayObjectContainer = require('./DisplayObjectContainer');
import DOMElement = require('./DOMElement');
import DisplayObject = require('./DisplayObject');
import Point = require('../geom/Point');

class CanvasElement extends DOMElement
{

    public $canvas:JQuery = null;

    public canvas:HTMLCanvasElement = null;

    // Notice the capital W and H. That sets the attributes not the styles.
    constructor(type:any = 'canvas', params:any = {Width: 100, Height: 100})
    {
        super(type, params);
    }

    /**
     * @overridden CanvasElement.create
     */
    public create():void
    {
        super.create();

        this.$canvas = this.$element;
        this.canvas = <HTMLCanvasElement>this.element;
        this.ctx = this.canvas.getContext('2d');
    }

    /**
     * @overridden CanvasElement.enable
     */
    public enable():void
    {
        if (this.isEnabled === true)
        {
            return;
        }

        // Add mouse event listeners to $canvas element
        this.$canvas.addEventListener('mousedown', this.onPointerDown, this);
        this.$canvas.addEventListener('mousemove', this.onPointerMove, this);
        this.$canvas.addEventListener('mouseup', this.onPointerUp, this);
        this.$canvas.addEventListener('mouseout', this.onPointerOut, this);

        // Add touch event listeners to $canvas element
        this.$canvas.addEventListener('touchstart', this.onPointerDown, this);
        this.$canvas.addEventListener('touchmove', this.onPointerMove, this);
        this.$canvas.addEventListener('touchend', this.onPointerUp, this);
        this.$canvas.addEventListener('touchcancel', this.onPointerOut, this);

        super.enable();
    }

    /**
     * @overridden CanvasElement.disable
     */
    public disable():void
    {
        if (this.isEnabled === false)
        {
            return;
        }

        // Remove mouse event listeners on $canvas element
        this.$canvas.removeEventListener('mousedown', this.onPointerDown, this);
        this.$canvas.removeEventListener('mousemove', this.onPointerMove, this);
        this.$canvas.removeEventListener('mouseup', this.onPointerUp, this);
        this.$canvas.removeEventListener('mouseout', this.onPointerOut, this);

        // Remove touch event listeners on $canvas element
        this.$canvas.removeEventListener('touchstart', this.onPointerDown, this);
        this.$canvas.removeEventListener('touchmove', this.onPointerMove, this);
        this.$canvas.removeEventListener('touchend', this.onPointerUp, this);
        this.$canvas.removeEventListener('touchcancel', this.onPointerOut, this);

        super.disable();
    }

    /**
     * @overridden DOMElement.addChild
     */
    public addChild(child:DisplayObject):any
    {
        //If the child being passed in already has a parent then remove the reference from there.
        if (child.parent)
        {
            child.parent.removeChild(child, false);
        }

        this.children.push(child);
        this.numChildren = this.children.length;

        child.ctx = this.ctx;
        child.stage = this;
        child.parent = this;

        if (child.isCreated === false)
        {
            child.create();
            child.isCreated = true;
        }

        child.enable();

        return this;
    }

    /**
     * @overridden DOMElement.addChildAt
     */
    public addChildAt(child:DisplayObject, index:number):any
    {
        //If the child being passed in already has a parent then remove the reference from there.
        if (child.parent)
        {
            child.parent.removeChild(child, false);
        }

        this.children.splice(index, 0, child);
        this.numChildren = this.children.length;

        child.ctx = this.ctx;
        child.stage = this;
        child.parent = this;

        if (child.isCreated === false)
        {
            child.create();
            child.isCreated = true;
        }

        child.enable();

        return this;
    }

    /**
     * @overridden DOMElement.swapChildren
     */
    public swapChildren(child1:DisplayObject, child2:DisplayObject):any
    {
        var child1Index = this.children.indexOf(child1);
        var child2Index = this.children.indexOf(child2);

        this.addChildAt(child1, child2Index);
        this.addChildAt(child2, child1Index);

        return this;
    }

    /**
     * @overridden DOMElement.getChildAt
     */
    public getChildAt(index:number):any
    {
        return <any>super.getChildAt(index);
    }

    /**
     * @overridden DOMElement.removeChild
     */
    public removeChild(child:DisplayObject, destroy:boolean = true):any
    {
        var index = this.getChildIndex(child);
        if (index !== -1)
        {
            // Removes the child object from the parent.
            this.children.splice(index, 1);
        }

        this.numChildren = this.children.length;

        if (destroy === true)
        {
            child.destroy();
        }
        else
        {
            child.disable();
        }

        child.ctx = null;
        child.stage = null;
        child.parent = null;

        return this;
    }

    /**
     * @overridden DOMElement.removeChildAt
     */
    public removeChildAt(index:number, destroy:boolean = true):any
    {
        this.removeChild(this.getChildAt(index), destroy);

        return this;
    }

    /**
     * @overridden DOMElement.removeChildren
     */
    public removeChildren(destroy:boolean = true):any
    {
        while (this.children.length > 0)
        {
            this.removeChild(this.children.pop(), destroy);
        }

        return this;
    }

    public renderCanvas():any
    {
        this.ctx.clearRect(0, 0, this.width, this.height);

        for (var i:number = 0; i < this.numChildren; i++)
        {
            this.children[i].renderCanvas();
        }
    }

    public getMousePos(event:MouseEvent|JQueryEventObject):Point
    {
        var rect = this.canvas.getBoundingClientRect();

        return new Point(event.clientX - rect.left, event.clientY - rect.top);
    }

    public getObjectUnderPoint(x:number, y:number):DisplayObject
    {
        var foundItem:DisplayObject = null;
        var sprite:DisplayObject;

        for (var i = this.numChildren - 1; i >= 0; i--)
        {
            sprite = this.children[i];
            if (sprite.visible === true && sprite.mouseEnabled === true)
            {
                if (this.hitTest(sprite, x, y))
                {
                    foundItem = sprite;
                    break;
                }
            }
        }

        return foundItem;
    }

    public getObjectsUnderPoint(x:number, y:number):Array<DisplayObject>
    {
        var list:Array<DisplayObject> = [];
        var sprite:DisplayObject;

        for (var i = this.numChildren - 1; i >= 0; i--)
        {
            sprite = this.children[i];
            if (this.hitTest(sprite, x, y))
            {
                list.push(sprite);
            }
        }
        return list;
    }

    public hitTest(sprite:DisplayObject, mouseX:number, mouseY:number):boolean
    {
        if (mouseX >= sprite.x && mouseX <= sprite.x + sprite.width && mouseY >= sprite.y && mouseY <= sprite.y + sprite.height)
        {
            return true;
        }
        else
        {
            return false;
        }
    }

    protected onPointerDown(event:MouseEvent|JQueryEventObject):void
    {
        this._sendEvent(event);
    }

    protected onPointerUp(event:MouseEvent|JQueryEventObject):void
    {
        this._sendEvent(event);
    }

    protected onPointerMove(event:MouseEvent|JQueryEventObject):void
    {
        var displayObject:DisplayObject = this._sendEvent(event);

        if (displayObject != null && displayObject.useHandCursor === true && displayObject.visible === true)
        {
            document.body.style.cursor = 'pointer';
        }
        else
        {
            document.body.style.cursor = 'default';
        }
    }

    protected onPointerOut(event:MouseEvent|JQueryEventObject):void
    {
        this._sendEvent(event);
    }

    protected _sendEvent(event:MouseEvent|JQueryEventObject):DisplayObject
    {
        var mousePos:Point = this.getMousePos(event);
        var displayObject:DisplayObject = this.getObjectUnderPoint(mousePos.x, mousePos.y);

        if (displayObject === null)
        {
            event.bubbles = true;
            event.target = <any>this;
            event.currentTarget = <any>this;
            this.dispatchEvent(event);
        }
        else if (displayObject !== null && displayObject instanceof DisplayObjectContainer && (<DisplayObjectContainer>displayObject).mouseChildren === true)
        {
            event.currentTarget = <any>displayObject;

            displayObject = this.getActualClickedOnChild(<DisplayObjectContainer>displayObject, mousePos.x, mousePos.y);
            event.bubbles = true;
            event.target = <any>displayObject;

            displayObject.dispatchEvent(event);
        }
        else
        {
            event.bubbles = true;
            event.target = <any>displayObject;
            event.currentTarget = <any>this;

            displayObject.dispatchEvent(event);
        }

        return displayObject;
    }

    protected getActualClickedOnChild(displayObject:DisplayObjectContainer, x:number, y:number):any
    {
        var item;
        var newX:number;
        var newY:number;
        if (displayObject.numChildren > 0)
        {
            for (var i = displayObject.numChildren - 1; i >= 0; i--)
            {
                item = displayObject.children[i];
                if (item.visible === true)
                {
                    newX = x - item.parent.x;
                    newY = y - item.parent.y;
                    if (this.hitTest(item, newX, newY))
                    {
                        return this.getActualClickedOnChild(item, newX, newY);
                    }
                }
            }
        }
        else
        {
            return displayObject;
        }
    }

}

export = CanvasElement;


Painting: Acrylic, Digital, C-type on Canvas.
The overexploitation of land and the tight control of water in the city, where it disappears from view through a myriad of water and sewage networks, are causing desertification. It is also important to mention the prevalence of electricity networks in relation to water infrastructure. Diurnism (day for night) out at sea would be the opposite of noctambulism (night for day) on land; or in other words, the negative/positive exposure of photos of urban life on the coast.


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
null

#### Original name
Lichen pulicaris Hoffm.

### Remarks
null


text:
Watch highlights of City's 2-0 Carrow Road defeat to Championship leaders Wolves
Published: 1:31 PM November 1, 2017 Updated: 11:02 PM October 10, 2020
Josh Murphy of Norwich is fouled by Ivan Cavaleiro of Wolverhampton Wanderers during the Sky Bet Championship match at Carrow Road, Norwich. Picture by Paul Chesterton/Focus Images - Credit: Paul Chesterton/Focus Images Ltd
As the disappointment of a second successive Carrow Road defeat begins to subside, the analysis of Norwich City's performance against Wolves continues.
Losing 2-0 to one of the Championship's promotion favourites is not a major worry in the big scheme of Daniel Farke's progress with his injury-hit Canaries squad.
However, following hot on the heels of a 2-1 home loss to Derby on Saturday, the frustration is heightened by a run of six home games without a win.
It is the first time City have endured such frustration at Carrow Road in three years, when Neil Adams was trying to handle the Premier League relegation hangover, going five home games without tasting victory.
Before attentions turn firmly to Saturday's trip to bottom-of-the-table Bolton, here is your chance to assess what went wrong against Wolves, in the video above.
• For further reaction and analysis and reaction, see the links below


A extra large stash of designer drugs illegal in all 50 states aand territories and many allied countries was interrupted in Texas within a day of Friday hidden in a plain truck that could move U.S. furniture, baby supplies, vehicle parts, or pharmacy items from warehouses in other parts of the nation.
This is a very dangerous driug that is not opiod type used in some offices. The drug is sometimes added to cocaine from the Andes not used in chewing but rapid use thru the nose or thru a syringThe DEA has many divisions which are related to incarceration of marijuana use in non legal states and this is a major calculator of us residents in jail or prison . This is a problem for families, employers as well as the convict who must find his=her time in a dungeon. The nationwide strikes in the us for better pay and a better makeup of rehabilitation offices were in many us states months ago. Take time to talk with healers who might know ways to avoid or treat use of these imported substances. The DEA is involved also in other countries as well as the u.s. tides of public opinion that favor some things and do not allow others. Carry emergency names and other information if you have weaknesses, allergies or have had reactions or overdoses to drugs or medicines used in the past. Do not buy, sample or trade fenaytl.Many Mexican citizens do not use this dangerous drug. This is developed for the U.S. import categories. There may be a test available thru a health office, school or DEA office. It is difficult to locate where in Mexico the danger is coming from. WE want the Mexican government to cooperate with other groups to warn as well as stop these time bombs from destroying small towns, big cities and U.S. states.


Nepalese Jam from Ace Seeds is a very strong weed plant that is originated by crossing the Nepalese x Jamaican '85 and is very stable. She is tested in hot and cold climates like France, the Netherlands and England. These cannabis seeds are feminised and very germinating.
Ace Seeds Nepalese Jam is a complete sativa strain and is appropriate for an indoor grow and outdoor grow. The big advantage of this weed strain is that she is very resistant against cold and wet weather. This strain is thus very suitable for growing outdoor, but also indoor it will perform well. Growing cannabis from these feminised cannabis seeds provide you a sativa plant that is very appropriate to make hash.
The taste of this strain is sweet, caramel-like with a slight honey taste. The effect of this weed is a powerful and complex mental effect which makes you happy for a few hours. Growing cannabis from these feminised cannabis seeds ask for a bit experience, or a handy beginner.
Tell us and our customers what you think of the Nepalese Jam from Ace Seeds.


DURAN®. DIN 12492. Dish-shaped. Generally for thermostatting round bottom flasks to a constant temperature as hot or cold baths. With structured aluminium casing and edge protection. Suitable for use with magnetic stirrers.


text:
Crime & Thrillers (2)
Thriller & Suspense (2)
Crime & Mystery (1)
Fantasy & Science Fiction (1)
Bestsellers (1115)
Books for Dad (16)
Book Him! This Father's Day (10)
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The Heart of Storytelling (10)
Books for Mum (9)
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Modern Australian Classics (8)
Penguin eBooks (12)
RHA eBooks Adult (10)
Random House Australia (10)
Vintage Australia (4)
Michael Joseph Australia (4)
Ebury Australia (4)
Liar Liar James Patterson, Candice Fox
Detective Harriet Blue goes rogue in order to exact revenge on her brother's killer, in a heart-stopping cat-and-mouse race down Australia's south coast. But as she is chasing him, the cops are chasing her . . .
Endeavour Peter Moore
Centred around Captain James Cook's first South Sea voyages (1768 – 1771) from a historian who leaves no stone unturned to discover the ship and the attitude that shaped the western world.
The Year Everything Changed Phillipa McGuinness
2001. It's not over yet.
The Last 100 Days Will Davies
Much has been written about the Great War, and a great deal on the Australian Imperial Force and its operations. Now Will Davies, bestselling author of Beneath Hill 60 and Somme Mud, explores, in vivid detail, the last 100 days and the Australian contribution to final victory in November 1918.
Napoleon's Australia Terry Smyth
The incredible story of Bonaparte's secret plan to invade Australia
Beyond the Break Darren Longbottom, Tim Rushby-Smith
The story of Australian surfer Darren Longbottom's epic rescue from a remote surf break in Indonesia
Deal with the Devil Grace Tobin
The death of Matthew Leveson and the ten-year search for the truth
The Second Cure Margaret Morgan
Control the brain and you control the world. In a fractured nation, two women are left with a choice – risk all to bring humanity together or let it fall apart.
Tries, Lies and Meat Pies Sam Thaiday, James Colley
The autobiography of one of Rugby League's favourite sons.
The Thief of Light Bernard Schaffer
In this must-read thriller, an ambitious young cop suspects there's more to random, horrific murders in her small town and stumbles upon the first known Omnikiller – a serial killer who cannot be profiled because his M.O. is constantly changing . . .


text:
Q: Compactness of set of projections In a proof I am reading I saw the statement that the set of projections onto one fixed finite dimensional subspace of a Banach space $X$ is compact. Is this obvious, for some reason I just don't see the proof of this apparently simple fact?
Edit 1: All projections have the same range.
Edit 2: The statement in the paper is that there always exists a projection of the smallest norm on a fixed finite dimensional subspace (the inf is attained), and that it follows from a "compactness argument". I wrongly assumed that the set of projections must be compact (thank you Martin). I think what is enough is to consider the set of projection with norm smaller than dimension of the finite dimensional subspace. Is the set compact in this case? If it is, it will prove the claim, as the continuous function $P\to\|P\|$ would attain the minimum on this set.

A: In general, the set of projections onto a fixed subspace is not bounded, even if $X$ is finite-dimensional.
For instance let $X=\mathbb C^2$, and
$$
P_n=\begin{bmatrix}1&n\\0&0\end{bmatrix}.
$$
These are all projections onto the subspace $\mathbb C\oplus 0$, and for any norm we have
$$
\|P_n-P_0\|=n\,\left\|\begin{bmatrix}0&1\\0&0\end{bmatrix}\right\|.
$$
So the diameter of the set of projections onto $\mathbb C\oplus 0$ is infinite.
When $\dim X=\infty$, a bounded set of projections onto a finite-dimensional subspace may still fail to be compact.  Let $X=\ell^2 (\mathbb N) $. In matrix unit notation, let $P_n=E_{11}+E_{1n}$ (the first row of $P_n$ is $1\ 0\cdots\ 0\ 1\ 0\ \cdots$ and the rest is zero). Then $P_n$ projects onto the first coordinate, $\|P_n\|=\sqrt2$, and
$$
\|P_n-P_m\|=\|E_{1n}-E_{1m}\|=\sqrt2.
$$


Attaches to most binoculars with quick ties. Adjustable to fit almost anyone. Larger surface area for enhanced weight distribution. Holds larger binoculars more efficiently. Heavy-duty harness comfortably holds binoculars against the user's body.
Great value in a variable 10-22x Poro Prism set of binoculars.
For mounting your binoculars on a tripod for a steadier view. Fits all Leupold binoculars. Black.