#Unit1

[ultimateca]

CA Foundation Jan 2025 🌈 Champions Fastrack Batch by Ultimate CA

📚 Economics Chapter 8 - Money Market 👨🏻‍🎓 by CA Mohnish Vora (MVSIR) ✅ Unit 1 - Lecture 3. Watch : https://youtube.com/live/EJmomJemTVI

[allie-marsham-foundation]

Cambridge Trip

During a trip around Cambridge we visited the Zoology museum. Above are some primary observations from them.

1 - Texture of a starfish in posca pen

2 - Bug in charcoal

3 - Bug in posca pen

[030615]

Reflective Journal - Lim Lin Year 1 Production Arts for Screen

Leaving Singapore to a new country, and then starting classes the next day had made me disoriented and lost as a stranger in a foreign land. On the other hand, this transitional period has also shown me the promising pathway for a new door I had opened. 

The identity lecture gave me a closer look at an individual’s sense of self in the modern world. With various analogies and thought experiments, we were taught different interpretations of this idea. A concept I thought was interesting is the way identity is linked to our contemporary society. We were asked to question how identity can be maintained in a vulnerable and unpredictable world. As someone who enjoys the sci-fi genre, the idea that many of these stories can be viewed as a metaphor for addressing current societal concerns was intriguing.  

An example from the lectures that struck me was the real-life “brain worm” incident. A woman had a parasitical infection that caused a worm to grow in her brain and led her to become extremely ill. This non-fictional unnatural violation of the human body shocked me as a horrifying reality to live in could happen from a mundane situation of physical contact with nature. Not only was it unpredictable and terrifying, but it also confirmed fears of the inability of man to live in harmony with nature. This also acts as a real-life metaphor for broken natural boundaries, and the trespassing of personal space. 

For the film project, we were tasked to film and edit a two-minute film using the theme of Identity. Although I had little experience with filming, I was thankful to be in a group of talented people who helped me along the way. We brainstormed several ideas and narrowed them down to personal experiences with identity. Our film was titled “Overload” which used a first-person point of view to convey the experience of autistic individuals. I learned a lot from my groupmates who have more experience in filming, such as different editing techniques and art direction that I had never thought of before. 

After those two weeks, we resumed our course tutorials and the first unit commenced. We were tasked to create a character with the prompt “What's Behind The Door?”. The main struggle I had during this stage was to make the character believable. Initially, I wanted to create a grotesque man-eating creature as I like horror games. However, this led to a conflict I was unable to solve, as I did not know how to justify why a character would behave this way. The creature acted as a mindless killing machine, so I decided to start over with a new idea. 

On my second attempt, I focused more on the personality of the character than its setting. Using the list of questions provided in the tutorial, I created a spider housekeeper who spends most of its time cleaning the room behind the door. 

The above image shows concept sketches I made after writing the description of the character. I wanted to base the creature off a spider as the contrasting volume of the compact body mass and thin legs makes it appear more fragile, adding to its frantic personality. The second design was chosen, and the next tutorial allowed me to understand ways to convey a character’s personality through their body language. We were tasked to draw our character in four different poses representing different emotions. 

A problem I encountered was the stiffness and awkwardness of the way I first drew the lying pose. This was because I used textual descriptions rather than visual references to draw the character, so this tutorial has taught me the importance of using photos when depicting body language. As such, for the rest of the task, I made sure to use visual references that effectively convey the mood and personality of the character. 

Afterward, we were taught how to do three-dimensional drawing. This involves three main elements; simple volumes, basic perspectives, and overlapping forms. I found this lesson to be extremely useful for backgrounds as using these rules to create depth and structure achieves the illusion of 3D on a flat surface. This can also be applied to organic forms, such as foreshortening when drawing body parts. For this tutorial, we were tasked with drawing different objects from three different perspectives. 

In hindsight, I should have given myself a larger space to do this exercise as gridding the paper into nine parts caused most of the drawings to appear too cramped or overly exaggerated. I was disappointed with the outcome as I could not fit the three-point perspective drawing of the piano in the last grid as it will look extremely distorted with that scale. The details on the objects are also inaccurate, so I would have to work on these problem areas when doing more perspective drawings in the future. 

Another exercise related to improving our structure was the practice used for drawing human heads. As someone who is used to making photo studies with loose guidelines and editing the proportions during the rendering stage, I was not used to the methods used to break down features of the head. While drawing the basic forms was manageable separately, applying these steps to a face is challenging as you would also need to consider the proportions of the person. 

While drawing Matt Damon’s face, I tried to follow the structure and created this portrait. The key issues I had were the proportions and the lower half of the face. 

The following tutorial gave us pointers when designing characters and finding an art style for them. Drawing how the characters will be like rather than appear like would aid in creating a being capable of thought. We were recommended to use primary and secondary research and to base the character on something rather than to create one out of our imagination. We were also reminded to exaggerate the line of action while drawing with references and to consider how it affects the angle of hips, shoulders, and head. 

Related to the technical aspects of drawing, we were taught how to draw clothing that belongs to the character. The lesson's outcome is to draw fabric that enhances the character's three-dimensionality rather than flatten it. To do this, the key point is to focus on structure and observation as it gives believability to the characters who should also have surface and form. 

Some of the fabric I drew looked stiff as I either drew too many folds or did not follow the curve of the body. With the help of my tutor's drawing shown in the bottom right of the first page, I was able to make the fabric complement the form of the person more.

When drawing facial expressions, we were given points to take note of for more effective drawings. The expressions should convey the personality of the character, and this can be achieved by following design rules and establishing consistent structure and volume. 

I faced many problems trying to exaggerate my character’s expressions. As the mouth was placed at the lowest point of its skull, it was difficult to create an “open mouth” expression without obscuring the eyes. Moreover, when trying to make the eyes expressive, distorting its size made the character not look like itself. In the end, I managed to convey its emotions by changing the length of the jaw and adjusting the height of the eyeballs. 

The last practice we had in this unit covered the attitude of a character. With a simple prompt, a character’s audience appeal could be evoked with attitude. This can be achieved by giving characters a thought process, reflecting it with their design, and making the way they carry themselves consistently. Establishing the character’s point of view creates an expectation in the audience and reveals the person in the design. Afterward, we were given time to work on our character designs, so I worked on the turnaround and construction sheet during this time and digitalized these sketches for the final hand-in. 

At the end of this unit, I was able to learn new rules of character design that helped me to communicate my ideas better to an audience. This has also helped to improve my technical skills in drawing and I will continue to practice more in the future to achieve better results in my art and storytelling.

[aldirassakw]

أوراق عمل لغة إنجليزية unit1 الصف الثالث الفصل الأول

html أوراق عمل لغة إنجليزية Unit 1 للصف الثالث: رحلة ممتعة في عالم اللغة أوراق عمل لغة إنجليزية Unit 1 للصف الثالث: رحلة ممتعة في عالم اللغة هل تبحث عن طريقة ممتعة وفعالة لتعليم طفلك اللغة الإنجليزية؟ إليك مجموعة مميزة من أوراق العمل الخاصة بـ Unit 1 للصف الثالث الابتدائي! هذه ال��وراق مصممة خصيصًا لتعزيز مهارات القراءة والكتابة والاستماع والتحدث لدى الأطفال بطريقة شيقة وتفاعلية. ماذا تتضمن أوراق…

[imitationgame77]

SecUnits in ASR and Their Fate

It’s been bugging me (well not so much) just how many SecUnits appeared in All System Red, and what happened to them. So, I decided to go through the book, making notes (as we do, of course).

My conclusion was this:

One unit (Murderbot) assigned to the PreservationAux team

Three units assigned to the DeltFall survey team. One survives.

Four units (probably) assigned to the GrayCris team. Three survive.

Premise:

There is a rule set by the bond company that any team must have one rental SecUnit per ten humans.

Murderbot and Pin-Lee had checked DeltFall specs that stated that they had three SecUnits.

The presence of GrayCris on the planet was hidden from both PreservationAux and DeltFall, so, they had no knowledge of the team’s size.

What happens to the units

[Chapter Four]

At the door to the hub, I found their first SecUnit. It was sprawled on its back on the floor, the armor over its chest pierced by something that made a hole approximately ten centimeters wide and a little deeper. We’re hard to kill, but that’ll do it.

DeltFall Unit1 – killed with a mining drill

I hit the first one with three explosive bolts in the back and one in the faceplate as it turned toward me. It dropped. The other one I nicked in the arm, taking out the joint, and it made the mistake of switching its main weapon to its other hand, which gave me a couple of seconds. I switched to rapid fire to keep it off balance, then back to the explosive bolt. That dropped it.

Neither unit was dead. But they were incapable of reaching their cubicles in the ready room, and I sure as hell wasn’t going to give them a hand.

DeltFall Unit 1 & 2 – incapacitated but not dead

One or both of these units could have been the ones belonging to GrayCris, but since MB would notice and mention that if they were wearing a different armour, my assumption is that these were DeltFall Units.

When Murderbot thinks that it has taken down remaining DeltFall SecUnits, it was attacked by another one. MB comes back online, terrified and angry to find its armour partially removed.

I shoved its hand up under its chin and took the pressure off its weapon. It had a split second to try to abort that fire command and it failed. The energy burst went through my hand and the join between its helmet and neck piece. Its head jerked and its body started to spasm. I let go of it long enough to kneel up, get my intact arm around its neck, and twist.

I let go as I felt the connections, mechanical and organic, snap.

GrayCris Unit 1 – taken down but probably not dead. (Will come back to this later.)

That was the fourth one that Murderbot saw in the DeltFall habitat where it had expected three. Yet it was not over.

I looked up and another SecUnit was in the doorway, lifting a large projectile weapon.

How many of these damn things were here? It didn’t matter, because I tried to shove myself upright but I couldn’t react fast enough. Then it jerked, dropped the weapon, and fell forward. I saw two things: the ten-centimeter hole in its back and Mensah standing behind it, holding something that looked a lot like the sonic mining drill from our hopper.

GrayCris Unit2 – killed with a mining drill.

Murderbot had said earlier that SecUnits are hard to kill but piecing their heart with something like a mining drill, leaving a hole the chest would do it. That’s what Dr. Mensah did to this unit in order to save Murderbot.

[Chapter Six]

After PreservationAux have evacuated from their habitat, they return discreetly to see who the EvilSurvey was.

Five SecUnits piled out of the cargo pods, all armed with the big projectile weapons assigned to protect survey teams on planets with hazardous fauna, like this one. From the pattern on the armor chestplates, two were the surviving DeltFall units. They must have been put into their cubicles after we escaped the DeltFall habitat.

So, here we see 2 surviving DeltFall Units and 3 GrayCris Units, which did not include GrayCris Unit2.

[Chapter Seven]

By the size of their habitat and the number of SecUnits, including the one Mensah had taken out with a mining drill, they had between thirty and forty team members.

Since there is a rule of one unit per ten humans, the estimates of 30-40 team members suggest MB had observed four SecUnits belonging to GrayCris. Here, it is also confirming that one (GrayCris Unit2) was killed with a mining drill earlier, but no mention of the other one, suggesting that it (GrayCris Unit1) survived.

In the open area on the plateau were seven figures, four SecUnits and three humans in the color-coded enviro suits, blue, green, and yellow. It meant they had one SecUnit and probably twenty seven–plus humans back at their habitat, if they had followed the rule of one rental SecUnit per ten humans.

So, here, there are five SecUnits, four that MB could see and one it assumes to be with the remaining GrayCris humans.

She cut the comm off again. Then one of the DeltFall SecUnits started forward. She came back on to say, “This Unit will help you.”

This indicates that surviving DeltFall Unis were there, visible. So, there were 2 DeltFall Units, and 3 GrayCris Units (Unit1 from earlier, Unit2 and Unit3) in this scene, and one of the GrayCris Units was out of sight with the remaining GrayCris people.

We rolled over rock and brush until I wrenched its weapon away. After that it was easy to finish it off. Physically easy.

I know I said SecUnits aren’t sentimental about each other, but I wished it wasn’t one of the DeltFall units. It was in there somewhere, trapped in its own head, maybe aware, maybe not. Not that it matters. None of us had a choice.

DeltFall Unit 2 or 3 is now dead.

It is worth noting that it seemed as though MB would rather have killed one of the GrayCris units. It had more sympathy for units forcefully taken over by combat override modules than those controlled by HubSystem via a governor module. This may be because with the HubSystem control, there is still some level of autonomy, whereas combat override modules “turn a unit from a mostly autonomous construct into a gun puppet”.

GrayCris takes Mensah aboard their hopper as hostage, while MB pretends to be the dead DeltFall Unit and rides in the cargo with the other three units (1 DeltFall and 2 GrayCris). They land a few kilometres away from the GrayCris habitat, close to the beacon.

The two SecUnits were circling the beacon’s tripod, looking for signs of tampering, and I couldn’t take it anymore. I started to walk toward Mensah.

When the remaining DeltFall SecUnit whipped toward me and opened fire, I knew the light had dawned. I dove and rolled, coming up with my projectile weapon. I was taking hits all over my armor but scoring hits on the other SecUnit.

After this, the beacon is launched, causing massive explosion which knocks MB offline for a while. There were no further mention of the remaining SecUnits there. So, as far as we know, one of the DeltFall units survived, and 3 out of 4 GrayCris units also survived.

Additional units

[Chapter Eight]

I expected a suit skin and armor, but the station units that helped us out of processing when we had catastrophic injuries gave me the gray PreservationAux survey uniform instead. I put it on, feeling weird, while the station units stood around and watched me. We’re not buddies or anything, but usually they pass along the news, what happened while you were offline, what the upcoming contracts were. I wondered if they felt as weird as I did.

Here, we have a glimpse of other units that Murderbot seemed familiar with. They were familiar only in the sense that their presence was no surprise to it but no familiar enough to have much interaction.

On re-reading All Systems Red, I noticed that while Murderbot did not show protective attitude towards its fellow SecUnits, and generally mistrusted them, it was unwilling to kill them. It expressed willingness to kill them while it had assumed that the DeltFall units had gone rogue and killed their clients, once it realises that they had lost autonomy to combat override modules it seemed more reluctant to kill them. It showed less sympathy towards GrayCris units which were ordered to carry out evil deeds by their humans, suggesting that it had expected them to exercise some control over their actions even if that meant they were punished by their governor modules.

[the-eng1ne]

https://gcarter.carrd.co/#userinterface (best viewed on computer) heres a limk to some info about it :3. this is just my college work blog that i have to do for the exam board, so theres a lot of waffle but theres images of my shit on there

coding an inventory system with equippable items has me feeling like im an actual rocket scientist when in actual fact i just finally figured out why equipping function didn't work after scrolling down (i used the wrong variable in one single spot bc i wasnt paying attention)

[whirlpoolleaf]

I am loving System Collapse so far! The opening of chapter one was a bit anxiety inducing but I'm sure that's gonna be fine. What could possibly happen in 47 hours? (So many things, probably.)

The bit early in chapter 1 where MB says "because of redacted" and other places that just say redacted are really intriguing! They seem so random at the moment. I wonder if any if that will get un-redacted later, or if we'll just be left to think about it indefinitely?

Some of the asides that MB is making have me slightly concerned. I can't even really put my finger on what my concerns are, I just know that I have them. Particularly in chapter 1 where it says "(Obviously this is not actually what I am upset about, it's just easier to be angry about B-E Unit1's fuckup and/or disregard for minimum client safety.)" Murderbot, my beloved, what are you actually upset about then?? And, much more concerning but for entirely different reasons, "(...No one knew if ART was making up numbers for the hell of it or if these numbers represented actual credit balances that ART was hiding somewhere.)" ART WHAT THE FUCK.

And it's so fun to see Three! I can't wait to learn more about it and see how its adjusting, and I love Three and MB interacting. I feel like the two have had radically different free-agent experiences so far, and I am fascinated to watch how it all plays out.

Seems like more tidbits about gender and pronouns are getting dropped too which is really cool! Like the (male/demi) gender tag for Sub-Supervisor Dellcourt and Corian's vi/vir pronouns. I don't know exactly what they mean but I love seeing them!

Currently on chapter three, and I absolutely lost my shit when MB casually asked ART to define a word. That is SO cute, I can't stop smiling about it

[crydayz]

240229 STRETCH

「貴様の存在など私の気持ち一つで簡単に潰せるのだぞ？」

という圧がけに対し

「すみません！ あなたに盾突きたいとかそのような意図は一切ないんですが、多分それ無理です、やめた方がいいと思います！」

的な返しをして実際後者がめちゃくちゃ強い的な展開はエンタメ作品内でのチート能力演出として鉄板なわけだが、現実でそんな「事なかれ主義者のくせして人類最強」みたいな人間いるわけがない（UNIT2へ続く）

---

◆UNIT1

���こで「それはあくまであなたの脳内における認識であって現実がそうとは限らないでしょう？」的な返しをしてくる人間もがいるわけだが、それに関してもいちいち律儀に答える必要はない

何故ならばこの私という存在は滅茶苦茶「ちっぽけ」であり、そんなちっぽけな人間にいちいち突っかかってくる人間も押し並べてちっぽけだからである

僕は僕自身の無力さに絶大なる信頼を置いている

だが、この認知（自分には社会的影響力が乏しいという思い込み）こそが最も酷い差別や断絶を生み出す土壌である事も理解している

理解しつつも「面倒くさい」という理由で自分の強さ / 加害性を見て見ぬふりする自分を「それなりの悪だな」と思う程度のモラルはある

---

◆UNIT1.5

▲UNIT1は僕の脳内の汎用内省テンプレであって最初に提示した主張とは何の関係性もないただの「批判への予防線」である

主張と自己弁護はこのようなアセットの組み合わせによって成立しており、その運用に「真の理性や感情」つまり「本音」が関与してくる事はほとんどない

つまりこのような厄介ボールは手続きによっていくらでも量産できるわけで、これにぶら下がる会話も代わりの効く駄菓子めいたコミュニケーション・・動物的な「鳴き声」に過ぎない

ああ、またサボる為の無意味思考ガムを噛み始めてしまった。だがこのガムを噛んでしまったという後悔をシェアする事には何らかの価値があるはずだ。僕には意義や意味を見つけられなくとも、これを読んだ誰かが必ず何らかの意味性を見出してくれると信じている

少なくとも何らかの「味」を感じてくれると信じている

駄文に込める祈りはそれで十分

【UNIT2はない】

[helpwithperdisco]

Having trouble with Unit 1 Structure and Overview of the Health and Social Care Sector Assignment? Avail trusted and unique assignment Help and Solution services!! Order Instant Solution on WhatsApp: +44 141 628 6080!!

#Unit1 #Structure #Health #SocialCareSector #AssignmentHelp #Solution #LondonAssignmentHelp #HND #BTEC #topassignmenthelpservices #UKtopwritingservice #AssessmentWritingService #UK #HNC #ATHE #Level3 #Diploma #HSC #AssessmentHelp #OnlineTutor #AskTutor

[kamalkafir-blog]

One-carbon homologation of alkenes | Nature

One-carbon homologs are structurally-related and functionally-identical organic molecules, whose chain-lengths differ by a single methylene (–CH2–) unit1. Across many classes of molecule–including pharmaceutical agents, natural products, agrochemicals, fragrances and petroleum products–the physicochemical characteristics displayed by members of a homologous series subtly differ from one compound…

[ethosnarutaki]

◇中２～５月１７日（土）

《地理》ワーク２１ページ、３１ページ（→〇つけもしてください） 《英語》プリント（はがすタイプのもの）うらおもてUnit1④ 《理科》プラス白２１ 《数学》連立計算プリント

※少しずつ学校課題をすすめること

[spacepetroldelta]

chronic dilly dallier ass needs to get back in shape!!!

goal for next 1 hr ~ revise unit1 entirely

[030615]

The Urban Artist (Essay Submission)

In an unpredictable world, some may assume that identity has become synonymous with our position in society. The urban man becomes increasingly disoriented in dense populations, yet still creates his own self in this complex world. By engaging with the concept of identity, Dede Eri Supria’s oil painting “Urban Class” can be interpreted in the context of the identity of an artist as the conscience of society. 

Figure 1: Dede Eri Supria, Urban Class (1997) 

By using himself as a recurring motif, Dede Eri Supria defines his identity as an artist. “Urban Class” depicts Supria and his studio in the foreground, positioned in front of a monumentally sized painting. His self-image is rendered realistically to instruct the viewer to see him as his outer self. A surrealist element is added to this painting as Supria uses illusionistic techniques to create an impression of himself emerging from a painting of an urban slum, suggesting that he has transcended his social background to become a critical observer. Moreover, unlike other contemporary Indonesian artists, Supria depicts man without the influence of folklore. The human subject matter is forced to confront social realities stemming from cultural change, with the rich-poor disparity and American hegemony eroding traditions that once gave them comfort in the spiritual. (Wright, 1994) Hence, Supria reinforces his identity as an Indonesian artist his concerns and approach to the subject matter are unique to the socio-economic state of Jakarta. 

Supria depicts his surroundings in extreme detail to force viewers to examine their fears and anxieties of a rapidly evolving society. Inspecting the monumental painting behind the artist, a slum is rendered with painstaking detail. To achieve this, Supria collages various magazine excerpts to create multiple visual planes. This distorts the man’s surroundings, while the overall realistic style alleviates the viewer’s suspension of disbelief, creating an uncanny perception of modern Jakarta. Moreover, the use of magazine references gives his artworks a commercial sheen, with the consumerist nature of the subject matter emphasized by his use of saturated colors. Hence, the technique used to create this work is also unique to his personal identity and upbringing. His hyperrealistic style was influenced by his background as a photographic draftsman and gave him a position amongst the New Art Movement, consisting of contemporary Indonesian artists. 

Figure 2: S. Sudjojono, Rest (Ngaso). (1964)

Supria’s approach to social realism crafts both a personal and social identity. The return of realism among young Indonesian artists was met with a different origin from when it first appeared in Indonesia. The previous wave of realism showed Sudjojono’s works inspired by French social realism that aimed to confront the realities of the working class. In contrast to the naturalistic tone of the former, Supria uses a more satirical style of commentary. (Chua, 2018) Incorporating an Avant Garde direction into his social reality, Supria ingrains the flaws of his society into his identity. Unlike Sudjojono’s portrayal of citizens fighting for a better future, Supria depicts them indifferently while presenting the situation as disorienting and hopeless. (Jurriëns, 2021) The uncomfortable reality of defeated individuals confronts the viewers with a new juxtaposed form of art that mocks urban Jakarta, yet this response conversely gave Supria a notorious reputation in the Indonesian art scene, even effectively conveying his idea that artists have a role in expressing social concerns. As such, Supria cemented his identity as a new-age social realist painter. 

As a Southeast Asian, I resonate with his concerns about rapid urban development and cultural erosion. Singapore’s government attempted to build a national identity by enforcing Asian values to the everyday man for citizens to survive in a fast-paced environment. To rapidly improve the living conditions of locals, demolishing heritage buildings for infrastructure and discouraging dialects for a shared language was inevitable. (Ortmann, 2009) Thus, having an artist who is willing to confront and express subconscious insecurities from the public allows Supria to be renowned for his identity as both a social critic and an artist. 

References 

Supria, D.E. (1997). Urban Class. Oil on canvas, 200 × 100 cm. Jakarta, Indonesia. 

Wright, A. (1994). Soul, spirit, and mountain: preoccupations of contemporary Indonesian painters. Kuala Lumpur; New York: Oxford University Press 

Chua, K. (2018), Courbet after Sudjojono. Art History, 41: 292-317. https://doi.org/10.1111/1467-8365.12333 

S. Sudjojono (1964). Rest (Ngaso). Oil on canvas, 140 × 100 cm. Jakarta, Indonesia: Museum of Modern and Contemporary Art in Nusantara (Museum MACAN).  

Jurriëns, E. (2021). Urban transition through Indonesian art: from the Generation of ‘66 to the Millennials. World Art, 11(2), pp.229–254. https://doi.org/10.1080/21500894.2021.1893806. 

Ortmann, S. (2009). Singapore: The Politics of Inventing National Identity. Journal of Current Southeast Asian Affairs, 28(4), 23-46. https://doi.org/10.1177/186810340902800402 

[aldirassakw]

أوراق عمل انجليزية unit1 الصف الثالث الفصل الأول

html أوراق عمل انجليزية Unit 1 الصف الثالث الفصل الأول: تعلم ممتع وفعال! هل تبحث عن طريقة ممتعة وفعالة لتعليم طفلك اللغة الإنجليزية؟ إليك الحل! نقدم لكم أوراق عمل انجليزية Unit 1 المصممة خصيصًا لطلاب الصف الثالث الفصل الأول. هذه الأوراق غنية بالتمارين التفاعلية والأنشطة الشيقة التي تجعل تعلم اللغة الإنجليزية تجربة ممتعة ومثمرة. أوراق عمل انجليزية Unit 1: دعم مثالي لطلاب الصف الثالث تعتبر اللغة…

[imitationgame77]

Why does is matter so much if the B-E SecUnit recognises Murderbot as a SecUnit? (System Collapse)

In the early part of System Collapse where Murderbot reluctantly returns to the planet surface to rescue Ratthi, Iris and Tarik from an AgBot. Suddenly a Barish-Estranza SecUnit (designated B-E Unit1) appears (along with its humans, including Sub-Supervisor Dellcourt) and shoots it down with its specialised bot-busting weapon, nealy dropping the heavy ag-bot on top Murderbot.

The first reaction MB had when it noted the sudden appearance of the B-E Unit1 was, Oh shit, it's Barish-Estranza.

This is understandable. From the moment their back-up arrived in the system, Barish-Estranza had been showing hostility, jealously claiming everything and anything on that planet belonged to them.

However, Murderbot particularly didn't want to be identified as a SecUnit by them.

After this point, MB goes out of the way to pretend really hard to look like a human, groaning, even asking Ratthi to pretend to help it up. It was so nervous that it avoided looking at the B-E Unit1.

On my recent n-th re-reading, it suddenly struck me as a little peculiar.

Why was Murderbot so worried about being identified as a SecUnit? It had met B-E Supervisor Leonide, even though it had made it look more like a standard SecUnit with its hair flat, no human-motion-imination codes running at the time. Leonide must have reported to the new arrivals that University had brought a highly competent SecUnit. She may have even shown some footage from the meeting on her ship.

Was it because MB generally wanted to be avoid being identified as a SecUnit by humans other than its humans? Was it because the university group bringing their unit on the planet would cause more disputes? Or did it think that B-E Unit1 would report it to Dellcourt and he would order it to kill MB with some feeble excuse?

While MB was a lone rogue unit, as ART had pointed out, passing off as a human was crucial for its survival. However, at the time of its encounter in the scene above, I'd have thought B-E had no grounds for killing/neutralising/stealing Murderbot.