By 1934 Gertrude Stein retrospectively claimed that her writing had been "doing what the cinema was doing," and she acknowledged film as key to her historical moment:
I cannot repeat this too often any one is of one's period and this our period was undoubtedly the period of the cinema and series production. And each of us in our own way are bound to express what the world in which we are living is doing. 1
Kenneth Macpherson, editor of the premiere film journal Close Up (1927-33), recognized the cinematic quality of Stein's writing and widely recruited "anything [she] might send," stressing that "the kind of thing [she] write[s] is so exactly the kind of thing that could be translated to the screen." 2 Stein appeared in three issues of the journal, and in 1927, published her portrait, "Mrs. Emerson," which was placed next to a piece by Man Ray about his first full-length experimental film, Emak Bakia. 3 That these texts appear side by side is no accident.
While the importance of modern painting to the development of Stein's art has been amply demonstrated, her specific connections to film have been, for the most part, unexplored. I contend that avant-garde cinema newly illuminates her strategies of representation and embodiment; the adjacency of Man Ray's article to "Mrs. Emerson" foregrounds the complicity of the apparently distinct aesthetic discourses of modern poetry and cinema. Film embodies Stein's notion of "a groping for a continuous present" and "an inevitable beginning of beginning again and again and again," 4 what she earlier designates as "all living as repeating." 5 Maya Deren refers to this kind of film measure as a "telescoping of time," "a continuous act of recognition," that becomes "like a strip of memory unrolling beneath the images of the film itself, to form the invisible underlayer of an implicit double exposure." 6 With the relentlessly mechanical moving picture, memory becomes a form of erasure, and Stein, obsessed by the processes of forgetting, compared her written portraits to the cinema in which "one second was never the same as the second before or after" ("PR," 195). Stein praised the cinema's ability to render the temporal displacement of "existing" in which "the emphasis is different [with each repeated moment] just as the cinema has each time a slightly different thing to make it all be moving. And each one of us has to do that, otherwise there is no existing" ("PR," 179). With its elements of succession and variation, amnesia and movement, film seemed to solve the apparent conflict between inanimate mechanical reproduction and "existing," and formed Stein's prototypic medium for embodying the vital flux and crisis of a "continuous present."
The modernist crisis of representation became, for many artists, a crisis of embodiment; and experimental film made visible a body never visible before--one at once whole and in pieces. Like other modernists, Stein had to negotiate the literal, posttraumatic, bodily disrements caused by World War I. 7 Further, although prevailing modernist paradigms sequestered the mind from the body, the corporeal became metonymic with film's materiality and haunted the literary works of this period. Stein's confessed attraction to film, however, contrasted with the more dismissive stance taken by other "high" modernists (among them T. S. Eliot, Ezra Pound, and Wallace Stevens) who associated film with the reviled, ephemeral body. Stein, by contrast, rejected the resources of the past, simultaneously insisting upon a willed forgetfulness--as if the shock of the present obliterates the capacity or desire to remember--and an expansion of bodily, sensory pleasures which Peter Nicholls has called the "bodily allure" of her words. 8 Yet Stein's recuperations of viscerality did not assert bodily wholeness; rather, Stein's alternate modernism depended upon the incarnated, "existing," and, dismembered body materialized by avant-garde film.
Here I explore specifically how the fragmented, repetitive bodies and techniques of modernist experimental film (represented largely by Man Ray's Emak Bakia) impact upon the decentered plots and bodily disjunction of Stein's poems, and particularly of "Mrs. Emerson." Stein's cinematic modernism relies upon the mechanical, circumambulatory bodily depictions of both hysteria--the Freudian disease of modernity--and modern comedy, iconicized for the avant-garde by Charlie Chaplin's trademark gestural slapstick. I hope to show that the considerable attention Stein devoted to the often interchangeable, cultural representations of the hysteric and the comic originated from, respectively, her early fascination with experimental psychology at Radcliffe in the 1890s (which culminated in a coauthored article, "Cultivated Motor Automatism: A Study of the Character in its Relation to Attention"), and her abiding fascination with Chaplin whose comedic semiotics of the body she associated with the practice of her poetry. I further argue that the modernist crisis of embodiment pervading the discourses of psychology and the comedic connect the techniques of experimental film with those of modern poetry.
Before exploring the relationship between these diverse res (Stein, Man Ray, and Chaplin), however, it would be useful to establish how modern poetry converged with the aesthetics of film montage, linking the dislocated, automaton body of modernity with the avant-garde subordination of plot to somatic, disjunctive rhythms. Sergei Eisenstein theorized the connection between poetry and film by drawing, as Pound had done, upon haiku and ideographic language, invoking rhythm and the "concept of intervals," for instance, to explain montage. 9 "The whole charm of poetry" emerges, his theory explicitly states, from the "reconstruction of the event in montage fragments" where "the plot is no more than a device" ("DA," 60-1). Evoking Flaubert's ideal of a book "about nothing," charged by the "force of its style," Eisenstein emphasized that dramatic tension revolves around "the methodology of form--not content or plot!" ("DA," 49). These aesthetic criterion resonate with the antimimetic imperative in avant-garde film and Stein's poetic credo.
The kinship between modern poetry and film that I examine in this essay hinges upon the subordination of plot to rhythm, but also upon a montage aesthetics that privileges the fragment and its abrasion of other fragments. Film "pieces," as Eisenstein defines montage, orchestrate in a "rhythm" produced through the "collision of independent shots" ("DA," 49). He emphatically asserts that artistic dynamism emerges out of the "irregularity of the part in relation to the laws of the system as a whole" ("DA," 47; emphasis added). Similarly, the dislocated bodies of modernity, as we will see, depend upon the part as detachable from the whole. Like Stein and Man Ray, Eisenstein foregrounds the fragmentary moment--"[t]he shot is a montage cell"-- while giving it corporeal, relational consequence ("DA," 53). Film art, like poetry, insists upon the body in flux, not as transcendental signifier; Eisenstein consistently construes montage as embodied poesis, even as that body composes itself through the collision of fragments.
However, while modern poetry and film intersected through the dislocated body, the very somatic traumas of modernity made, as Walter Benjamin writes in his famous essay on Baudelaire, the "possibility of lyric poetry questionable." 10 Film threatened to supplant poetry as a medium more suited to the immediacy and eviscerated attention of modernity: "There came a day when a new and urgent need for stimuli was met by the film. In a film, perception in the form of shocks was established as a formal principle" ("SM," 175). Baudelaire's capacity to place "shock experience at the very center of his artistic work," Benjamin claims, enabled his unique success, but raised the stakes for the body of the modern poem in competition with an emergent film medium ("SM," 163). Cinema more capably induces an automatic "reaction to shocks," Benjamin elaborates, since the "rhythm of production on a conveyer belt is the basis of the rhythm of reception in film" ("SM," 175). 11 I hope to demonstrate, however, that Stein's poetry rendered this characteristic automatism issuing from overwhelming shock experience the "kinaesthetic" ground of her modernism. Like Benjamin's cinematic "conveyer belt," which relies on mechanical repetition, Stein's writing strove to reproduce dislocated experience where "one second was never the same as the second before or after" ("PR," 195).
Finally, Stein embodies Benjamin's model of modernity's accelerated shock experience as it impinges upon "remembrance"--the crystallizing of experience through reflection. According to Benjamin, reflex takes over as modern consciousness strives for "protection against stimuli" ("SM," 161). Modern consciousness, in this way, approximates the fragmenting shutter mechanism in film, and attention is held at the expense of contiguity. Visceral shock jolts the body into grasping an experience and simultaneously threatens to blot its memory. By contrast, Proustian memory (in Benjamin's essay) commits itself to disinterring what is uncovered by the "mémoire involuntaire," that which has "not been experienced explicitly and consciously, what has not happened to the subject as an experience" ("SM," 160). If, as Benjamin claims, it is necessary for Proust to chance upon an object that will unfold unconscious memories, Stein makes an art out of such stumbling for its own sake. Her writing forgets itself as it perambulates. Lacking the high modernist desire to monumentalize the past as interior or collective memory, Stein enacts a consciousness embodied through automatic gesture and immersed in the porous breakdown of continuity. Her writing--a kind of shock absorber--resists remembering: "We in this period have not lived in remembering, we have living in moving being necessarily so intense that existing is indeed something, is indeed that thing that we are doing" ("PR," 182).
Thus, the "series production" of Stein's modernism mechanizes and fragments corporeality, creating a cinema of vivisection in which the reflexive body does not quite hold together or congeal. Similarly, Man Ray describes Emak Bakia in Close Up as adamantly serial and partial, a "series of fragments, a cinepoem with a certain optical sequence [that] make up a whole that still remains a fragment." 12 A still of repeating frames from the film accompanying Man Ray's article illustrates this emphasis on the part ( 1). Precluding ultimate cohesion, Stein similarly articulates: "A whole is inside a part" in "Salad Dressing and an Artichoke." 13 The "period of the cinema" consequently became for Stein the period of the fragment. "[I]t is not possible," she writes of her era, "to choose a completed sentence a completed thing." 14 (Oddly, Stein responded with terror the first time she saw her "speaking body on screen" in a 1930s newsreel. 15 I propose that Stein's terror emerged from seeing herself as a whole, animate body in a reproduction that did not match her sense of dislocated corporeality.) Stein's emphasis on the fragment suggests Kaja Silverman's observation that "a unified bodily ego comes into existence only as the result of a laborious stitching together of disparate parts." 16 While film allows for a continuous motion or present, the spliced pieces perpetuate its seeming smoothness.
The first part of this essay develops the theme of Stein's (and to a lesser extent, Man Ray's) debt to cinematic bodily representations of plotlessness and the fragmented continuous present. It focuses particularly on Charlie Chaplin's aimless, "jerky" gait as iconic for the avant-garde in general and for Stein and Man Ray's art practices in particular. The second section explores Stein's early experiments in behavioral psychology and her understanding of the hysterical body (or approximations of it) which culminated in her first publication "Motor Automatism." While these experiments remain largely unexamined, regarded as irrelevant to Stein's poetic experiments, they dramatically prere her cinematic embodiment of distracted and forgetful attention. The third portion of this essay examines how modernist representations of the hysterical and comedic body (already hinted at in "Motor Automatism") overlap, becoming interchangeable through Henri Bergson's definitions of comedy and Jean-Martin Charcot's formulations of hysteria. The essay concludes with a detailed delineation of Stein's incorporation of these cultural tropes of bodily dislocation in "Mrs. Emerson" through juxtaposition with Man Ray's Emak Bakia.
While many other texts might serve to demonstrate Stein's cinematic writing (as Macpherson suggests), "Mrs. Emerson" forms an exemplary "collection of repeated references," filmicly scored (CM, 25). Margaret Dickie suggests that Stein's "willingness to detach words from referential meaning" and to arrange them in abstract designs often overshadows her anatomizing of the body. 17 Yet "Mrs. Emerson" is at once both abstract, and explicitly sensory and physical: "I do not share unless you are coming unless you are coming to caress country." 18 Similarly, Man Ray's films are abstract and plotless (particularly Emak Bakia), and as Inez Hedges observes of Man Ray's L'Etoile de Mer, place the "human body on equal footing with objects." 19 Neither Stein nor Man Ray in their apparently "pure" antinarrativity forsakes embodiment, but instead focuses upon the body in segments and gestures. As popular icon, Charlie Chaplin haunts these texts, linking the gestural body, modernist comedy, and experimental representation. Like Chaplin and Man Ray, Stein abandons the illusionist ambitions of theater, and instead shows the piecemeal body engaged in nonpurposive gestures. By triangulating these res, I hope to reveal how Stein bridges an embodied slapstick with an abstract film aesthetic.
Stein, as I have said, devises an aesthetic indebted to film's capacity to track and splinter the shock of a "continuous present." Man Ray's films, in turn, pivot upon a "series of fragments" that develop in several instances out of his contact with avant-garde poets similarly invested in the fragmentary and serial. The surrealist, trance-inspired poet, Robert Desnos, for example, inspires Man Ray's second full-length film, L'Etoile de Mer , and Mallarmé's "A Throw of the Dice Can Never Do Away with Chance" ignites his Mystère du Chateau . Emak Bakia begins with shots of a brightly lit revolving merry-go-round to emphasize the inscriptive capacity of film, "its status," Inez Hedges elaborates, as "'writing motion in lights' (kinematographein and photo-graphein)" ("CV," 99). And just as Man Ray is "adamant that there be no script," no progress in Emak Bakia, 20 Stein's writing foregrounds its break from linear plot in a repeating and circular "communication":
If heating is beside the meal and the selection of masterpieces makes communication, communication is ardently rechosen, communication is suddenly respected, communication is suddenly resumed, communication is suddenly rested, communication is suddenly respected, communication is suddenly chosen communication is suddenly chosen. ("ME," 25)
The passage "selects" its parallel abstract strips and measured "beats," yet dramatizes the passive or involuntary; what "is suddenly chosen" knits together words buried in other words by linguistic dislocation, as with "rested" in "respected."
Further, neither "Mrs. Emerson" nor Emak Bakia, despite their titles, follows a single character. In Stein's piece, an "I" shifts to a "she" or "he"; pronouns are merely instrumental. Nowhere does "Mrs. Emerson" (only a ghostly transcendental re) materialize, and "characters" appear and quickly evaporate. "Mrs. Evangeline Henderson came in" only to vanish immediately ("ME," 23). Like Stein's writing, Man Ray's film denies a stable subjectivity. Emak Bakia, he tells us, is the name of his patron's estate and comes from a Basque saying that means "leave me alone." Both "Mrs. Emerson" and Emak Bakia resist propriety and continuity, and yet grapple with embodiment as self-consciously aware of its filmable, evanescent and fragmentary character. Hedges points out in her essay on Man Ray's L'Etoile de Mer, that "pellicule"--Latin for "little skin"--designates "the idea of celluloid as skin," a fact that becomes resonant with Man Ray who "would typically write on his film"; in this context, each shot denotes a temporal marking and shedding of skin or bodily surface ("CV," 99).
Man Ray's actual relationship with Stein ended abruptly, but further reveals their interart cross-hatchings. P. Adams Sitney observes that Man Ray's photograph, used for the frontispiece of the successful The Autobiography of Alice B. Toklas, featured Alice in a doorway and eclipsed Stein "deep in shadows as she sits writing at a table." 21 And Man Ray recollected in his Self Portrait that his "portraits of Gertrude Stein were the first to appear in print, to give her small circle of readers at the time an idea of how she looked." 22 At this time he exchanged some prints for Stein's "portrait of [him] in prose" (SP, 260). With the subsequent publication of The Autobiography, she required publicity photographs, but when Man Ray sent a "modest bill," Stein refused payment on the grounds that "we were all struggling artists" (SP, 260). Their exchange of portraits led paradoxically to their estrangement from one another.
Stein's meeting with Chaplin, by contrast, points towards an imagined identification. She viewed her art as a necessary precursor to his, or at least as a simultaneous mirror of it,acknowledging Chaplin's iconic importance for the Parisian avant-garde crowd in The Autobiography: "The clowns had commenced dressing up in misfit clothes instead of the old classic costume and these clothes later so well known on Charlie Chaplin were the delight of Picasso and all her friends." 23 Chaplin himself summed up Stein's admiring perception of his work as avant-garde plotlessness when they met in the 1930s, "She would like to see me in a movie just walking up the street and turning a corner, then another corner, and another" (MM, 159). And Stein extolled Chaplin's early gestural films during and before World War I rather than his later plot-driven ones. For her, the poet and the comedian vie for an inaugural role: "he wanted the sentiment of movement invented by himself and I wanted the sentiment of doing nothing invented by myself" (MM, 160); implicitly, she saw herself as initiator of both. 24
When Chaplin screened in Paris, " 'the little tramp,'" or "Charlot," as he was called, emerged as "the new hero of the literary avant-garde," 25 the very "embodiment of modernity" in his "resistance to meaning" ("CR," 92). Walter Benjamin observed that the surrealist poet Philippe Soupault,
realized that Chaplin was the first (and the Russians have followed his example) to construct a film with a theme and variations--in short, with the element of composition--and that all this stands in complete opposition to films based on action and suspense. 26
French film critic Robert Aaron specifically paired Chaplin with Man Ray in their "delight in dislocation" whereby "they create peculiar breaks in the narrative, each of which strangely never returns to what went before." 27 Jean Epstein remarked Chaplin's "photogenic neurasthenia," observing that his "entire performance consists of reflex actions of a nervous, tired person." 28 And for Louis Aragon, such narrative and somatic dislocations reflected the "discovery of the mechanical and its laws . . . to such an extent that by an inversion of values each inanimate object becomes a living thing for him, each human person a dummy whose starting-handle must be found." 29
This small compendium of Chaplin as iconic re adumbrates a dislocative body that animated and haunted the antimimetic work of avant-gardists like Stein and Man Ray. Accordingly, Fernand Léger memorialized the cubist Chaplin as living machine in Ballet Mécanique ( 2). One shot in Emak Bakia used a diagram of a jumping man from Jules-Etienne Marey's scientific motion studies, a borrowing that accents automatic dissolutive locomotion. Importing his own collage-sculpture Dancer/Danger made of cogs and wheels for another image, Man Ray rendered it kinetic with a spiral of smoke, its ambivalent sign Dancer/Danger perhaps suggesting Léger's earlier mechanical and endangered (about to fall apart) body. This mechanistic trope owed precedence to Chaplin himself who, Benjamin observed, is "his own walking trademark" with his spasmodic, nonpurposive gait. 30 It seems that Chaplin "cannot walk. He cannot put one foot in front of the other. He cannot move forward," Willy Hass remarked in 1923 ("CR," 106). Gilles Deleuze further describes this trajectory as a function of time: "Charlie caught in the instant, moving from one instant to the next, each requiring his full powers of improvisation; finally, the line of the universe which he describes in this way, the broken stroke which makes itself felt even in the angular swerves of his walk." 31
Chaplin's gait as both a continuous present and a "broken swerve" is symptomatic of the modernist obsession with nonteleological movement. Pound found an early form of such kinesthetic gesture in Noh theatre that rendered an "art of splendid posture, of dancing and chanting and of acting that is not mimetic." 32 Elizabeth Grosz accurately summarizes Nietzsche's notion of an embodied practice of knowledge: "Philosophy itself was to be written walking--or, preferably, dancing." 33 Such embodiment, she adds, roots itself in the corporeal "incapacity to grasp all": "There is nothing beyond the multiplicity of perspectives, positions, bodily forces" (VB, 128). Yet both Pound and Nietzsche's delight in dance miss the nuance introduced through mechanical reproduction in its ability to expose the body's loss of control, dislocation, and propensity to automatism. This aspect of modernity's nonmimetic art crystallizes in Chaplin who may assume the sudden ability to skate with acrobatic grace in The Rink , but whose elastic body is never rendered entirely volitional. In the opening of The Tramp , for example, Chaplin is successively knocked down by a motor car; no sooner does he dust himself off than he is once more struck down, as if aware only of the discrete moment and the purely reflexive. Each repeated motion undoes itself so that it appears both that Chaplin will never progress across the road and that he must "pull himself together" with each tumble. 34
Significantly, Stein's circumlocutory comic mode, her "broken stroke," is intertwined with her cinematic impulses. As with avant-garde film, "what matters" in silent film comedy "is that the units follow each other uninterruptedly, not that their succession implements a plot." 35 Similarly, in his book on silent comedians, Walter Kerr cites Chaplin's sense of existence as incessantly "unstable and malleable," 36 constituting a "reflexivity" that foregrounds the comic "interchangeability of things" and the instability in metaphor itself. 37 Chaplin becomes paradigmatic of the successive slippages Stein performs in her modernist experiments. Chaplin's "awareness of instability," Kerr further proposes, taught him to dance, a practice which acts like a "crowbar to detach him from the action" (SC, 92). And Benjamin's characterization of Baudelaire's "jerky gait," his very physical "art of being off center" likewise anticipates this modernist method of detachment from plot, and the way Stein manages to "keep centre well half full" ("SM," 176, "ME," 23). Indeed, locomotion, intentionally of a mistaken or circular kind, is a recurrent motif in Stein. These comic one-liners exemplify her balancing act and rejection of continuity: "Call me semblances.  "What do you do to stop. / What do you do to go on. / I do the same," she writes in Lifting Belly, followed a few lines later with "what do you do to turn a corner" (ibid.). Such lines, indicating propulsion along with relapsing, reverberate with her sense of Chaplin's endless circumnavigation.
These kinds of bodily dislocations also point towards the modern trope of the evasive hysteric, culminating in Freud's frustrated attempt to master Dora's body by pinning down her symptomatic acts in a coherent narrative. Before Freud, Jean-Martin Charcot's "theater of living pathology" at the Salpetrière Hospital in the 1870s and 1880s preres the cinematic reproduction of bodily movement, his photographs of hysterical gestures here suggestive of the dislocated bodies of Stein, Chaplin, and Man Ray. 38
Stein distanced herself from both psychoanalysis and surrealism, yet was early on compelled by the re of the "hysteric" and the automaton. 39 Pavlov's lesser-known version of hysteria-- pivotal in experimental psychology--formed part of the tributary of influences upon Stein, describing reflexivity as manifesting when "the excitatory processes are weakened, while the inhibitory prevail." 40 The hysteric in these cultural renderings slides into the comic gestural body, montaged "together in pieces" (LB, 27). The comic/hysteric body drifts, without pathos and detached from plot, into the end of "Mrs. Emerson"; the "inhibitory" and absurdist ennui of refusal erupts:
Not to-day.
Yesterday, not some day.
Yesterday.
Wretched creature.
Wretched reason for winter. Really not at all.
["ME," 29]
This "wretched creature" suspends in temporal indeterminacy and dislocation. Similarly, Man Ray's mistress, Kiki of Montparnasse, the most recognizable "whole body" in Emak Bakia, will turn "upside down" at the end of the film, her vacancy italicized by staring eyes painted on her eyelids that suddenly, mechanically flutter open.
Stein studied with both William James and Hugo Münsterberg, author of the seminal Photoplay , at Radcliffe in the early 1890s and became acutely interested in psychophysiological models of human behavior. 41 After conducting experiments in automatic writing under the supervision of Münsterberg, Stein's 1896 debut in publishing, "Motor Automatism" (in the Harvard Psychological Review), tellingly belonged to the emergent field of experimental psychology. She published this piece with Leon Solomons along with an addendum, "Cultivated Motor Automatism: A Study of Character in its Relation to Attention," written solely by herself. These articles reveal Stein's early obsession with the relationship between bodily sensation, attention and memory. Ultimately, Stein's comic and filmic sensibility relied upon acts of willed automatism that heighten the fragmentariness and dislocations within reiterative gesture.
In order to understand Stein's rendering of bodily gesture--and her link to both Chaplin and Man Ray--I will look in some detail at these first publications. Linda Wagner-Martin describes them as an early discounting of "automatic writing," a point corroborated by Stein's disavowal in The Autobiography: "Gertrude Stein never had subconscious reactions, nor was she a successful subject for automatic writing." 42 However, while "Motor Automatism" examines the "limits of normal automatism" and the acts of so-called normal people as opposed to those of hysterical subjects, the article determines that automatism permeates the everyday activities of the nonhysterical subject. 43 (Stein and Solomons, I should note, are the only "normal" subjects of the experiment in the first article.) At the same time, they consider hysteria as linked to automatism especially in terms of the phenomenon of "double personality," the experience of dissociation often red by the detachment of a bodily organ from consciousness, or rather as the detachment of motor impulse from consciousness of it as proprioceptive ("MA," 9).
The enmeshment of the psychical with the kinesthetic as well as the dislocation between these domains constitute the basis for Stein's comedy and her cinematic modernism. Significantly, Stein and Solomons anchor "the feeling of personality" in an "expectation represented by the group of feelings we have called, for convenience, the motor impulse" ("MA," 26). They assert that the "writing of a word at dictation" involves "the formation of a motor impulse" that "consists of a melange of visual and kinesthetic material--whatever ordinarily innervates our writing--as well as other elements not easily described" ("MA," 14). The absenting of consciousness from motor impulses leads then, as they formulate it, to automatism, or in more severe cases, to hysteria.
In their first experiment, they instructed their subject to "get himself as deeply interested in a novel as possible" and at the same time to ready himself to take dictation ("MA," 10). They conclude that "although the arm does not really move spontaneously, yet any movement once started up tends to continue of itself" unless "deliberately checked by the will of the subject" ("MA," 11). Induced automatic writing leads to an experience of the "extra personal" or put more bluntly: "It is not he but his arm that is doing it" (ibid.). The subject, when sufficiently distracted, loses a sense "of intention or desire," producing the "tendency to movement from purely sensory stimuli, independent of any conscious motor impulse or volition" ("MA," 12; emphasis added). This dissociation between "personality" and attention forms an early example of the automatism issuing from the sensory bombardment of modernity Benjamin will describe, and preres Chaplin's comedic body, his automaton, jerky reception of shocks.
Furthermore, the experiment implies not only that bodily movement or reflexive sensation can become dislocated from consciousness, but also questions the efficacy of memory or its coincidence with motor impulses in the act of writing. Knowledge emerges "by sensations from the arm." The subject
was conscious that he just had written a word, not that he was about to do so. While mere scribbling went on the subject would scarcely be conscious that he was doing anything. . . . Small words would usually be completely written before the subject knew about it. ["MA," 12-3]
These observations denote ruptures or "lapses in consciousness"; only belatedly does the subject remember the activity of his arm. Thus memory does not function to bolster identity, but contributes to a feeling of dislocation. Knowledge comes late, after the fact, in the "memory after image" ("MA," 15). Similarly, simultaneous action--reading and taking dictation at once as in Stein's experimental study--further fractures the experience of the body which is paradoxically both attentive and distracted in its dispersal among activities. 44 Chaplin in Sunnyside , for example, embodies this kind of forgetfulness resulting from multiple actions: herding cows while reading a book, he wanders until he falls unconscious in a ditch.
While the article is written collaboratively, "Motor Automatism" is prescient of Stein's writing processes, particularly her penchant for repetition and its somatic impetus. 45 For instance, one paragraph of the essay delineating the characteristics of "unconscious memory and invention" reads:
A marked tendency to repetition.--A phrase would seem to get into the head and keep repeating itself at every opportunity, and hang over from day to day even. The stuff written was grammatical, and the words and phrases fitted together all right, but there was not much connected thought. The unconsciousness was broken into every six or seven words by flashes of consciousness, so that one cannot be sure but what the slight element of connected thought which occasionally appeared was due to these flashes of consciousness. But the ability to write stuff that sounds all right, without consciousness, was fairly well demonstrated by the experiments. ["MA," 21]
In this passage, repetition is not connective, but rather functions much like a reflexive motor impulse. Anticipating Eisenstein's delineation of a montage style that exceeds plot and the dislocated body accompanying it, the passage also suggests that grammatical writing which "fits together" is not necessarily "connected thought." 46 The interruptive "flashes of consciousness" produce only dilatory coherence.
The language of "Motor Automatism" uncannily both resembles Man Ray's kinematographein and echoes William James's "Stream of Consciousness" where he describes consciousness as "a kaleidoscope revolving," with the flight between repeating images taking precedence over the resting upon a final or static assemblage of images. 47 As if referring to Man Ray's experimental film and the avant-gardist's use of the camera, James depicts a mobile consciousness engaged in continual rearrangement, governed by shifts between "magical rapidity" and "relatively stable forms" ("SC," 180-1). Stein and Solomons import this sense of fractured and contingent subjectivity and link it more fully than James to kinesthetic experience. A shifting in tempo and rhythm become a visceral fluctuation between distraction and belated attention, demonstrated by this semi-confessional observation: "Miss Stein found it sufficient distraction often to simply read what her arm wrote, but following three or four words behind her pencil" ("MA," 21).
In Stein's follow-up article, "Cultivated Motor Automatism," she included more subjects. This investigation of automatic writing delineates two personality types (foreshadowing her classification of human character in The Making of Americans): Type II, as she calls this personality, is more prone to automatism and "is much nearer the common one described in books on hysteria" than Type I. 48 Assuming a kind of Charcotian role, Stein oscillates between guiding the hands of her Type II subjects and releasing them to their own impulses. She choreographs or "cultivates" the "decidedly rhythmic character" of motility:
At first there was a continued return to the old movement or to no movement, but gradually came an aimless indefinite movement, then again the old, then the new, and then again an uncertain movement, then a more decided revision of the new, then a slight return to the old, like the struggle between two themes in a musical composition until at last the new movement conquered and was freely continued. ["CMA," 28; emphasis added]
Another of her Type II, protohysteric subjects verges on slapstick, dynamized by mechanical automatism: "He had a spontaneous movement of a circle made with the swing of the whole arm. He began these circles, gradually increasing in speed, not breaking into any other movement, just a continued rush of circles" ("CMA," 32).
"Real automatism," Stein and Solomons assert, occurs "whenever the attention is sufficientlydistracted" ("CMA," 14). Hysteria becomes thereby truly the disease of a modernity characterized by the onslaught of shock experience. Furthermore, if hysteria, as Stein and Solomons reiterate, is a "disease of attention" ("MA," 26), then film becomes an aesthetic equivalent by its paradoxical capacity to hypnotize and to diffuse sensory experience, to hold and to divert attention. Accordingly, Stein and Solomons summarize their findings: "Our problem was to get sufficient control of the attention to effect this removal of attention. In hysteria this removal of attention is effected by the anesthesia of the subject. We would not, the histerique can not, attend to these sensations" ("MA," 25). In its distinction between willed and involuntary loss of attention or anesthesia, the article points towards the avant-garde's purposeful oscillation between "derangement of the senses" (to invoke Rimbaud's influential aesthetic) and control. As "operator," Stein and Solomons will their own distraction, yet suggest that "habits of attention" often partake of the unconscious or appear involuntary, a dialectic that will underpin Emak Bakia and "Mrs. Emerson." 49 These experiments afforded Stein an early opportunity to visualize and construct the dislocated body that will animate her poetics.
Jean-Martin Charcot's Tuesday lecture/performances of hysterical bodies suffering the "disease of attention" at the Salpetrière Hospital deflect narrative, and revolve around the nonpurposive gesture characteristic of what I am calling modernist comedy. Elisabeth Bronfen summarizes Charcot's reading of hysteria as "somatic performance of traces of a psychically traumatic shock" that reveal the "hysterical" body as disruptive of coherent plot: "It articulates through an unjust image, speaking deceptively, obliquely" (KS, 175). The body abstracts itself as it articulates "the radical nothing that experiences of loss entail" (KS, 188). It is this "radical nothing" that converges with the comic mode typified for avant-gardists by Chaplin in his "resistance to meaning." Suggestively, the second phase of the hysterical attack, as mapped by Charcot, is the "period of grands movements, of contortions and body dislocations," what he "came to call the clown phase [période clonique]" (KS, 180). (Stein's experimental subject, detached from purpose, rapidly swinging his arms, comes to mind.) The hysteric body, formalized and framed by Charcot and his followers, becomes interchangeable with the comic body in modernist cultural discourse.
Henri Bergson's extended essay, "Laughter: An Essay on the Meaning of the Comic" , confines itself to the theater for its exempla, but nevertheless reveals how these two bodies, the comic and the hysteric, overlap in the cinematic aesthetic of Stein, Chaplin, and Man Ray. 50 (Bergson, incidentally, had been among the attendees at a Charcot performance.) As if echoing Stein's essay with Solomons, he considers the comedic body's capacity for repetition and automatism as signifying the loss of an otherwise necessarily "constant alert attention" to the needs of the moment, as a slip into absentmindedness (L, 22). In such a state, the body abjures its "tension and elasticity" and so partakes of the unwilled mechanical. Bergson elaborates, "The attitudes, gestures and movements of the human body are laughable in exact proportion as that body reminds us of a mere machine" (L, 32). (Chaplin in The Rink turns his cane into a crank, a prosthetic extension of his body, using it to wind up his rival as if both bodies are mechanical.) Comedy, he contends, "consist[s] in looking upon life as a repeating mechanism, with reversible action and interchangeable parts" and persists only as life "forgets itself" (L, 94).
As I have already noted, Stein often poses as an amnesiac, using repetition to foreground dissociation: "Let me recite what history teaches. History teaches," she writes in "If I Told Him: A Completed Portrait of Picasso." 51 The joke here relies on the way her repetition undermines itself as the sentence jerkily springs back to its initial iteration. In the same piece, she refers to a camera's attentive "selection" of images: "Shutters shut and open so do queens.  The shutters "shut and open" just as the film shot both reveals and covers in the crisis of a continuous present. Experimental film--and Stein's writing--foregrounds this activity, otherwise unnoticeable in conventional narrative film, which as Garrett Stewart (Between Film and Screen: Modernism's Photo Synthesis) puts it in another context, represses the material joining of images in a "successive overlapping flow." 52 The present urgency of "[n]ot to-day" ("Mrs. Emerson") as well as the phrasing of "[s]hutters shut and so and so" ("A Completed Portrait of Picasso") accommodates the "[c]lick, clack, lack--in that double absentation of the forgone and the just gone past." 53
With the bodily pun of "shudders," Stein's portrait of Picasso emerges in autonomic flickers: "He he he he and he and he and and he and he and he and he and and as and as he and as he and he" ("CPP," 23). Incremental repetition of this kind calls for supreme attention by the reader and threatens a comic forgetfulness, the consequence of slipping up by covering the same ground. Yet in repeating, Stein mimics the infinitesimal recuperations necessary for slapstick. (Think of Chaplin's classic clown fall, legs over the head, followed by his springing upright in opening road shots in The Tramp.) Bergson sums up how such useless activity turns comic, albeit abyssal, if still pivoting on a "radical nothing" of hysteria: "To cover a good deal of ground only to come back unwittingly to the starting-point, is to make a great effort for a result that is nil" (L, 80).
Similarly, the opening of "Mrs. Emerson," both abstract and irregular, requires our "distracted attention" in its reiteration of "the regular way" or the hazardous twists and turns of the moment:
The regular way of instituting clerical resemblances and neglecting hazards and bespeaking combinations and heroically and heroically celebrating instances, the regular way of suffering extra challenges, the regular way of suffering extra changes the regular way of submitting to examplers in changes, the regular way of submitting to extraordinary celebrations, the certainty, because centre well half full whether it has that to close when in use, no not repeatedly, he has forgotten. ["ME," 23]
In "celebrating instances" and "neglecting hazards," the unanchored subject in this prose poem paragraph "has forgotten." The repetitions compel attention to "suffer" and "submit" to "extra changes"; the wayward circle closes just when the "way" has been forgotten.As with Stein's rhythmic discontinuities in the above passage, Chaplin's seeming forgetful body is strategic miscoordination; "neglecting hazards," he ignores the ever present possibility of falling apart or stumbling into an unexpected abyss.
Such deliberate aimlessness expresses itself in the partiality of gesture, which Bergson defines as that which expresses "without aim or profit" and which "slips out unawares, automatic . . . [as] an isolated part of the person is expressed, unknown to, or at least apart from the whole of the personality" (L, 129-30). Stein's teacher, William James, likewise emphasizes "parts" in his delineation of empiricism: "[It] starts from the parts, and makes of the whole a collection" ("SC," 10). Perhaps more illuminating to Stein's poetics is James's protofilmic foreshadowing of Eisenstein's notion of disproportionate intervals: "When we take a general view of the wonderful stream of our consciousness, what strikes us first is the different paces of its parts" ("SC," 178). The interest lies between shots, within the gaps between "paces" and "parts" that disrupt the illusion of spectatorial wholeness; narrative coherence relies on concealing the transitive acts of connection. A close-up of these stepping-stones in "semi-grammatical" structure (to use DeKoven's sense of Stein's experimental writing) short-circuits linear narrative. 54 By repeating articles and divesting a sentence of a subject in, for instance, "And also and so and so and also," Stein enacts a comic rhythm that suspends resolution; there is perhaps no surprise in finding "so" in "also" but in sequencing and parsing these phrases she makes deliberately unexpected re-turns. Emak Bakia, as does "Mrs. Emerson," similarly interprets "the sentiment of movement" as serial and fractured in a turn away from mimetic expectations. While not overtly comic, the avant- garde film diverts itself in the fragment, "turning a corner, then another, and another."
Finally, in the bodily syntax of hysteria, like that of the comic gesture, the part becomes detachable and reiterable as, according to Grosz, "[t]he intensity of one zone is displaced onto another bodily zone" (VB, 77). For her, "[t]his implies that there is a lability of meaning for the various bodily organs, zones, and processes. Any one zone of the body can, under certain circumstances, take on the meaning of any other zone" (VB, 78). Such transposition between bodily regions suggests forgetfulness, or a kind of anesthesia, that acts as the bodily equivalent to aesthetic dislocations, or "the coming together of disparate surfaces," made possible by experimental montage (VB, 198).
In the same issue of Close Up which features Stein's "Mrs. Emerson," Man Ray describes Emak Bakia as adamantly serial and partial, a "series of fragments, a cinepoem with a certain optical sequence [that] make up a whole that still remains a fragment" ("EB," 40). In language reminiscent of the shutter action of the camera, he explains "its reasons for being are in its inventions of light-forms and movements, while the more objective parts interrupt the monotony of abstract inventions or serve as punctuation" (ibid.). Body pieces will punctuate, as it were, other defamiliarized images. One sequence features a close-up of a series of walking women's legs, seen only partially; as if to disembody their movement, we then see a quick ghost image of the same legs. Man Ray visceralizes the fragment in another instance in which Kiki's poised lips punctuate less recognizable shapes. Immediacy is invoked and then undercut to foreground the mechanism of repetition and sequencing.
After its swirling title shot, Emak Bakia begins with a side-view of a man looking through a camera, one with several lenses that rotate and which are here superimposed on the front of the image along with the cameraman's physical eye directed at us ( 3). Immediately, Man Ray calls attention to the fact, as Sitney observes, that "films are shot through lenses," the world seen "through layers of glass"; multiple lenses and filters intervene between eye and object (MM, 29). The camera does not see or attend, but disassembles. The film "invents" almost every cinematic device possible to degrade the mimetic image and to underscore its mechanical materiality, its moment-to-moment piecing through superimposition, out-of-focus, animation, film reversal, double-exposure, and rayograms. 55 Throughout, "revolving kaleidoscopic" movement (to reuse James's descriptive phrase) decenters the camera eye as it hypnotizes the viewer to the point of dizziness or anesthesia and each film rhythm correlates as gestural fragment.
The rapid motion of the camera, sometimes spun or shaken, denotes a body both willing its convulsivity and "neglecting hazards." Man Ray turns the ocean upside down, showing Kiki apparently dead, eyes painted on her eyelids (replicating the camera's multiple lenses); as she wakes and her head spins upside down in the last shot of the film, Man Ray scripts Emak Bakia as "dreamed" rather than willed. As she opens her eyes, he raises Kiki ratively from the dead. She has been an unconscious automaton, now upsetting our expectations of bodily inertness, she partakes of a doubling of the self that Stein refers to in cases of hysteria. And, as Benjamin suggests, we become implicitly such automatons when viewing a film and are subject to a "disease of attention." Emak Bakia, like other experimental films, thus both "cultivates" and resists psychical displacement by underscoring the very motor impulses that make the viewing of a film possible. Paradoxically, the film distracts while it hones our attention.
Emak Bakia foregrounds the cinema as the machine of our time: capable of rendering simultaneous experience, testing the threshold of interior and exterior realms, and producing the mechanically-lived body through motor impulses anchored--but not quite firmly and cohesively--in consciousness. What can the body do without full volition, as a mechanized and fractured surface? Notably, Man Ray describes his film risks in Emak Bakia as bodily ones--vacillating between chance and conscious volition--in the following account of filming while being driven in his patron's racing car:
I was using my hand camera while [Rose Wheeler] was driving eighty or ninety miles an hour, being pretty badly shaken up, when we came upon a herd--why not show a collision? I stepped out of the car, followed the herd while winding up the camera and set it in movement, then threw it thirty feet up into the air, catching it again. . . . There were other more carefully planned sequences; a pair of lovely legs doing the popular Charleston dance of the day, the sea revolving so that it became sky and the sky sea. [SP, 220]
As Stein and Solomons argue in "Cultivated Motor Automatism," automatism refers to the disjunction between motor impulses and the consciousness of them as both voluntary and willed. Emak Bakia enacts the detachment of automatic gesture both from consciousness--the legs mechanically doing the Charleston--and from linear narrative, making for a belatedness of recognition. As in the earlier example of double-exposed, spectral legs, the image recurs in its disappearance.
This quick overview seeks to demonstrate the way Emak Bakia incarnates a dislocatory consciousness. Like Man Ray's film, Stein's "Mrs. Emerson" reads as a "cinepoem," demanding that we attend to the piece's mechanical apparatus, and to her insistence upon nonpurposive circularity. Rejecting transparency for the opacity of a screen, she writes, "I will repeat I will not play windows" ("ME," 25). With the heightened self-consciousness of the experimental filmmaker piecing together the film, Stein counterpoints what she "means" and "believes" and "wills" (words repeated throughout) with disjunctive "shock" images, as with the gender subversive, "I mean to believe that soldiers order pearls" ("ME," 28). Delighting in dislocation and multiple lenses, she breaks up attention: "They remembered mentioning, they saw eight angles, they meant to do mending" ("ME," 29). "Mending" is willed stitching that offers only intermittent remembering; the fragment thrives. Stein's physical engagement involves "mounting" a series of inconclusive resembling shots, as in this telling passage:
I thought that I would state that I knew certainly that she was so seen that if her eyes were so placed not violently not verbally so placed. She is not agreeable. She is not so agreeable. I think it is what I said what I recognized in mounting her. I mounted her there. Deliberate. She has a son not a son he was a thicker one. I go on. Begun. Bessie is like Bertha. ["ME," 24, 25]
Where is the there or body being mounted? The passage will "go on." Stein retracts, modifies and then returns to a deliberate groove of sonic (and comic) gesture--"son" "son" "one" "begun." Carolyn Burke has pointed out the sexual overtones of "splice" in relation to Mina Loy, Stein, and Marianne Moore in its "modalities of joining and separation, union and disunion." Here, similarly, the embodied, erotic act of "mounting" suggests the positioning of a camera on a tripod and the deliberate work of editing. 56
What is "placed," as Stein puts it, displaces Ralph Waldo Emerson's "transparent eyeball" (alluded to by her title), initiating one in a series of mis-recognitions or slippages in attention. Rather than mounting a singular subject, "Mrs. Emerson" introduces a number of resembling and reassembling shapes (as does Emak Bakia, even in its semianagrammatic title): "Mrs. Evangeline Henderson went in. She said that the morning. She said that in listening. No I will not be funny" ("ME," 23). Such comic sentences pivot upon language as mechanistic and serial: "Please copy this. Others able to copy this. Others able to copy this after" ("ME," 26). Stein deflects the purposive so that she can combine "the sentiment of movement" with the "sentiment of getting nowhere."
"I cannot see I cannot see I cannot see. I cannot see" ("ME," 24), she reiterates. The "I/eye" founders so that she returns to unilluminating fractured refrain--as in the celebrated scene in The Circus when Chaplin is lost in a fun house of multiplying mirrors. One of Stein's fun house mirror sentences reads, "I say I do know Bessie. Bessie resembles Bertha. Paula resembles Bessie. Bessie resembles Bertha Bessie resembles Bertha. I do not offer to determine whether Paula and Bertha and Bessie are distinctly separate" ("ME," 28). 57 The spring in this genealogy loses its tension and elasticity in willed autonomic gesture and retraction. (When Chaplin exits the fun house to evade the police, he camouflages as a mechanical adornment.) Continuity, red through disavowed kinship, flickers forth in hysteric jerks: "My sister she is not my sister she is my sister" ("ME," 24).
 It is natural without children natural. They didn't expect that Hannah would be in it. They didn't expect that he would seem to be sat upon a single piece of cardboard box" ("ME," 27). Is this the Emersonian father as tramp who "would seem to be sat upon"? The piece accelerates in this centrifugal revolving: "One of his brothers the man was descending by his brother. They thought nothing of it naturally one would have objected. They seemed searchful.  Which brother is which? A typical comic scenario of doubling and searching abandons plot to mechanistically give us "some kind of arrangement," "fathers" that are "brothers," words refracting in resemblance and deflating the paternal, "I do not care to remember what I do not feather. I do not remember whether a flavour is farther" (ibid.). The text recalls itself in its father-feather-flavour-farther rotation (producing something akin to the rotating prisms in Emak Bakia). By not building towards resolution, "Mrs. Emerson" wills forgetfulness rather than temporal legacy.
Like Man Ray's manipulations of "light forms and movements," as he calls them, Stein yokes incohesive bodily parts and sensory experience through synesthesia. She crosses, for instance, erotogenic zone with color: "I do not say that green is believed to be that color. I do not say that green makes lips." Or, alternately, she compactly registers the ephemera of movement, the contiguous scraps within "décor": "Water is coloured by the sudden departure of all the interested readers of a newspaper." 58 In another passage that mimics automatic writing, Stein's roving subject displaces the visual and confesses, "I can't help it. I can't help hearing carrots. I do help it, I do help it fastening chocolate. A secret time in spinning." 59 The humor of what can't be helped emphasizes the automatic, the way sensory experience (and the chocolate "fix") provokes and can unravel bodily reflex even as the mind desires control: "I hope that I select that I retain" ("ME," 25).
While "Mrs. Emerson" dramatizes the effort of consciousness to will selection, Stein insists upon wandering within kinaesthetic mapping, "I do not select to have similar sounds. Bertha can be surrounded. Bertha can be surrounded by so much saliva" ("ME," 26). The unexpected jump to "saliva," to a sign of autonomic, Pavlovian process that "surrounds," counterpoints Stein's willed, "selective" arrangement. Mechanical gesture or utterance here draws into the forefront the choreography of "kin-aesthetic" experience, its lapses and recoveries. What Stewart calls "continual splicing on the run," or "cinema's intrinsic dismemberment," becomes realized as the body simultaneously forgets and recalls its temporal viscerality. 60
The last lines of "Mrs. Emerson" provide what could be the scenario for a short abstract film with its "delight in dislocation," its comic, nonpurposive, shot-by-shot measure:
I wish I had a certain rain.
Then a little barometer.
Then a dry cellar.
Then a dog which means to be old.
Then all the exceptional white.
Then a climbing bell.
Then more water.
Then all over it.
I wish I had to go and get her.
Stein makes physical motion, serial and suspended, stand out against "exceptional white." Desire ("I wish") and volition ("to go and get her") constantly resume. It is as if she is thinking of the dislocated body, red here as a Pavlovian dog, responding to "a climbing bell," its response beginning again and again "all over it." In The Fireman , a bell similarly automates Chaplin's mechanical body usually to no avail; his body remembers its reflexes even as he forgets their purpose. And, again and again, Man Ray's camera animates a detached motion--Kiki's eyes opening and shutting, for instance--only to join it with another gestural fragment.
Finally, what Bergson found comic in the theater--the use of the mechanically repeated fragment or monomaniacal trait--takes on new valence in Stein's cinematic enactment of the modern crisis of embodiment. Apparently disavowing "the voice" of theater in favor of the silent film's dislocative body, she declares in "Mrs. Emerson," "I do not see why a voice is necessary." She also refers to "silent rugs" and "late carpet," evoking the tactility of a film screen and the mounting of fabric ("ME," 26). These references resonate with her favoring silent film over theater (in the context of Chaplin); the former "could change the rhythm but if you had a voice accompanying naturally after that you could never change the rhythm you were always held by the rhythm the voice gave them" (MM, 160). Stein's allusion to "voice" here suggests that it inhibits the rhythmic discontinuity of experience, attempting to provide the hysteric body with a coherent plot.
Stein and her generation were, therefore, not only "bound by the period of cinema and series production," but by the fluctuating body of a continuous present. Stein consciously perceived herself as writing a form of divagatory cinema with the body as comic/hysteric "repeating mechanism," her crisis of embodiment bridging the experimental aesthetics of Man Ray with the popular icon of Chaplin's dislocated body. Film's spasmodic dance away from causal plot thus reverberates in Stein, unhinged from destination, a gestural body of malleable mechanics that interrogates its volition and processes of attention.
Susan McCabe is Assistant Professor of English at the University of Southern California. Her essay is part of a book-in-progress entitled "Cinematic Modernisms: The Embodied Poetry of Stein, H.D., Williams, and Moore."
1. Gertrude Stein, "Portraits and Repetitions," in Lectures in America (Boston: Beacon Press, 1985), 177; hereafter abbreviated as "PR."
2. Kenneth Macpherson, Cinema and Modernism, ed. James Donald, Anne Friedberg, and Jane Marcus (Princeton: Princeton University Press, 1998), 14; hereafter abbreviated as CM.
3. "Mrs. Emerson" was written in 1914 as one of Stein's "portraits." Her portraits of "Matisse" and "Picasso" were published in Alfred Stieglitz's Camera Work in 1912, and were followed in 1913 by her "Portrait of Mabel Dodge." In "Portraits and Repetitions," she writes that her portrait writing "was like a cinema picture made up of succession and each moment having its own emphasis" ("PR," 195). Emak Bakia first screened in 1926.
4. Gertrude Stein, "Composition as Explanation," in A Stein Reader, ed. Ulla E. Dydo (Evanston, Ill.: Northwestern University Press, 1993), 499; emphasis added.
5. Gertrude Stein, The Making of Americans, in A Stein Reader, ed. Ulla E. Dydo, 61; hereafter abbreviated as MA.
6. Maya Deren, "Cinematography: The Creative Use of Reality," in The Avant-garde Film: A Reader of Theory and Criticism, ed. P. Adams Sitney (New York: New York University Press, 1978), 64.
7. While beyond the specific focus of this essay, Stein's negotiation of trauma and memory manifests itself in her "war poetry." Stein and Alice B. Toklas volunteered for the American Fund for the French Wounded in 1916; transporting the wounded, they were face-to-face with the physical effects of war, yet Stein renders eyewitness events from a dissociated, disjointed perspective. Stein and Toklas spent 1915 to 1916 in Majorca in retreat from the war, but it remains in view: "Sometimes we look at boats. When we read about a boat we know that it has been sunk." Gertrude Stein, Lifting Belly (1917; Tallahassee, Fla.: Naiad Press, 1989), 1-2; hereafter abbreviated as LB.
8. Peter Nicholls, Modernisms: A Literary Guide (Berkeley: University of California Press, 1995), 207.
9. Sergei Eisenstein, "A Dialectical Approach to Film Form," in Film Form, ed. Jay Leyda (New York: Harcourt, Brace and Company, 1949), 48; hereafter abbreviated "DA." Eisenstein's essays, "The Cinematographic Principle and the Ideogram" and "A Dialectical Approach to Film Form," were translated in Close Up in 1929, but his montage theories had already been formulated and enacted in films, particularly his Battleship Potemkin .
10. Walter Benjamin, "On Some Motifs in Baudelaire," in Illuminations: Essays and Reflections, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken Books, 1968), 192; hereafter abbreviated "SM."
11. Benjamin's "conveyer belt" manifests itself vividly in Modern Times , where Chaplin's body becomes coextensive with the factory machine. Stein alludes to the potentially anaesthetic effects of repetition without variation in Making of Americans : "If they get deadened by the steady pounding of repeating they will not learn from each one even though each one always is repeating the whole of them they will not learn the completed history of them, they will not know the being really in them" (MA, 61). At this juncture, Stein still aims towards "completion" rather than the fragmentary which, under the shadow of her "failure" to produce "a complete history of every one who was or is or will be living," becomes one of her keynotes. She begins her portrait writing in 1908 when she starts to doubt the idea of producing the "complete history."
12. Man Ray, "Emak Bakia," Close Up 1, no. 2 , 40; hereafter abbreviated as "EB."
13. Gertrude Stein, Tender Buttons (New York: Claire Marie, 1914), 58.
14. Gertrude Stein, "What is English Literature," in Lectures in America (Boston: Beacon Press, 1985), 42.
15. Luke Carson, Consumption and Depression in Gertrude Stein, Louis Zukofsky and Ezra Pound (New York: St. Martin's Press, 1999), 69.
16. Kaja Silverman, The Threshold of the Visible World (New York: Routledge, 1996), 17.
17. Margaret Dickie, "Women Poets and the Emergence of Modernism," in The Columbia History of American Poetry, ed. Jay Parini (New York: Columbia University Press, 1993), 241. See Harriet Scott Chessman, The Public is Invited to Dance: Representation, the Body, and Dialogue in Gertrude Stein (Stanford: Stanford University Press, 1989) for excellent readings on Stein's foregrounding of the sensual and material aspects of language.
18. Gertrude Stein, "Mrs. Emerson," Close Up 1, no. 2 : 28; hereafter abbreviated as "ME." Stein's writing has multiple sexual and lesbian overtones; exploring these, however, is outside the scope of this essay. Here I write under the assumption that Stein's sexual body purposefully resists codification; her aesthetic relies upon textual immediacy and the "intensity of movement" she finds in cinema ("PR," 183).
19. Inez Hedges, "Constellated Visions: Robert Desnos's and Man Ray's L'Etoile de Mer," in Dada and Surrealist Film, ed. Rudolf E. Kuenzli (Cambridge, Mass.: MIT Press, 1987), 99; hereafter abbreviated as "CV."
20. Neil Baldwin, Man Ray: American Artist (New York: Clarkson Potter, 1988), 134.
21. P. Adams Sitney, Modernist Montage: The Obscurity of Vision in Cinema and Literature (New York: Columbia University Press, 1990), 153; hereafter abbreviated MM.
22. Man Ray, Self Portrait (New York: Little, Brown and Company, 1963), 259; hereafter abbreviated SP.
23. Gertrude Stein, The Autobiography of Alice B. Toklas (New York: Harcourt, Brace and Company, 1933), 51.
24. Chaplin's reciprocal competition with Stein continues in his 1954 talkie, Limelight, where he quotes in a half-ironic homage the well-known Steinism "A rose is a rose is a rose."
25. Sabine Hake, "Chaplin Reception in Weimar Germany," New German Critique 51 (Fall 1990): 88; hereafter abbreviated as "CR."
26. Walter Benjamin, "Chaplin in Retrospect," in Selected Writings,Vol. 2: 1927-1934, trans. Rodney Livingstone (Cambridge, Mass.: Harvard University Press, 1999), 222-3.
27. Robert Aaron, "Films of Revolt," in French Film Theory and Criticism: A History/Anthology 1907-1939, ed. Richard Abel (New Jersey: Princeton University Press, 1988), 432.
28. Jean Epstein, "Magnification," in French Film Theory and Criticism, 238.
29. Louis Aragon, "On Decor," in French Film Theory and Criticism, 167.
30. Walter Benjamin, "Chaplin," in Selected Writings,Vol. 2: 1927-1934, trans. Rodney Livingstone, 200.
31. Gilles Deleuze, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986), 169-70.
32. Nicholls, Modernisms, 25.
33. Elizabeth Grosz, Volatile Bodies: Toward a Corporeal Feminism (Bloomington: Indiana University Press, 1994), 128; hereafter abbreviated as VB.
34. Djuna Barnes represents the slippage between a Victorian model of character and the modernist one as a study in nonsynchronistic delay in the gait of her Guido, married to the militaristic Baroness Helga Volkbein: "He had tried to be one with her by adoring her, by imitating her goose-step of a stride, a step that by him adopted became dislocated and comic." Djuna Barnes, Nightwood (1936; New York: Farrar, Straus and Giroux, 1962), 235. Guido's "historic" dislocation mirrors Chaplin's retrograde costume updated through the wearer's incongruous body that does not seem able to fill it completely.
35. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (New Jersey: Princeton University Press, 1997), 253.
36. Walter Kerr, The Silent Clowns (New York: Alfred A. Knopf, 1980), 88; hereafter abbreviated as SC.
37. SC, 89. Kerr gives as example in the "celebrated scene in the Pawnshop" where "aclock--unlikely object--can be a baby, a can of fish, an open mouth, a bolt of cotton--anything" (ibid.).
38. Elisabeth Bronfen, The Knotted Subject: Hysteria and Its Discontents (Princeton, N.J.: Princeton University Press, 1998), 176; hereafter abbreviated as KS.
39. Stein's early years in Paris brought her into the circles of prominent avant-gardists, among them Apollinaire, Max Jacob, and Picasso, and under their influence, she "moved increasingly toward the surreal." Linda Wagner-Martin, Favored Strangers: Gertrude Stein and Her Family (New Brunswick, N.J.: Rutgers University Press, 1995), 112; hereafter abbreviated as FS. But Stein never aligns herself with the "school" of surrealism, and in fact, espouses notably nonsurrealist tactics, such as sobriety: "I must be sober. It is so much more exciting to be sober, to be exact and concentrated and sober" ("PR," 198). Furthermore, even as she invokes the re of the hysteric, Stein never acknowledges the psychoanalytic model of the unconscious and the primacy of dreams so pivotal to André Breton's "Manifesto of Surrealism" . Contrastingly, Man Ray is much more closely affiliated with the surrealist version of the unconscious; his work, nevertheless, draws upon the mechanistic vision of the body I trace in Stein.
40. Ivan Petrovich Pavlov, "A Study of Temperaments," in Lectures on Conditioned Reflexes,vol. 1, trans. W. Horsley Gantt (New York: International Publishers, 1928), 375.
41. Lisa Ruddick reads "Melanctha" as "so close, in its characterizations, to James's theory of the mind as to approach psychological allegory." Reading Gertrude Stein: Body, Text, Gnosis (Ithaca, N.Y.: Cornell University Press, 1990), 15; hereafter abbreviated as RGS). In particular, his notions of the emergence of "selective attention" or "habits of attention" in order to cope with undifferentiated and overwhelming sensory impressions find a counterexample in the character of Melanctha. Ruddick writes, "James uses the term mind-wandering, or wandering attention to describe such a receptiveness to sensation--and wandering is also Stein's word for her heroine" (RGS, 18), and as such "Melanctha's pathological forgetfulness is of a piece with her mind-wandering" (RGS, 19). In this way, wandering also makes Melanctha a flâneuse, enacting the rhythmic divagations of the body moving in space.
42. Gertrude Stein, Autobiography, 79.
43. Gertrude Stein and Leon M. Solomons, "Motor Automatism,"in Harvard Psychological Review (New York: The Phoenix Book Shop, 1969); hereafter abbreviated "MA."
44. The model of the body as impossible machine (a kind of film apparatus), freakishly capable of engaging in multiple tasks appears in one of Marianne Moore's delightful footnotes; her Eve "able to write simultaneously" is inspired by an article that could have been authored by Stein for all its quirkiness, entitled "Multiple Consciousness or Reflex Action of Unaccustomed Range" from Scientific American (Jan. 1922):
Miss A--will write simultaneously in three languages, English, German, and French, talking in the meantime. [She] takes advantage of her abilities in everyday life, writing her letters simultaneously with both hands; names, the first, third, and fifth words with her left and the second, fourth, and sixth with her right hand. While generally writing outward, she is able as well to write inward with both hands. [The Complete Poems of Marianne Moore (New York: Penguin, 1967), 271].
Reminiscent of Stein's exploration of reflex action, Moore's quotation links writing with motor automatism. The body marks a threshold, Merleau-Ponty's "flesh" that signals "being's reversibility . . . a dual orientation inward and outward" (VB, 100).
45. Stein will blatantly disavow repetition--"I am inclined to believe there is no such thing as repetition" ("PR," 166). Nevertheless, she relies upon its rhetorical doubleness, as both present and absent, as that incremental variation that occurs with each new articulation or "insistence": "insistence that in its emphasis can never be repeating" ("PR," 171).
46. Marianne DeKoven considers Stein's most "successful experimental writing" to be composed of "semi-grammatical phrases." Marianne DeKoven, A Different Language: Gertrude Stein's Experimental Writing (Madison: University of Wisconsin Press, 1983), 11.
47. William James, "Stream of Consciousness," in Pragmatism and Other Writings (New York: Penguin Books, 2000), 180-1; hereafter abbreviated as "SC."
48. Gertrude Stein, "Cultivated Motor Automatism: A Study of Character in its Relation to Attention," in Harvard Psychological Review (New York: The Phoenix Book Shop, 1969); hereafter abbreviated as "CMA."
49. Walter Benjamin asserts this apparent contradiction between distraction and habituation: "The distracted person, too, can form habits" and further that "[r]eception in a state of distraction . . . finds in the film its true means of exercise." "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, 240.
50. Henri Bergson, Laughter: An Essay on the Meaning of the Comic, trans. Claudesley Brereton and Fred Rothwell (1911; Los Angeles: Green Integer Books, 1999), 22; hereafter abbreviated as L.
51. Gertrude Stein, "If I Told Him: A Completed Portrait of Picasso," in Portraits and Prayers (New York: Random House, 1934), 25; hereafter abbreviated as "CPP."
52. Garrett Stewart, Between Film and Screen: Modernism's Photo Synthesis (Chicago: University of Chicago Press, 1999), 24.
53. Ibid., 7.
54. The interest in "parts" over the whole corresponds to the simultaneous focusing of attention and break within narrative coherence made possible by a film close-up. Using the narrative example "of the hero clutching the revolver with which he is to commit his crime," Hugo Münsterberg points to the power of the close-up: "[o]ur attention is entirely given up to the passionate play of his hand" where "[i]t is as if this one hand were during the pulse beat of events the whole scene, and everything else had faded away." Hugo Münsterberg, The Photoplay: A Psychological Study (New York: Appleton and Company, 1916), 86; on the stage "nothing can really fade away" (ibid.).
55. Rayograms are Man Ray's apparently accidental (read automatic) process of developing images. He was able to create striking defamiliarized effects without a camera by throwing concrete objects such as nails upon photographic paper and exposing it to light.
56. Carolyn Burke, "Getting Spliced: Modernism and Sexual Difference," American Quarterly 39, no. 1 : 100.
57. Bertha is the name of Stein's older sister, and with the death of their mother, Bertha took on the traditional female role of caretaker. As Wagner-Martin indicates, "[w]atching Bertha taught her that she would rather not lead a woman's life" (FS, 23). Bertha in this piece becomes a cipher, or sign of the hysteric.
58. "ME," 25. As Aragon writes in his review of Chaplin's The Vagabond, "Film extends the art of Picasso, Georges Braque, and Juan Gris in the use of 'scraps' of everyday material: Today these courageous precursors, painters or poets, witness their own triumph, they who knew how to be moved by a newspaper or a packet of cigarettes" ("On Décor," 165).
59. "ME," 29. "[S]pinning" and "fastening" suggest the spinning of film on the projector's wheels and the manual fastening required by editing as well as the "rotoreliefs, " the turning discs used by Duchamp and Man Ray in their pun-filled film, Anemic Cinema (1924-6).
60. Stewart, Between Film and Screen, 24.


Girl Scout Troop 9256
Girl Scouts of the United States of America, commonly referred to as simply Girl Scouts, is a youth organization for girls in the United States and American girls living abroad. Founded by Juliette Gordon Low in 1912, it was organized after Low met Robert Baden-Powell, the founder of Scouting, in 1911
1<PHONE_NUMBER>
Contact Information:
21 South Branch St. Snohomish, WA 98290


|
Learning with Texts - Fork 2.8.1-fork
Learn foreign languages with texts
|
Load a RSS feed. More...
Functions | |
| get_feeds_list ($feed, $nfid) | |
| print_feed_result ($imported_feed, $nif, $nfname, $nfid, $nfoptions) | |
| do_ajax_load_feed ($nfname, $nfid, $nfsourceuri, $nfoptions) | |
Load a RSS feed.
Call: inc/ajax_load_feed.php
| do_ajax_load_feed | ( | $nfname, | |
| $nfid, | |||
| $nfsourceuri, | |||
| $nfoptions | |||
| ) |
Main function to execute an AJAX query echoing feeds.
| string | $nfname | Newsfeed name |
| int | $nfid | News feed ID |
| string | $nfsourceuri | News feed source |
| string | $nfoptions | News feed options |
| get_feeds_list | ( | $feed, | |
| $nfid | |||
| ) |
Get the list of feeds.
| string[][] | $feed | A feed |
@global string $tbpref Database table prefix
| print_feed_result | ( | $imported_feed, | |
| $nif, | |||
| $nfname, | |||
| $nfid, | |||
| $nfoptions | |||
| ) |
Update the feeds database and echo a result message.
| int | $imported_feed | Number of imported feeds |
| int | $nif | Number of duplicated feeds |
| string | $nfname | News feed name |
| int | $nfid | News feed ID |
| string | $nfoptions | News feed options |
@global string $tbpref Database table prefix


scope
Scoped packagesTable of contents
Description
All npm packages have a name. Some package names also have a scope. A scope
follows the usual rules for package names (URL-safe characters, no leading dots
or underscores). When used in package names, scopes are preceded by an @
symbol
and followed by a slash, e.g.
@somescope/somepackagename
Scopes are a way of grouping related packages together, and also affect a few things about the way npm treats the package.
Each npm user/organization has their own scope, and only you can add packages in your scope. This means you don’t have to worry about someone taking your package name ahead of you. Thus it is also a good way to signal official packages for organizations.
Scoped packages can be published and installed as of npm@2
and are supported
by the primary npm registry. Unscoped packages can depend on scoped packages and
vice versa. The npm client is backwards-compatible with unscoped registries,
so it can be used to work with scoped and unscoped registries at the same time.
Installing scoped packages
Scoped packages are installed to a sub-folder of the regular installation
folder, e.g. if your other packages are installed in node_modules/packagename
,
scoped modules will be installed in node_modules/@myorg/packagename
. The scope
folder (@myorg
) is simply the name of the scope preceded by an @
symbol, and can
contain any number of scoped packages.
A scoped package is installed by referencing it by name, preceded by an
@
symbol, in npm install
:
npm install @myorg/mypackage
Or in package.json
:
"dependencies": {
"@myorg/mypackage": "^1.3.0"
}
Note that if the @
symbol is omitted, in either case, npm will instead attempt to
install from GitHub; see npm install
.
Requiring scoped packages
Because scoped packages are installed into a scope folder, you have to include the name of the scope when requiring them in your code, e.g.
require('@myorg/mypackage')
There is nothing special about the way Node treats scope folders. This
simply requires the mypackage
module in the folder named @myorg
.
Publishing scoped packages
Scoped packages can be published from the CLI as of npm@2
and can be
published to any registry that supports them, including the primary npm
registry.
(As of 2015-04-19, and with npm 2.0 or better, the primary npm registry does support scoped packages.)
If you wish, you may associate a scope with a registry; see below.
Publishing public scoped packages to the primary npm registry
To publish a public scoped package, you must specify --access public
with
the initial publication. This will publish the package and set access
to public
as if you had run npm access public
after publishing.
Publishing private scoped packages to the npm registry
To publish a private scoped package to the npm registry, you must have an npm Private Modules account.
You can then publish the module with npm publish
or npm publish --access restricted
, and it will be present in the npm registry, with
restricted access. You can then change the access permissions, if
desired, with npm access
or on the npmjs.com website.
Associating a scope with a registry
Scopes can be associated with a separate registry. This allows you to seamlessly use a mix of packages from the primary npm registry and one or more private registries, such as npm Enterprise.
You can associate a scope with a registry at login, e.g.
npm login --registry=http://reg.example.com --scope=@myco
Scopes have a many-to-one relationship with registries: one registry can host multiple scopes, but a scope only ever points to one registry.
You can also associate a scope with a registry using npm config
:
npm config set @myco:registry http://reg.example.com
Once a scope is associated with a registry, any npm install
for a package
with that scope will request packages from that registry instead. Any
npm publish
for a package name that contains the scope will be published to
that registry instead.


RT @extraface: I'm a full stack developer. When I say full stack I mean full stack of Pringles. And when I say developer I mean someone who…
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You can download the latest version of Optimus Kernel which is based on the following recipes :
- Linux 3.2.14
- Ubuntu/Debian patchsets
- BFS and BFQ patches
- In-house optimizations
Go Grab your Packages from the Download Page ----
Optimus Change log: - Rebuild and synced with 3.2.14 vanilla Linux kernel (for what is included please read the kernel log on website) - All configuration options are now reverted to default and starting from scratch - Optimize for size - Remove schedulers (deadline, CFQ,) - BFQ hierarchical scheduling - Remove Paravirtualized guest support - Removed Virtualisation (CONFIG_VIRTUALIZATION) - Preemptible Kernel - Timer frequency 1000Hz - Remove support for Centaur, Cyrix, Transmeta, Umc processors - Removed Support for extended (non-PC) x86 platforms - Default CPUFreq --- ONDEMAND - Removed NFC subsystem support (CONFIG_NFC) - Set Maximum number CPUs to 25 (64bit) and 8 (32bit) - Removed Plan 9 Resource Sharing Support (CONFIG_NET_9P) - Removed CAIF support (CONFIG_CAIF) - Removed Tablet drivers - Removed Touchscreen drivers - Removed Microsoft Hyper-V client drivers (CONFIG_HYPERV) - Reverted to -Os gcc optimizasions
Kernel Change log:
- ASPM: Fix pcie devices with non-pcie children
- serial: sh-sci: fix a race of DMA submit_tx on transfer
- nfsd: don't allow zero length strings in cache_parse()
- rtc: Provide flag for rtc devices that don't support UIE
- compat: use sys_sendfile64() implementation for sendfil...
- x86, tls: Off by one limit check
- x86, tsc: Skip refined tsc calibration on systems with...
- lockd: fix arg parsing for grace_period and timeout.
- xfrm: Access the replay notify functions via the regist...
- sky2: override for PCI legacy power management
- Remove printk from rds_sendmsg
- net: fix napi_reuse_skb() skb reserve
- net: fix a potential rcu_read_lock() imbalance in rt6_f...
- net: bpf_jit: fix BPF_S_LDX_B_MSH compilation
- ipv6: fix incorrent ipv6 ipsec packet fragment
- Fix pppol2tp getsockname()
- drm/i915: suspend fbdev device around suspend/hibernate
- Bluetooth: btusb: fix bInterval for high/super speed...
- module: Remove module size limit
- NFSv4.1: Fix layoutcommit error handling
- NFSv4: Fix two infinite loops in the mount code
- slub: Do not hold slub_lock when calling sysfs_slab_add()
- xfs: Fix oops on IO error during xlog_recover_process_i...
- backlight: fix typo in tosa_lcd.c
- dm thin: fix stacked bi_next usage
- dm persistent data: fix btree rebalancing after remove
- dm exception store: fix init error path
- dm crypt: add missing error handling
- dm crypt: fix mempool deadlock
- gpio/davinci: fix enabling unbanked GPIO IRQs
- gpio/davinci: fix oops on unbanked gpio irq request
- gpio/omap: fix _set_gpio_irqenable implementation
- udf: Fix deadlock in udf_release_file()
- ARM: tegra: select required CPU and L2 errata options
- vfs: fix d_ancestor() case in d_materialize_unique
- ext4: check for zero length extent
- ext4: fix race between sync and completed io work
- ext4: fix race between unwritten extent conversion...
- ext4: ignore EXT4_INODE_JOURNAL_DATA flag with delalloc
- jbd2: clear BH_Delay & BH_Unwritten in journal_unmap_buffer
- PM / Hibernate: Enable usermodehelpers in hibernate...
- NFSv4: Rate limit the state manager warning messages
- mxl111sf: fix error on stream stop in mxl111sf_ep6_stre...
- pvrusb2: fix 7MHz & 8MHz DVB-T tuner support for HVR190...
- fix signedness error in i2c_read_demod_bytes()
- hwmon: (fam15h_power) Correct sign extension of running...
- protect poll() in entries that may go away
- iommu/amd: Fix section warning for prealloc_protection_...
- use d_set_d_op() API to set dentry ops in...
- x86-32: Fix endless loop when processing signals for...
- e1000e: Avoid wrong check on TX hang
- usbnet: don't clear urb--dev in tx_complete
- usbnet: increase URB reference count before usb_unlink_urb
- SUNRPC: We must not use list_for_each_entry_safe()...
- UBI: fix eraseblock picking criteria
- UBI: fix error handling in ubi_scan()
- CIFS: Fix a spurious error in cifs_push_posix_locks
- cifs: fix issue mounting of DFS ROOT when redirecting...
- CIFS: Respect negotiated MaxMpxCount
- xfs: fix inode lookup race
- NFSv4: Return the delegation if the server returns...
- NFS: Properly handle the case where the delegation...
- KVM: x86: fix missing checks in syscall emulation
- KVM: x86: extend "struct x86_emulate_ops" with "get_cpuid"
- firewire: ohci: fix too-early completion of IR multicha...
- pata_legacy: correctly mask recovery field for HT6560B
- HID: add more hotkeys in Asus AIO keyboards
- HID: add extra hotkeys in Asus AIO keyboards
- Bluetooth: Add AR30XX device ID on Asus laptops
- target: Fix 16-bit target ports for SET TARGET PORT...
- target: prevent NULL pointer dereference in target_repo...
- target: fix use after free in target_report_luns
- target: Don't set WBUS16 or SYNC bits in INQUIRY response
- drm/radeon/kms: add connector quirk for Fujitsu D3003...
- drm/radeon/kms: fix analog load detection on DVI-I...
- drm/radeon: Restrict offset for legacy hardware cursor.
- drm/i915: Only clear the GPU domains upon a successful...
- md: fix clearing of the 'changed' flags for the bad...
- md/raid1,raid10: avoid deadlock during resync/recovery.
- md: don't set md arrays to readonly on shutdown.
- md/bitmap: ensure to load bitmap when creating via...
- tcm_fc: Fix fc_exch memory leak in ft_send_resp_status
- udlfb: remove sysfs framebuffer device with USB .discon...
- usb gadget: fix a section mismatch when compiling g_ffs...
- ALSA: hda - fix printing of high HDMI sample rates
- iscsi-target: Fix dynamic -- explict NodeACL pointer...
- iscsi-target: Fix iscsit_alloc_buffs() failure cases
- tcm_loop: Set residual field for SCSI commands
- ASoC: pxa-ssp: atomically set stream active masks
- ASoC: fsl: p1022ds: tell the WM8776 codec driver that...
- hugetlbfs: avoid taking i_mutex from hugetlbfs_read()
- bootmem/sparsemem: remove limit constraint in alloc_boo...
- PM / Domains: Fix handling of wakeup devices during...
- TPM: Zero buffer whole after copying to userspace
- mm: thp: fix pmd_bad() triggering in code paths holding...
- x86/ioapic: Add register level checks to detect bogus...
- ima: fix Kconfig dependencies
- IB/iser: Post initial receive buffers before sending...
- rtnetlink: Fix VF IFLA policy
- p54spi: Release GPIO lines and IRQ on error in p54spi_probe
- Disable the alarm in the hardware (v2)
- genirq: Fix incorrect check for forced IRQ thread handler
- genirq: Fix long-term regression in genirq irq_set_irq_...
- uevent: send events in correct order according to seqnu...
- ntp: Fix integer overflow when setting time
- math: Introduce div64_long
- iwlwifi: always monitor for stuck queues
- rtlwifi: rtl8192ce: Fix loss of receive performance
- rtlwifi: rtl8192c: Prevent sleeping from invalid contex...
- rtlwifi: Handle previous allocation failures when freei...
- rtlwifi: rtl8192c_common: rtl8192de: Check for allocati...
- rt2x00: Add support for D-Link DWA-127 to rt2800usb.
- USB: serial: mos7840: Fixed MCS7820 device attach problem
- usb: cp210x: Update to support CP2105 and multiple...
- usb-serial: Add support for the Sealevel SeaLINK+8...
- USB: qcserial: don't grab QMI port on Gobi 1000 devices
- USB: qcserial: add several new serial devices
- USB: ums_realtek: do not use stack memory for DMA in...
- usb: Fix build error due to dma_mask is not at pdev_arc...
- usb: fsl_udc_core: Fix scheduling while atomic dump...
- cdc-wdm: Don't clear WDM_READ unless entire read buffer...
- cdc-wdm: Fix more races on the read path
- USB: serial: fix console error reporting
- TTY: Wrong unicode value copied in con_set_unimap()
- tty: moxa: fix bit test in moxa_start()
- sysfs: Fix memory leak in sysfs_sd_setsecdata().
- futex: Cover all PI opcodes with cmpxchg enabled check
- USB: gadget: Make g_hid device class conform to spec.
- usb: gadgetfs: return number of bytes on ep0 read request
- usb: renesas_usbhs: bugfix: add .release function to...
- usb: musb: Reselect index reg in interrupt context
- usb: dwc3: use proper function for setting endpoint...
- usb: dwc3: fix bogus test in dwc3_gadget_start_isoc
- staging: r8712u: Fix regression in signal level after...
- staging: r8712u: Fix regression introduced by commit...
- staging: r8712u: Add missing initialization and remove...
- powerpc/usb: fix bug of kernel hang when initializing usb
- USB: ftdi_sio: new PID: LUMEL PD12
- USB: ftdi_sio: add support for FT-X series devices
- USB: ftdi_sio: new PID: Distortec JTAG-lock-pick
- USB: Microchip VID mislabeled as Hornby VID in ftdi_sio.
- USB: ftdi_sio: add support for BeagleBone rev A5+
- USB: ftdi_sio: fix problem when the manufacture is...
- staging: zcache: avoid AB-BA deadlock condition
- USB: option: add ZTE MF820D
- USB: option: make interface blacklist work again
- USB: option driver: adding support for Telit CC864...
- USB: option: Add MediaTek MT6276M modem&app interfaces
So what do you think? Did I miss something? Is any part unclear? Please leave your comments below


Book Taxi
This is the default page.
modified source !!!
another commit to push pipeline !!!
after quay repo name fix
Schedule another pipeline run.
Third image buit and push to Quay.
Mam nadzieję e zadziała


Senior Support & Infrastructure
Chris enjoys working collaboratively with passionate teams to deliver secure, modern, and reliable infrastructure and operations. Chris is a service leader and systems expert with a passion for culture, ITOM process, knowledge management and automation. Chris achieves success through his enthusiasm for client service supported by his fifteen years managing infrastructure, operations, and user support for dynamic high growth industries. Chris remains eternally curious about new technology and building high performance teams.
Strategy | Team Management | Continuous Improvement | Business Continuity
Microsoft 365 | Active Directory | Azure | Windows Server 2016/2019 | Virtualization | Containers | Windows 10 | Mac OS X | Linux | MDM | Networks | RMM
IT Process | ITIL | Field Service Management | ServiceNow | Zendesk | Helpdesk Management | Knowledge Management | Change Management
Wordpress | HTML/CSS | Github/Git | MySQL | Shopify | Bootstrap | VSCode | PowerShell | Python | PostMan/REST APIs | Performing Network & Security assesments | Enpoint security| Kali Linux


{%extends "notfirstapp/base2.html"%} {%load staticfiles%} {%block content%} {% if game %}
Current Rating: {{rating}} by ratings {{ ratings }} users
{% else %} Currently not rated yet {% endif %}Number of times played: {{played }}
Sorry, we can't find the game.


As in I.Def.3, this statement describes a certain relationship, but this time between surfaces and lines. For example, a hemisphere is a surface, and its edge is the circumference of a circle, a kind of line.
This definition cannot actually be used since there are no postulates to go along with it to connect the edges of a surface in any way to the surface.
Euclid uses the same term for the end of a line in I.Def.3, the edge of a surface in this definition, and the surface of a solid in XI.Def.2. That term could be translated as “that which is around,” “the limits of,” or “the extremities of,” but in English the terms “the ends of” a line, “the edges of” a surface, and either “the surfaces of” or “the faces of” a solid are fairly standard for different dimensions.


I currently attend the University of Texas at Austin North Carolina State University, where I am pursuing a PhD
supervised by Prof. Robert W. Heath Jr.
My primary research is integrating signal processing and machine learning for wireless
communications.
I finished my first year, and I can safely say it was a huge year for me. I took foundational courses in probability, estimation, and machine learning. In spring, I took a course on statistical machine learning, which was both incredibly interesting and quite tough. My research kicked off well, with "Deep Learning-based Carrier Frequency Offset Estimation with 1-Bit ADCs" accepted to SPAWC 2020. I was able to give a recorded presentation of that paper as well, which are two big milestones in my research career. I was also intended to intern at MIT Lincoln Labs, however, that was canceled as a result of COVID-19. Luckily, the wireless team at Facebook was looking for assistance with simulations and AI for developing Open Radio Access Network (ORAN) functionality. My work with Facebook was fruitful and led to continued collaboration and support. We published the first of our work on coverage and capacity optimization (CCO) in ICASSP 2021, which I presented in a recorded format. This paper was especially interesting for considering the Pareto Frontier of CCO as well as comparing Bayesian Optimization and deep reinforcement learning. Later that year, I completed my master's degree at UT and have submitted my first journal paper on multi-sinusoidal parameter estimation from low resolution sampling. We proposed a novel neural architecture that uses successive estimation and cancellation to produce an effecient and powerful estimator that outperforms traditional methods. We also used this work to present a simple learning heuristic: the "learning threshold". This statistcal measure determines what level of generalization or feature learning that a neural network achieves compared to simple distributional learning. In my third (current) year, I have been working on codebook design and become very familiar with 5G NR beam management and feedback. This work is still waiting to be published at VTC 2022 and a future journal, so stay tuned!
Low resolution architectures are a power efficient solution for high bandwidth communication at millimeter wave and TeraHertz frequencies. In such systems, carrier synchronization is important yet has not received much attention in prior work. In this paper, we develop and analyze deep learning architectures for estimating the carrier frequency of a complex sinusoid in noise from the 1-bit samples of the in-phase and quadrature components. Carrier frequency offset estimation from a sinusoid is used in GSM and is a first step towards developing a more comprehensive solution with other kinds of signals. We train four different deep learning architectures each on five datasets which represent possible training considerations. Specifically, we consider how training with various signal to noise ratios (SNR), quantization, and sequence lengths affects estimation error. Further, we compare each architecture in terms of scalability for MIMO receivers. In simulations, we compare computational complexity, scalability, and mean squared error versus classic signal processing techniques. We conclude that training with quantized data, drawn from signals with SNR between 0-10dB tends to improve deep learning estimator performance across the range of interest. We conclude that convolutional models have the best performance, while also scaling for massive MIMO situations more efficiently than FFT models. Our approach is able to accurately estimate carrier frequencies from 1-bit quantized data with fewer pilots and lower signal to noise ratios (SNRs) than traditional signal processing methods.
Low resolution data converters can enable power efficient high bandwidth communication at millimeter-wave and terahertz frequencies. Synchronization of such systems is a critical step in accurate decoding, yet current approaches require long block lengths or fail to reach the Cram{\'e}r Rao Bound (CRB). Prior solutions have traditionally been divided into two distinct focuses: algorithms and designed sequences for synchronization. In this paper, we develop a jointly optimized neural architecture for frequency synchronization from configurable sequences and estimators. Our proposed technique uses two neural networks to generate sequences and determine the carrier frequency offset of the sequence after propagating through a channel and applying one-bit quantization. Our simulations show that we can improve estimation performance at low signal to noise ratio (SNR) by up to 8dB at little cost compared to the same estimator without the sequence generator. Our proposed system is fast, efficient, and easily updated, allowing it to handle time-varying systems. In conclusion, we believe further investigation in jointly optimized pilot sequences and estimators will be fundamental to handling signal processing techniques with low resolution data converters.
Wireless cellular networks have many parameters that are normally tuned upon deployment and re-tuned as the network changes. Many operational parameters affect reference signal received power (RSRP), reference signal received quality (RSRQ), signal-to-interference-plus-noise-ratio (SINR), and, ultimately, throughput. In this paper, we develop and compare two approaches for maximizing coverage and minimizing interference by jointly optimizing the transmit power and downtilt (elevation tilt) settings across sectors. To evaluate different parameter configurations offline, we construct a realistic simulation model that captures geographic correlations. Using this model, we evaluate two optimization methods: deep deterministic policy gradient (DDPG), a reinforcement learning (RL) algorithm, and multi-objective Bayesian optimization (BO). Our simulations show that both approaches significantly outperform random search and converge to comparable Pareto frontiers, but that BO converges with two orders of magnitude fewer evaluations than DDPG. Our results suggest that data-driven techniques can effectively self-optimize coverage and capacity in cellular networks.
The detection and estimation of sinusoids is a fundamental signal processing task for many applications related to sensing and communications. While algorithms have been proposed for this setting, quantization is a critical, but often ignored modeling effect. In wireless communications, estimation with low resolution data converters is relevant for reduced power consumption in wideband receivers. Similarly, low resolution sampling in imaging and spectrum sensing allows for efficient data collection. In this work, we propose SignalNet, a neural network architecture that detects the number of sinusoids and estimates their parameters from quantized in-phase and quadrature samples. We incorporate signal reconstruction internally as domain knowledge within the network to enhance learning and surpass traditional algorithms in mean squared error and Chamfer error. We introduce a worst-case learning threshold for comparing the results of our network relative to the underlying data distributions. This threshold provides insight into why neural networks tend to outperform traditional methods and into the learned relationships between the input and output distributions. In simulation, we find that our algorithm is always able to surpass the threshold for three-bit data but often cannot exceed the threshold for one-bit data. We use the learning threshold to explain, in the one-bit case, how our estimators learn to minimize the distributional loss, rather than learn features from the data.
| Course Name | Course Code | Credit Hours | Grade |
|---|---|---|---|
| Probability and Stochastic Processes | EE 381J | 3.0 | A |
| Statistical Estimation Theory | ASE 381P-6 | 3.0 | A |
| Statistical Machine Learning | EE 381V | 3.0 | A- |
| Digital Communications | EE 381K-2 | 3.0 | A+ |
| Data Mining | EE 380L-10 | 3.0 | A |
| Autonomous Robots | CS 393R | 3.0 | A |
| Convex Optimization | EE 381K-18 | 3.0 | B+ |
| Wireless Communications | EE 381K-11 | 3.0 | A+ |
| Space-Time Communication Theory | ECE 792 | 3.0 | A+ |
| Machine Learning for Adv. MIMO Sys. | ECE 592 | 3.0 | A+ |


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