In medicine there is a neutral zone, a no-man's land, a regnum prostisticum, which really defies definition. This nebulous zone shelters many among the sad examples of nervous trouble sent home from the front.
--The Lancet, 18 March 1916 1
I am just as it were in the thick of a bombardment--writing you, here, from a front line trench.
--Katherine Mansfield to John
Middleton Murry
2
I have not invented anything in this book.
--Mary Borden, The Forbidden Zone 3
When Mary Borden died on 2 December 1968, the Times wrote in her obituary that her novels
were stamped by a certain conventionality of outlook. She tried in time to broaden the field of her observation and imaginative sympathy, but continued for the most part to make the best use of her talents in keeping to the type of wealthy and fashionable milieu which for many years she knew best. 4
This obituary shockingly overlooks the unconventionality of Borden's art and life. During World War I and World War II, Borden ran field hospitals, initially with no prior training. The daughter of a Chicago millionaire, in 1914 she offered to fund a fully equipped hospital of a hundred beds herself. While the army provided the doctors and surgeons, she had full control of hiring the nurses. After the war, Borden married Sir Edward Spears, the man who rescued Charles de Gaulle from occupied Paris. She played official hostess to the British Legation, first in Beirut and then Damascus, and she received British medals of distinction and the French Legion of honor for her war work. However, from the publication of her first novel in 1912 (under the name Bridget McLagen) Borden was foremost a writer. 5 Like Edith Wharton, she felt called upon by the war to act and not simply to write. Yet her war memoir, The Forbidden Zone, shows a fascinating ambivalence about the actions that she took as a nurse during wartime.
Selections from The Forbidden Zone (formerly out of print since 1930) have very recently been republished. 6 It is one of the most powerful and one of the most experimental pieces of writing to have emerged from the war. 7 Although Borden's preface asserts the truth of her account, her method is more imagistic than documentary. Indeed, she wrote a surreal memoir about the war during a period when most war memoirs were written as conventional autobiographies. Neither a record nor a chronicle, nor, like May Sinclair's, a series of impressions, her war memoir attempted to register the impact of World War I through innovative aesthetic strategies. Borden mixes the genres of essay, fiction, and poetry, and blurs the lines between documentary and fiction. Beginning with the unfocused, muddy fields of Belgium, she portrays war as a series of phantasmic dislocations, an apocalyptic landscape marked by the posthuman incursion of the war machine. She describes the men and women of the war as displaced inhabitants of a strange, hallucinated world where people are reduced to bodies and functions. James Kribb claims that war texts strive not for "a mere representation," but for "an iteration of war," and Borden's text works at this dangerous edge of representation. 8 She can not claim the eyewitness status of the soldier, nor does she remove herself from the field of action. Her experimental and fragmented vision of the war dramatizes the limitations inherent in the noncombatant's representation of trauma. Simultaneously, Borden attempts to go beyond "representation" to "iteration" by using strategies of dislocation that destabilize the reader. In this essay I chart the ways in which Borden traverses the liminal space of The Forbidden Zone, a space that exists between traditional genres and modes of representation and that troubles conventional assumptions about gender. Her fictionalized memoir thus offers an original and profound articulation of a war which evaded easy categorization by a writer who did the same.
In the past decade the study of World War I writing has expanded to include women writers like Borden who participated as nurses or ambulance drivers or wrote about war from the home front. 9 Indeed, over the last ten years, the myth of the soldier-poet as the privileged chronicler of World War I may finally have been laid to rest. New anthologies of women's writing from the war period and recent critical works have both broadened the canon and prompted a substantial revaluation of World War I and its role in the development of European modernism. 10 Formerly, critics such as Paul Fussell, Bernard Bergonzi, and Modris Eksteins argued for a vision of war writing as the rejection of a prior, more conservative aesthetic for an avant-garde led by the soldier-writer, who "became not just the harbinger but the very agent of the modern." 11 Recent critics have focused instead on what Daniel Pick calls "a complex recapitulation and reshaping of the codes, fictions, fantasies and philosophies of nineteenth century culture." 12 The need for such critical revisions seems almost commonsensical: the war had a literary impact which extended beyond those who fought in it, and the war itself gave rise to the various and sometimes innovative employ of literary genres and strategies already in place.
World War I broke out in August 1914, and by October war material dominated the Athenaeum's list of recent publications. These initial writings on the war often took traditional forms; the market was flooded with popular histories such as The Times History of the War , propaganda including Ford Madox Ford's When Blood is their Argument , and pamphlets disseminating both history and propaganda. Fiction writers were not as quick to respond as pamphleteers, although the poets reacted swiftly and uniformly enough for their topicality to be mocked in the Little Review. 13 As the war continued, many of the male writers who emerged from the trenches employed a documentary tone, drawing authority from their eyewitness accounts. Soldier's narratives took traditional forms--history, autobiography, documentary--and steered clear of aesthetic experiment. Most eschewed even realist fiction, including Robert Graves, who claimed that he began Goodbye to All That as a novel but felt compelled to stop and rewrite it as what he termed "history." 14 It remained understood for most writers of prose and fiction (with a few exceptions, such as David Jones, the most avant-garde male chronicler of the trench experience) that the closer one came to the war the more literal one's account. 15
Feminist critics have argued that women not only wrote about war but wrote about it differently from men. 16 Claire Tylee claims women's war writings "tend to be much wider and subtler in scope than battle tales" and the editors of Behind the Lines suggest that the "most powerful of women's writings about war rely on indirection, or writing 'slant.'" 17 The experimental and fragmentary perspective of the female noncombatant thus appears to produce a fuller articulation of war. While women could not claim the combatants' eyewitness status, nor directly attest to the experience of the trenches, they could explore its wider effects. They did not live in the face of the war's presence, but the many absences of the war surrounded them, suggesting more oblique forms of representation. Thus, first attempts by women to write about the war beyond the familiar soldier's story were often perceived as tangential. Katherine Mansfield famously criticized Virginia Woolf's Night and Day for failing to take the war into account. And Jacob's Room is indeed more about the disappearance of a prewar way of life than about the war itself, articulating loss through absence rather than an invocation of the front.
As Margaret Higonnet suggests, women's war writing realigns "the focus from military to social structures." 18 Borden's first published attempt to address the subject of the war took a similarly indirect approach. In Four O'Clock and Other Stories , war constitutes the subtext of the title story. A middle-aged woman named Clarissa Burnaby reflects briefly on her two lost sons and on the war's impact on her life and family. Clarissa observes, "Nothing terrible could happen to her now, or everything had happened. It was all over and done and she was sixty and serene and invulnerable." 19 The death of her sons is acknowledged but not faced: "Her mind glanced away from this. Would she never be able to face squarely the loss of her sons? They were dead. They were dead. Would they never die?" (FO, 14). The postwar serenity of the opening lines is shown to be a parody of peace.
"Four O'Clock" is a fairly traditional story about social convention, but in it Borden begins to hint at another way one might speak or write about the war:
For [Clarissa] and her husband had become strangers to each other and were linked by this single, isolated, terrible intimacy of mutual loss. They were like foreigners who could speak only one phrase of a common language, and refrained from using it lest it resound like a moan in their empty home. [ibid.]
The shared language of grief, which is the only language left to Clarissa and her husband, is described as a moan--not properly language at all, but a visceral, physical expression of sorrow. The moan attempts to communicate the incommunicable, to face what cannot be faced.
Borden comes closer to a moan as a more radical mode of articulation in The Forbidden Zone. Her book is dedicated to a community of mourners, and its title raises the specter of war wounds and takes the healing of the wound as both subject and aim. 20 New ties will be forged in a ruined landscape and on slippery ground in a contingent and always compromised moment. Borden dramatizes the loss of communication between the sexes, yet she dedicates this book to the soldiers whom she claims have no need of her message. She outlines the uncomfortable space between the civilian and the soldier but also shows the narrow partition between the compassionate aid worker and the nurse complicit in healing men for the purpose of returning them to the front. Her frequent imaging of the doctor and nurse on one side of the infirmary and the soldier on the other, suggests that distinctions between man and woman in the war were less important than those between combatant and noncombatant. She aligns herself with the soldier, yet shows her distance from him; she portrays division between the sexes, yet points also to the way sex itself is called into question through the brutal toll of war, which leaves men wounded rag dolls and women psychically neutered. As she begins to approach the subject of the war more directly, she experiments with both genre and the gendered categories in which the war was often understood. Following Borden's lead and that of other critics, I would suggest that dividing the front of war writers along gendered lines is insufficient. 21 As writers, combatants often used strategies not available to noncombatants. For example, while the war memoir conventionally insisted on its veracity, the immediacy of its recorded experience, and the author's status as eyewitness, the noncombatant writer could not claim a similar authority.
However, although the distinction between combatant and noncombatant did not always coincide with sexual difference, the distinction itself was gendered. Borden's operating room is full of impotent, wounded soldiers whose masculinity is frequently called into question. As Lynne Layton writes, "both men and women experienced the inability to participate in the war as impotence and equated it with being female." 22 In Wharton's A Son at the Front, the male protagonist, too old to t, reminds his friend, "Men of our age are the chorus of the tragedy, Dastrey; we can't help ourselves. Every time I open my mouth to blame or praise I see myself in white petticoats." 23 Further, the wounds that battle inflicted, both physically and mentally, left the combatant's masculinity in ruins. Kaja Silverman argues that,
Even under the most auspicious of circumstances, moreover, the fiction of a phallic masculinity generally remains intact only for the duration of the war. As long as the soldier remains on the battlefield, he is fortified to some degree by his comrades; the "binding" which can no longer take place at the level of the ego occurs instead at the level of the group. . . . But once removed from the battlefront, the traumatized veteran no longer enjoys the support of his comrades-in-arms. All that stands between him and the abyss is the paternal imago, within which he can no longer recognize himself. 24
Silverman is writing in the aftermath of World War II, but she could as easily be writing in the wake of World War I. The homosocial community of the battlefield often creates a temporarily safe space, but once the soldier returns to civilian life, that security is lost. Many are left in what the Lancet called without irony the "no-man's land" of psychic trauma, a space outside--or perhaps between--traditional categories of masculinity and femininity. Moreover, even on the battlefield, a physically or psychically wounded soldier suffers from a debility which leaves him womanish, no longer enough of a "man" for the battle. The languorous, blinded men of John Singer Sargent's painting Gassed are aestheticized, but beyond that, are feminized.
The war not only challenged notions of masculinity, but also called into question the role of women and the very category of the human. Borden understands that the threatening Other for World War I soldiers was frequently not woman but machine. Feminist critics have rightly drawn attention to the variety of women's artistic production during the war, the strategies which women writers often adopted--including the interrogation of military structures through social structure--and their adaptation of more experimental literary approaches. They have not, however, inquired as often into the ways in which the technology of war called both gender roles and gender itself into question. Just as the distinction between combatant and noncombatant destabilized demarcations of gender, the new technologies of war introduced a new threat to the human subject. The only triumphant res in Borden's book are the airplanes that circle like arrogant, triumphant birds in the heavens, far above the human spectacle of suffering.
Borden's surreal portraits of soldiers, descriptions of airplanes as messengers of heaven, and grotesque scarred landscapes convey an aura of radical displacement that is carried over into the narrative voice and evoked by the events it narrates. The title indicates that Borden will go somewhere dangerous and uncharted. Her dedication is to the zone's other inhabitants, "the poilus who came that way in 1914-1918" (FZ, i). Her subject is defined as a murky and undefined space with "no frontier, just a bleeding edge, trenches" (ibid.). Rather than map or chart this edge, Borden replicates it--her text might be said to have no real beginning or end. Instead, it comprises a series of essays, stories, and poems without linear plot, frontier, or border. The line between truth and fiction is left similarly undefined. While Borden writes in her preface that "I have not invented anything in this book," she admits that "I have blurred the bare horror of facts and softened the reality in spite of myself" (ibid.). "To those who find these impressions confused," she writes, "I would say that they are fragments of a great confusion. Any attempt to reduce them to order would require artifice on my part and would falsify them" (ibid.). To portray disorder rather than order is more properly mimetic; her sketches, however surreal, are accurate in the very degree of their surreality. She relegates "Artifice" to falsehood and her own account to reality, fact, and truth. But despite her attempts, this is a compromised truth, what she calls "a dim reality reflected through these pictures"--not the thing itself (ibid.). Although the book is dedicated to the poilus, she writes that it is not for them because "they know, not only everything that is contained in it, but all the rest that can never be written" (ibid.).
For Borden, fragmentation became the most accurate way to convey the experience of World War I. The Forbidden Zone is, as if by default, presented as a kind of montage. The form of the fragment lives between fiction and autobiography and skirts the line between truth and fabrication. Read separately, the fragments create brief moments of empathy and strong visual statements; read together, they comprise a mosaic of repeated encounters that dramatize the divisions and misprisions of war. Her book marks the toll that war takes on landscapes, objects, and bodies. I will move in my discussion from the ravaged locale in which Borden locates her narrative to the alien machines and dehumanized beings who inhabit it. Her deliberately dissociated account of the front lines ends with the promise of new association between the changed inhabitants of the wartime landscape. Ultimately, however, she recognizes the ways in which the war has created a gulf between combatant and noncombatant, and between man and woman. Applying the lessons of nursing to the act of writing enables her exploration of the forbidden zone, which invites the reader to bridge both categories of gender and categories of battle in a quest for memorial and understanding.
Borden claimed to have written the sketches and poetry in The Forbidden Zone between 1914 and 1918; the five additional stories were written later and "recount true episodes that I cannot forget" (ibid.). She begins with the dislocation of the landscape, which preres and prepares us for the dislocation of the human. The first sketch, "Belgium," is written in the present tense, which adds to its sense of immediacy. The narrator furthers this immediacy by directly addressing the reader and answering implicit questions, posing as a macabre tour guide in the war zone: "This is what is left of Belgium. Come, I'll show you" (FZ, 1). She takes a philosophic tone in her mapping of the country's devastation, referring to "mud with a broken fragment of a nation lolling in it" (ibid.). Borden thus begins her book not with a soldier but with this element: mud, the featureless feature of the battlefield ground. If the fires of battle evoked hell, mud often conjured both a hell and an endless purgatory. Artist and soldier Henri Gaudier-Brezka wrote home that he was reminded of "the third circle of Dante's inferno." 25 Among the poems concluding Borden's book is an ode to mud, suggesting the song of slime sung by Dante's lethargic inhabitants from the depths of their puddle in hell. Borden deliberately opens her book by invoking this slippery substance, which literally took the solid ground from beneath the soldiers' feet, covering them uniformly in slime. The mud in her opening chapter muffles the sounds of battle and opens up the channels of the earth like a second flood. Borden writes, "there's no frontier, just a bleeding edge, trenches" (FZ, 1). Mud becomes the dominant feature of the landscape; it is the only commodity available in excess, the only thing in constant production, for "there is plenty of mud, and a thin silent rain falling to make more mud--mud with things lying in it, wheels, broken motors, parts of houses, graves" (FZ, 2). The mud drowns the nation, not in a clean death by water but in the death of dirt. The country resembles a mass grave in the process of decomposition.
Later in the book, a similarly sodden landscape is evoked, surrounding a lone, initially undefined structure. The landscape defies maps, familiar measures of space, and the narrator proclaims herself once again lost, for "there were no landmarks" (FZ, 111). A series of sheds have been built on this treacherous and slippery ground, and the narrator describes them with anxious amazement, as if unable to recognize the knocked-together structures of a field hospital. Her repeated question--"What does it mean?"--underscores her feeling of estrangement and leads the narrator to the final incomprehensible spectacle of the bodies filling the hospital and the business conducted inside it. The buildings seem to her the construction of "a new race of men hatched out of the mud . . . a silly shelter against the wrath of God" (FZ, 112). Unable to comprehend the nature of the buildings, the narrator speculates that "some dreadful trade is evidently being carried out here in the wet desert, where a flood has passed and another flood will come" (FZ, 113). She situates herself and this place not as post- or pre-apocalypse, but between apocalypses, in the moment between flood tides, in the interim quiet. Observing men carrying packages carefully in and out of the huts, she is led to the final, ghastly expression of incomprehension: "What do you mean by telling me they are men?" (FZ, 114). Viewed from the estranged eye of the incredulous narrator, the work of the hospital appears grotesque. She repeatedly employs metaphors of unethical business: the activity in the shed is trade, the orderlies are smugglers. The doctors and nurses are heretical traffickers in life as they choke the breath back into protesting lungs and return the men to an unrecognizable world--"new and still and desolate"--in anticipation of the next wave of destruction.
As Borden travels through the denuded localities of her narrative--the country, the village, the town square, the road--she takes a deliberately defamiliarized, bird's-eye view. Like a camera, her gaze opens wide and then zooms in. The Belgian town that she describes could be any town and the men, whom she ironically calls heroes, are not named (although we know that they are soldiers). The boredom on their faces is the emotive equivalent of the mud on the ground: beyond despair. They are trapped in a cul-de-sac, "They cannot go back; to go back is to retreat, and they have been retreating as long as they can remember" (FZ, 9). With this sentence, Borden first limns the double bind of the soldiers, the generals, the nurses, and the civilians which will be her major preoccupation. For her this is a war without heroism and without innocence. Mud begins and concludes the sketch as Borden repeats the opening image, "mud with a broken fragment of a nation lolling in it" (FZ, 4). The fragment attests not to new modes of vision, but to loss, its sharp and broken edges sodden in the surrounding mud--the "nothing" which muffles and encompasses it. Borden ends the sketch with the enjoinment, "Come away, for God's sake--come away" (ibid.).
The image of the sinking landscape is cubist; indeed, the argument could easily be made that the dominant aesthetic influences on Borden's work are paintings rather than books. Like a cubist painter, she portrays a dehumanized and abstracted landscape. Men survive in this world as pale props or puppets shrunken by the surrounding devastation. Borden was intimate with Wyndham Lewis, whom she met in 1914. She bought several paintings from him, and then commissioned him to decorate her drawing room, a project she cancelled when the war began. For a brief period of time she was both Lewis's patron and his lover. While the cubist influence may have stemmed as much from Lewis and Borden's intellectual circle as from their intimacy, the correlation between Borden's writing and vorticist and cubist painters such as Lewis and Nevinson is striking. However, unlike Lewis, Borden retains the specificity of tragedy as well as its impersonal and sublime dimensions.
Borden's sketches appear strangely enamored with the new technologies of war. She describes airplanes and warships in richly evocative language, and mixes organic and inorganic imagery, thus recreating the technologies of war as natural forces. From this posthuman perspective, soldiers and civilians are secondary to these engines of war which co-opt their human cargo and seem to possess their own will-to-power. War machines interrupt the fairy-tale serenity that begins the second sketch, where "The wide sweet heaven . . . fill[s] with light" (FZ, 5). Initially, Borden portrays a town that retains its neatness and defined edges, evoking "the neat surface of the wide city" with "clean empty streets [which] cut the city into firm blocks of buildings" and "neat edges marked by walls and canals" (FZ, 7). Yet this tidiness is prelude to disaster. An airplane flies "like a ghost" above an exposed plain and "the doings of men who put their trust in the heavens" (FZ, 5). The strongly visual and admiring language that follows masks the threatening violence of its subject; the masts of the warships below resemble "reeds thickly growing," "the funnels of strange plants," and the airplane arrives like "a messenger from heaven" (FZ, 6). The beauty of the scene is finally disturbed by the people, who appear like "distracted midgets," "vermin," and "the human hive" (ibid.). The airplane, a defiant, evasive mosquito, drops a bomb, dodges the shrapnel, and disappears into the sky. The scale of the tragedy is biblical: the earth opens, the men fall "on their faces like frantic worshipers," and the city seems "as if it were being attacked by an invisible and gigantic beast" (FZ, 8, 9). Tidiness gives way to chaos, surface to wound, definition to "ragged edges" (FZ, 9).
Technology itself appears to be waging war on mankind, a technology which bears an uncanny resemblance to nature and seems initially benign--this "strange plant." The mechanical is confused with the natural, and from the perspective of the airplane, men seem like swarming bugs robbed of their individuality. Identifying not with a person manning a cockpit but with the cockpit itself, Borden reinforces the story's posthuman perspective. The airplane is touched with the gold of the rising sun and laughs at the destruction it causes, a supernatural and inhuman avatar of war.
Borden's stories thus read like new myths for a new and threatening age. The airplanes are not machines, but beautiful, proud, arrogant birds; the spy balloon in her third story is a "sky oyster"; the ships are "reeds." Airplanes were new enough, and theology still culturally resonant enough, for a battle in the heavens to accrue theological significance. One did not have to be as extreme as the theosophist Elsa Barker--who claimed to chart World War I on an astral plane through a beyond-the-grave war correspondent--in order to imbue the war with heavenly implications. However, Borden does not borrow heavenly metaphors simply to portray the power of airplanes and great balloons, but uses them to indicate that something in the heavens is awry. The war has infected everything: the heavens, which now hold destruction; the earth, which has been reduced to bleeding trenches; and even objects as benign as the cars on the road, which "have gone all wrong." Borden portrays war as an abomination or distortion in which even "the limousines . . . meant to carry ladies to places of amusement . . . are carrying generals to places of killing. . . . They crouch in the square ashamed, deformed, very weary" (FZ, 14). Through alternately anthropomorphizing the inanimate object and examining man from the viewpoint of a machine, Borden dehumanizes man and decentralizes the subject's position. The war co-opts men into its machine and then exterminates them as if they were vermin.
The Forbidden Zone moves from an emphasis on the wounded landscape and the godlike machine to the soldiers, generals, nurses, and civilians inhabiting that landscape. Borden is only tangentially concerned with the ridiculous generals who "salute each other like wooden toys" and disappear into buildings, making "elaborate plans of massacre" (ibid.). Her primary interest lies in the men and women of the war. When she introduces women in her third chapter, they are engaged in the business of ignoring the war, in binary opposition to the soldiers: "The business of killing and the business of living go on together in the [town] square" and the women, many pregnant or accompanied by children, undertake the business of living. Indifferent to the ambulances and motors, they carry on with the every day, filling the square so completely on Saturdays that the ambulances can't drive through it. Borden contrasts the animated public life of the women in the square with the wounded men inside the ambulances, who "can see nothing and hear nothing of the life that is going on in the square" (FZ, 16). Yet she does not completely juxtapose a world of innocence against a world of experience. The women busily working in the marketplace are--she mentions casually--dressed in black, and the snug villages "hummed like beehives" only because they sheltered an army (FZ, 22). Still, this vision of two solitudes, equally unaware of the other, is a prelude to Borden's description of their encounter; first in the story of a wounded soldier reunited with his lover, and second in her depictions of the infirmary, that world ruled by women and inhabited by the shadows of men.
Her central story, "The Beach," describes a wounded soldier and his lover at a deserted beach resort. They sit on the sand alone, each trapped within themselves. She tries uncertainly to reach out to him. He is in turn desirous and resentful. The man and woman are unnamed, outlined only abstractly, and could stand in for any wartime couple. She is naive, repelled, yet willing to remain loyal; he sits next to her across an abyss of consciousness. Distracting herself from the wounded and finite man at her side, she dwells on the beauty of the beach and the sea. Her voice sounds "like a cricket chirping," betraying the shrillness of her effort (FZ, 43). When the abandoned beach eventually provokes his ire, he torments her with the reality of what it has become. He sardonically remarks of the boardwalk casino that has been converted into a hospital:
They have a gala night in our casino whenever there's a battle. . . . You never saw such a crowd. . . .  Come closer, I'll whisper it. Some of them have no faces. [FZ, 46]
While his sadistic account of the casino nights is an act of aggression rather than communication, her reply--"'Darling, darling'"--constitutes an act of aggression in a different key. Her entreaty, "'Stop, darling--darling, stop,'" implores him to be what he is no longer.
The story concludes by panning smoothly from the couple to the men and women surrounding them on the beach. The last piece of dialogue issues from an anonymous bystander: "'They are firing out at sea,' said someone to someone" (FZ, 50). Just as identity is stripped from the story's couple, gender is eliminated from this last pair of interlocutors. What does it matter who speaks? The story ends with the surreal juxtaposition of the calm sea against the macabre, glittering spectacle of the transformed casino. Borden ends with the suggestion that during war, surreality is reality and comes with its own strange beauty:
How perfect the beach is. The sea is a perfect heavenly blue. Behind the windows of the casino, under the great crystal chandeliers, men lie in narrow beds.  Their white bandages are reflected in the sombre gilt mirrors. There is no sound anywhere but the murmur of the sea and the whispering of the waves on the sand, and the tap tap of a hammer coming from a great distance across the water, and the bell-buoy that seems to say, "Darling, darling." [ibid.]
Borden's remarkably detached juxtaposition of the lovely and grotesque--the calm beauty of the sea, the grand casino, and the wounded soldiers--is suggestively inconclusive. While the bell-buoy tragically echoes the soldier's lover in its floating and dispassionate "'darling, darling'" and the story mocks the woman's distanced and impotent cry of distress, the final passage also presents it as natural and inevitable like the continued beauty of the ocean and sky.
In these two stories, Borden initially presents the experience of men and women in the war as separated by an enormous gulf. Both the pregnant women in the square and the young woman on the beach largely represent the existence of life and innocence alongside the terrors of war. The wounded soldier and his lover in "The Beach" occupy different spheres of meaning; his attempts to communicate his experience to her are replete with hostility. While he is not the same man he was, she has remained the same woman and the seeming viciousness of her uncomprehending solicitude wounds him. The lovers cannot cross the ocean of experience which divides them any more than the bell-buoy, of its own volition, could cross the sea. Yet this is not Borden's final word on gender relations during war. She will suggest that to be not-woman in a world where there are no men is not entirely cause for despair: "There are no men here so why should I be a woman? There are heads and knees and mangled testicles" (FZ, 60). In the persona of nurse, the not-woman crosses into the zone of the not-men and, despite her problematic role, begins to carve out a relationship to the war which does not divide experience along gendered lines.
The re of the nurse first appears misleadingly in Borden's book as "a beautiful animal dressed as a nun and branded with a red cross. Her shadowy eyes said to the regiment, "I came to the war to nurse you and comfort you" (FZ, 34). In this early portrait, she is a confusing and libidinal mix of purity and animality, haunted by her own demons but secure in her mission to help the soldiers. Yet this nurse, described in the third person, does not resemble the nurse who narrates events in the book's later sections. Filtered through the consciousness of the soldiers, she appears desirable and inaccessible. Yet the nurse whose voice Borden later narrates is too tired for sex and almost without gender. The beautiful animal of the first description materializes later only as death itself, "insatiable, reedy, vilely amorous, lustful, obscene--she lusts for thebroken bodies we have here" (FZ, 54). In turn, Borden eroticizes the wounded soldiers, emphasizing how their vulnerability accentuates their sexuality. The title character of "Enfant de Malheur" has "race, distinction, an exquisite elegance, and, even in his battered state, the savage grace of a panther" (FZ, 67). The narrator's female gaze dwells on the sight of his wounds: "The long deep gash in his side made his smooth torso seem the more incredibly fair and frail" and "the loss of one leg rendered the other more exquisite with its round polished knee and smooth ankle" (ibid.).
Yet the "I" who inhabits the central stories in the book has been transformed into a healing machine, not a desiring subject. Estranged from the natural, the "scent of new-mown hay" disquiets her; whispering of "lovely forgotten things," she is at ease with pain: "the cannonade is my lullaby" and "lulls me to sleep," she says (FZ, 51, 57, 52). She is most often a creature without past or future, a citizen of the state of war, past caring, and a slave to routine. Her "I" shifts into the "we" of the other nurses without dissonance or resistance--one operating as part of many. The nurse-narrator of "Moonlight" perceives herself as a white re moving silently toward the gangrene ward, where her ministrations are laughably ineffective: "She can straighten a pillow, pour drops out of a bottle, pierce a shrunken side with a needle. She can hold to lips a cup of cold water" (FZ, 59). Trafficking not in patients but in body parts, she asks, "Will that land her in heaven one day? I wonder; I doubt it. She is no longer a woman.  The nurse stifles her own humanity in order to move among the sick. "[A] machine inhabited by the ghost of a woman," she exists in a world wholly cut off from memory and compassion (FZ, 60). Her world has its own logic, rhythms, and expectations; like any organism, it resists change and desires above all its own continuity. "There is War on the earth," Borden writes, "nothing but war, war let loose on the world, War--nothing left in the whole world but war--War, world without end, amen" (FZ, 58).
Into this routine steps a new kind of wounded man, an attempted suicide. "There was something queer," Borden observes, "out of the ordinary about it, shocking to the surgeons and orderlies" (FZ, 97). They are shaken by "the extraordinary fact that a personal tragedy had lifted its head above the dead level of mass destruction" (ibid.). Offering a glimpse outside the logic of the war, which demands that death result only from service to one's country, the man is required first to be healed and then put on trial and shot. When the outraged narrator-nurse protests, the General responds, ludicrously, "Unless the penalty is what it is--to be court-martialed and shot--the thing would spread. We'd find ourselves going over the top with battalions of dead men" (FZ, 102). The nurse subsequently becomes fascinated with the man, whose body seems a stubborn receptacle of an already vanished spirit. She learns the secret of his suicide from his only utterance, "Rosa," which he offers in "a hollow heartbroken voice, issuing from his blind unconscious mouth, in a long cry--"Rosa, Rosa" (FZ, 99). The nurses bandage his wounded head, and each night he rips the bandages off in a single and final act of resistance. The nurse-narrator speculates about the identity of Rosa, imagining her as a lover who has has been unfaithful or has died. She names the man after the woman's name he cries, so that, ironically, this "mountainous mass," this "brother spirit of ox and bullock," begins to appear to her as a "monstrous baby" (FZ, 95, 94, 104).
The conflation of the man's object of desire, his reason for suicide, and his proper name, is particularly suggestive. We are defined by what we long for, and by what we die for. The man who dies a soldier is always a soldier. The man who attempts suicide is no longer a soldier, but lives and dies in a world of personal significance. The nurse who finally ignores the ripped bandages, leaving his head uncovered until day and thus allowing the deadly infection to spread, no longer lives by martial or medical law alone, but recovers something of her own humanity.
The nurses and doctors are, after all, conspirators. The most bitter of the sketches, titled "Conspiracy," presents Borden's most explicitly cynical view of the role of the nurse in battle: "And we send men to the war again and again, just as long as they will stand it; just until they are dead, and then we throw them into the ground" (FZ, 117). "Conspiracy" outlines the story of a man who has shot himself in the mouth but is still alive. The doctors are trying to save him, but, like "Rosa," if he recovers he will be court-martialed and sentenced to death. His is only an extreme version of every patient's story, since each is mended and then sent out to die. The nurses thus play "a dreadful game of hide-and-seek among the wounded," searching out the ones who are slipping and drawing them back to life (FZ, 151). They conspire against the patient's "right to die" by violating his already wounded body (FZ, 119). Borden observes, "to the shame of the havoc of his limbs we add the insult of our curiosity and the curse of our purpose" (FZ, 120). In "Conspiracy," the nurses and surgeons are protected by their obliviousness and bright paraphernalia. They are automatons who sacrifice their own humanity in order to carry out this struggle. In a rare moment of retrospection, Borden looks back at her former self and thinks, "I think that woman, myself, must have been in a trance, or under some horrid spell" (FZ, 151).
Borden's choice to portray the nurse and the male patient in these stories, rather than the civilian woman and the active combatant, situates her in a sequestered zone between the home front and the front line, as well as between traditionally gendered roles. Gender itself has been wounded; and the men and women of the field hospital do not recognize each other as men and women but as nurses, doctors, patients, the dead, the dying, and the not yet dying. They inhabit an unreal world where old categories of identification are suspended and people are reduced to bodies and functions. Yet even in this desolate wasteland, moments of connection and communication are forged: a merciful nurse allows a soldier to die; a woman standing beside a blind man in a crowded ward holds his hand so that he knows he is not alone; a rabbi holds a crucifix and seamlessly takes the place of a priest who falls on the battlefield while giving absolution to a dying man. However, although the narrator searches for these moments of connection, she distrusts them. They disturb the automatic workings of the nurse, slip past the logic of statistical casualty, and threaten sanity. Borden's position, then, vacillates between the perspective of an uncomprehending outsider and an unquestioning, almost unconscious insider. Each of these subject positions most often excludes the possibility of connection, such that when connection does occur, it creates the exception that threatens the whole edifice of the war.
In "Why Does One Write," Primo Levi delineates a number of reasons for the production of a literary work. Among these are the financial, the therapeutic, and the ideological. While Levi recognizes the appeal of the therapeutic, and indeed even claims to have been motivated by the need for therapy himself, he begs the writer to maintain communication with the reader: "I ask him, however, to make an effort to filter his anguish, not to fling it as it is, rough and raw, into the face of the reader." 26 For Levi, Paul Celan represents the writer who fails to communicate and thus fails his sacred trust to order incomprehensible experience. In "On Obscure Writing," Levi berates Celan for alienating his audience. His writing "attracts us like chasms attract us, but at the same time it also defrauds us of something that should have been said and was not, and so it frustrates us and turns us away." 27 Finally, Levi describes Celan's language as a "howl," a "dark and truncated language precisely like that of a person who is about to die and is alone" (ibid.).
I am reminded of Borden's first attempt to write about the war in the
story of Clarissa Burnaby and her husband, whose loss of their sons has
left them only the common language of sorrow, a moan or howl. Similarly,
in "Rosa," the suicidal soldier's language is reduced to naming the
object of his loss. The story particularly dramatizes the dynamic of
the howl as a communication without content or context, a stripped
down articulation of pain. The howl in the story gives rise only to
speculation and interpretation--regarding the identity of "Rosa," the
reason behind his suicide, the history of their relationship--but its
content remains forever inaccessible. There is no way to reconstruct a
story from a moan, and indeed, the man's cry calls for empathy, rather
than interpretation. It is empathy that finally keeps the nurse from
rebinding the bandage on his head, allowing the soldier to finish the
business of his dying in peace. Borden does not invite our understanding;
she blocks it. She attempts to bridge the gender and genre divide--not
to explain one form of life to another, but to inspire empathy, the
only kind of memorial that allows the dead to retain the privacy and
integrity of their silence and enables the living to retain their links
to one another and to the dead.
Ariela Freedman is Assistant Professor of Liberal Arts at Concordia University in Montreal. Her essay is part of a book-in-progress entitled "Modernism at the Home Front: Writing the Great War as a Noncombatant."
1. The Lancet, 18 March 1916, 267. I am grateful to Jeremy Wexler for his help in the course of writing this essay.
2. Katherine Mansfield to John Middleton Murry, 23 March 1918, Selected Letters (New York: Oxford University Press, 1990), 79.
3. Mary Borden, The Forbidden Zone (London: Heinemann, 1929), 1; hereafter abbreviated FZ.
4. Times, 3 December 1968, 10.
5. In addition to The Forbidden Zone, Borden's books include: Jane: Our Stranger , Four O'Clock and Other Stories , Jericho Sands , Flamingo , King of the Jews , Jehovah's Day , For the Record , You, the Jury , Journey Down a Blind Alley , a memoir of the Second World War, and Action for Slander , which was later made into a film.
6. Margaret Higonnet's edited collection, Nurses at the Front: Writing the Wounds of the Great War (Boston: Northeastern University Press, 2001) excerpts the war writings of Borden and Ellen La Motte, who worked together on the frontline at Hôpital Chirurgical Mobile No. I. Higonnet points to "striking parallels between the two collections," particularly in their "bitter irony" of tone, their loosely autobiographical narrative, and their unconventional treatment of the subject matter. Higonnet emphasizes the way in which these two nurses and writers "expose wounds" of war, and in doing so, take "a first step" in healing them. Until the publication of Higonnet's anthology, The Forbidden Zone , Borden's most powerful book, had been out of print since 1930. Higonnet's anthology, however, downplays the length and breadth of Borden's literary career and her considerable differences from La Motte by presenting the two women generically, as her title indicates, as "nurses at the front." By leaving out many of the opening vignettes of Borden's book and all of the poetry with which the book concludes, Higonnet edits the wartime sketches to further emphasize their similarities. However, when these books are read in full they create quite a different impression. La Motte's is more reportorial, more consistently ironic, and more even in tone and genre, whereas Borden's employs three different genres--prose poem, short story, and free verse--and veers wildly in tone from the gently whimsical to the professionally detached to the sentimentally engaged. La Motte's disillusionment is predictable in a way that Borden's is not; Borden crosses more boundaries, takes more risks, and while she does not always do so with complete success, she does so with talent and originality.
7. The most significant of these include Siegfried Sassoon, Memoirs of an Infantry Officer ; Robert Graves, Goodbye to all That ; Edmund Blunden, Undertones of War ; Vera Brittain, Testament of Youth ; and Frederic Manning, Her Privates We .
8. James Kribb, "Literary Strategies of War, Strategies of Literary War," in Literature and War, ed. David Bevan (Amsterdam: Rodopi, 1990), 21.
9. Despite this recent trend, critical discussions of Borden's work have been few and far between. Those few include Margaret Higonnet's article "Women in The Forbidden Zone: War, Women and Death," in Death and Representation, ed. Elisabeth Bronfen and Sarah Webster Goodwin (Baltimore, Md.: Johns Hopkins University Press, 1993) and Nosheen Khan's "Mary Borden's 'Unidentified' and W. B. Yeats's 'The Second Coming,'" ANQ 4.1 (January 1991), 20-1. Khan also discusses Borden in Women's Poetry of the First World War (Lexington: University Press of Kentucky, 1988). Brief discussions of Borden can be found in Claire Tylee's The Great War and Women's Consciousness: Images of Militarism and Womanhood in Women's Writings, 1914-64 (New York: Macmillan, 1990) and Jane Marcus's "Afterword: Corpus/ Corps/ Corpse: Writing the Body in/at War," in Helena Zenna Smith, Not So Quiet . . . Stepdaughters of War (New York: Feminist Press, 1989). Surprisingly, Borden is not mentioned in Sandra M. Gilbert and Susan Gubar's seminal work on women and war writing, No Man's Land : The Place of the Woman Writer in the Twentieth Century (New Haven, Conn.: Yale University Press, 1988).
10. Recent anthologies of women's writing include The Virago Book of Women and the Great War, ed. Joyce Marlow (London: Virago, 1999); Beyond the Home Front: Women's Autobiographical Writing of the Two World Wars, ed. Yvonne Klein (New York: New York University Press, 1997); Lines of Fire: Women Writers of World War I, ed. Margaret Higonnet (New York: Penguin, 1999); and Women's Writing of the First World War, ed. Angela K. Smith (Manchester: Manchester University Press, 2000).
11. Modris Eksteins, Rites of Spring: The Great War and the Birth of the Modern Age (Boston: Houghton Mifflin, 1989), 213. See also Bernard Bergonzi, Heroes' Twilight: A Study of the Literature of the Great War (London: Constable, 1965) and Paul Fussell, The Great War and Modern Memory (New York: Oxford University Press, 1975).
12. Daniel Pick, War Machine: The Rationalization of Slaughter in the Modern Age (New Haven, Conn.: Yale University Press, 1993), 204.
13. See E. Baxton Shanes, "London Letter," The Little Review (December 1914): 55.
14. Robert Graves, Goodbye to All That (1929; London: Jonathan Cape, 1960), 79.
15. Richard Cork writes, "Wyndham Lewis may have declared, in 1915, that 'there is no room, when praising soldiers, for anything but an abstract hymn.' But the latter stages of the conflict proved so repugnant that more and more artists turned to representational imagery fired by a protesting vehemence." Richard Cork, A Bitter Truth: Avant-Garde and the Great War (New Haven, Conn.: Yale University Press and Barbican Gallery, 1994), 10.
16. Along with the previously mentioned works by Khan, Tylee, and Gilbert and Gubar, other important works on women and war writing include: Sharon Ouditt, ting Forces, Writing Women (London: Routledge, 1994); Dorothy Goldman, ed. Women and World War I: The Written Response (London: Macmillan, 1993); Suzanne Raitt and Trudi Tate, eds., Women's Fiction and the Great War (Oxford: Clarendon Press, 1997); and Margaret Higonnet, Jane Jenson, and Margaret Collins Weitz, eds., Behind the Lines: Gender and the Two World Wars (New Haven, Conn.: Yale University Press, 1986).
17. Tylee, The Great War, 13; Higonnet, Jenson, and Weitz, Behind the Lines, 15.
18. Higonnet, "Women in The Forbidden Zone," 202.
19. Mary Borden, Four O'Clock and Other Stories (London: Heinemann, 1926), 9; hereafter abbreviated FO.
20. Higonnet also makes the point in her introduction to Nurses at the Front that Borden writes "the wounds of war" as a step towards healing, though she does not develop this assertion (Higonnet, Nurses at the Front, xxxiv).
21. The reaction against gender-based criticism of war literature has already begun. In Modernism, History and the First World War , Trudi Tate writes:
I am not trying to produce a taxonomy of war writings, nor to make a case for "women's writing" or "men's writing"; I am increasingly convinced that this kind of category obscures more than it illuminates. The works I discuss are preoccupied with questions of who has seen what, and how one is positioned in relation to war's trauma. [5]
Tate shifts the focus from questions of gender to questions of trauma and representation and claims that "these concerns often far outweigh those of gender and sexual difference" (ibid.). Her readings, however, are still deeply concerned with the role of gender, despite her introduction's claim. Her work has helped establish a recognition of the complexity and multivalence of the term "trauma" itself. Interestingly, Tate does not spend much time on Borden, although Borden is centrally and productively preoccupied with the questions Tate raises. Ruth Leys's recent study of trauma, Trauma: A Genealogy (Chicago: University of Chicago Press, 2000) also deals with the term's multivalence.
22. Lynne Layton, "Vera Brittain's Testament(s)," in Behind the Lines, 72.
23. Edith Wharton, A Son at the Front (New York: Charles Scribners Sons, 1923), 190.
24. Kaja Silverman, Male Subjectivity at the Margins (New York: Routledge, 1992), 63.
25. Qtd. in Cork, The Bitter Truth, 77.
26. Primo Levi, "Why Does One Write," in Other People's Trades (Great Britain: Michael Joseph, 1989), 66.
27. Levi, "On Obscure Writing," in Other People's Trades, 161.


Vinka works with Inna on love song
by NATHAN ATILUKA few months back, Vinka through her social media platforms said she would be releasing new music every month, and the former talent manager seems to mean business.
After recently signing with Sony Entertainment, Vinka released her November serving last week. The song, Bebe, features Inna, a Romanian singer-songwriter with huge following.
Bebe is a love song, a bit of stepping out of her comfort zone for the dancehall artiste. Vinka’s vocals on the song are, however, limited; the bigger percentage is dominated by Inna.
Vinka, who speaks English, Kiswahili, Luganda and French, said during the release at Swangz Avenue offices in Industrial Area that Bebe is about love for one another and love for a community. The video is so good it reminded me of Game of Thrones with some scenes shot in dark places as if they were hiding from ghosts.
Well, wait for Vinka’s December unveiling…
atiluknathan@gmail.com


Files | |
| file | CO_OD_storage.h |
| CANopen Object Dictionary storage object for Linux SocketCAN. | |
Data Structures | |
| struct | CO_OD_storage_t |
| Object Dictionary storage object. More... | |
Functions | |
| CO_SDO_abortCode_t | CO_ODF_1010 (CO_ODF_arg_t *ODF_arg) |
| Callback for use inside CO_OD_configure() function for OD object 1010. | |
| CO_SDO_abortCode_t | CO_ODF_1011 (CO_ODF_arg_t *ODF_arg) |
| Callback for use inside CO_OD_configure() function for OD object 1011. | |
| int | CO_OD_storage_saveSecure (uint8_t *odAddress, uint32_t odSize, char *filename) |
| Save memory block to a file. More... | |
| int | CO_OD_storage_restoreSecure (char *filename) |
| Remove OD storage file. More... | |
| CO_ReturnError_t | CO_OD_storage_init (CO_OD_storage_t *odStor, uint8_t *odAddress, uint32_t odSize, char *filename) |
| Initialize OD storage object and load data from file. More... | |
| CO_ReturnError_t | CO_OD_storage_autoSave (CO_OD_storage_t *odStor, uint32_t timer1usDiff, uint32_t delay_us) |
| Automatically save memory block if differs from file. More... | |
| void | CO_OD_storage_autoSaveClose (CO_OD_storage_t *odStor) |
| Closes file opened by CO_OD_storage_autoSave. More... | |
Object Dictionary storage implementation for CANopenNode on Linux
Save memory block to a file.
Function renames current file to filename.old, copies contents from odAddress to filename, adds two bytes of CRC code. It then verifies the written file and in case of errors sets back the old file and returns error.
Function is used with CANopen OD object at index 1010.
| odAddress | Address of the memory block, which will be stored. |
| odSize | Size of the above memory block. |
| filename | Name of the file, where data will be stored. |
| int CO_OD_storage_restoreSecure | ( | char * | filename | ) |
Remove OD storage file.
Function renames current file to filename.old, then creates empty file and writes two bytes "-\n" to it. When program will start next time, default values are used for Object Dictionary. In case of error in renaming to .old it keeps the original file and returns error.
Writing data to file is secured with mutex CO_LOCK_OD.
Function is used with CANopen OD object at index 1011.
| filename | Name of the file. |
| CO_ReturnError_t CO_OD_storage_init | ( | CO_OD_storage_t * | odStor, |
| uint8_t * | odAddress, | ||
| uint32_t | odSize, | ||
| char * | filename | ||
| ) |
Initialize OD storage object and load data from file.
Called after program startup. Load storage file and copy data to Object Dictionary variables.
| odStor | This object will be initialized. |
| odAddress | Address of the memory block from Object dictionary, where data will be copied. |
| odSize | Size of the above memory block. |
| filename | Name of the file, where data are stored. |
| CO_ReturnError_t CO_OD_storage_autoSave | ( | CO_OD_storage_t * | odStor, |
| uint32_t | timer1usDiff, | ||
| uint32_t | delay_us | ||
| ) |
Automatically save memory block if differs from file.
Should be called cyclically by program. It first verifies, if memory block differs from file and if it does, it saves it to file with two additional CRC bytes. File remains opened.
| odStor | OD storage object. |
| timer1usDiff | Time difference in microseconds since last call. |
| delay_us | Delay (inhibit) time between writes to disk in microseconds (60000 for example). |
| void CO_OD_storage_autoSaveClose | ( | CO_OD_storage_t * | odStor | ) |
Closes file opened by CO_OD_storage_autoSave.
| odStor | OD storage object. |


Options are added in key-value pairs and passed as an argument to PhotoSwipe
constructor, e.g.:
var options = {
index: 3,
escKey: false,
// ui option
timeToIdle: 4000
};
var gallery = new PhotoSwipe( someElement, PhotoSwipeUI_Default, someItems, options);
gallery.init();
// Note that options object is cloned during the initialization.
// But you can access it via `gallery.options`.
// For example, to dynamically change `escKey`:
gallery.options.escKey = false;
// `options.escKey = false` will not work
index
integer
0
Start slide index. 0
is the first slide. Must be integer, not a string.
getThumbBoundsFn
function
undefined
Function should return an object with coordinates from which initial zoom-in animation will start (or zoom-out animation will end).
Object should contain three properties: x
(X position, relative to document), y
(Y position, relative to document), w
(width of the element). Height will be calculated automatically based on size of large image. For example if you return {x:0,y:0,w:50}
zoom animation will start in top left corner of your page.
Function has one argument - index
of the item that is opening or closing.
In non-modal mode, the template’s position relative to the viewport should be subtracted from x
and y
. Look at the FAQ for more information.
Example that calculates position of thumbnail:
getThumbBoundsFn: function(index) {
// find thumbnail element
var thumbnail = document.querySelectorAll('.my-gallery-thumbnails')[index];
// get window scroll Y
var pageYScroll = window.pageYOffset || document.documentElement.scrollTop;
// optionally get horizontal scroll
// get position of element relative to viewport
var rect = thumbnail.getBoundingClientRect();
// w = width
return {x:rect.left, y:rect.top + pageYScroll, w:rect.width};
// Good guide on how to get element coordinates:
// http://javascript.info/tutorial/coordinates
}
If dimensions of your small thumbnail don’t match dimensions of large image, consider enabling zoom+fade transition. You can do this by adding option showHideOpacity:true
(try adding it to above CodePen to test how it looks). Or disable transition entirely by adding hideAnimationDuration:0, showAnimationDuration:0
. More info about this in FAQ.
If you want to “hide” small thumbnail during the animation use opacity:0
, not visibility:hidden
or display:none
. Don’t force Paint and Layout at the beginning of the animation to avoid lag.
showHideOpacity
boolean
false
If set to false
: background opacity
and image scale
will be animated (image opacity is always 1).
If set to true
: root PhotoSwipe element opacity
and image scale
will be animated.
To enable just opacity
transition (without scale
), do not define getThumbBoundsFn
option.
showAnimationDuration
integer
333
Initial zoom-in transition duration in milliseconds. Set to 0
to disable.
Besides this JS option, you need also to change transition duration in PhotoSwipe CSS file:
.pswp--animate_opacity,
.pswp__bg,
.pswp__caption,
.pswp__top-bar,
.pswp--has_mouse .pswp__button--arrow--left,
.pswp--has_mouse .pswp__button--arrow--right{
-webkit-transition: opacity 333ms cubic-bezier(.4,0,.22,1);
transition: opacity 333ms cubic-bezier(.4,0,.22,1);
}
If you’re using Sass, you just need to change transition-duration variables in _main-settings.scss.
hideAnimationDuration
integer
333
The same as the previous option, just for closing (zoom-out) transition. After PhotoSwipe is opened pswp--open
class will be added to the root element, you may use it to apply different transition duration in CSS.
bgOpacity
number
1
Background (.pswp__bg
) opacity. Should be a number from 0 to 1, e.g. 0.7
. This style is defined via JS, not via CSS, as this value is used for a few gesture-based transitions.
spacing
number
0.12
Spacing ratio between slides. For example, 0.12
will render as a 12% of sliding viewport width (rounded).
allowPanToNext
boolean
true
Allow swipe navigation to next/prev item when current item is zoomed. Option is always false
on devices that don’t have hardware touch support.
maxSpreadZoom
number
2
Maximum zoom level when performing spread (zoom) gesture. 2
means that image can be zoomed 2x from original size. Try to avoid huge values here, as too big image may cause memory issues on mobile (especially on iOS).
getDoubleTapZoom
function
Function should return zoom level to which image will be zoomed after double-tap gesture, or when user clicks on zoom icon, or mouse-click on image itself. If you return 1
image will be zoomed to its original size.
Default value:
getDoubleTapZoom: function(isMouseClick, item) {
// isMouseClick - true if mouse, false if double-tap
// item - slide object that is zoomed, usually current
// item.initialZoomLevel - initial scale ratio of image
// e.g. if viewport is 700px and image is 1400px,
// initialZoomLevel will be 0.5
if(isMouseClick) {
// is mouse click on image or zoom icon
// zoom to original
return 1;
// e.g. for 1400px image:
// 0.5 - zooms to 700px
// 2 - zooms to 2800px
} else {
// is double-tap
// zoom to original if initial zoom is less than 0.7x,
// otherwise to 1.5x, to make sure that double-tap gesture always zooms image
return item.initialZoomLevel < 0.7 ? 1 : 1.5;
}
}
Function is called each time zoom-in animation is initiated. So feel free to return different values for different images based on their size or screen DPI.
loop
boolean
true
Loop slides when using swipe gesture. If set to true
you’ll be able to swipe from last to first image. Option is always false
when there are less than 3 slides.
This option has no relation to arrows navigation. Arrows loop is turned on permanently. You can modify this behavior by making custom UI.
pinchToClose
boolean
true
Pinch to close gallery gesture. The gallery’s background will gradually fade out as the user zooms out. When the gesture is complete, the gallery will close.
closeOnScroll
boolean
true
Close gallery on page scroll. Option works just for devices without hardware touch support.
closeOnVerticalDrag
boolean
true
Close gallery when dragging vertically and when image is not zoomed. Always false
when mouse is used.
mouseUsed
boolean
false
Option allows you to predefine if mouse was used or not. Some PhotoSwipe feature depend on it, for example default UI left/right arrows will be displayed only after mouse is used. If set to false
, PhotoSwipe will start detecting when mouse is used by itself, mouseUsed
event triggers when mouse is found.
escKey
boolean
true
esc
keyboard key to close PhotoSwipe. Option can be changed dynamically (yourPhotoSwipeInstance.options.escKey = false;
).
arrowKeys
boolean
true
Keyboard left or right arrow key navigation. Option can be changed dynamically (yourPhotoSwipeInstance.options.arrowKeys = false;
).
history
boolean
true
If set to false
disables history module (back button to close gallery, unique URL for each slide). You can also just exclude history.js
module from your build.
galleryUID
integer
1
Gallery unique ID. Used by History module when forming URL. For example, second picture of gallery with UID 1 will have URL: http://example.com/#&gid=1&pid=2
.
galleryPIDs
boolean
false
Enables custom IDs for each slide object that are used when forming URL. If option set set to true
, slide objects must have pid
(picture identifier) property that can be a string or an integer. For example:
var slides = [
{
src: 'path/to/1.jpg',
w:500,
h:400,
pid: 'image-one'
},
{
src: 'path/to/2.jpg',
w:300,
h:700,
pid: 'image-two'
},
...
];
… second slide will have URL http://example.com/#&gid=1&pid=image-two
.
Read more about how to implement custom PID in the FAQ section.
errorMsg
string
Error message when image was not loaded. %url%
will be replaced by URL of image.
Default value:

The image could not be loaded.

preload
array
[1,1]
Lazy loading of nearby slides based on direction of movement. Should be an array with two integers, first one - number of items to preload before current image, second one - after the current image. E.g. if you set it to [1,3], it’ll load 1 image before the current, and 3 images after current. Values can not be less than 1.
mainClass
string
undefined
String with name of class that will be added to root element of PhotoSwipe (.pswp
). Can contain multiple classes separated by space.
getNumItemsFn
function
Function that should return total number of items in gallery. By default it returns length of slides array. Don’t put very complex code here, function is executed very often.
focus
boolean
true
Will set focus on PhotoSwipe element after it’s open.
isClickableElement
function
Default value:
isClickableElement: function(el) {
return el.tagName === 'A';
}
Function should check if the element (el
) is clickable. If it is – PhotoSwipe will not call preventDefault
and click
event will pass through. Function should be as light is possible, as it’s executed multiple times on drag start and drag release.
modal
boolean
true
Controls whether PhotoSwipe should expand to take up the entire viewport. If false, the PhotoSwipe element will take the size of the positioned parent of the template. Take a look at the FAQ for more information.
Options for PhotoSwipeUI_Default
(dist/ui/photoswipe-ui-default.js
) are added the same way and to the same object as core options.
// Size of top & bottom bars in pixels,
// "bottom" parameter can be 'auto' (will calculate height of caption)
// option applies only when mouse is used,
// or width of screen is more than 1200px
//
// (Also refer to `parseVerticalMargin` event)
barsSize: {top:44, bottom:'auto'},
// Adds class pswp__ui--idle to pswp__ui element when mouse isn't moving for 4000ms
timeToIdle: 4000,
// Same as above, but this timer applies when mouse leaves the window
timeToIdleOutside: 1000,
// Delay until loading indicator is displayed
loadingIndicatorDelay: 1000,
// Function builds caption markup
addCaptionHTMLFn: function(item, captionEl, isFake) {
// item - slide object
// captionEl - caption DOM element
// isFake - true when content is added to fake caption container
// (used to get size of next or previous caption)
if(!item.title) {
captionEl.children[0].innerHTML = '';
return false;
}
captionEl.children[0].innerHTML = item.title;
return true;
},
// Buttons/elements
closeEl:true,
captionEl: true,
fullscreenEl: true,
zoomEl: true,
shareEl: true,
counterEl: true,
arrowEl: true,
preloaderEl: true,
// Tap on sliding area should close gallery
tapToClose: false,
// Tap should toggle visibility of controls
tapToToggleControls: true,
// Mouse click on image should close the gallery,
// only when image is smaller than size of the viewport
clickToCloseNonZoomable: true,
// Element classes click on which should close the PhotoSwipe.
// In HTML markup, class should always start with "pswp__", e.g.: "pswp__item", "pswp__caption".
//
// "pswp__ui--over-close" class will be added to root element of UI when mouse is over one of these elements
// By default it's used to highlight the close button.
closeElClasses: ['item', 'caption', 'zoom-wrap', 'ui', 'top-bar'],
// Separator for "1 of X" counter
indexIndicatorSep: ' / ',
// Share buttons
//
// Available variables for URL:
// {{url}} - url to current page
// {{text}} - title
// {{image_url}} - encoded image url
// {{raw_image_url}} - raw image url
shareButtons: [
{id:'facebook', label:'Share on Facebook', url:'https://www.facebook.com/sharer/sharer.php?u={{url}}'},
{id:'twitter', label:'Tweet', url:'https://twitter.com/intent/tweet?text={{text}}&url={{url}}'},
{id:'pinterest', label:'Pin it', url:'http://www.pinterest.com/pin/create/button/?url={{url}}&media={{image_url}}&description={{text}}'},
{id:'download', label:'Download image', url:'{{raw_image_url}}', download:true}
],
// Next 3 functions return data for share links
//
// functions are triggered after click on button that opens share modal,
// which means that data should be about current (active) slide
getImageURLForShare: function( shareButtonData ) {
// `shareButtonData` - object from shareButtons array
//
// `pswp` is the gallery instance object,
// you should define it by yourself
//
return pswp.currItem.src || '';
},
getPageURLForShare: function( shareButtonData ) {
return window.location.href;
},
getTextForShare: function( shareButtonData ) {
return pswp.currItem.title || '';
},
// Parse output of share links
parseShareButtonOut: function(shareButtonData, shareButtonOut) {
// `shareButtonData` - object from shareButtons array
// `shareButtonOut` - raw string of share link element
return shareButtonOut;
}
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Bundle
class Bundle : NSObject
-
Returns the full pathname for the resource identified by the specified file.
The method first looks for a matching resource file in the non-localized resource directory of the specified bundle. If a matching resource file is not found, it then looks in the top level of an available language-specific .lproj folder. (The search order for the language-specific folders corresponds to the user’s preferences.) It does not recurse through other subfolders at any of these locations. For more details on how localized resources are found, read The Bundle Search Pattern in Bundle Programming Guide.
Declaration
Swift
func path(for file: File) -> String?
Parameters
file
An object adopting the
File
protocol.Return Value
The full pathname for the resource file or
nil
if the file could not be located. -
Returns the file URL for the resource identified by the specified file.
If
extension
is an empty string ornil
, the returned pathname is the first one encountered where the file name exactly matches name. For details on how localized resources are found, read read The Bundle Search Pattern in Bundle Programming Guide.Declaration
Swift
func url(for file: File) -> URL?
Parameters
file
An object adopting the
File
protocol.Return Value
The file URL for the resource file or
nil
if the file could not be located.


--- title: "Welcome" author: "Brad Carruthers" date: 2019-01-18 slug: become-a-super-user categories: [] tags: [] ---
I started this blog-type project in January 2019 to jot down my thoughts.


TRIAL BY JURY A film review by Steve Rhodes Copyright 1995 Steve Rhodes
RATING (0 TO ****): * 1/2
TRIAL BY JURY is a thriller first and a courtroom drama second. It stars Armand Assante as the smooth talking, smooth dressing, classic wiseguy , a.k.a. Mafia boss. The district attorney played by Garbriel Byrne wants in the worse way possible to convict him. In a long trial that dominates the first three quarters of the movie, a juror (Joanne Whalley-Kilmer) is tampered with by Assante's people. The small time bad guy who works for Assante and does most of the actual tampering is played by William Hurt. All of these facts and much more including, I am sorry to report, a key twist at the end of the show you can learn by seeing the trailers as I have done already on 4 or 5 occasions.
Now, I ask you. Does this sort of sound like a formula plot? Right you are and therein lies the major flaw in the film, the script. It is straight out of Script Writing 101. In the first three quarters it has characters do very predictable things and do them s-l-o-w-l-y. Many actions were not thought through by the writer, e.g., a woman who is frightened and threaten with death walks into her dark apartment and is in no hurry in turning on the light. This is only one of the small problems with the film's believability.
I did not believe the characters during the first three quarters. Just a bunch of actors reading formula dialog. In the last quarter, it just flat got ridiculous. I did not believe it at all. Major suspension of disbelief is necessary to stay a believer till the end.
The William Hurt character was another problem. He was miscast in his role, and the role was not written well or very bright. What a waste of a great actor.
What the movie has going for it is two terrific looking leads in Assante and Whalley-Kilmer. Their looks and their acting I always find interesting. Actually, I knew the show was in major trouble when a brief love scene involving Whalley-Kilmer, whom I think is one of the prettiest women on the planet, started to bore me and found me looking at my watch.
Even small details like Assante's clothing provided intriguing images. Finally, I must admit, that I love jury trial scenes even poorly done ones. They fascinate me.
The movie runs about 2 hours and is rated R by the MPAA. There is a little nudity and a medium amount of violence. I think teenagers could see it if they like. On the other hand, I do not recommend the show to any age group, and I generously award it * 1/2.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show.  Totally unbearable.
REVIEWED WRITTEN ON: September 9, 1994
Opinions expressed are mine and not meant to reflect my employer's.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Need a part for your ThinkPad? Visit our FRU parts catalog at thinkpads.org/fru
{% include head.html %}
{% include header.html %}
{{ content }}
{% include footer.html %}


Scenario 1 : User Account Configured For Constrained Delegation + A Known Plaintext
This is the scenario that Benjamin showed in his tweet. If you are able to compromise the plaintext password for a user account that has constrained delegation enabled, you can use Kekeo to request a TGT, execute the S4U TGS request, and then ultimately access the target service.
Again, if you would like to execute this attack from a Linux system, read Ben’s post.


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so it's not parsed.


SNIPER A film review by Greg Bole Copyright 1993 Greg Bole
Saw an advanced screening of the movie SNIPER last night, and I have to say I wasn't too impressed.
This film is about an expert marine sniper, played by Tom Berenger, who is teamed with a hot-shot-young-no-experience-never-killed-a-man new partner to take out some drug-kingpins and military strong men in Panama. Sound cliche? That's only the beginning.
Billy Zane (MEMPHIS BELLE) played the rookie, and never seemed to get a handle on his character. He was so contrary and pig-headed in the beginning, you just wanted to smack him. Then he goes "crazy" from the pressure, but seems to immediately snap out of it. I'm not sure if the blame should lie with the directing, editing, scriptwriting, or acting ... but it didn't all come together.
I think Berenger is a pretty good actor, and he looked great in the part, covered in camo, face painted, stalking through the jungle with his high-power rifle ... but once again, his character was given some pretty bad dialogue, and didn't react too logically to many of the situations. There was very little logical development in these characters.
My biggest problem with this film was it's tendency to put these two snipers in as *many* inches-from-death situations as possible. They began to resemble G. I. Joes, the Greatest American Hero. And of course their almost supernatural accuracy with their guns was called upon to get them out of far too many close calls. Now a lot of movies are stamped out of this mold, in fact that's what made DIE HARD so much fun: the super-hero avenger type. So some will enjoy the action hero heroics, but I didn't think it fit with the nice tension that was built up in the earlier scenes, and the "real life" feel of covert operations in Panama.
A word must be said on the camera work, much of it was very nice. The jungles of Panama (or their stand-ins in this case) formed a very picturesque background ... and the drama of speeding bullets was captured using some nice trick photography. Many have seen the slowed down "bullet-cam" following the projectile to its target. This was used well in the beginning to show the feverish nightmares Berenger gets when remembering the moment of the kill. It was dramatic when used in flashback...but it seems the director liked the technique so much he started inserting these shots (pardon the pun) into the real time action...then it just seemed silly.
All in all, not a real dog: there is some nice action, good atmosphere, and pretty photography. But the plot is pretty lame, the acting didn't form a cohesive whole, and far too much thisclosefromdeath heroics.
I'll give Sniper ** stars out of 5.
Greg Bole<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


--- layout: default title: Photography image: "http://assets.eliduke.com/photography/hawaii.jpg" excerpt: "I started taking photos when I was 15 years old, in photography class at Noblesville High School. With our hand-made pin-hole cameras in tow, my friends and I would search for abandoned trains & run-down houses in rural Indiana. I loved getting lost in the woods and then finding something that had been lost to the world." ---
I started taking photos when I was 15 years old, in photography class at Noblesville High School. With our hand-made pin-hole cameras in tow, my friends and I would search for abandoned trains & run-down houses in rural Indiana. I loved getting lost in the woods and then finding something that had been lost to the world.
It wasn't until my freshman year in college that I started playing around with digital photography. It began with an Olympus C4000, then a CoolPix 3100, a CoolPix 7600, a Canon Rebel XTi, Rebel T1i, and I've settled on the Rebel SL1 (in white) for now. It's not amazing, but it gets the job done.
If I had to give me style a name, it would probably be "documentary lifestyle." I like telling stories.
I really enjoy looking at the world through the lens of a camera: it allows me to see things differently, pulling back the curtain of an alternate reality. A photograph will never be able to fully capture the essence of actually seeing and experiencing something, but I get such a kick out of trying.


Observer
- Views, but does not change project resources.
- Read-only access to most project resources.
- Read-only access to web content and source code (CVS).
- Submits issue to issue tracking (IssueZilla)
- Subscribes and posts to project mailing lists.
Developer
- Contributes directly to project -- source code and HTML.
- Gains write access to most project resources.
- Write access to HTML, news utility, files utility, CVS, Issuezilla.
- Mailing list privileges the same.
Content Developer
- Contributes directly to project's web content (HTML).
- Gains write access to project's HTML, news utility, files utility, and Issuezilla.
- Mailing list privileges the same.
Project Owner
- Defines the project's overall mission, direction, methodology, and community make-up.
- Gains administrative access to all Project functions.
- Grants members requested permissions on project.
- Administers all project mailing lists and is default moderator on all lists.
- Administers Issuezilla.
- Project Owner role supersedes any other roles you may hold on a project.
Back to main Help index


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SMS SPAM Checker!
(Maintain SMS data and check if it's SPAM or Not)
{% if tasks|length < 1 %}No SMS found
{% else %}| SMS | Date | Spam? | Actions | ||
|---|---|---|---|---|---|
| {{ task.content }} | {{ task.date_created.date() }} | {% if task.spam_check == 0 %}-- | {% elif task.spam_check == 1 %}SPAM | {% else %}NOT SPAM | {% endif %}
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The following table contains a listing of all the messages that have been submitted by clients interested in utilizing the services of Monkey digital.


Knoldus is a team of Passionate Technologists, focused on staying at the edge of the curve.
We love to build Scalable, Performant, Concurrent systems with Functional Programming to meet
the needs of the business.
Knoldus is a team of Passionate Technologists, focused on staying at the edge of the curve.
We love to build Scalable, Performant, Concurrent systems with Functional Programming to meet
the needs of the business.


After the particles/robots have successfully completed the mission, you want to gather all particles. If the polyomino is connected at there is at least one wall, one can show that this is always possible if we are able to make precise one field movements and particles are allowed to overlap.


Create your NFT
Upload file
Drag or choose your file to upload
PNG, GIF, JPG. Max 1MB.
NFT Details
Name of your NFT asset *
Description of your NFT asset *
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Newborn screening identifies conditions that can affect a child's long-term health or survival. Early detection, diagnosis, and intervention can prevent death or disability and enable children to reach their full potential. Each year, millions of babies in the U.S. are routinely screened, using a few drops of blood from the newborn's heel, for certain genetic, endocrine, and metabolic disorders, and are also tested for hearing loss prior to discharge from a hospital or birthing center.
Several of the congenital diseases are genetic and cannot be prevented. Early detection can prevent mortalities and morbidities.
Government Departments
CDPH newborn screening website
National Center on Birth Defects and Developmental Disabilities (NCBDDD):Policy Literature
Expanding Newborn Screening Process Policy and Priorities
Legal Issues In Newborn Screening Implications For Public Health Practice And Policy
Legal Issues In Newborn Screening Implications For Public Health Practice And Policy
- (Article) Newborn Screening Expands Recommendations for Pediatricians and Medical Homes Implications for the System http://pediatrics.aappublications.org/content/121/1/192.abstract?sid=c7ac4fe2-5942-4411-a1b9-05a2c9c6c34b
Disease Literature
Sickle Cell Disease:


#include <decompressingfilereader.h>
Definition at line 27 of file decompressingfilereader.h.
Public Member Functions | |
| bool | atEnd () const |
| void | close () |
| DecompressingFileReader (const SerializableCompressorDecoderFactory &decoder_factory) | |
| DecompressingFileReader (const std::string &file_path) | |
| DecompressingFileReader (const std::wstring &file_path) | |
| DecompressingFileReader () | |
| bool | isOpen () const |
| bool | open (const std::string &file_path) |
| bool | open (const std::wstring &file_path) |
| SerializablePtr | read (sm::eod::DeserializationStatusFlags &status_out) |
| void | setDecoderFactory (const SerializableCompressorDecoderFactory &decoder_factory) |
Constructs and un-opened instance with default decoder factory.
| DecompressingFileReader | ( | const std::wstring & | file_path | ) |
Construct with opened file and default decoder factory.
| file_path | The path to the log file to open. |
| SerializableError | Failed to open file |
| DecompressingFileReader | ( | const SerializableCompressorDecoderFactory & | decoder_factory | ) |
Constructs and un-opened instance using a copy of the decoder factory.
| decoder_factory | The decoder factory, a copy of which is used for decoding compressed objects. |
| bool atEnd | ( | ) | const |
| void close | ( | ) |
Closes the file if open.
Never throws.
| bool isOpen | ( | ) | const |
Never throws
| bool open | ( | const std::wstring & | file_path | ) |
Opens a single file.
| file_path | Path to file to read objects from. |
| SerializableError | if an error occured whilst opening the file |
| SerializablePtr read | ( | sm::eod::DeserializationStatusFlags & | status_out | ) |
Reads the next Serializable object from the file.
| status_out | DeserializationStatus enumeration indicating the state of the object. |
| SerializableError | End of file or an error occured whilst reading from the file. close() will be called. |
| void setDecoderFactory | ( | const SerializableCompressorDecoderFactory & | decoder_factory | ) |
Sets the decoder factory to use for decompressing data.


random
OS/161 Reference Manual
Name
random - pseudorandom number generation
Library
Standard C Library (libc, -lc)
Synopsis
#include <stdlib.h>
long
random(void);
void
srandom(unsigned long seed);
Description
random returns a number between 0 and 0x7fffffff (RAND_MAX). This
number is selected using a rather complex generator which is believed
to generate randomness of an acceptable (though not cryptographic)
quality. Unlike with some generators, all bits of the values returned
are random.
srandom initializes the generator state based on the passed-in
seed. If srandom is not called, the sequence of numbers
returned by random is the same as if srandom had been called with a
seed of 1.
The implementation of random and srandom used in OS/161 is software
developed by the University of California, Berkeley and its
contributors.


Some quick example text to build on the card title and make up the bulk of the card's content.
Some quick example text to build on the card title and make up the bulk of the card's content.
Eu quero!Some quick example text to build on the card title and make up the bulk of the card's content.
Eu quero!Some quick example text to build on the card title and make up the bulk of the card's content.
Eu quero!Some quick example text to build on the card title and make up the bulk of the card's content.
Eu quero!


Angular ui-select is a AngularJS-native version of Select2 and Selectize.
pikaday-angular is a directive wraper that aims to make using Pikaday with AngularJS as simple as possible.
Lightweight AngularJS directive to upload files.
Upload with form element
Upload with drag drop
ngWig is simple WYSIWYG editor for AngularJS that provides the basic functionality like: text styling, headings, lists, alignment.
Sliders are a fairly new feature in user interfaces, and allow users to choose a value from a predetermined range by moving the thumb through the range.
Price
Rating


This is a paragraph.
This is another paragraph.
New header file
New Branch created for h2
Make some changes to your html file in the GitHub website


AUD/JPY technical analysis: Struggles around 200-bar SMA
by Anil Panchal- AUD/JPY fails to stay strong beyond near-term key moving average.
- The five-week-old rising trend line is on sellers’ radar.
- Buyers will look for entry beyond a one-week-old falling resistance line.
Following its failure to stay strong above 200-bar SMA, AUD/JPY revisits the key moving average while taking rounds to 73.95 during the initial Asian session on Tuesday.
With this, an upward sloping trend line since mid-October, around 73.40/35, gains market attention whereas 61.8% Fibonacci retracement of October-November upside, at 73.24, could challenge sellers afterward.
If bears manage to conquer 73.24, 73.00 and 72.80 can provide intermediate halts during the downpour to early-October high surrounding 72.55.
Meanwhile, an upside clearance of the immediate falling trendline, at 74.28 now, can again divert traders’ attention off 200-bar Simple Moving Average (SMA), while highlighting November 07 low near 74.55.
In a case where prices manage to cross 74.55, 75.00, 75.30 and the monthly top close to 75.70 will lure buyers.
AUD/JPY 4-hour chart
Trend: Pullback expected
additional important levels
| Overview | |
|---|---|
| Today last price | 73.96 |
| Today Daily Change | -21 pips |
| Today Daily Change % | -0.28% |
| Today daily open | 74.17 |
| Trends | |
|---|---|
| Daily SMA20 | 74.6 |
| Daily SMA50 | 73.77 |
| Daily SMA100 | 73.69 |
| Daily SMA200 | 75.66 |
| Levels | |
|---|---|
| Previous Daily High | 74.19 |
| Previous Daily Low | 73.5 |
| Previous Weekly High | 74.96 |
| Previous Weekly Low | 73.35 |
| Previous Monthly High | 75.3 |
| Previous Monthly Low | 71.73 |
| Daily Fibonacci 38.2% | 73.93 |
| Daily Fibonacci 61.8% | 73.76 |
| Daily Pivot Point S1 | 73.72 |
| Daily Pivot Point S2 | 73.26 |
| Daily Pivot Point S3 | 73.03 |
| Daily Pivot Point R1 | 74.41 |
| Daily Pivot Point R2 | 74.64 |
| Daily Pivot Point R3 | 75.1 |


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Kinda worried that @duolingo is giving me a warning. 🕷🕊😱 12/12/2016, 7:29:47 PM Favs: 3 Retweets: 0 link


Fianna Fáil still have no housing plan 600 days after Micheál Martin promised one, says Noel Rock
by By Digital Desk staffThe Housing Minister Eoghan Murphy has said Fianna Fáil's promises on housing are "entirely disingenuous".
Mr Murphy hit back at comments from Micheál Martin, saying he has promised a housing plan for three years and still produced nothing.
Mr Martin had criticised the housing situation in Ireland, saying the crisis was at the "frontline of [the] failure" by the Fine Gael government in helping families "build a better future for the next generation".
He said that for three years Fianna Fáil have "promised a housing plan and still nothing" and only have "slogans and soundbites".
Chair of the Housing Committee, Fine Gael's deputy Noel Rock says a list of bullet points with no plan or budget, doesn't build anything.
Mr Rock said: "What Micheál Martin has done here is once again promise a housing plan without any detail whatsoever. Over 600 days again now he promised that he would have a comprehensive housing programme up on his website and available for all to peruse. That housing plan has not materialised to date."
Mr Murphy said: "But now we are seeing some scant detail and even that is very worrying because it is so lacking in substance."
The Minister and Taoiseach Leo Varadkar turned the sod on a new 153-home affordable housing development in Boherboy, Co Cork yesterday, and he questioned whether Mr Martin was "so detached" that he overlooked the scheme.
Mr Martin later replied that the Taoiseach and Mr Murphy "should knock on the doors of the Northside of Cork and they would find out pretty quickly what people think of their failed housing policies.
"Photos of hard hats and shovels in the middle of a by-election won’t cut it," he said on Twitter.
READ MORE
Govt considering using State-owned land for Direct Provision accommodation


This portfolio is a compilation of the various works as much as personals as clients. The works has been developed using the languages as HTML, CSS, JavaScript. Also Framework as JQuery, Angular JS, Gulp JS, Boobstrap, Materialize.
Knowledge of analysis for Social Media Marketing and SEO. Experience using the tools as Google Analytics, Twitter Analyst, Pinterest Analytics, Instagram Insight, Facebook Statistics.
Experience programming in the languages as C/C++, VBA, JavaScript, PHP. Knowledge of development with Python and C#. Experience in Web development with WordPress and others CMS.
I like to learn about the development. Therefore I always to be reading about the new technologies as React.js, Angular, Vue.js, Node.js, Express.js, MondoDB, Ionic, Electron.js and others.
Hello, I'm Wonder Diaz this is my portfolio personal. I'm a Web Developer and Industrial Engineer. I'm a passionate about the technology. I have one year of experience in development web.


Accompanies a paper (Barunik, Krehlik (2018) <doi:10.1093/jjfinec/nby001>) dedicated to spectral decomposition of connectedness measures and their interpretation. We implement all the developed estimators as well as the historical counterparts. For more information, see the help or GitHub page (<https://github.com/tomaskrehlik/frequencyConnectedness>) for relevant information.
| Version: | 0.2.1 |
| Depends: | vars, urca, knitr, pbapply |
| Imports: | methods |
| Suggests: | testthat, stringr, mAr, reshape2, ggplot2, parallel, zoo, BigVAR |
| Published: | 2018-09-24 |
| Author: | Tomas Krehlik [aut, cre] |
| Maintainer: | Tomas Krehlik <tomas.krehlik at gmail.com> |
| BugReports: | https://github.com/tomaskrehlik/frequencyConnectedness/issues |
| License: | GPL-2 |
| URL: | https://github.com/tomaskrehlik/frequencyConnectedness |
| NeedsCompilation: | no |
| Materials: | NEWS |
| CRAN checks: | frequencyConnectedness results |
| Reference manual: | frequencyConnectedness.pdf |
| Package source: | frequencyConnectedness_0.2.1.tar.gz |
| Windows binaries: | r-devel: frequencyConnectedness_0.2.1.zip, r-release: frequencyConnectedness_0.2.1.zip, r-oldrel: frequencyConnectedness_0.2.1.zip |
| OS X binaries: | r-release: frequencyConnectedness_0.2.1.tgz, r-oldrel: frequencyConnectedness_0.2.1.tgz |
| Old sources: | frequencyConnectedness archive |
Please use the canonical form https://CRAN.R-project.org/package=frequencyConnectedness to link to this page.


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From the misadjusted minds of
Eric Haines
,
Phil Dutré
,
Dan Kartch
, and
Ben Trumbore
.


App registeration
AppRegNew.aspx
For sharepoint on prem, it needs to create "App Management service application" and configure the trust at the first place
OAuth 2.0 is the industry-standard protocol for authorization. OAuth 2.0 focuses on client developer simplicity while providing specific authorization flows for web applications, desktop applications, mobile phones, and living room devices.
OAuth（Open Authorization，开放授权）是为用户资源的授权定义了一个安全、开放及简单的标准，第三方无需知道用户的账号及密码，就可获取到用户的授权信息
OAuth2.0是OAuth协议的延续版本，但不向后兼容OAuth 1.0即完全废止了OAuth1.0
Access token, what does it look like?
SharePoint add-in, how to do the authentication?
Low trust?
High trust?
Azure AD registered App?
| NAME | Description |
|---|---|
| aud | Short for “audience”, means the principal the token is intended for. The format is <client ID>/<target URL authority>@<target realm>. Based on this information, you can determine the client ID for your app and the realm. In an on-premise environment, there is typically just one realm, and its identifier matches your farm ID. For Office 365, this is your tenant ID. |
| iss | Short for “issuer”, this is the principal that issued the token, in the form of <principal ID>@<realm>. The principal ID value 00000001-0000-0000-c000-000000000000 is ACS. |
| nbf | Short for “not before”, this is the number of seconds after January 1, 1970 (part of the JWT specification) that the token starts being valid. |
| exp | Short for “expires”, represents the number of seconds after January 1, 1970 that the token stops being valid. |
| identityprovider |
The sender of the token in the form <sender ID>@<realm>. For trivia:
ACS: 00000001-0000-0000-c000-000000000000 Exchange: 00000002-0000-0ff1-ce00-000000000000 SharePoint: 00000003-0000-0ff1-ce00-000000000000 Lync: 00000004-0000-0ff1-ce00-000000000000 Workflow: 00000005-0000-0000-c000-000000000000 The realm will be the tenant ID for Office 365, or the farm ID for your on-premise deployment. |
Step 1
AppRegNew.aspx
For sharepoint on prem, it needs to create "App Management service application" and configure the trust at the first place
Step 2
AppInv.aspx
Step 3
TokenHelper
PnP AuthenticationManager
PnP PowerShell
Registered Azure AD App
Especially when the app is deployed on cloud and fiddler is not applicable


Iconography is the science of identifcation, description, classification, and interpretation of symbols, themes, and subject matter in the visual arts. Icons serve as an important visual aid in any graphical communication. Their primary function is to serve as a common visual language, removing the possibility of open interpretation or ambiguity.
In this project, you will be designing a set of icons of your choice. If you're not sure what topic to create icons for, here are some possible topics.