There were others who suffered, to whose voices we must also attend.
--Jay Winter, "Shell-shock and the Cultural
History of the Great War"
I write because they left their indelible mark on me and writing is its trace.
--Georges Perec, W, or the Memory of Childhood
Fresh wounds break open older wounds. One of the most estranging images recorded by soldiers on the western front was that of cemeteries in which heavy bombardment had unburied the dead. If historians and literary critics in the late twentieth century turned to World War I to focus on representations of what the British called shell shock, they did so in order to find ways to deal with the legacy of World War II. This midcentury trauma silenced the generation that survived its combats and camps, and it left what Nicholas Abraham calls a concealed, "phantom" injury to be mourned by the children of camp survivors. 1 The return to 1914 was an indirect path taken toward understanding the present. Attempts to understand how the Holocaust and the Vietnam War had rendered narrative problematic, if not impossible, sent scholars back to consider how a similar breakdown of language and storytelling arose from World War I. As Walter Benjamin had written in "The Storyteller," "With the World War a process began to become apparent which has not halted since then. Was it not noticeable at the end of the war that men returned from battlefield grown silent--not richer but poorer in communicable experience?" 2 In recent years, historians' conferences and journal issues dedicated to the epidemic of nervous breakdown or "combat fatigue" suffered in 1914-18 have focused on those "silent" men, reexamining medical and autobiographical accounts that help us understand the kinds of meanings allotted to trauma and its symptoms by doctors, military leaders, and politicians as well as by the soldiers themselves.
Modern interpreters have brought to this task the psychiatric definition of post-traumatic-stress disorder (PTSD) that emerged from our experiences in Vietnam. This diagnosis has enabled us to frame the forms that shell shock took and to inquire why they became so central to the earlier war narratives that have often been identified with modernism. PTSD has offered literary critics a vocabulary to describe the symptoms of soldiers' mental disturbances that may re in memoirs and other autobiographical accounts: nonsequential memory, flashbacks, nightmares, and mutism or fragmented language. Those symptoms bear a suggestive resemblance to certain features of modernist experiment: decentering of the subject, montage, ellipses or gaps in narrative, and startlingly vivid images. This similarity--or, some would argue, connection--between a set of medical symptoms among veterans and a set of stylistic features in narrative has fostered a masculine canon of modernism. 3
Behind these moving accounts of combatants' psychological injuries lies concealed another history of wartime trauma, one that has only begun to be written. "One train may conceal another," runs a French aphorism, and the shock experienced by combatants during the war for a long time displaced our attention from noncombatant traumas. Margaret Darrow has argued that French women disappeared from the cultural memory of World War I not because of "memory-loss" but because the story was never created: "a failure of memory creation." 4 As descriptions of a disturbing gap in the historical narrative, both phrases suggest trauma, perhaps because women's experiences so dramatically broke with accepted scripts, shocking many contemporaries. Restoring this repressed narrative requires us to bring social history together with feminist history. To do so, Darrow and other historians have turned to the experiences of civilians, such as those in occupied zones or in cities under bombardment, and to the experiences of the noncombatant medical corps, which of course included women. Over the last two decades, a focus on original sources has led to the publication or reedition of civilian and nursing diaries and memoirs, and historians have begun to study the social and economic impact of the war on civilians. We are starting to uncover an alternate history of World War I traumas. 5
I begin here by reconsidering how war-induced trauma has been gendered through its identification with combat, not only by those who lived through 1914-18, but by scholars today. For alternative evidence, I examine the traumatic stress suffered by members of a specific noncombatant group--nurses and orderlies--who recorded repeated confrontation with men's mutilated bodies. I focus on this group for several reasons: their work in clearing stations, hospital ships, and other emergency units took place under conditions similar to those faced by combatants. The group includes women, which is important to me as I consider what it means to construct a gendered canon or countercanon. In addition, this group has produced writing that ranges from immediate diaries and letters to retrospective memoirs and fictionalized autobiographies. This range permits us to reflect on the consequences of genre distinctions in relation to testimony and the implied values that govern canon formation.
In the process, I want to underscore the problematic nature of trauma narratives. These were understood by some doctors and psychiatrists during the war as lies or fictions generated by malingerers. Other specialists have understood trauma narratives as authentically symptomatic testimony to the unspeakable conditions that precipitated psychological breakdown. Dori Laub goes so far as to declare that "massive trauma precludes its registration." 6 For Laub, the gaps in narrative, like black holes, expand to consume all narrative, resulting in mutism. More recently, historians such as Eric Leed, George Mosse, and Jay Winter have viewed shell shock as a useful metaphor for the costs of modernity that were made manifest in industrialized warfare. 7
The lability of the terminology for PTSD and accordingly of its definitions in 1914-18--from shell shock to male hysteria, from hypochondria to combat fatigue--points to the complexity of the concept. This essay will explore some of the difficulties faced by modern critics caught between the claims of authenticity and of art in examining trauma writing. To what extent should the canon of war writings be revised in light of the evidence that experimental techniques offered a repertoire upon which soldiers and other witnesses of the war could draw to compose their memories? 8 These are questions that have been raised by major critics such as Paul Fussell and Sam Hynes, but that continue to perplex our versions of literary history. 9
Despite a professional literature that already in 1914-18 referred to civilian experiences of wartime trauma, both historians and critics have focused almost exclusively on combatants' experiences. Benjamin remarks on the silence of "men returned from battlefield." 10 In a recent Franco-British collection of essays on shell shock, all but one article deal with combatants. 11 War is man's affair, in popular wisdom, and soldiers' sufferings lie at the heart of the matter. It is no surprise, then, to find that accounts of "soldiers' heart" (as one post-traumatic syndrome was called) dominate the scholarly reassessment of this period. When alternate voices have been sought out, they have been the voices of the foot soldiers, i.e. the working classes, in counterpoint to the eloquent poetic legacy of the elites.
Questions of masculinity have been fused with war trauma in curiously ambiguous ways. PTSD was understood by the military as a failure of masculinity--a failure of hardness, courage, or willpower--and a manifestation of latent effeminacy or immaturity. It was thought to be cured by violent electric shock, and was sometimes punished by execution. Mosse and others have gathered evidence that (especially among German doctors) victims of "male hysteria" were perceived as inferior specimens and malingerers, thus aligning "shockers" with women, Jews, and the working classes. 12 For many scholars, including feminist critics, the focus has been on a "crisis of masculinity," as Elaine Showalter puts it. 13 In her influential view, the medical discussion and the afflicted soldiers themselves expressed "more general but intense anxieties about masculinity, fears of acting effeminate, even a refusal to continue the bluff of male behavior" (FM, 172). She gives the eruption of this anxiety a particular twist. Since it was "manly" not to complain, "shell shock was the body language of masculine complaint, a disguised male protest, not only against the war, but against the concept of 'manliness' itself" (ibid.).
Equally ambiguous is the powerful force of male bonding in wartime. Just as trauma and disillusionment have become symbolic equivalents in the way historians have thought about the ruptures wrought by the war, so too trauma and the experience of brotherhood have become intertwined in medical analyses and literary texts. On the positive side, comradeship has been tied to a reduced incidence of shell shock. Denis Winter cites letters in support of his thesis that "the chief prop was mates." 14 Doctors and commanders speculated whether neurasthenia or "male hysteria" as well as breaks in discipline could be prevented by developing an "esprit de corps." 15 Comradeship sustained soldiers, protecting the unit against trauma, as we read in so many war narratives. Yet its intensity, when individual members of the unit were lost, could also trigger melancholia. Doctor after doctor remarked that the devastating "sight of dead comrades" or "the sight and sound of his lacerated comrades" was sufficient to arouse morbid agitation, nervous breakdown, with paralysis, cramps, or even delirium. 16 The bonds developed in trench warfare, it was thought, helped to explain the breakdown of those who had witnessed the fragmentation of bodies under protracted bombardment. 17 It was a male form of mourning. By the end of the war, therefore, trauma had joined brotherhood and disillusionment as hallmarks of the war experience and of the war narrative. In spite of underlying ambiguities, the gendering of war entailed a gendering of trauma, and trauma became a privileged, masculine form of testimony about the complex meaning of war, a status it retains among historians and critics today.
I propose to interrogate the view of war trauma as a male disease by inspecting wartime trauma experienced by noncombatants. The sufferings of the noncombatant have already attracted interest from some major historians and literary critics. Annette Becker's historiographically innovative contribution, Oubliés , for example, compares the occupied territories of northern France to a large internment camp, a militarized home front. She draws a parallel between the traumatized victims of the occupation (a high percentage of whom were women, children, and old men) and those long-term prisoners who suffered from "barbed wire neuroses." 18 Trudi Tate also juxtaposes men's and women's experiences in her study of modernism and World War I, devoting a chapter to civilian war neuroses on the home front. She cites examples such as a woman hospitalized when five of her seven sons were wounded, and devotes attention to fictional representations of secondary trauma ("shock even to people who are not present"), such as Rebecca West's The Return of the Soldier , Rose Macaulay's Non-combatants and Others , and H. D.'s narratives "Kora and Ka" and Bid Me to Live . 19 Tate asks key questions that shape any study of war trauma: "who has seen what," how is one "positioned in relation to war's trauma," and "who has the right to speak" (MH, 19).
These studies of direct trauma on the home front and of the melancholia that ensues from personal war losses are extremely valuable. What I propose, however, is to apply Tate's questions to those occupying a liminal position in relation to war's trauma: noncombatant medical staff (both male and female) in first-aid stations, clearing stations, and mobile units near the front. My evidence shows that these workers not only dealt with soldiers' physical and psychological traumas, but were themselves exposed to situations that triggered breakdowns similar to those experienced by combatants.
To be sure, the etiology of shell shock is still debated. Some hold that eventually, under corrosive conditions such as defeat, exhaustion, constant bombardment, and immobilization, increasing rates of breakdown or "combat fatigue" will be inevitable in any war. In the words of Lord Moran, "men wear out in battle like their clothes." 20 Norman Fenton thought that "in all probability, liability to neurotic symptoms is practically universal." 21 The conditions to which many doctors in 1914-18 as well as modern psychiatrists have pointed are extreme fatigue, the continuous confrontation with death and mutilated bodies, the shock of surprise (a sudden horrifying sight), and an unresolvable conflict between fear and duty or between two equally compelling responsibilities. 22 Thus W. H. R. Rivers, the doctor who treated Wilfred Owen and Siegfried Sassoon, recognized the power of forced immobility, a sense of powerlessness, and repression to foster war neuroses. Rivers notes that while camaraderie may help release disabling anxieties, the catalyst--"some disgusting sight or the death and mutilation of a friend"--may be overwhelming. 23
Like combatants, medical staff worked under unrelenting strain for days on end in confining quarters such as bunkers or dugouts and small operating sheds. They handled steady streams of mutilated bodies. And they were torn between their duty to the individual patients and their obligations to send as many able-bodied soldiers as possible back to the front lines. The situation of medical staff engaged in triage replicated in another register the untenable moral conflicts that seemed to doctors to be responsible for nervous breakdowns among officers. Yet surprisingly little work has been done on the records concerning medical staff. Certainly the term shell shock, its alliterative onomatopoeia so effective in evoking a semblance of physical injury, seems inappropriate for a discussion of the mental trauma experienced by medical staff. 24 Perhaps the terminology itself impeded this insight. Significantly, however, Fenton, an American doctor who reviewed the official statistics about war neurosis after service with the American Expeditionary Force in France, identified a heightened incidence of breakdown among the medical corps. "[T]he greater proportion," he wrote, "might be explained by the fact that these individuals witnessed terrible sights of mutilation and disease both at the front and in hospitals behind the lines" (SSA, 46). In what follows I review attempts by nurses and orderlies to record these aspects of their work, and explore the apparent impact of these traumatizing factors on some of their memoirs and sketches.
Many nurses themselves were fully aware of their oppressive situation. Thus Léonie Godfroy explained her dark vision of the war in her memoir:
War appears to be something abominable or something sublime, depending upon the side one encounters. I must declare that I have seen only the somber side. This is women's share. Those of us whom chance or vocation draws into the vast drama must resign ourselves to seeing only the saddest of realities. To men in the first rank of danger go the superb élan, the epic spectacles of the battlefield. To us, the other side of the decor. . . . They come to us afterwards, bloody, weary, mute. It is not surprising that our recollections often have an element of nightmare. 25
Ellen La Motte, a nurse on the western front who knew the former medical student Gertrude Stein from their days in Baltimore, chose likewise to describe "the backwash of war." 26
The nightmares to which Godfroy refers are not just the violent dreams of the damaged men who came to be treated, nor are they simply metaphors for the horrors of industrialized warfare that have so often been invoked by modern critics. Medical staff directly experienced the unrelieved stress of industrialized war through the mechanized treatment of injuries--for example, the constant irrigation of wounds and the mass production techniques in surgery wards that divided patients according to their injuries. The nightmares that erupted into Sassoon's consciousness also erupt in nursing accounts. Nurse M. Eydoux-Démians in a notebook published in 1915 asks, "Was this horrible nightmare a reality?" 27
Emotional and physical collapse resulted from the unrelenting press of work endured by nurses. In Italy, Sita Meyer Camperio, who founded the nursing corps, questioned her own stamina. In a diary entry of 18 May 1917, she describes how her physical exhaustion was exacerbated by mental fatigue: "I do not know if I will have the moral and physical force to remain long in this infernal mob, not being able to close my eyes at night and having days filled with more tragic visions." 28 An entry for the following day recounts how a fellow nurse came to her one night and threw her arms around her lamenting, "Sita, I cannot close my eyes any more!" 29 As Beth Tarini writes in an unpublished study of the Italian Red Cross, "Trauma eroded the strength to deal with trauma, and nurses found themselves caring for other nurses." 30
Lady Kennard, working in Romania in 1916, recorded in her diary an afternoon bombardment, followed by the press of work in her hospital:
as we neared the hospital shrapnel began to fall. The bombs, of course, fell all round. I picked up one man wounded and unconscious and took him on with me in the car. A woman was killed at the gate of the hospital and one man died on the doorstep. . . . [T]hree operations between four and seven. 31
As further wounded flooded in, operations continued while she stood for six and a half hours, administering chloroform. "One couldn't be excited in the hospital, there was no time. . . . One just works without the faintest understanding of what one is doing.  Kennard's ellipses punctuate the page like controlled pauses for breath that help to reestablish the rhythms of human life and prevent collapse. For some nurses, such breaks ultimately marked the point at which they themselves fell silent. Thus the diary of Mme. de la Boulaye stops short with the entry of 24 May 1917. A blank marked by ellipses records her breakdown.  32 Across the gap of no-man's-land, a comparable staccato observation is made by a German nurse, Schwester Elfriede Schulz, who in 1917 was working nonstop in surgery. She records that "The floor was piled high with bandages, amputated limbs, blood, bits of flesh, the air was filled with narcotics, pus, the reek of blood," and describes "shattered limbs that hung from a few scraps of flesh, bad head wounds, hopeless stomach wounds--it was beyond consolation." 33 The days of 21-2 September she worked thirty hours, going from bandaging to operating to night watch. "You get frightfully tired," she wrote. "While you are harassed in the operating room, it's all right, but in your free minutes you collapse." 34 Some nurses turned to morphine, not only a painkiller but the agent of a euphoria that enabled them to continue to work. 35
The crush of patients overwhelmed facilities and induced a sense of helplessness among many nurses and orderlies. Nurse A. L. Walker recalled handling three thousand men in a day at her base hospital: "Operations went on unceasingly. As fast as a patient could be taken off the operating table another went on, and so on all night, the surgeons had been at it all day." 36 The pace inhibited thought and suppressed a sense of self: "The work would have seemed hopeless, if one had stopped to think. . . . Some had both legs off, some their side blown away, all were wounded in dozens of places. Doctors and nurses were hopelessly outnumbered, distractedly trying to meet the demands made on them" (ibid.). Ironically, the relentless routines of rapid-fire work sustained the flow of adrenalin, even while exhausting emotional reserves. Another British nurse writes of "the nervous strain and the hopelessness of struggling against heavy odds." 37 Her inability to relieve suffering adequately, she wrote home, "tries me so dreadfully" (ibid.).
Similarly, Mary Britnieva, a young Russian nurse of British extraction, was overwhelmed when she came upon victims of gas attack laid out for emergency treatment on a field:
The ghastliness of what we saw is beyond description, the memory of it making me shudder to this day.  Some were evencoughing up pieces of their lungs that the cruel gas had disintegrated in their living bodies. 38
The memory of these men whose very coughs tore them apart returns physically to punctuate--with vivid details such as the color blue--Britnieva's memoir. She insists on the despair she and her colleagues felt when faced with such cases, men whom they had known: "We felt utterly helpless, there was no remedy, we were powerless. . . . The realization of our helplessness was almost unbearable; a wound can be dressed and the flow of blood from a haemorrhage can be stanched, but this fiendish weapon had got science and surgery beaten" (ibid., ellipses in original).
Triage imposed upon doctors and nurses the sacrilegious responsibility of determining who should live and who should be allowed to die. While it in fact raised survival rates, triage came at a cost to those who performed it. Anna Cameron commented, "The lives of living men must not be risked for lives going out, but the memory of some things which have had to be often left undone in the stress of war nursing stabs and stabs in the quiet days." 39 Lucia Garelli, an Italian nurse who fell ill and died, wrote in a letter of August 1917, "How I have fought and how my poor, ugly face bears deep signs of the internal violence, of my strained will, of the lashes to the tired body. Whoever has not been with me and does not know me well cannot comprehend the t in which I am engaged day after day between feelings and nerves, between heart and head." 40
The despair accompanying impossible responsibility, especially the conflict between competing ethical and patriotic responsibilities, forms a leitmotif in some of the boldest accounts of nursing trauma. Madeleine Clemenceau Jacquemaire, daughter of the French politician, closes her fictionalized autobiographical account of service in the Red Cross with an anguished intrusive vision of recurrent horror. Her counterpart, the head nurse Madame Berton, meditates on the long-term responsibility of women to tell the truth of the war to future generations:
The wheel will continue to turn yet longer. We are at the point in the circle where the wounded man arrives from the battlefield, whence he will pass on (if he does not die and is not mutilated) to the interior, to convalescence, the base station, the trench, and then led by fate back to us, if he is not killed. We often see men who have been wounded five and six times. Ah! away, away! the awful vision that oppresses me . . . Those Spanish horses, sunk to the ground in their blood . . . The ring assistant comes close, thrusts the entrails spilling from the open flank back inside with a handful of straw! Ah! the poor animals! He forces them up with a pitchfork, to bring them back to the bull whose rage must be exhausted. . . . Are we doing the same thing? Yes, since we must buy victory. 41
The vision intrudes and punctuates her thoughts. The effectiveness of her ellipses lies in their visual evocation of what she wishes to repress. The macabre, insistent hallucination expresses the nurse's fear that war instrumentally reduces men to damaged bodies and to commodities exchanged for victory. Those who bandage them contribute to the perpetuation of the system.
One of the most important factors in trauma for medical staff was the disarticulation of bodies and the uncanny blurring of boundaries between the human and the inanimate, the living and the dead. Lady Kennard reports her violent illness and the "mute misery" of her pain after witnessing an accident in which a train from Bucarest, overladen with destitute refugees, women and children, derailed:
Last night we visited at sunset such a scene of horror as can never, and should never, be described. . . . No one knows how many hundreds died there by the roadside, some in the flames of the engine's exploded petrol tank, the greater number crushed into one huge formless mass of flesh and horse-hair, splintered bones and wood. [RD, 125-6]
That which cannot be described must nonetheless be indicated. Even the silence of her misery can speak only through the space opened up by words. The insistence in trauma literature that experience lies beyond language depends, ironically, on language.
The disassembly of bodies resulted not only from modern combat but from surgery itself. "I have ceased to be affected by corpses," Lady Kennard wrote, "but I hate amputations" (RD, 60). Amputations held a particular power to dismay for Pierre La Mazière, a male orderly on a hospital boat at the Dardanelles. He notes not only the frantic pace of operations, but his "horror, terror, and revolt" at the amputation of an arm. 42 His eyes are transfixed by severed fingers, and he is shocked by the surprising shortness of an arm without its hand, a leg without its foot. La Mazière's reflections evoke the care with which he tried to distinguish and understand his own reactions:
While I can observe impassively from the moment when the wounded man is put to sleep and throughout the operation, whatever its horror; while I can watch without emotion the lancet penetrate the flesh, the curette digging into infected wounds, the gouge grinding bones, my sensibility is provoked beyond measure as soon as I am confronted with some debris: arm, leg, foot, or hand whose warmth immediately evaporates and which so quickly assumes the waxy appearance of death. 43
The operation that detaches the dying from the living, the part from the formerly harmonious whole, troubles him because it suggests the complicity of medicine in the destruction of war. La Mazière translates this experience of terror and revulsion into a hellish scene in which he must carry a gangrenous limb for disposal in the furnace, darting here and there in the underwater maze of corridors as he hurries to dispose of this uncanny symbol of death.
The diaries and memoirs of nurses and orderlies such as La Mazière and Kennard display a precise detail, a power of self-interrogation, and a driving rhythm that make them as forceful as most fictional narratives. In a similarly detailed account Lydiia Zakharova, a Russian middle-class mother who volunteered as a nurse in 1916, describes no-man's-land as a vast labyrinth. Its trenches overflow with masses of dead bodies interspersed with strange objects--stolen china, a toppled child's high chair--that bear mute witness to combat. Frozen bodies sit in poses that make them seem alive, "eyes open and glazed with the tranquillity of non-existence, as if they were listening to the ominous cries of the crows flying overhead." 44 Like the surgical nurses Schulz and Walker, who are grateful that they have no time to think, Zakharova notes that at a certain limit "the human mind can perceive no more horrors, as a saturated sponge can soak up no more water" ("DRC," 185). When she suddenly finds herself separated from the orderlies, her disorientation exposes her situation in no-man's-land. Lost between life and death, she must walk over "some kind of mush," being unable to distinguish between mud and mute men ("DRC," 186). Eventually she traces a curve on the horizon that must be the Russian trenches, and her narrative resumes.
Of these assorted records, only the depiction of hospital life by Jacquemaire--a first person account in which the author is transposed as the third-person Mme. Berton--is overtly fictionalized. Many of them interpolate sharply observed soldiers' stories about moments of crisis or complex inner conflicts, subordinating their own insights to dramatic accounts by men who seemed closer to the front, perhaps to anchor their own accounts. In the past such interpolations have been read as transparent documents, unconstructed testimony, or sutured case histories (a genre that many of them echo). Such interpolations, however, signal the constructed nature of these texts, and remind us that the text of war is a hybrid whose site of origin is always displaced.
The simple artistry of these medical diaries and memoirs, with their startling details and fitful narrative rhythms, finds a more ambitious equivalent in the novel Balaurul , based on the Romanian novelist Hortensia Papadat-Bengescu's experience of nursing at Foscani. By focusing an entire chapter on the exposed heart of a dying soldier that she never permits us to see, Papadat-Bengescu invites the reader to imagine indescribable events and to explore the psychic and social wounds inflicted by war. The nurse Laura, through whom the experience is focalized, interrupts her thoughts with ellipses, punctuating physical description with questions about the soldier's unknowable emotion and mind: "Then she knew. He . . . he was afraid . . . afraid to move, to blink even, over the frozen pupil . . . afraid? And he kept his head like that, pushed back, not to see . . . To see what? . . . Maybe he had already seen . . ." 45 Her own thoughts interrupt each other, just as her intent focus on the symbolic wound interrupts her routine nursing tasks and breaks down the frame of understanding into which she attempts to place that naked organ or "altar" of human life. We cannot be surprised to learn that this novel was initially rejected by readers. Papadat-Bengescu finds shocking and sacrilegious images for the diseases she observes, describing gangrenes and strange new epidemics of "infectious pustules linking disparate cases" as "a flora specific to modern wars" ("MWH," 362). Her irony about the tawdry emotions unleashed by suffering must have been unacceptable in the postwar period. She describes the ingenuity that united climates, organisms, and nations in developing new formulae for destruction as "procedures which industrious and honest scientists were still offering with innocence and praise to the vampire of war" (ibid.). The diagnostic gaze is trained not only on the body but on the society as well.
Aside from Vera Brittain's memoir, the World War I nursing sketches that are best known today are undoubtedly those of Ellen La Motte, a trained nurse, and of Mary Borden, a wealthy younger writer who volunteered at the outset of the war. Both worked in the same French military hospital on the western front, which Borden herself had funded. Both moved in avant-garde circles, apparently having met through their friendship with Gertrude Stein; Borden had had an affair with Wyndham Lewis and became a novelist after the war, while La Motte published sketches about her subsequent experiences in China combatting the opium trade. Their accounts differ from most of the previous examples because they not only record immediate observations, but also display a self-conscious concern for artistic craft, deliberately fragmenting their texts. Their work is so powerful that one reviewer found it might suggest the hospital was "a place of horror." 46 Indeed.
Are their works memoirs or fictions? Authentic witness or artistic exploitation? Ernest Hemingway (himself in the ambulance corps) assumed that women's lack of "war experience" forced them to borrow their evidence from men who had the experience. 47 In its review of Borden, the Saturday Review of Literature worried about her poetic gifts: "Miss Borden has taken the rawest materials of life and turned them into a work of art. But what price art?" 48 Such a question loses its sharp contours today, when autobiographies have come to be understood as literary productions, and histories as emplotments. Yet for many critics and analysts, trauma writing has retained a privileged status as a form of virtually spontaneous truth telling. I have argued elsewhere that fragmentation, abrupt juxtaposition, deadpan description, and intrusively vivid images in La Motte's Backwash of War and Borden's Forbidden Zone constitute what I have termed a kind of deliberate "symptomatic writing" of the trauma of nursing. 49 It is important, however, not to confuse such a symptomatic writing with "unwitting" or "unconscious testimony" (TCW, 15).
If we think of the writing of trauma as a process of birth, in which, as Laub suggests, the emergence of narrative produces "knowing," then the imperative relationship between the teller and the imagined audience becomes salient. Psychoanalytic study has focused on the need to testify "to an absence, to an event that has not yet come into existence" because the violence and enormity of the traumatic event cannot be assimilated (TCW, 57). Just as the event seems incomprehensible, suspended between a before and an after, the story of trauma is suspended between life and death. As Cathy Caruth suggests, it exists "between the story of the unbearable nature of an event and the story of the unbearable nature of its survival." 50 Trauma theory is torn between the hope offered by the "talking cure," in which a listener enables the speaker, and the more pessimistic premise that, as Benjamin puts it, "In all mourning there is the deepest inclination to speechlessness." 51 Much medical work, as these quotations suggest, has focused on knowledge at the site of generation rather than that of reception.
I propose that we look closely at the kind of "knowing" that is at stake in these texts. We must consider the relationship between an obstructed, specific consciousness of violence in its ungraspable details and a more philosophic knowledge about the causes and consequences of violence. This second knowing is impelled by a desire to restore the self and to change one's audience; it can motivate and enable the telling by which the dark and obstructed first kind of knowing becomes possible. The two kinds of consciousness cannot be separated, but there is a movement from one to the other in the most creative and powerful of these World War I narratives. Borden, La Motte, Papadat-Bengescu, and even less self-conscious writers such as La Mazière draw from a bitter well, then pass their knowledge on to their readers.
The first kind of knowledge about war trauma, often symbolized by a confrontation with death that civilians can never understand, has generally been understood as incompatible with the second, more philosophic knowledge. When the critical measure of authenticity excludes noncombatants, and looks askance at artistry, it excludes consideration of works such as those I describe here. Sam Hynes chooses, like Tolstoy, to privilege the way soldiers "bear witness" to modern war: "I too have taken the actual killing to be the center of war's compound story." 52 He therefore concentrates on the simple, accurate accounts of soldiers that have "the authority of direct experience." 53 Such an exclusion may be contested by adducing the evidence of war trauma through the presence of its symptoms. Yet if we interpret war memoirs and autobiographical fictions symptomatically, as I myself have done, we run the risk of a circular logic. The symptoms do not guarantee the authenticity of the unique lived experience, since they participate in a larger, preexisting system of signs, and deploy those that are available both to invoke and to evade the trauma. As Robert Graves wrote, "the memoirs of a man who went through some of the worst experiences of trench warfare are not truthful if they do not contain a high proportion of falsities." 54
The interconnection between the symptoms of trauma and a widespread explanation of the rise of modernism gives this question special weight. Susan Stanford Friedman writes in her study of H. D. that "Art produced after the First World War recorded the emotional aspect of this crisis; despair, hopelessness, paralysis, angst, and a sense of meaninglessness, . . . chaos, and fragmentation of material reality." 55 Modernist writing, she explains, focused on the "agency of language" as a vehicle of meaning (ibid.). For some, trauma writing was defined by a fragmentary juxtaposition of intense moments and images, as emotionally powerful wording erupted in response to the war experience. It stood in opposition to the exhausted, cliché discourse of patriotism and traditional values that Henry James and Hemingway declined as overstrained and obscene. 56 As Edith Wharton wrote, "the meaning had evaporated out of lots of our old words, as if the general smash-up had broken their stoppers." 57
Already during the war the verbal symptoms of trauma experienced by soldiers had been linked to the experimental forms of modernist or avant-garde writing. The power of wartime trauma to filter into literary forms is testified to by André Breton, who served as an orderly in the psychiatric service at Saint-Dizier and in Paris at the Val de Grace hospital. Annette Becker comments, "If the Great War was not the creator of the surrealist movement, it was certainly its catalyst." 58 Charged with distinguishing simulators from those genuinely ill, Breton transcribed the ravings of his mental patients when he was on night duty. The dreams and free associations that burst out in these instances of acute delirium "were from the beginning at the heart of surrealism." 59 Importantly, Breton was consciously exploiting such forms of expression, in order to explore the possibility of "freedom from logical, moral, and other constraints" (ibid.).
Probably the most convincing argument for modernist features in nursing war narratives can be found in Jane Marcus's comments on Evadne Price's fictional diary of an ambulance driver, Not So Quiet . . . Stepdaughters of War. She compares the narrative voice in Not So Quiet to that of Stein, connecting the "explosive" sentence structures, ellipses, and hallucinatory outbursts to modernist montage. 60 Marcus borrows the metaphors of war to evoke this "brutally masculinized prose" in Price's work as a "bombardment" of the reader "in a text pock-marked with ellipses of silence and rushes of noisy belligerent words." 61 Calling attention to the "disorder and disorientation of the body at war," Marcus suggests that self-interruptive ellipses evoke the physical experience of war trauma and "gender trauma" ("CCC," 268-9). Indicative of repressed rage, these gaps comment on the lack of truthful communication in war, so that sentences become "fragmented like the bodies that litter this forbidden territory" ("CCC," 273).
Price, a popular novelist writing under a pseudonym, returns us to the question of authenticity. Price was commissioned to compose a response to Erich Maria Remarque's All Quiet on the Western Front . Marcus has tracked the echoes exhaustively. Perhaps more interesting are less overtly commercial enterprises. Lesley N. Smith's Four Years Out of Life reads like a parody of Mary Borden's Forbidden Zone, published two years earlier. Imitation is the highest form of flattery, one might say. The larger point is that such writers were drawing, ten and more years after the end of the war, on an established repertoire of forms for describing the war. Claire Tylee has described Rebecca West's anonymous War Nurse--The True Story of a Woman Who Lived, Loved and Suffered on the Western Front as a flagrant fiction that combined stock war motifs with gothic romance. 62 To be sure, it is not necessary in such a case to postulate a preexisting expressive repertoire for traumatic expression, since some writers, like politicians, seem to be able to invent a language of clichés. In general, however, even the major early war texts, such as Henri Barbusse's Le feu, journal d'un escadron , were shaped by an available discourse, both traditional and experimental, as Paul Fussell has demonstrated in his study of British war literature, The Great War and Modern Memory .
Questions about authenticity still arise in part because we have not yet integrated the concept of intertextuality into our understanding of trauma literature. Oddly enough, doctors observed that the forms of expression taken by trauma might occur in small epidemics. Fenton accompanied a train of "war neurotics" on which one man had a stutter: "when they detrained the next day almost all of them stuttered." 63 He did not mean that his patients were simulators, although the fact that hypochondriacs could be mistaken for hysterics implied that the signifying systems of trauma were available to others. Rather, he suggested, social codes helped shape the course of mental disabilities and channeled their expression.
Understanding the symptoms of neurosis as socially encoded took its most striking form in the class distinction British doctors drew between the forms that war neuroses took among officers and among "men." One consequence was a distrust of some symptoms as fictions. Similarly, German doctors suspected that war neuroses were really a covert display of the lazy working class desire for a pension (Rentenneurosen). 64
Conversely, it has seemed to some modern interpreters that secondary or imagined trauma, the aftershock felt by those who were not direct witnesses, does not substantially differ from lived trauma: the two then would be equal in weight. Tate goes so far as to claim in her commentary on H. D. that "fantasy might be constituted differently from the memory of real events, but it can be equally disturbing" (MH, 16). These issues of interpretation and attitudes toward fictionality are not idle: the difference could sometimes result in execution.
In Testimony, Felman and Laub ask, what is "the relation between
narrative and history, between art and memory, between speech and
survival?"
65
The difficult relationships among these pairings speak to the complex,
unstable, and value-laden concept of a massive trauma such as that
experienced during World War I. The instability or, as some would
have it, inexpressible nature of trauma is in large part responsible
for the problematic status of war narratives. Examining the testimony of
medical staff is useful because these texts both observe and participate
in the experiences of trauma. When their styles display the symptoms
of trauma, the effect is both descriptive and expressive. As a result,
they participate in the two kinds of knowing considered here. I would
reject any polarity between authenticity and artifice--an opposition that
(in the context of war literature) has been aligned with the opposition
between combatant and noncombatant, between male and female. The evidence
from nursing accounts indicates, I hope, that the distance between an
"authentic" soldier's account and a noncombatant nurse's account is less
great than many have supposed. In addition, I want to bear tribute to
the artistry that even simple testimony can possess. That artistry is
essential to the healing and constructive role of narration at a time
when trauma and memory shape the modern subject.
1. Nicholas Abraham, "Notes on the Phantom: A Complement to Freud's Metapsychology," trans. Nicholas Rand, Critical Inquiry 13 (Winter 1987): 287-92. "What comes back to haunt are the tombs of others . . . the burial of an unspeakable fact within the loved one" (288, emphasis in original).
2. Walter Benjamin, "The Storyteller," in Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969), 84.
3. Most notably, Modris Eksteins has argued, in Rites of Spring: The Great War and the Birth of the Modern Age (Boston: Houghton Mifflin, 1989), that wartime destructiveness can be linked to the birth of an abstract aesthetic and the political modernism of Nazi culture.
4. Margaret Darrow, French Women and the First World War: War Stories of the Home Front (New York: Berg, 2000), 5.
5. See, for example, Annette Becker, ed., Journaux de combattants et de civils de la France du Nord dans la Grande Guerre (Villeneuve d'Ascq: Presses Universitaires du Septentrion, 1998); Helen Zenna Smith, Not So Quiet . . . Stepdaughters of War, ed. Jane Marcus (1930; New York: Feminist Press, 1989); Margaret R. Higonnet, ed. Nurses at the Front: Writing the Wounds of War (Boston: Northeastern University Press, 2001).
6. Dori Laub, "Bearing Witness," in Shoshana Felman and Dori Laub, Testimony: Crises of Witnessing, Psychoanalysis and History (New York: Routledge, 1992), 57; hereafter abbreviated TCW.
7. Eric Leed's "Fateful Memories: Industrialized War and Traumatic Neuroses," George Mosse's "Shell-shock as a Social Disease," and Jay Winter's "Shell-Shock and the Cultural History of the Great War" may be found in Journal of Contemporary History 35, no. 1 ; hereafter abbreviated JCH.
8. Elaine Showalter made this claim in a talk presented at "The Comparative History of Shell-Shock" conference in Péronne, July 1998: "The particular symptoms of war neurosis are drawn from a repertoire of illness and symptoms which is culturally shaped."
9. Paul Fussell, The Great War and Modern Memory (New York: Oxford University Press, 1975); Samuel Hynes, A War Imagined: The First World War and English Culture (London: Bodley Head, 1990) and The Soldiers' Tale: Bearing Witness to Modern War (New York: Allen Lane, 1997).
10. Benjamin, "The Storyteller," 84.
11. Proceedings of a 1998 conference on shell shock were selectively published (with variants) in "Choc traumatique et histoire culturelle," a special issue of 14 -18, 3 and in JCH 35, no. 1 .
12. Mosse, "Shell-shock as a Social Disease": 101-8; see analogous findings by Doris Kaufmann, "Science as Cultural Practice: Psychiatry in the First World War and Weimar Germany," JCH 34, no. 1 : 125-55; also see Paul Lerner's "Psychiatry and Casualties of War in Germany, 1914-18," and Joanna Bourke's "Effeminacy, Ethnicity and the End of Trauma: The Sufferings of 'Shell-shocked' Men in Great Britain and Ireland, 1914-39," in JCH 35, no. 1 .
13. Elaine Showalter, The Female Malady (New York: Random House, 1985), 171; hereafter abbreviated FM. Also see Sandra M. Gilbert, "Soldier's Heart: Literary Men, Literary Women, and the Great War," in Gilbert and Susan Gubar, No Man's Land: The Place of the Woman Writer in the Twentieth Century, vol. 2 (New Haven, Conn.: Yale University Press, 1989) and Joanna Bourke, Dismembering the Male: Men's Bodies, Britain and the Great War (Chicago: University of Chicago Press, 1996); hereafter abbreviated DM.
14. Denis Winter, Death's Men: Soldiers of the Great War (London: Allen Lane, 1978), 137.
15. See, for example, Dr. Charles S. Myers, Shell Shock in France 1914-18, Based on a War Diary (Cambridge: Cambridge University Press, 1940), 41 and W. H. R. Rivers, Instinct and the Unconscious: A Contribution to a Biological Theory of the Psycho-neuroses (Cambridge: Cambridge University Press, 1920), 216-7.
16. Robert Gaupp, "Hysterie und Kriegsdienst," Münchener Medizinische Wochenzeitschrift : 361, cited by Kaufmann, "Science as Cultural Practice": 129. Also see G. Elliot Smith and T. H. Pear, Shell Shock and Its Lesson (London: Longman Green, 1919), 2.
17. While Bourke argues that male bonding at the front was largely a myth, she also cites evidence that commanders feared such bonding as a potential catalyst of "misery" or nervous depression. DM, 150.
18. Annette Becker studies the depression experienced by prisoners of war in Oubliés de la Grande Guerre, Humanitaire et culture de guerre, populations occupées, déportés civils, prisonniers de guerre (Paris: Noesis, 1998).
19. Trudi Tate, Modernism, History, and the First World War (Manchester: Manchester University Press, 1998), 5, 19; hereafter abbreviated MH. These examples of transferred haunting might better be considered under Abraham's concept of the ventriloquistic "phantom," in "Notes on the Phantom," 289-90. Tate rejects a focus limited to women's writing, in reaction to previous studies of men alone.
20. Qtd. in Winter, Death's Men, 133.
21. Norman Fenton, Shell Shock and Its Aftermath (Saint Louis, Mo.: Mosby, 1926), 150; hereafter abbreviated SSA.
22. Maurice Dide, Les émotions et la guerre: réactions des individus et des collectivités dans le conflit moderne (Paris: Alcan, 1918), 24; also see Jean Lépine, Troubles mentaux de guerre (Paris: Masson 1917).
23. Rivers, Instinct and the Unconscious, 215-6.
24. See Jay Winter, "Shell Shock and the Cultural History of the Great War," 9-10.
25. Léonie Godfroy, Souvenirs d'ambulance et de captivité (Noyon à Holzminden) (Paris: l'éclair, 1917), 5. Emphases in original; my ellipsis.
26. Ellen N. La Motte, The Backwash of War (New York: Putnam, 1916).
27. M. Eydoux-Démians, In a French Hospital: Notes of a Nurse (London: Fisher Unwin, 1915), 127.
28. Sita Meyer Camperio, Luci ed hombre di eroi (Turin: Fratelli Bocca, 1932), 8. Cited by Beth Tarini in "Mother of 'La Patria': The Role of the Corpo delle Infermiere Volontiere Italiana della Croce Rossa during the First World War" (Harvard University).
29. Camperio, Luci, 9. Cited by Tarini.
30. Tarini, "Mother of 'La Patria'."
31. Lady Kennard, A Roumanian Diary, 1915, 1916, 1917 (New York: Dodd, Mead, 1918), 56-9; hereafter abbreviated RD. My ellipsis.
32. M. Boulaye, Croix et cocarde (Paris: Plon, 1919), 335.
33. Elfriede Schulz, in Frontschwestern: Ein deutsches Ehrenbuch, ed. Elfriede von Pflug-Harttung, Deutsche Tat im Weltkrieg, 1914/1918, vol. 21 (Berlin: Bernard & Graefe, 1936), 117, 111.
34. Ibid., 112.
35. Maria Naepflin, Fortgerungen, durchgedrungen bis zum Kleinod hin (Meiningen: Loeptien Komm., 1922), 113-5.
36. A. L. Walker, "Experiences at a Base Hospital," The Women at Work Collection, B. R. C. reel 25, 1/12, Imperial War Museum, London, microfilm. My ellipsis.
37. Anna M. Cameron, letter of 26 August 1915, The Women at Work Collection, B. R. C. reel 25, 4/3.
38. Mary Britnieva, One Woman's Story (New York: Alfred King, 1934), 35.
39. Cameron, letter of 19 November 1915, The Women at Work Collection, B. R. C. reel 25, 4/10.
40. Lucia Garelli, A noi donne . . . (per il fronte interno) (Milan: Capitan Fracassa, 1917), 88.
41. Madeleine Clemenceau Jacquemaire, Les hommes de bonne volonté (Paris: Calmann-Lévy, 1919), 265-6.
42. Pierre La Mazière, L'H. C. F., L'hôpital chirurgical flottant, Dardanelles--Moudros--Athènes--Salonique (Paris: 1919), 70.
43. Ibid., 107.
44. Lydiia Zakharova, "Diary of a Red Cross Sister in the Front Lines," trans. Cynthia Simmons, in Lines of Fire: Women Writers of World War I, ed. Margaret R. Higonnet (New York: Penguin Plume, 1999), 185; hereafter abbreviated "DRC."
45. Hortensia Papadat-Bengescu, "The Man Whose Heart They Could See," trans. Dayana Stetco, in Higonnet, Lines of Fire, 359.
46. Times Literary Supplement, 5 December 1929, 1030.
47. Hemingway's comment on Willa Cather is cited in Sharon O'Brien, "Combat Envy and Survivor Guilt: Willa Cather's 'Manly Battle Yarn,'" in Arms and the Woman: Gender and Literary Representation, ed. Helen M. Cooper, Adrienne Auslander Munich, and Susan Merrill Squier (Chapel Hill: University of North Carolina Press, 1989), 186.
48. Saturday Review of Literature 26 July 1930, 7.
49. See Higonnet, "Introduction," in Nurses at the Front, xxxiv and "Telling Trauma: Women and World War I," in Savoirs et littérature, ed. Jean Bessiere (Paris: Presses de la Sorbonne Nouvelle, 2001). Forthcoming.
50. Cathy Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore, Md.: Johns Hopkins University Press, 1996), 7.
51. Walter Benjamin, "On Language as Such and on the Language of Man," in Reflections: Essays, Aphorisms, Autobiographical Writings, ed. Peter Demetz, trans. Edmund Jephcott (New York: Harcourt, Brace, Jovanovich, 1978), 329.
52. Hynes, The Soldiers' Tale, xii.
53. Hynes, A War Imagined, 353, 158.
54. Robert Graves, But It Still Goes On (New York: J. Cape and H. Smith, 1931), 33.
55. Susan Stanford Friedman, Psyche Reborn: The Emergence of H. D. (Bloomington: Indiana University Press, 1981), 97.
56. See the discussion of "deteriorated" words in Peter Buitenhuis, The Great War of Words: British, American, and Canadian Propaganda and Fiction, 1914-1933 (Vancouver: University of British Columbia Press, 1987), 61-2.
57. Edith Wharton, A Son at the Front (New York: Charles Scribner's Sons, 1923), 187.
58. Annette Becker, "The Avant-garde, Madness and the Great War," JCH 35, no. 1 : 71. As Becker notes, other Surrealists such as Louis Aragon were also orderlies or doctors; the German expressionist painter Max Beckmann, an orderly on the western front, collapsed under the strain of the war in 1917.
59. André Breton, Entretiens 1913-1952 (1952; Paris: Gallimard, 1973), 37.
60. Jane Marcus, "Afterword: The Nurse's Text: Acting Out an Anaesthetic Aesthetic," in Irene Rathbone, We That Were Young (New York: Feminist Press, 1989), 476.
61. Jane Marcus, "Afterword: Corpus / Corps / Corpse: Writing the Body In/At War," in Evadne Price, Not So Quiet, 260-1; hereafter abbreviated "CCC."
62. Claire Tylee, The Great War and Women's Consciousness: Images of Militarism and Womanhood in Women's Writings, 1914-64 (Houndmills: Macmillan, 1990), 194.
63. Fenton, Shell Shock, 156. Allen J. Christophers argues plausibly that diagnoses of "soldier's heart," or "hyperaesthesia of the chest," spread where doctors took the syndrome seriously. See "The Epidemic of Heart Disease amongst British Soldiers," War and Society 15, no. 1 : 70-1.
64. See Bourke, "Effeminacy": 63; DM, 76-123; Kaufmann, "Science as a Cultural Practice," 125-55; Lerner, "Psychiatry and Casualties of War": 26; and Sophie Delaporte, "Le discours médical sur les blessures et les maladies pendant le premier conflit mondial" (Ph.D. diss., Université de Picardie Jules Verne, 1998).
65. Felman and Laub, Testimony, xiii. Note that one of Felman's prime examples is the fictional narrator of Camus's Plague, a doctor who bears witness to the disaster.


4 columns. But you can put column inside column, so you have as much columns as you need.
Pssst… It's responsive.

 1

 2

 3

 4

 5

 6

 7

 8

You have 4 classes to use as a grid:
box-25
box-50
box-75
box-100
You can put one inside other infinitily, I don't recommend more than one, but you can.
Use the class half-height
to divid the box in half (derp).
double-height
for the double height of the box.
triple-height
for the triple height of the box (kinda of obvious).


[1]
good beds a new hotel in germany and were so releaved all was 100 right here.
[2]
we came out of a brand new hotel in germany and were so releaved all was 100 right here.


Simple model of circular (or any other closed shape) wall to be
used for pipe (or duct) models. Heat conduction is regarded one
dimensional, capacitance is lumped at the arithmetic mean
temperature. The spatial discretization (parameter n
)
is meant to correspond to a connected fluid model discretization.
- 04 Mar 2006 by Katrin Prölß:
Model added to the Fluid library
Generated at 2019-01-25T16:44:03Z by OpenModelica 1.14.0~dev-130-gefa44fb


The observation module¶
Let’s begin by considering some of the quantities found in a typical observation—the angles and wavelengths at which some instrument collected data. I’ll go through two typical, distinct cases in this example in parallel:
“Rover”: An image contains a single incidence angle but it images over M polar angles and N azimuthal angles.
“Spacecraft”: Each pixel has a single incidence, emission, and phase angle. These values are different for each pixel. I call this the spacecraft case since this scenario would apply to a typical orbiter.
You can choose either one case or the other as an example for your case. However, I recommend reading both cases for a complete discussion of the code’s behavior.
Rover Angles¶
Let’s say we have some angles defined over a grid. These values would normally be found in a data product, but we need some values to play with. Let’s suppose we have an image of shape (40, 25), where we have 40 emission angles and 25 azimuthal angles. I’ll define that here, along with the scalar incidence angle and azimuthal angle of the incidence beam.
import numpy as np
emission_angles = np.linspace(20, 50, num=40)
azimuthal_angles = np.linspace(80, 30, num=25)
incidence_angle = 35
azimuth0 = 20
Attention
The angles must be in degrees.
Our goal is to create an instance of Angles
to hold on to
all the values we’ll need. Instead of creating this object directly, let’s
use a function designed for this case—one that simply coerces these inputs
into a form that Angles
likes and returns an instance of it. We can
get the attributes from this object as shown below.
from pyRT_DISORT.observation import sky_image_angles
angles = sky_image_angles(incidence_angle, emission_angles,
azimuthal_angles, azimuth0)
incidence = angles.incidence
emission = angles.emission
mu = angles.mu
mu0 = angles.mu0
phi = angles.phi
phi0 = angles.phi0
The shapes of both mu0
and phi0
are (1,), whereas mu
has shape (1, 40) and phi
has shape (1, 25).
This class creates the angular variables that DISORT wants all at once and can
even compute all these variables at multiple incidence and beam azimuth angles.
Consequently, you must pick the index for this set of angles in order to get
something that DISORT wants. We only have one set of these angles so let’s do
that below.
UMU = mu[0, :]
UMU0 = mu0[0]
PHI = phi[0, :]
PHI0 = phi0[0]
Now the variables ending in 0 are floats and the others are 1D vectors, which is precisely what DISORT wants.
Note
For those of that have experience working with DISORT directly, I’ll name the variables in this example with the same names that DISORT uses. For those unfamiliar with DISORT/FORTRAN, variables in ALL CAPS will be the ones that we ultimately plug into DISORT.
Warning
I originally designed this example to only go through the spacecraft case, so some of the upcoming modules may not work well with this case. I will update them when I have the opportunity.
Spacecraft Angles¶
Each pixel will presumably have its own unique combination of incidence, emission, and phase angles that don’t depend on wavelength. This data would normally be found in a data product, but we need some values to play with for the time being. We can go ahead and create some angles (for the simplicity of the example let’s assume that the incidence, emission, and phase angles are all the same).
dummy_angles = np.outer(np.linspace(5, 10, num=15), np.linspace(5, 8, num=20))
Like the rover example, we can call a helper function that’ll turn phase angles
into azimuthal angles and return an instance of Angles
.
from pyRT_DISORT.observation import angles_from_phase
angles = angles_from_phase(dummy_angles, dummy_angles, dummy_angles)
incidence = angles.incidence
emission = angles.emission
phase = angles.phase
mu = angles.mu
mu0 = angles.mu0
phi = angles.phi
phi0 = angles.phi0
In this case, the shapes of both mu0
and phi0
are (15, 20)—
the same shape as the input angles—whereas mu
and phi
both
have shapes (15, 20, 1). That’s to say, each incidence angle has only 1 set
emission and azimuth angle. We can choose a single pixel index like below.
UMU = mu[0, 0, :]
UMU0 = mu0[0, 0]
PHI = phi[0, 0, :]
PHI0 = phi0[0, 0]
Spectral¶
Let’s assume that our hyperspectral imager takes data at W wavelengths in our pixel and that there’s a constant spectral width to each bin. I’ll go ahead and define some wavelengths here so we have some values to work with.
pixel_wavelengths = np.array([1, 2, 3, 4, 5])
n_wavelengths = len(pixel_wavelengths)
width = 0.05
Attention
The wavelengths must be in microns.
Once we have these values, we can add them to Spectral
.
This class holds the input wavelengths and computes the corresponding
wavenumbers. As before, these values can be accessed via the class properties.
from pyRT_DISORT.observation import Spectral
spectral = Spectral(pixel_wavelengths - width, pixel_wavelengths + width)
short_wavelength = spectral.short_wavelength
long_wavelength = spectral.long_wavelength
WVNMHI = spectral.high_wavenumber
WVNMLO = spectral.low_wavenumber
These spectral quantities have shape (5,)—the same as the input wavelengths. For now, I’ll keep the spectral dimension but be aware that we’ll cut off the spectral dimension closer to when we do the simulation.
The only other thing you’d need from an observation is the signal your instrument recorded. We won’t need that value until much later on, so let’s wait until later to input those values.


Map editor
Note: The tileset I used was not created by me. link
When: 2012
Contribution: Solo developer
Used: C++, Qt
Video: Coming soon
Description:
A basic tile map editor to help me create maps. Features are:
- Filling in rectangles
- Collision
- Enable/disable views for layers
- Play button to test the map in the game
School schedule android app
When: 2014
Contribution: All programming & basic ui design
Used: Java, Android sdk
Description:
An android app for viewing & managing your classes & courses.
First thing you have to do when you use the app is select the classes & courses you’re taking, these are stored on a database on the app together with the schedules.
This means you can view your personal schedule offline.
Server side download manager
When: 2015
Contribution: Solo developer
Used: Javascript, Meteor, NodeJs
Video: Coming soon
Description:
Particle Manager
When: 2015
Contribution: Solo developer
Used: C++, Qt, SFML
Video: Coming soon
Description:
Small project to showcase using SFML in Qt for rendering.


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--- title : Piston Game Engine categories : [piston] ---
The bricks are out of the box! Take a bite of some nice modular libraries for the real world, such as games and interactive applications, written for performance, ergonomics and cross platform development.
Piston is made by some very smart, awesome and well connected people. We work in a flat structure with no leader, giving maintainers more responsibility and power to direct projects. Everybody has full write access, we share research and we are part of a greater community. Our goal is not just to make a game engine. We have different personal goals, but share the cost of maintaining important libraries together. We care about every aspect of development, which means designing for the programmer, to make it possible to reach our goals. You can be a part of it.
extern crate piston;
extern crate graphics;
extern crate opengl_graphics;
extern crate sdl2_window;
fn main() {
use piston::window::{ WindowSettings, Size };
use piston::event::*;
use sdl2_window::Sdl2Window;
let opengl = opengl_graphics::OpenGL::_3_2;
let window = Sdl2Window::new(
opengl,
WindowSettings::new("Hello Piston".to_string(),
Size { width: 300, height: 300 })
.exit_on_esc(true)
);
let ref mut gl = opengl_graphics::GlGraphics::new(opengl);
for e in window.events() {
use graphics::{ clear, rectangle };
if let Some(args) = e.render_args() {
gl.draw(args.viewport(),
|c, g| {
clear([1.0; 4], g);
rectangle([1.0, 0.0, 0.0, 1.0],
[0.0, 0.0, 100.0, 100.0],
c.transform, g);
}
);
}
}
}


As you get more relaxed, the bubble font disappears, and your chair floats towards a woodland cottage. You slowly drift towards the door and watch it open on its own to let you in.
You sweep over to the fireplace, and there is a picture frame sitting on top. It starts to grow in size right before your eyes. The photo is of a brown bear posing with four young geese on a beach someplace. The bear had on a Hawaiian shirt, and all the geese have floaties on each wing. The booming voice returns.
"Bruce was a bear that lived with four geese, reluctantly, but he was their mom."


The final Python 2 release marks the end of an era - Stack Overflow Blog For you Python users who have been unwilling (or unable) to upgrade to version 3, there’s yet another reason to get motivated: python.org has released Python 2.7.18, the absolute last official release for Python 2. While it doesn’t add much in terms of f...
Working with Channels in .NET Channels enable a producer to safely pass data over to a consumer along with the appropriate notifications in both directions. In this episode, Stephen Toub chats with Rich about the what, why and how of using the System.Threadding.Channels library. The...
Agile’s Early Evangelists Wouldn’t Mind Watching It Die Agile often puts processes over people, and it’s pushing women engineers into non-technical roles. Time to move on?
Play board games online from your browser The world's #1 platform for playing board games online. Play for free thousands of board games from your browser.
Analyzing Analytics (Featuring: The FBI) Recently while conducting some research, I found myself down the path of Google Analytics ID’s as well as other analytics services. I was investigating ways to not only identify varying analytics code in sites, but to correlate them with other sites that ...
Trains․NET - Episoide 26 - Better looking trains Originally streamed at https://twitch.tv/davidwengier In this episode we make some tweaks to the train and track drawing and generally get everything looking much nicer, and make a start on collision detection, but not with very fruitful results if I'm h...
Coming soon: Fedora on Lenovo laptops! - Fedora Magazine Today, I’m excited to share some big news with you—Fedora Workstation will be available on Lenovo ThinkPad laptops! Yes, I know, many of us already run a Fedora operating system on a Lenovo system, but this is different. You’ll soon be able to get Fedora...
Visual Studio Tricks: Increase signal to noise in your debugger Inspecting your objects in Visual Studio’s debugger can sometimes be tedious having to expand objects, arrays and lists trying to find that ‘problem child’ of yours. Fortunately for us, there are some handy tricks to reducing the noise, and focusing in on...
SQL Server 2019 Aggressive Clustered Columnstore Cleanup In late March 2020, we upgraded our production SQL Servers to SQL Server 2019 with CU3. After finishing the upgrade, we hit an issue with clustered columnstore that we hadn’t experienced in the previous version of SQL, SQL Server 2017. The issue also wasn...
Spotify’s Failed #SquadGoals “The Spotify model” got a bunch of companies talking like Taylor Swift about startup culture, but four former Spotify employees reveal the truth: its eponymous way of working failed before it scaled.
Things I Wished More Developers Knew About Databases A large majority of computer systems have some state and are likely to depend on a storage system. My knowledge on databases accumulated…
25 Basic Docker Commands for Beginners - Codeopolis If you're trying to learn Docker you will first have to master its various terminal commands. This guide aims to help you get started with basic docker commands.
Career advice for people with bad luck Most career advice on the internet is from people who had some sort of meteoric success. Why read advice from someone who’s had a mediocre career? But there’s massive sampling bias. All this advice will try to draw grand, sweeping narratives and also typi...
Streamlabs Chat CSS tweak so message goes below name. Good for tall, thin layout. Streamlabs Chat CSS tweak so message goes below name. Good for tall, thin layout. - streamlabs-chat.css
How to Build a Secure AWS Lambda API with Node.js and React Build a secure serverless API using AWS Lambda functions, Node.js, and React.
Azure Resource Organization Cheat Sheet It’s taken me some time, but I think I finally have a handle on how all the various Azure resources are organized and how exactly I’m paying for things. I summarized what I know into a handy little cheat sheet that I hope will help you if you’re as confus...
JetBrains .NET Days Online – A Virtual .NET Event on May 13–14, 2020 We invite you to join a free virtual event, JetBrains .NET Days Online, taking place Wednesday and Thursday, May 13 and 14, 13:00–21:30 CEST. Save your seat!
Patterns for Managing Source Code Branches Mainline, Feature Branching, Continuous Integration, Release Branch and a clutch of other handy patterns.
Introducing MVVM architecture. Vanilla javascript implementation. The project explains MVVM design pattern implementation in javascript front-end application.
C# 8.0 nullable references: embrace the expressiveness C# 8.0 nullable references offer benefits besides the obvious win of detecting null-related coding errors. This new language feature can also improve the expressiveness of your code. #C #C8 #NullableReferences
Announcing Entity Framework Core 5.0 Preview 3 | .NET Blog The latest version of Entity Framework Core features filtered includes, new model builder API for navigation, Cosmos DB partition keys, and more.
Jasper’s Efficient and Flexible Roslyn-Powered Execution Pipeline You’ll need to pull the very latest code from the sample application linked to in this post because of course I found some bugs by dog-fooding while writing this:/ This is an update to a post…
NuGet.org will continue to support TLS 1.0 and 1.1 until further notice | The NuGet Blog Last November, we shared our two-stage plan for deprecating TLS 1.0/1.1 on NuGet.org and actions you can take today to ensure your systems use TLS 1.2. In that post, we announced that NuGet.org would remove support for TLS 1.0/1.1 in April 2020.
Books I recommend to my software engineering students Books I recommend to my software engineering students
Announcing .NET 5.0 Preview 3 | .NET Blog Today, we’re releasing .NET 5.0 Preview 3. It contains a set of new features and performance improvements. We’re continuing to work on the bigger features that will define the 5.0 release. The .NET 5.0 Preview 1 post covers what we are planning on buildin...
Preliminary test results suggest 21.2% of NYC residents have COVID antibodies | 6sqft Governor Cuomo revealed the preliminary results of a first-phase antibody test that surveyed 3,000 New Yorkers over two days in 19 counties at 40 locations.


12 April 2012 - The Ministry of Health and Population of Egypt has notified WHO of a new case of human infection with avian influenza A (H5N1) virus.
The case is a 36 year-old female from Giza governorate. She developed symptoms on 1 April 2012 and was admitted to a hospital on 7 April 2012 and died on the same day.
The case was confirmed by the Central Public Health Laboratories; a National Influenza Center of the WHO Global Influenza Surveillance Network.
Epidemiological investigations into the source of infection indicate that the case had exposure to backyard poultry.
Of the 167 cases confirmed to date in Egypt, 60 have been fatal.


Before Change
best_action_index = np.argmax(q_values)
return action_candidates[best_action_index], {}
return self.get_actions(observation[None])[0], {}
def get_actions(self, observations):
Sample batch of actions based on the observations
After Change
assert not with_log_pis, "No log pi for deterministic action"
if with_raw_actions:
action_candidates, raw_action_candidates = self.get_actions(
observations, with_raw_actions=with_raw_actions)
q_values = self._q_function.eval(observations, action_candidates)
best_action_index = np.argmax(q_values)


CrimPapers
Articles published on 11 June 2019
On 11 June 2019, 14 new articles were published in 11 journals.
Strong By Concealment? How Secrecy, Trust, and Social Embeddedness Facilitate Corporate Crime
Abrahms, M. (2018). Rules For Rebels: the Science of Victory in Militant History. Oxford University Press
Development of Impulsivity and Risk‐seeking: Implications For the Dimensionality and Stability of Self‐control by Walter Forrest,
carter Hay,
alex O. Widdowson,
michael Rocque
Anthony Lloyd: the Harms of Work: An Ultra-Realist Account of the Service Economy
A Global Survey of Outlaw Motorcycle Gang Formation by Mark Lauchs
Childhood Sexual Abuse and Lifetime Aggression by Mara Norton-Baker, Jenna M. Wolff, Tyler W. Kolander, Matthew Evans, Alan R. King
Concordance in the Reporting of Intimate Partner Violence Among Male-Male Couples
The Toxic Triad: Childhood Exposure to Parental Domestic Violence, Parental Addictions, and Parental Mental Illness As Factors Associated With Childhood Physical Abuse by Esme Fuller-Thomson, Jami-Leigh Sawyer, Senyo Agbeyaka
Barriers to Reporting Hate Crime: A Welsh Perspective by Gareth J. Cuerden, Brian Blakemore
Abolitionist Feminism As Prisons Close: Fighting the Racist and Misogynist Surveillance “Child Welfare” System by Venezia Michalsen
Fergus McNeill, Pervasive Punishment: Making Sense of Mass Supervision by Meredith Rossner
The Islamic State: History, Transnationalism, and Implications by Ryan Shaffer
Apocalypse, Revolution and Terrorism: From the Sicari to the American Revolt Against the Modern World by Anthony Celso
The Non-Jihadi Foreign Fighters: Western Right-Wing and Left-Wing Extremists in Syria by Ariel Koch


About me
Technologies
- ReactJS with optional redux, jest, postcss, etc...
- Ruby on Rails as one of the best backend frameworks and it's infrastructure
I really appreciate what authors have done to these frameworks.
They made stable API which is easy to learn and apply in many different tasks.
Projects
Self-study
- Machine Learning — the author Andrew Ng reveals how ML works under the hood. He shows math behind it using simple explanations and graphical representations
- My notes for the book The Algorithm Design Manual
- My accounts on programming competition websites codewars and hackerrank. I highly recommend practicing algorithms on these websites.
Favorite books
- Agile Web Development with Rails 4
- C#: The Complete Reference
- Сюрреализм на JavaScript (only Russian version)
- The Little Prince


This is a web service we can use. It has registered its intent to be able to handle the "add" action for "text/*" datatypes.


UTC +2
Voltage: 220 V
Frequency: 50 Hz
Syrian pound (S£) of 100 piastres.
Syrian pounds are not convertible and export is prohibited.
The are a few ATMs in some cities.
International Dialing Code for Syria is +963.
There is good mobile phone coverage in urban areas, and many networks have international roaming agreements. Internet access is limited, but is available in Damascus.
You can buy a local SIM card which then has to be activated at a local head office to allow calls abroad. Call rates are good.
There are some internet cafes, but they are not always easy to find.
Police - Dial 112
Fire Service - Dial 113
Medical Emergency Services - Dial 110
IMRAY AND ADLARD COLES PILOT BOOKS are available at a discounted price for Noonsite.com users via World Cruising Club
Mediterranean Almanac 2015/16
By Rod and Lucinda Heikell (9th Edition)
Publisher Imray December 2014
2016 supplement available from Imray
ISBN -<PHONE_NUMBER>986
Price - £29.50
See this Noonsite review.
Southern Turkey, the Levant and Cyprus: A Sea Guide to the Coasts and Islands
By H.M. Denham
Publisher: W. W. Norton & Company; 1st. American Edition (June 1976)
ISBN-13:<PHONE_NUMBER>980
Noonsite welcomes information and updates especially regarding clearance, customs and immigration procedures from cruisers visiting this country.
Please E-mail noonsite with any new information, updates or corrections. Even just a short email confirming that the current data is accurate would be most helpful.


golang exercises
package main
import (
"fmt"
"math"
)
func Cbrt(x float64) float64 {
Pow(x,y)
return x
}
func main() {
fmt.Println(Cbrt(2))
}
Let’s explore Go’s built-in support for complex numbers via the complex64 and complex128 types. For cube roots, Newton’s method amounts to repeating:
Find the cube root of 2, just to make sure the algorithm works. There is a Pow function in the math/cmplx package.
package main
import (
"fmt"
)
func Sqrt(f float64) (float64, error) {
return 0, nil
}
func main() {
fmt.Println(Sqrt(2))
fmt.Println(Sqrt(-2))
}
Copy your Sqrt function from the earlier exercises and modify it to return an error value.
Sqrt should return a non-nil error value when given a negative number, as it doesn’t support complex numbers.
Create a new type
type ErrNegativeSqrt float64 and make it an error by giving it a
func (e ErrNegativeSqrt) Error() string method such that ErrNegativeSqrt(-2).Error() returns “cannot Sqrt negative number: -2”.
Note: a call to fmt.Print(e) inside the Error method will send the program into an infinite loop. You can avoid this by converting e first: fmt.Print(float64(e)). Why?
Change your Sqrt function to return an ErrNegativeSqrt value when given a negative number.
package main
import (
"net/http"
)
func main() {
// your http.Handle calls here
http.ListenAndServe("localhost:4000", nil)
}
Implement the following types and define ServeHTTP methods on them. Register them to handle specific paths in your web server.
type String string
type Struct struct {
Greeting string
Punct string
Who string
}
For example, you should be able to register handlers using:
http.Handle("/string", String("I'm a frayed knot."))
http.Handle("/struct", &Struct{"Hello", ":", "Gophers!"})
package main
import (
"code.google.com/p/go-tour/pic"
"image"
)
type Image struct{}
func main() {
m := Image{}
pic.ShowImage(m)
}
Remember the picture generator you wrote earlier? Let’s write another one, but this time it will return an implementation of image.Image instead of a slice of data.
Define your own Image type, implement the necessary methods, and call pic.ShowImage.
Bounds should return a image.Rectangle, like image.Rect(0, 0, w, h).
ColorModel should return color.RGBAModel.
At should return a color; the value v in the last picture generator corresponds to color.RGBA{v, v, 255, 255} in this one.
package main
import "code.google.com/p/go-tour/tree"
// Walk walks the tree t sending all values
// from the tree to the channel ch.
func Walk(t *tree.Tree, ch chan int)
// Same determines whether the trees
// t1 and t2 contain the same values.
func Same(t1, t2 *tree.Tree) bool
func main() {
}
-
Implement the Walk function.
-
Test the Walk function.
The function tree.New(k) constructs a randomly-structured binary tree holding the values k, 2k, 3k, …, 10k.
Create a new channel ch and kick off the walker:
go Walk(tree.New(1), ch) Then read and print 10 values from the channel. It should be the numbers 1, 2, 3, …, 10.
-
Implement the Same function using Walk to determine whether t1 and t2 store the same values.
-
Test the Same function.
Same(tree.New(1), tree.New(1)) should return true, and Same(tree.New(1), tree.New(2)) should return false.
package main
import (
"fmt"
)
type Fetcher interface {
// Fetch returns the body of URL and
// a slice of URLs found on that page.
Fetch(url string) (body string, urls []string, err error)
}
// Crawl uses fetcher to recursively crawl
// pages starting with url, to a maximum of depth.
func Crawl(url string, depth int, fetcher Fetcher) {
// TODO: Fetch URLs in parallel.
// TODO: Don't fetch the same URL twice.
// This implementation doesn't do either:
if depth <= 0 {
return
}
body, urls, err := fetcher.Fetch(url)
if err != nil {
fmt.Println(err)
return
}
fmt.Printf("found: %s %q\n", url, body)
for _, u := range urls {
Crawl(u, depth-1, fetcher)
}
return
}
func main() {
Crawl("http://golang.org/", 4, fetcher)
}
// fakeFetcher is Fetcher that returns canned results.
type fakeFetcher map[string]*fakeResult
type fakeResult struct {
body string
urls []string
}
func (f fakeFetcher) Fetch(url string) (string, []string, error) {
if res, ok := f[url]; ok {
return res.body, res.urls, nil
}
return "", nil, fmt.Errorf("not found: %s", url)
}
// fetcher is a populated fakeFetcher.
var fetcher = fakeFetcher{
"http://golang.org/": &fakeResult{
"The Go Programming Language",
[]string{
"http://golang.org/pkg/",
"http://golang.org/cmd/",
},
},
"http://golang.org/pkg/": &fakeResult{
"Packages",
[]string{
"http://golang.org/",
"http://golang.org/cmd/",
"http://golang.org/pkg/fmt/",
"http://golang.org/pkg/os/",
},
},
"http://golang.org/pkg/fmt/": &fakeResult{
"Package fmt",
[]string{
"http://golang.org/",
"http://golang.org/pkg/",
},
},
"http://golang.org/pkg/os/": &fakeResult{
"Package os",
[]string{
"http://golang.org/",
"http://golang.org/pkg/",
},
},
}
In this exercise you’ll use Go’s concurrency features to parallelize a web crawler.
Modify the Crawl function to fetch URLs in parallel without fetching the same URL twice.


Lorem ipsum dolor sit amet, consectetur adipiscing elit. Curabitur mattis nisi vitae erat condimentum, nec vulputate arcu facilisis. Vestibulum rhoncus, dolor eu sollicitudin posuere, magna orci feugiat risus, at suscipit lacus ipsum et mauris. Fusce ac felis quis arcu egestas efficitur in ac dui. Pellentesque ultrices nunc nec lacus porta, vitae egestas augue convallis. Donec congue, tellus et aliquet varius, massa neque mollis libero, sit amet auctor ex lacus ac libero. Praesent a faucibus mauris. Sed vitae sodales mi. Morbi ultricies ex a orci dapibus blandit. Aenean eget tincidunt est. Quisque ac sodales nisl. Etiam fringilla urna in diam ullamcorper lacinia. Nullam a tortor sed eros rutrum bibendum. Mauris pellentesque nisl eu ex consectetur vehicula. Integer gravida turpis tortor, vitae gravida metus volutpat in. Cras risus mauris, pellentesque vel nunc non, vestibulum aliquet ante.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Quisque ullamcorper arcu ac urna bibendum tempus. Cras commodo ex eget condimentum pulvinar. Mauris maximus ipsum mauris, et lacinia orci convallis non. Integer est sem, hendrerit sed laoreet ut, interdum ut orci. Morbi pharetra convallis tempus. Aenean augue leo, imperdiet sed leo non, mollis lacinia elit. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia curae; Phasellus sollicitudin id odio vitae eleifend. Ut egestas est egestas felis placerat dictum. Nulla facilisi. Nunc eget dolor eu dolor tempus rhoncus. Curabitur vel turpis ac erat accumsan consequat. Sed a sagittis mauris.
We did most of the heavy lifting for you to provide a default stylings that incorporate our custom components. Additionally, we refined animations and transitions to provide a smoother experience for developers.
By utilizing elements and principles of Material Design, we were able to create a framework that incorporates components and animations that provide more feedback to users. Additionally, a single underlying responsive system across all platforms allow for a more unified user experience.
We have provided detailed documentation as well as specific code examples to help new users get started. We are also always open to feedback and can answer any questions a user may have about Materialize.
We did most of the heavy lifting for you to provide a default stylings that incorporate our custom components. Additionally, we refined animations and transitions to provide a smoother experience for developers.
By utilizing elements and principles of Material Design, we were able to create a framework that incorporates components and animations that provide more feedback to users. Additionally, a single underlying responsive system across all platforms allow for a more unified user experience.
We have provided detailed documentation as well as specific code examples to help new users get started. We are also always open to feedback and can answer any questions a user may have about Materialize.


A.I. ----
For over twenty years, the late Stanley Kubrick worked on developing "A.I." Initally based on the short story "Super-Toys Last All Summer Long" about a child robot yearning for the love of his human mother, Kubrick extended the tale as a sci-fi retelling of 'Pinocchio.' Having once been told by Kubrick that the project was better suited to his sensibilities, Steven Spielberg took over the reins after Kubrick's death. Haley Joel Osment stars as the boy robot who wants to be real in "A.I."
Anticipation for "A.I." began with a web campaign built around a murder mystery beginning with fictious researcher Jeanine Salla. The film, which doesn't touch on these elements, begins with Professor Hobby (William Hurt) explaining the next robotic advancement - a child substitute that can be programmed to 'love' human parents in a society where natural birth is largely restricted. His prototype, David (Haley Joel Osment), is brought home to Monica Swinton (Frances O'Connor, "Mansfield Park") by her husband Henry (Sam Robards, "American Beauty"), hoping to snap her out of the despair she's been in since their natural child, Martin (Jake Thomas, "The Cell") fell into a coma.
Monica's resistent at first, but her need for a child's love soon has her making the irreversible 'imprint' that will bind David to her (after imprinting, these 'mechas' must stay with their owner or be returned to Cybertronics for destruction). David's given Martin's supertoy Teddy (his Jiminy Cricket) and all is well until Martin makes a surprise reversal and is brought home. Martin's competitiveness combined with misunderstandings result in Monica abandoning David (with Teddy), who begins his search for the Blue Fairy which will make him a real boy, regaining his mother's love.
His journey has him cross paths with other, zombie-like, abandoned robots trying to keep clear of the Flesh Fair, where cheering fans watch their like be tortured and destroyed. David's picked up and meets Gigolo Joe (Jude Law, "Enemy at the Gate" - this film's version of Honest John). They escape and travel to Rouge City (evoking both Pinocchio's Pleasure Island and "The Wizard of Oz") where Dr. Know gives advise that lead theme to a submerged Manhattan and David's dreams.
"A.I." is a hybrid that suffers from not being fully Kubrick or Spielberg. The film plays in three parts. The first hour establishes David and his life with the Swinton's and plays very much like Kubrick, slowly paced and quiet, with a slightly ominous score. Reflections are significant, making us question what makes us human when we see David's reflection on the glass over a Swinton family portrait. Futuristic cars travelling through forests recall "A Clockwork Orange." This part of the film is wholly satisfying.
Spielberg begins to peak through in the second segment. While Gigilo Joe and his backstory are Kubrickian (by way of "Blade Runner"), the Flesh Fair's flying mercenaries (Brendan Gleeson, wasted) and their spotlights begin the parade of "Close Encounters" visuals (a film where Spielberg featured Pinochhio's theme of 'When You Wish Upon a Star'). The Flesh Fair itself is a half-baked concept, a colliseum for the destruction of broken, fleshless mechas which has more in common with a monster truck rally. A political subtext is hinted at by Gleeson's character, but not enough to make the sequence work.
Rouge City provides visuals which seem inspired by everything from "Metropolis" to "Roger Rabbit." Spielberg links religion to fairy tale when David mistakes a neon Lady of the Immaculate Heart for his blue fairy.
When the duo arrive in Manhattan, Gigolo Joe departs and the film's final third begins. It's here where Spielberg loses his grip with apparent indecision. Not content to leave his film at a natural ending point, Spielberg unsuccessfully plays with multiple concepts involving alien-like evolved mechas, memory and resurrection.
"A.I." represents Spielberg's second screenwriting credit after "Close Encounters of the Third Kind." While his faithfulness to the Italian fairy tale mostly serves him well, clearly he had difficulty resolving the tale. In fact, in this film which recalls so many others, a bit of "Child's Play" would have had Teddy kill off Martin, making for a more economical route to a Spielbergian happy ending. Several nonsensical pieces of plotting had me scratching my head as well - why did Monica drive David out towards Cybertronics, then tell him not to go there? Why did Professor Hobby tell David he'd meet his makers, only to vanish from the story?
Haley Joel Osment once again turns in a performance which belies his years, although a tentativeness keeps him from hitting this one out of the ball park. O'Connor does well portraying Monica's confusion and wrings real emotion in the abandonment scene, but Spielberg betrays her in the film's finale. Jude Law gives a witty reading of sexbot Joe, but the character never feels fully intrigrated into the story.
"A.I." is certainly more thought provoking than any summer blockbuster we've been presented with yet this season, but it leaves us wishing Spielberg had applied more of Kubrick's obssessive fine tuning.
B-
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Debby Lee Cohen
Bio
Debby Lee Cohen is a collaborative visual artist, painter, animator, and scenic and giant puppet designer for theater, television, film, and parades. Recently, she decided to apply her design, production, and collaboration skills towards eliminating styrofoam from schools and achieving zero waste schools and communities (see her Kickstarter campaign video here).
Cohen is the director and founder of Cafeteria Culture (founded as Styrofoam Out of Schools, SOSnyc.org). She catalyzed the remarkable launch of TRAYLESS TUESDAYS (March 2010), throughout all of NYC’s 1700 public schools within one year’s time through an innovative partnership with NYC’s Department of Education Office of School Food and Parsons the New School. Since then, an impressive 100 million styrene foam trays have been eliminated from production, school lunches, incinerators and landfills at no additional cost to the city (read more here).
Last year, as a result of the Cafcu team’s persistence, cross sector coalition building, creative design-based strategies and innovation of cafeteria curriculum, NYC decided to completely eliminate the 860,000 styrene foam trays used per day in schools. This sparked the formation of the 6-city Urban School Food Alliance for the purpose of collectively purchasing compostable plates to drive down cost. In 2015, 2.9 MILLION styrene foam trays used per day across the country will be eliminated. Cohen also took the lead in frontline grassroots organizing to ensure the NY City Council’s 2013 unanimous vote to ban styrene foam food containers citywide.
CafCu received the 2013 US Environmental Protection Agency Environmental Quality Award and Cohen received the 2010 Eco-Hero award from the United Federation of Teachers Green Schools Committee for catalyzing Trayless Tuesdays.
Cohen art directed Meredith Monk’s, Ascension Variations, a site specific performance for 120 performers at The Guggenheim Museum. She has designed scenery for Monk and other multi-media directors for over 25 years at BAM, Houston Grand Opera, and LaMama. For The Lincoln Center Festival’s production of Shadow's Child, she designed the scenery and giant backpack puppets, collaborating with Urban Bush Women and The National Company of Song and Dance of Mozambique.
HBO Family credits include set designer and story advisor for the, Emmy and Peabody Award winning animated special, Classical Baby; segment producer on Twas the Night, and story advisor on HBO/Rosie O’Donnell’s A Family is a Family is a Family. Her animation has been shown on PBS, Showtime/The Movie Channel, and MTV (see her animation here).
In Paris, Jardin des Tuileries, she designed a food themed children’s parade with giant puppets, collaborating with 500 mostly immigrant children professional choreographers, design students, and community volunteers. For eight years, she designed the giant puppets for New York’s Halloween Parade, primarily focusing on environmental themes and organizing hundred of volunteers.
She has designed sculptural promotional costumes for Ben & Jerry’s Ice Cream and Nantucket Nectars, as well as award winning packaging for salad dressings and sauces.Grants include: The New York Foundation for the Arts, The National Endowment for the Arts, and The Jim Henson Foundation.
At Parsons the New School for Design, she taught 3D Design and LAB (design practice through research and community involvement). She has also taught art to children, teens at risk, inmates, and senior and interdisciplinary arts and environmental residencies through Cafeteria Culture and The Touchstone Center.
https://www.debbyleecohen.com/


Note: by default, autocompletion search settings will include Term names as well as synonyms. If you would like to change these settings, read the Changing your Autocompletion Settings help page.
By default, the autocompletion feature will search on ALL ontologies specified for the field. You can change this, and choose a specific ontology by selecting one from the drop-down list (the list is displayed when the small upside-down triangle is clicked):
As you start typing in an ontology field, a list of partial matches will show in a scrollable box below. In this example, the phrase prot has several matches.
Matches are listed in the following order within the box:
If you have selected to search in ALL ontologies, then the matches are listed in this order, in the order of the ontologies. For example, you will find a matches to "kidney" in FMA before you will find them in GO.
You can navigate through these matches with the scrollbar on the right side of the box. The more letters typed increases the specificity of the matches displayed.
As you scroll down the list, either with arrow keys or the mouse, information about the term will be displayed in the Term Info window, which may help in your decision whether or not the term is appropriate for the current annotation. In this example I have moused over the term proteasomal ubiquitin-dependent protein catabolic process. The Term Info window shows:
FAQ: what if I want a more specific term related to this?
FAQ: what if I can't find the term name I'm looking for?
Once you have found the correct term to use for your annotation, select it by clicking the left mouse button. Selecting a term will trigger the drop-down box of matches to disappear, and your selected term will be displayed in the appropriate field in the spreadsheet:
Note: if you do not click the mouse button on a term from the drop-down list, then your term will not be selected. currently, even if you type the exact term name it will not be chosen before moving to the next field.
If, once you have selected a term, you want to change it, simply select another term from the same search or delete the current text and start typing something new.
You can bring up information about a term in the Term Info window without editing the text by simply double-clicking on a term in the spreadsheet.


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:1: IN THE HIGH COURT OF KARNATAKA CIRCUIT BENCH AT DHARWAD DATED THIS THE 04 T H DAY OF JULY, 2013 BEFORE THE HON'BLE MR.JUSTICE N.ANANDA CRIMINAL PETITION No.10449 OF 2013 BETWEEN: 1. M/S GHATAPRABHA SAHAKARI SAKKARE KARKHANE NIYAMIT, SINGLAPUR, GOKAK TALUK, BELGAUM BU ITS MANAGING DIRECTOR S M RANJANAGI 2. S M RAJANAGI MANAGING DIRECTOR M/S GHATAPRABHA SAHAKARI SAKKARE KARKHANE NIYAMIT SINGLAPUR, GOKAK TALUK, BELGAUM ... PETITIONERS (By Sri. SHARAD V.MAGADUM ADV. FOR SRI.HEMANT R CHANDANGOUDAR ADV.) AND: THE KARNATAKA STATE POLLUTION CONTROL BOARD, HEAD OFFICE AT BANGALORE, REGIONAL OFFICE, BELGAUM REPTD. BY ITS :2: ASSISTANT ENVIRONMENTAL OFFICER SRI PRADEEP S MAMDAPUR ... RESPONDENT (By Sri. M M HIREMATH ADV.) THIS CRIMINAL PETITION IS FILED U/S 439 OF CR.P.C. SEEKING TO QUASH THE ENTIRE PROCEEDINGS IN C.C.NO.1009/2012 FOR THE OFFENCES P/U/S 44 OF WATER (PREVENTION & CONTROL OF POLLUTION) ACT, 1974 ON THE FILE OF THE JMFC COURT, GOKAK. This criminal petition coming on for Admission this day, the Court made the following: O R D E R
This petition is filed to quash the proceedings in C.C. No.1009/2012 pending trial for an offence punishable under Section 44 of the Water (Prevention and Control of Pollution) Act, 1974.
2. The learned counsel for petitioner would submit that the Board has issued consent order on 04.01.2013. Therefore, the learned Magistrate should not have taken cognizance of the afore- stated offences to issue process to petitioner. :3:
3. This submission is prima facie untenable in view of the fact that the process was issued to the petitioner on 19.06.2012. If the consent, as contended by the learned counsel for petitioner, has been issued by the Board, whether consent order would obliterate the offence of which cognizance has been taken by the trial court are matters for consideration on merits of the case. The accused can raise this contention before the trail court. The petition is dismissed.
Sd/-
JUDGE RK/-


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