Brendan Rodgers aims transfer dig at Liverpool ahead of Man City showdown
Brendan Rodgers shipped 151 goals in 123 Premier League matches in charge of Liverpool but has shorn up the defences at Celtic and Leicester - who have only conceded eight goals this season
by Alex SmithBrendan Rodgers has taken a pot shot at Liverpool's owners for not allowing him to boast a defence to succeed.
Northern Irish manager Rodgers was the Reds' boss from June 2012 until he was sacked in October 2015 - during which time he led the club to seventh, sixth and second place finishes in the Premier League.
During his tenure at Anfield, Liverpool were known for having a less than solid back line - with 151 goals conceded in 123 Premier League matches in charge.
Rodgers was seemingly given funds to make defensive signings having splashed £20million on centre back Dejan Lovren, £15m on Mamadou Sakho and Nathaniel Clyne and £9m on keeper Simon Mignolet.
The former Swansea manager has since turned Celtic and now Leicester , who have shipped only 16 goals since he took over in February, in solid defensive sides.
And Rodgers has backed his record and hit out at Reds chiefs for not backing him.
"I think if you look when I was in Scotland [with Celtic] we had defensive records as well," Rodgers said.
"At Liverpool of course we were very good going forward, you have to ask did I have the players to defend how we’d want to defend?
"I think now at Liverpool they obviously invest a lot of money to get those types of players in.
"Here I’ve got a top-level centre-half in Jonny Evans, a young player in Caglar [Soyuncu] beside him who’s amazing. We’ve got a top European goalkeeper."
The Foxes are currently second in the Premier League table, but Rodgers has dismissed any thoughts of mounting
Rodgers said: “I suppose we have thrown a hand grenade right into the middle of the top four.
“But we're not thinking about the title race. We're thinking about developing a team and improving the players. That is our only focus.
“Our job is to hope to be in the top four. I said when I came here that it would be great to play European football.
“Huge credit goes to the players. They are playing with confidence and they are playing with steel.”


|
Polycode
|
Event dispatched by CoreInput. More...
Inherits Polycode::Event.
Public Attributes | |
| int | mouseButton |
| If this is a mouse click event, the mouse button that's pressed. | |
| Vector2 | mousePosition |
| If this is a mouse event, the mouse position. | |
| PolyKEY | key |
| If this is a key event, the key code that's coming down or up. | |
| wchar_t | charCode |
| If this is a key press event, this will contain the unicode character that's being typed. | |
Static Public Attributes | |
Input event types. | |
Possible input event types dispatched by CoreInput. | |
| static const int | EVENTBASE_INPUTEVENT = 0x400 |
| static const int | EVENT_MOUSEDOWN = EVENTBASE_INPUTEVENT+0 |
| static const int | EVENT_MOUSEUP = EVENTBASE_INPUTEVENT+1 |
| static const int | EVENT_MOUSEMOVE = EVENTBASE_INPUTEVENT+2 |
| static const int | EVENT_MOUSEOVER = EVENTBASE_INPUTEVENT+3 |
| static const int | EVENT_MOUSEOUT = EVENTBASE_INPUTEVENT+4 |
| static const int | EVENT_DOUBLECLICK = EVENTBASE_INPUTEVENT+5 |
| static const int | EVENT_MOUSEUP_OUTSIDE = EVENTBASE_INPUTEVENT+6 |
| static const int | EVENT_MOUSEWHEEL_UP = EVENTBASE_INPUTEVENT+7 |
| static const int | EVENT_MOUSEWHEEL_DOWN = EVENTBASE_INPUTEVENT+8 |
| static const int | EVENT_KEYDOWN = EVENTBASE_INPUTEVENT+13 |
| static const int | EVENT_KEYUP = EVENTBASE_INPUTEVENT+14 |
| static const int | EVENT_JOYBUTTON_DOWN = EVENTBASE_INPUTEVENT+15 |
| static const int | EVENT_JOYBUTTON_UP = EVENTBASE_INPUTEVENT+16 |
| static const int | EVENT_JOYAXIS_MOVED = EVENTBASE_INPUTEVENT+17 |
| static const int | EVENT_JOYDEVICE_ATTACHED = EVENTBASE_INPUTEVENT+18 |
| static const int | EVENT_JOYDEVICE_DETACHED = EVENTBASE_INPUTEVENT+19 |
| static const int | EVENT_TOUCHES_BEGAN = EVENTBASE_INPUTEVENT+20 |
| static const int | EVENT_TOUCHES_MOVED = EVENTBASE_INPUTEVENT+21 |
| static const int | EVENT_TOUCHES_ENDED = EVENTBASE_INPUTEVENT+22 |
Additional Inherited Members | |
| Public Member Functions inherited from Polycode::Event | |
| Event () | |
| Default constructor. | |
| Event (int eventCode) | |
| Initializes the event with an eventCode. More... | |
| int | getEventCode () const |
| Returns the event code for this event. More... | |
| EventDispatcher * | getDispatcher () const |
| Returns the event dispatcher which originated the event. More... | |


Repair SVGs and make Workarounds for librsvg
----
Extract PNG from FakeSVG
----
webservice restart
If the Error "500 - Internal Server Error" ocours, the webservice hast to be restarted. There will be a button implemented, but now you have to message JoKalliauer to fix it. (see below)
This tool can only convert svgs till about 1MB.
Contact:
https://commons.wikimedia.org/wiki/User_talk:SVGWorkaroundBot
https://github.com/JoKalliauer/convert


Moves: 0 Score: ★★★ Time:00:00 Reset game Good job! Would you want to play again? No thanks Hell yeah!


In early May 2016, I wrote a Zoom and Pan plugin to work with the new plugin system introduced in Chart.js v2.1.0. The plugin is touch ready and allows the use of gestures, such as pinch, to zoom the chart. Take a look at the chart below and try it out!
In the future I think the zoom plugin will make a good reference as to what plugins can look like. It’s already help other to create plugins for Chart.js including a great one for creating gradient fills based on scale values. I’m looking forward to what the community can build over time.


{% extends 'base.html' %} {% load ladder_extras %} {% block container %} Back
| Player | Times Played | Last Played | |
|---|---|---|---|
| {{ h.opponent__first_name }} {{ h.opponent__last_name|slice:":1" }}. | {{ h.times_played|floatformat:"0" }} | {{ h.last_played }} | More Detail |
| Ladder | Perc. Played | Total Points | Matches | Won | Avg. Points |
|---|---|---|---|---|---|
| Division: {{ league.ladder }} | {{ league.player_stats.percplayed|floatformat:"2"}} % | {{ league.player_stats.total_points|floatformat:"0" }} | {{ league.player_stats.games|floatformat:"0" }} | {{ league.player_stats.won_count }} | {{ league.player_stats.pointsdivgames|floatformat:"2" }} |


Sanoja laskeva menetelmä : Erkan, Günes, and Dragomir R. Radev. "Lexrank: Graph-based lexical centrality as salience in text summarization." journal of artificial intelligence research 22 (2004): 457-479.
Sanastoon perustuva menetelmä : Kobayashi, Hayato, Masaki Noguchi, and Taichi Yatsuka. "Summarization based on embedding distributions." Proceedings of the 2015 Conference on Empirical Methods in Natural Language Processing. 2015.


#!/bin/bash
if $( command -v vim >/dev/null 2>&1 ); then
echo "vim is already installed."
else
apt-get install vim
fi
if $( grep -Fxq "filetype indent off" /etc/vim/vimrc ); then
echo "set filetype indent off is already in /etc/vim/vimrc."
else
echo "filetype indent off" >> /etc/vim/vimrc
# TODO: Do not continue if this fails.
fi
# TODO: Rollback if something fails.
Describe state
- name: ensure installed vim
apt: pkg={{ item }} state=installed
- name: add a string to the new file
lineinfile:
dest=/etc/vim/vimrc
line='filetype indent off'
state=present
Ansible
SSH-based
Client only (no server)
YAML configuration
Push
Supports more than setup and provisioning:
Application deployment
Remote command execution
Installation and setup (1 of 3)
# Map the ip addresses of the VMs in your /etc/hosts
<IP_ADDRESS> db.local db
<IP_ADDRESS> app1.local app1
<IP_ADDRESS> app2.local app2
<IP_ADDRESS> proxy.local proxy
Installation and setup (2 of 3)
#Prevent StrictHostKeyChecking by adding the following to ~/.ssh/config
Host db.local
StrictHostKeyChecking no
UserKnownHostsFile /dev/null
User vagrant
LogLevel QUIET
Host app1.local
StrictHostKeyChecking no
UserKnownHostsFile /dev/null
User vagrant
LogLevel QUIET
Host app2.local
StrictHostKeyChecking no
UserKnownHostsFile /dev/null
User vagrant
LogLevel QUIET
Host proxy.local
StrictHostKeyChecking no
UserKnownHostsFile /dev/null
User vagrant
LogLevel QUIET


The SoapHeader class
(PHP 5 >= 5.0.1, PHP 7)
简介
Represents a SOAP header.
类摘要
SoapHeader {
/* 方法 */
__construct ( string $namespace , string $name [, mixed $data [, bool
$mustunderstand [, string $actor ]]] )
SoapHeader ( string $namespace , string $name [, mixed $data [, bool
$mustunderstand = false [, string $actor ]]] )
}
Table of Contents
• SoapHeader::__construct — SoapHeader constructor
• SoapHeader::SoapHeader — SoapHeader constructor
User Contributed Notes 3 notes
===============================================================================
Example by john at jtresponse dot co dot uk does miss one important point: to
be able to add attributes they must be mentioned in WSDL. If they not exist in
WSDL they WILL NOT appear as attributes but rather
elements.
===============================================================================
None of the examples really do it for me.
Note: you should NOT need to hard-code any XML.
Here is an example of creating a nested header and including a parameter.
$client = new SoapClient(WSDL,array());
$auth = array(
'UserName'=>'USERNAME',
'Password'=>'PASSWORD',
'SystemId'=> array('_'=>'DATA','Param'=>'PARAM'),
);
$header = new SoapHeader('NAMESPACE','Auth',$auth,false);
$client->__setSoapHeaders($header);
Gives the following header XML:
DATA
USERNAME
PASSWORD
===============================================================================
Just to add some note regarding his john at jtresponse dot co dot uk
In PHP you can try following code to avoid the -
$Auth = new stdClass();
$Auth->SystemId = "DATA";
$Auth->UserName = "USERNAME";
$Auth->Password = "PASSWORD";
$header = new SoapHeader('NAMESPACE','Auth',$Auth,false);
$soapClient->__setSoapHeaders($header);
DATA
USERNAME
PASSWORD


I am an Electrical and Computer Engineering Graduate with special interest in Data Science and Machine Learning. I have hands-on experience with applied Machine Learning techniques using Python. Have, also, worked on various projects in Full Stack Web Development. As a former Software Consultant, IT Support Engineer and Sales Agent i have great problem solving and communication skills.
Grade: 6.63/10 "Very Good"
Grade: 19.0/20 “Excellent”
When I'm not working on the latest projects, I enjoy spending most of my time exploring the nature, free climbing and going for long walks. I, also, love taking photographs of the places i visit and make fond memories by meeting new and interesting people and getting to know different cultures.
When I stay in, i like being on top of everything technology related, blog about interesting tech solve coding and math riddles and playing the occasional video game to blow some steam off. I'm, also, active in various forums in order to exchange ideas and have a broader understanding of the IT field.
Got selected to participate in the Foundations Course for the Microsoft Azure Machine Learning Scholarship organized by Udacity and Microsoft. In this course, I learned how to use Microsoft Azure Services for solving complex problems using Machine Learning. I deployed various models on the cloud, used both supervised and unsupervised learning techniques and automated processes via pipelines. In addition, many of the potential implications and challenges posed by ML and AI were discussed, as well as principles for building responsible AI. Also, participated in the Slack Community where i learned a lot as i had the chance to communicate with people with different backgrounds, share knowledge, solve problems and have fun.
Worked as part of an indisciplinary team to create a guide for the corona virus pandemic. On our "Covid-Master" platform the user gains easy access to straightforward information about the current precautionary measures, local regulations and relevant health information. My task as a team member was to give the user an overview of the situation with various visualizations. To accomplish that i used different data science tools, mainly Python packages(pandas, seaborn, folium) and created detailed plots and choropleth maps. It was a really enriching experience being part of this project as i got to work with people from various countries with different backgrounds (UX design, web development) and used multiple tools to brainstorm and collaborate(Mural, Figma, Slack).
I was among the 7% of people selected from a pool of 3500 candidates after a process involving resume filtering, a game-based assessment and a live assessment/interview. This program gave me the chance to train on Data Science and acquire solid experience on a variety of programming languages and tools (Python, SQL, Microsoft PowerBi, Microsoft SQL Server, ETL). For the capstone project we analysed transactions' data and we were asked to make predictions about the users' plan, cluster them based on heuristic and machine learning techniques and use our creativity to predict customer churn and offer solutions to reduce it.
For this project our team created a python game using the PyGame Python library. It was a really fun experience working on this and the result was rewarding as we were one of the teams to get an award and have the chance to present in front of a big audience.


China sails carrier fleet through Taiwan Strait in apparent message days after US warship crossed
by Stephen SoraceChina has sailed an aircraft carrier fleet through the Taiwan Strait -- just days after a U.S. warship crossed the waterway -- in an apparent message to the self-ruled island and its allies ahead of the Asian nation's 2020 presidential election.
The fleet was spotted Sunday sailing southbound through the strait, Taiwan’s defense ministry said.
The vessels stayed on China’s side of the waterway, escorting its first entirely home-built aircraft carrier, as U.S. and Japanese ships trailed behind.
US WARSHIP SAILS THROUGH TAIWAN STRAIT IN MESSAGE TO CHINA
The ministry said Taiwan scrambled ships and jets to monitor the still-unnamed carrier and its accompanying fleet, asking its citizens not to worry. Officials didn’t give further details.
The display came less than a week after the USS Chancellorsville, a guided-missile cruiser, transited the Taiwan Strait in a move that likely irked China. It was the U.S. Navy's ninth such transit this year.
China has condemned previous U.S. voyages in the Taiwan Strait, claiming the U.S. was meddling in the China-Taiwan issue.
China has viewed Taiwan as a breakaway province and has passed aircraft carriers into the strait since Taiwan's President Tsai lng-wen took office in 2016. China has resented Tsai for declining to see Taiwan and China as parts of the same country -- and for her improved relations with Washington.
“Beijing is increasingly resorting to coercion and intimidation to advance its strategic objectives, at the expense of other nations,” Defense Secretary Mark Esper said in Bangkok earlier Sunday, without mentioning the passage of the Chinese carrier.
China and Taiwan have been ruled separately since the Chinese civil war of the 1940s, when Chiang Kai-shek’s Nationalists lost to the Communists and rebased their government on the island 100 miles away.
CLICK HERE FOR THE FOX NEWS APP
China’s President Xi Jinping said in January that if a peaceful “reunification” proved impossible, China had the right to use force to secure Taiwan under its rule, Reuters reported.
The transits through the Taiwan Strait came as Chinese officials have cracked down on pro-democracy protesters in Hong Kong, arresting more than 3,000 people since this past June.
Fox News' Lucas Tomlinson and The Associated Press contributed to this report.


--- layout: page title: Welcome! ---
I'm Mark Johnson, a hobbyist developer from Derby in the United Kingdom.
My goal for 2018 is to find myself a bona-fide developer job.
I've been interested in IT since getting a Commodore 64 way back in the 80's. I studied Computer Science at the University of Bradford, graduating in 1994.
Although I've worked outside IT since graduation, I've maintained a keen interest in coding, mainly in C++ and C#.


| Package | Description |
|---|---|
| org.apache.drill.exec.physical.impl.scan.project |
Provides run-time semantic analysis of the projection list for the
scan operator.
|
| org.apache.drill.exec.physical.impl.scan.v3.lifecycle |
Implements the details of the scan lifecycle for a set of readers,
primarily the process of resolving the scan output schema from a variety
of input schemas, then running each reader, each of which will produce
some number of batches.
|
| org.apache.drill.exec.physical.impl.scan.v3.schema |
Provides run-time semantic analysis of the projection list for the
scan operator.
|
| org.apache.drill.exec.physical.resultSet.impl |
Handles the details of the result set loader implementation.
|
| org.apache.drill.exec.store.easy.json.loader | |
| org.apache.drill.test |
Provides a variety of test framework tools to simplify Drill unit
tests and ad-hoc tests created while developing features.
|
| Class and Description |
|---|
| ProjectionFilter
Provides a variety of ways to filter columns: no filtering, filter
by (parsed) projection list, or filter by projection list and
provided schema.
|
| ResultVectorCacheImpl
Manages an inventory of value vectors used across row batch readers.
|
| Class and Description |
|---|
| ResultVectorCacheImpl
Manages an inventory of value vectors used across row batch readers.
|
| Class and Description |
|---|
| ProjectionFilter
Provides a variety of ways to filter columns: no filtering, filter
by (parsed) projection list, or filter by projection list and
provided schema.
|
| ProjectionFilter.ProjResult |
| Class and Description |
|---|
| BuildFromSchema
Build the set of writers from a defined schema.
|
| ColumnBuilder
Algorithms for building a column given a metadata description of the column and
the parent context that will hold the column.
|
| ColumnState
Represents the write-time state for a column including the writer and the (optional)
backing vector.
|
| ColumnState.BaseContainerColumnState |
| ColumnState.State
Columns move through various lifecycle states as identified by this
enum.
|
| ContainerState
Abstract representation of a container of vectors: a row, a map, a
repeated map, a list or a union.
|
| NullVectorState
Do-nothing vector state for a map column which has no actual vector
associated with it.
|
| ProjectionFilter
Provides a variety of ways to filter columns: no filtering, filter
by (parsed) projection list, or filter by projection list and
provided schema.
|
| ProjectionFilter.BaseSchemaProjectionFilter
Schema-based projection.
|
| ProjectionFilter.ProjResult |
| PullResultSetReaderImpl.State |
| PullResultSetReaderImpl.UpstreamSource |
| PushResultSetReaderImpl.UpstreamSource |
| RepeatedListState
Represents the internal state of a RepeatedList vector.
|
| RepeatedListState.RepeatedListVectorState
Track the repeated list vector.
|
| ResultSetLoaderImpl
Implementation of the result set loader.
|
| ResultSetLoaderImpl.ResultSetOptions
Read-only set of options for the result set loader.
|
| ResultSetOptionBuilder
Builder for the options for the row set loader.
|
| RowSetLoaderImpl
Implementation of the row set loader.
|
| SingleVectorState
Base class for a single vector.
|
| SingleVectorState.FixedWidthVectorState
State for a scalar value vector.
|
| SingleVectorState.SimpleVectorState |
| TupleState
Represents the loader state for a tuple: a row or a map.
|
| TupleState.DictState |
| TupleState.DictVectorState |
| TupleState.MapColumnState
Represents a map column (either single or repeated).
|
| TupleState.MapState
Represents a tuple defined as a Drill map: single or repeated.
|
| TupleState.RowState
Handles the details of the top-level tuple, the data row itself.
|
| VectorState
Handles batch and overflow operation for a (possibly compound) vector.
|
| Class and Description |
|---|
| ResultSetOptionBuilder
Builder for the options for the row set loader.
|
| Class and Description |
|---|
| PullResultSetReaderImpl
Protocol
|
| PullResultSetReaderImpl.UpstreamSource |
| PushResultSetReaderImpl.UpstreamSource |
Copyright © 2021 The Apache Software Foundation. All rights reserved.


Shaman cuts up snake-bite victim's arm with razor blade in folk 'treatment '
Parafulla Majhi, 28, went to a local shaman in east India after he got bitten by a venomous snake in his right arm. He was left bleeding before the shaman brushed it off with neem leaves.
by Tiffany LoA man bitten by a venomous snake had his arm sliced with a razor blade while receiving treatment from a shaman.
Parafulla Majhi, 28, went to seek help from local shaman, Sarbeswar Pradhan, after he was attacked by a venomous snake.
He was bitten in the right arm when he was in Ranapur near Nayagad, Odisha, east India, last Tuesday.
Video of his visit to the shaman shows Sarbeswar chanting mantras and praying with neem leaves.
He even cut the snake bite wounds with a razor blade in an effort to 'bleed the poison'.
The shaman then stabs several times all around Parafulla's wrist and arm before brushing the blood off with the neem leaves.
The unorthodox ritual was stopped by members of the Snake Helpline charity who rushed to rescue the man after hearing about the 'treatment'.
The charity workers had a row with the shaman and forcibly took Parafulla to a hospital.
The patient was administered with snake anti-venom and discharged two days later.
General Secretary of Snake Helpline Subhendu Malik said: "Cutting the the bite site with a blade is an old method and very harmful. It makes makes the wound difficult to manage and increases risk of secondary infections."
"The shaman should be arrested for endangering the victim," Subhendu added.


PGM-Lab
☰
Research
Papers
Projects
Talks
Tutorials
Education
Software
Consultancy
Team
Blog
pure black
950214650


How you specify instructions
for a computer to produce output
Languages used at Coding & Cocktails are
client-side languages
aka Front-end vs Back-end
Client-side runs in your browser
(your computer)
Server-side runs on a server
(a central computer)
Syntax may differ
Hyper Text Markup Language
Provides structure for the page
(January)
Cascading Style Sheets
Makes the page pretty
(February)
Javascript
Allows page to react to user interaction
(June & July)
PHP
Perl
Python
.NET
Java
Ruby
Javascript
Databases
There are thousands of programming languages!
(but most professionals only know a few)
A developer who knows many
programming languages is called a "polyglot"
Learn how to output "Hello world"
helloworldcollection.github.io
Java != Javascript
Strongly typed:
Data types are defined at creation
(and don't change!)
Weakly typed:
Variables can change
from a number to a string, etc
Learning a programming language
can be like learning a foreign language
Take it one step at a time
Ask questions!


{% extends 'mail/_base.html' %} {% block content %}
Hello {{ order.first_name }}!
Unfortunately we're temporarily sold out. You've been added to the waiting list and we'll notify you as soon as spots become available.
We will keep you up to date on any news via the website and Facebook page.
Order #: {{ order.id }}
All the best,
Smokey Feet Crew
{% endblock %}


The Watch aims to be a group you can come to in any situation you are concerned about to be a safe person to help. This continues to be our main purpose for the online convention this year. We are here to provide support for issues of cyber bullying and online fraud that arise in our remote spaces.
If you need to talk to a Safety staff member, you can do so on Discord in the #safety channel or email<EMAIL_ADDRESS>To report a Code of Conduct violation or other member behavior issues, contact the IRT.


In keeping with GTD principles, every time a task comes to mind, I have to get it into OmniFocus right away. The longer it stays in my brain, the more likely I am to forget it.
OmniFocus has a quick entry mechanism that allows me to type ^ + Space
and enter tasks at lightening speed. There’s one catch, however: OmniFocus has to be open for it to work. Believe it or not, I don’t always have OmniFocus open. Opening it, then entering my tasks introduces a slightly irksome level of friction, and that isn’t acceptable.
I realized that this was true of OmniFocus’ AppleScript methods, as well: OmniFocus needs to be open in order for them to work. Given that I have some workflows that make use of these methods, this, too, introduced friction.
TL;DR
With a smart Applescript, it’s possible to add tasks to OmniFocus regardless of whether it’s open.
The Beginning
I brainstormed a bit and came up with a flow to remove the friction and be more robust overall:
- If OmniFocus is open, use its AppleScript methods to add tasks.
- If OmniFocus isn’t open, use Mail Drop.
Fortunately, with a little wizardry, this can be accomplished in a variety of workflows. Here’s how to do it.
Postfix
In order to do #2 above, it is necessary to install and configure a mail server on OS X. Postfix is a great option and, once installed, allows you to easily send email via the command line.
/usr has a guide on installing Postfix on OS X. Use it to set up Postfix on your own machine.
The Generic AppleScript
Although my various OmniFocus workflows include other applications and scripts, the same base AppleScript is used across each:
There is a decent amount happening here, but it’s not difficult to understand. The basic flow goes like this:
- Query OS X and see how many instances of the “OmniFocus” process exist.
- If more than one instance is running, use OmniFocus’ AppleScript methods to create a task.
- Otherwise, use the
mail
command (which, assuming you’ve followed the /usr guide above, uses Postfix) to mail the task to OmniFocus via Mail Drop.
With this flow in place, all sorts of new workflows become possible.
Alfred 2 Workflow
This Alfred 2 workflow gives me a quick entry mechanism comparable to OmniFocus’ own method, but which makes use of my base AppleScript:
With this, Alfred can give me the quick entry experience that I want – I simply use the of
command:
…and the task is added to OmniFocus, regardless of whether it’s open or not:
Apple Mail Service
This Automator service works on any selected messages in Mail:
- Sends the email to OmniFocus as a task.
- Attaches the
@FollowUp
flag (a byproduct of the excellent MailTags) to the email.
The power lies in the AppleScript that comes along with the service:
Thus, I can select a group of messages…
…and run the service, which nicely tags the messages for follow up…
…and sends them to OmniFocus as tasks:
Another nice feature: the task’s note includes a URL back to the original email:
nvALT Checkboxes via Hazel
I mentioned this workflow in my posts on OmniFocus and nvALT – its purpose is to take “checkboxes” in nvALT (which I label as [ x ]
) and convert them into OmniFocus tasks. As with the other workflows, it allows me to file tasks into OmniFocus whether it is open.
The companion AppleScript used by the Hazel rule looks like this:
(Notice the ridiculous number of accompanying methods used to create a link back to the nvALT note; I wish I knew a better way.)
Entering some tasks into nvALT:
[ x ] Task #2
…causes Hazel to parse them into OmniFocus tasks:
Once again, these tasks’ notes contain links back to the original nvALT notes:
Closing Thoughts
Some might look at this and think it’s a tad overkill. Why not just keep OmniFocus open? you might say. It’s a valid point, but in my own workflows, I’ve simply noticed that it doesn’t always happen. That’s usually enough of an impetus to drive me to invent a solution like this.
The truth is, when OmniFocus is open, its AppleScript methods are quicker (and it seems less elegant to email tasks when there are quicker methods). When OmniFocus is closed, however, the email method removes the friction that I’ve grown to dislike. Having one automated method for both saves me time, and that’s what productivity is all about.
Enjoy!


Region: Rabigh
Year: 2017
Region: Jubail
Year: 2016
Region: Jeddah
Year: Since 2015
Region: Jeddah
Year: Since 2016
Provider: Mobily KSA
Region: Riyadh
Year: 2015
Region: Khobar
Year: 2017
Provider: Mobily KSA
Region: Kingdom wide
Year: 2015-2016
Region: Riyadh
Year: 2016
Region: Eastern Province
Vendor: Alcatel Lucent
Service Provider: Mobily KSA
Year: 2013
LTE optimization and drive test co-ordination to Alcatel Lucent.
Pre-optimization of the LTE network of Dammam was carried out for launching Mobily’s 4G network in the region.
Region: Makkah
Vendor: Ericsson
Service Provider: Mobily KSA
Year: 2013
Monitoring and executing the 2G & 3G Mobily Network in Hajj Area
Region: Eastern Province
Vendor: Huawei
Service Provider: Zain KSA
Year: 2014
Drive test analysis for three technologies, 2G, 3G & LTE
Region: Eastern Province
Vendor: Huawei
Service Provider: STC KSA
Year: 2015
Drive test analysis for three technologies, 2G, 3G & LTE
Region: Eastern Province
Vendor: Huawei
Service Provider: MoSTC KSAily
Year: 2016
Drive test analysis for three technologies, 2G, 3G & LTE
Region: Central Province
Vendor: Huawei
Service Provider: STC KSA
Year: 2016
Drive test analysis for LTE technology.
Region: Eastern Province
Vendor: Huawei
Service Provider: STC KSA
Year: 2017
Drive test analysis for LTE technology
Region: Central Province
Vendor: Huawei
Service Provider: STC KSA
Year: 2017
Drive test analysis for three technologies, 2G, 3G & LTE
Region: Kingdom wide
Vendor: Alcatel
Service Provider: STC KSA
Year: 2016


Career Development and Placement Cell The Motive of Charotar University of Science and Technology, Changa (CHARUSAT) is to help society to develop towards a better future. We believe in providing value based education to the students so that they can be better employable candidates and more importantly an individual contributing to the organization and the society as a whole. For the same purpose, a dedicated centralized Career Development and Placement Cell has been constituted on the campus. The Cell coordinates all the Training and Placement activities of different institutes of the University and enhances Industry Institute Interaction. Training and Placement Officer : Divyang Purohit Charotar University of Science and Technology Telephone: 02697-265213 Mobile: +91-9913686259 Email<EMAIL_ADDRESS>Time: Monday – Sat 9.00 am to 4.30 pm Career Development and Placement Cell The various activities undertaken by the cell are: Training Activities Training activities are arranged at two levels i.e. CDPC and institute or department wise. The training programmes are concentrated towards providing students with ample exposure to recruitment patterns and skill requirements of different private and public sector organizations. The training programs offered include Behavioral Skills, Technical Skills, Personality Improvement, and Communication Skills. Each Institute provides Training in accordance with the curriculum/courses. Training is provided to the students in coordination with different Private/Public organizations, according to prevalent Industry demand. This is undertaken to provide the students with the real time environment in industry so that the students can have firsthand practical experience of the latest practices and technologies. The duration of the training can differ from program to program and its requirement. The Cell also arranges programs on Behavioral Skills and Technical Skills Training for the students prior to facing Campus Placements. Placement Activities Placement activity is supported by robust and dedicated centralized Placement Cell which facilitates opportunities for the placements of the students in leading organizations. These opportunities can be in the form of On – Campus / Pooled Campus / Off – Campus activities. The Cell in coordination with the Institute Placement Coordinator invites reputed organizations for recruitment and career building. All major Industry and Sectors are targeted to provide ample opportunities to the students. Career Guidance Career Development and Placement Cell also organizes Seminars / Workshops / Training Programs / Guest Lectures on various career avenues and options that a student could explore (GATE/GRE/TOEFL/CAT/UPSC/GPSC etc). Sectoral Inputs are provided to students to make wise choices about the sector they choose to build their career. Resume Building and Interview Preparation The cell guides students on how to prepare appropriate Resume/CV including video resume and how to prepare for the interviews. Special sessions on technical / aptitude / soft and employability skills are conducted in house as we well as by inviting Industry experts to provide students more exposure and improve their employability Placement Infrastructure The University has state of the art infrastructure with 24X7 Wi-Fi Campus, Internet Connectivity, Several Large network line Labs and Auditoriums and Seminar halls for conducting Placement Drives. CHARUSAT has also hosted Pooled Campus Drives for Infosys, Amdocs, and Alembic to name a few, for the entire region. Chandubhai S. Patel Institute of Technology (CSPIT


Nike Launch The Riveting Terra Pack
by SL SocialNike have done it again, this time with the introduction of the exciting new Terra Pack that is sure to send shockwaves through the footballing world.
The mercurial Vapor 13, Superfly, and the Venom have all undergone a dramatic transformation that is set to excite.
Download The Soccer Laduma Social Media App & Earn Airtime for Selfies!
Nike have added a new desert sand and psychic purple hue to the existing boots, which is sure to make some of the world’s biggest stars like Neymar and Harry Kane shine brighter than ever.
The boot launches on the 25th of November and will debut in this week’s UEFA Champions League fixtures.
Check out the awesome new terra pack in the gallery above
What are your thoughts on Nike’s new Terra Pack?


Welcome to SKIIwalker-web
Simple Kean Interactive Information - or SKIIwalker, is a mobile application used for displaying information based on the application user's current position. SKIIwalker uses GIS or geographic information systems to detect when a user enters a building and will display relevant information and events to the user through the mobile application. It is our hope that SKIIwalker will help to streamline mobile distribution of event data throughout the Kean Union campus.
This is the administrative web application for SKIIwalker where administrators can enter event details that the SKIIwalker mobile application will display to users. SKIIwalker-web is backed by a MongoDB database and was built on top of the RDash-angular dashboard boilerplate.


You have always been the perfect guardian for us. Your presence will more than expected during this holy occasion of our lives. Bless our holy union with presence so that our journey may turn out nothing but bliss…
We, Ketty Dustin & Margaret request the honor of your presence at the marriage of beloved daughter, Emma
Save the date
15. October 2020
At 7 o clock in the evening
Royal Villa macadamiana Second at Marianberg
Hilltop Dr Menomonce Falls, Wi 98061 US
We, Kinsley Button & Beckham request the honor of your presence at the marriage of beloved son, Roko
Famed for our breathtaking landscapes, majestic ancient castles & stunning natural beauty, Scotland is the perfect destination to the host our wedding. Be relax and enjoy the most awaited wedding our saga! with beautiful atmosphere location.
Checkout our least blog from the most liked bloggers regarding wedding and different aspects that most helpful for others. Stay up to date with our latest news Read more news.


Similar to setValue except that the input can be either a Javascript object or an array of Javascript objects. The objects should contain name/value pairs. The names are assumed to be the IDs of HTML elements, and the values, what we should set the contents of the elements.
By default DWR protects against XSS in dwr.util.setValues by performing output escaping. The optional options object parameter allows output escaping to be disabled. Please see the escapeHtml page for more information.
In this example we are using dwr.util.setValues to populate a form with data from an object. Please modify the object definition in the textarea and click the setValues button to experiment.
dwr.util.setValues
(
)
HTML Test Elements
| Text area (id="textarea"): | Selection list (id="select"): | ||
| Text input (id="text"): | Password input (id="password"): | ||
| Form button (id="formbutton"): | Fancy button (id="button"): |
In this example we are using dwr.util.setValues to populate a series of divs/spans with data from an array of objects. Please modify the object definition in the textarea and click the setValues button to experiment.
var peopleArr =
dwr.util.setValues
(peopleArr, { idPrefix : 'person' });
When an array is passed into setValues the id of the elements should be idPrefix[index].objectPropertyName. To illustrate this here is the HTML for the results above:

Address:

Address:

Address:

This example is very similar to the previous example. The difference is that we are also using dwt.util.cloneNodeForValues so that we do not have to create all of the HTML elements.
var peopleArr =
dwr.util.cloneNodeForValues('personWithClone', peopleArr, {updateCloneStyle:{display:""}});
(peopleArr, { idPrefix : 'personWithClone' });
dwr.util.setValues
The HTML below (all that is needed for this example) illustrates the work that dwr.util.cloneNodeForValues performs:

Name:

Address:


--- title: The Scent of Spring date: 2013-05-08 00:00:00 -06:00 categories: - whats-blooming layout: post blog-banner: whats-blooming-now-spring.jpg post-date: May 8, 2013 post-time: 7:34 AM blog-image: wbn-default.jpg ---
Adams Crabapple Malus 'Adams' is in full bloom.
Selkirk Crabapple Malus 'Selkirk' is coated with light pink flowers.
Sugar Tyme Crabapple Malus 'Sutyzam' has a delicate sweet scent.
Beauty of Moscow Lilac Syringa vulgaris 'Krasavitsa Moskovy' is covered with buds that are just beginning to bloom.
Dappled Dawn Lilac Syringa vulgaris 'Dappled Dawn' delights with interesting variegated leaves and aromatic blooms.
Volcan Lilac Syringa vulgaris 'Volcan' has striking deep burgundy buds, and is currently the lilac most fully in bloom.
Arrowleaf Balsamroot Balsamorhiza sagittata enjoys the sun in the Natural Area.


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Imagism occupies a special place in the history of Anglo-American poetry. In classrooms it is commonly taken to represent the impulses of modernism in poetry. The modestness of the poems by Pound, H.D., Williams, and others in Pound's Des Imagistes and later anthologies is acknowledged at the same time that the impact of Imagist tenets on subsequent poetry is shown to have been decisive and far-reaching. This approach to Imagism presents the effects of modernism as technical: the elimination of indefinite descriptive language, the fragmentation of syntax, the breakdown of meter, and the banishment of discursive language. Since we have known for some time, however, that literary movements even more than individual literary creations are never merely technical, never void of ideology, one obvious interpretive task has been to infer the implicit political significance of poems such as H.D.'s "Heat," Pound's "In a Station of the Metro," or his prose accounts of Imagist doctrine. This critical procedure, though, has several unattractive consequences. First, the process of inference is often guided by essentialist conceptions of political positions--a "fascism," most importantly, that one understands retrospectively as implicit in poems of 1913. Second, when some recognizable political position can be inferred by a process of extrapolation, one may not work hard enough to reconstruct the less recognizable aspects of the ideological context of the text, in this case of London in 1913-14. In the case of Imagism, the political positions that did not survive the years just before World War I are obscured by those that, after World War II, have become crucial to literary historians. Third, this procedure presents Anglo-American modernists as having suppressed their political motivation under a cover of formal proposals, whereas the truth is more that formal procedures were understood by poets and readers as implicitly but importantly expressive of political ideas.
The most trenchant statement of the political significance of the Imagist method was Donald Davie's in 1952:
By hunting his own sort of "definiteness" (truth only in the particular) he [Pound] is led to put his trust not in human institutions but in individuals. Similarly he pins his faith on individual words, grunts, broken phrases, half-uttered exclamations (as we find them in the Cantos), on speech atomized, all syllogistic and syntactical forms broken down. Hence his own esteem of the definite lands him at last in yawning vagueness, the "intuitive" welcome to Mussolini (he "plays his hunch"). . . .
It would be too much to say that this is the logical end of abandoning prose syntax. But at least the development from imagism in poetry to fascism in politics is clear and unbroken. 1
There is much about these remarks that is revealing still, and some of it (pertaining to individuals and institutions) is very close to the historical context I want to reconstruct. But what is obscured by this view of the techniques of Imagist poetry is the fact that this poetry was written and initially interpreted in an intellectual context that included not protofascism but some other--not altogether unattractive--derivatives of anarchist and syndicalist, thought, to which Pound and others directed Imagist poems and the publicity on their behalf. My point is not that there are no connections between Imagism and Pound's later fascism, or among anarchism, syndicalism and fascism, but rather that one can tune one's understanding of Pound's pre-war political affiliations and those of his collaborators more finely than is usually done, and that the politics of modernism was more complicated than is usually acknowledged. Davie's claim was always that the taste for Imagist techniques in poetry after World War II was unwittingly complicitous with the impulses that promoted Italian fascism in the 1920s and 1930s. My own sense is that the techniques of Imagism carry no necessary political valence beyond that attributed to them by readers and writers in a particular place and time. But whether techniques are essentially neutral, as I believe, or not, the question I wish to raise is whether Imagism was not libertarian or antisocialist rather than protofascist in its political significance.
The particular context I will invoke is that of the journals The New Freewoman and its successor The Egoist (1914-19). Pound wrote seventy-five items in these journals during these years when he was also closely associated with Poetry, The New Age, and The Little Review. He was apparently comfortable in 1913 writing and soliciting manuscripts for The New Freewoman, whose first pages were regularly filled by Dora Marsden's dissenting feminist editorials. He was entirely capable of complaining about women editors whom he did not altogether admire; his remarks about Harriet Monroe make that clear. But about Marsden he was not ungenerous; though he was cautious, he was not even particularly critical of her until 1917. 2 In 1913, as he was first collaborating in the journal, he wrote that, although he needed some editorial latitude, he did not want the literary pages that he might edit to "queer the editorial columns." 3 He respected Marsden's role in the writing (not just the running) of The New Freewoman and The Egoist. He warned Amy Lowell that to purchase the journal and move it to Boston might be expensive, "unless Miss Marsden can keep her corner or some corner to let loose in. She has her own clientele who look for her." 4 He was slightly cagey, it is true, about his connections to the journal, though rather less so when speaking directly to Marsden. "The seven minutes at my instant disposal is hardly enough to define my philosophical credentials adequately," he wrote to Marsden, the philosophizing editor of The New Freewoman, in July 1913. "I suppose I'm an individualist. . . ." 5 On the other hand, he did not claim to approve of all that appeared in the journal's pages: "I'm responsible for what I get into the paper but I am at present nearly, oh we might as well say quite, powerless to keep anything out." 6
What might the term "individualist" have meant in mid-1913? And how serious was Pound about this affiliation? First, it was the rubric under which The New Freewoman (after 1913) and The Egoist would appear: The Egoist: An Individualist Review. Pound was deliberately, however diffidently, asserting ideological conformity to the general position of the journal, and that position, as Michael Levenson has shown, derived from the writings of Max Stirner, Karl Marx's one-time friend and his adversary in The German Ideology.
Stirner was the author of the anti-liberal polemic Das Einzige und sein Eigentum (The Ego and Its Own) , the first English translation of which appeared in London and New York in 1907 with an introduction by the anarchist Benjamin R. Tucker, who was also the American publisher; six subsequent editions came out in London (1912, 1913, 1915, 1921) and New York (1913, 1918) during the next fourteen years. (In 1918 Boni and Liveright--the publisher of Pound after 1920, and of The Waste Land in 1922--included Stirner's book in its Modern Library series.) Das Einzige was translated into French , Spanish , and Italian as well; a Hebrew translation appeared in New York in 1916. Stirner's book certainly hit a nerve--and nowhere more than in England.
Before its publication, the key-term of his book, "individualism," had circulated widely among libertarians and anarchists. Benjamin Tucker's journal Liberty had kept the significance of the term in debate during the 1890s. Between 1906 and 1910 six books with the words "individual," "individualism," or "individualists" appeared in London; whereas in the preceding five years there had been only one. In 1911 four more such books were published, and then six more between 1912 and 1915. The prerogatives of the individual were a subject of controversy, which is to say explicit uncertainty, in the 1890s and even more so in England after 1906. Michael Levenson's recent book, Modernism and the Fate of the Individual, shows that British novelists from Conrad to Woolf were subjecting to corrosive scrutiny the idea that there is some indissoluble integrity to the individual psyche. 7 Against the writing of Ford in The Good Soldier and Lewis in Tarr , Stirner, Marsden, and Pound were trying to retain boundaries around the options of the individual that belonged more to the nineteenth than to the twentieth century.
Stirner made nominalism carry the force of antiliberalism, as it later, for Marsden, carried that of antisocialism. The liberal, Stirner argued, "takes little heed of what you are privatim--nay, in a strict following out of his principle sets no value at all on it--he sees only what you are generatim." 8 One can readily see that the poetics of this antiliberalism would encourage a numbering of the streaks of the tulip, details stripped of the discursive apparatus that facilitates generalization. Stirner intended to correct the excesses of intelligence. As ideas become formulated they acquire, according to Stirner, an undue power: "with so many a man a thought becomes a 'maxim,' whereby he [man] himself is made prisoner to it, so that it is not he that has the maxim, but rather it that has him" (EIO, 67). The discursive forms themselves empower ideas well beyond their deserts. The rebellion against this domination of ideas "like right, the State, law" must take a nihilistic form: "only thoughtlessness really saves me from thoughts," Stirner argued (EIO, 148). The signs of so-called thoughtlessness in poetry might well be avoidance of logical connectives, smooth transitions, explanation in fact of any sort. I am extrapolating these literary analogues to Stirner's philosophical views in order to suggest that Imagist poets had no difficulty seeing their art in Stirnerian terms.
Marsden's significance for literary history is that she saw some of the literary implications of Stirner's antistatist philosophy. 9 According to Les Garner, she first read Stirner's The Ego and Its Own in August 1912, and this changed everything for her, in particular by dissolving her faith in the Suffrage Movement. From this viewpoint, developed by Levenson and K. K. Ruthven, Marsden's suffrage journal, The New Freewoman, was taken over in 1914 by Pound, Aldington, and other male writers who pressed the nonfeminist title, The Egoist, on her and her co-editor Harriet Shaw Weaver. 10 Marsden herself, however, preferred the title The Egoist, and for her it had a deeper importance than it could have for her male collaborators. I believe that she read Stirner before she edited even The Freewoman (1911-12), the title of which, along with that of her first editorial on Bondwomen, came from a passage in Galatians that Stirner cites: "The Jerusalem that is above is the freewoman; she is the mother of us all" (Gal. 4.26; EIO, 157). Stirner's reference is to the sons of Abraham, "the one by a bondmaid, the other by a freewoman. But he who was of the bondwoman was born after the flesh; but he of the freewoman was by promise." (Gal. 4.22-23) Marsden's shift of title to The Egoist entailed no qualification of her commitment to Stirner's beliefs, though the connection to the women's movement was less obvious thereafter. Marsden was a Stirnerite, I believe, as early as 1911, when she initiated her literary career. The Stirnerian stress of The Egoist was carried over from The New Freewoman; it came from Marsden, certainly not from Pound and Aldington, who must have been introduced to Stirner by Marsden's writings.
As Mike Weaver notes, "Almost contemporaneously with the [April 1913] appearance of the Imagist manifestoes in Poetry, Miss Marsden began [in August 1913] to relate the doctrines of the new movement to her own philosophical preoccupations." 11 This is surprising because she was mistrustful of literature. Although she was educated in the arts, Jane Lidderdale says, Marsden was uninterested in literature. "As for EP's poems," she wrote to Harriet Shaw Weaver in November 1913, "I haven't read 'em. Speak it not. He is a nice old thing" (DMW, 73). Her effort to commandeer Imagism into her sense of Individualism, or egoism, was actually opportunistic. She wanted to have a literary flank to her movement, and Imagism was to be just that, lending cultural breadth to her brand of feminism, and claiming for it too the timeliness and fruitfulness of a philosophy in close touch with the arts.
Marsden's mistrust of literature derived partly from the physical persuasiveness of the art. She was suspicious of the sensuality of even ordinary language, so she had to be especially wary of poetry. "The hypnotism of sound lulls sense into accepting a 'thought,' i.e. an error born of ineffectual thinking, into its categories of existent things, and giving to it a 'local habitation and a 'name.'" 12
Her account of the seductiveness of language depended upon a late nineteenth-century sense of the symbolist aesthetic; her remarks resemble Yeats's altogether sympathetic account in 1900 of the effect of metrical language: to hush "us with an alluring monotony, . . . to keep us in that state of perhaps real trance, in which the mind liberated from the preserve of the will is unfolded in symbols." 13 Marsden regarded herself as deeply antisymbolist in literary as well as political matters. Symbols distract people from actualities, as she argued. And symbols, above all words, she recognized, are the special province of poetry:
A legitimate ambition founded on a legitimate basis--the Vote. . . . What has happened? She [Mrs. Pankhurst] has pinioned herself with words--words--words, and these, not her own. She ventured into the maze of the symbolists, whose vulturous progeny--the empty concepts--got her!. . . . The Cause is the empty concept--the fount of all insincerity: the Cause of the Symbol--the Nothing worked upon by the Dithyramb. 14
This comes from Marsden's opening editorial for The New Freewoman in June 1913, just after Emily Davison had thrown herself in front of the King's horse at the National Derby in order to demonstrate on behalf of suffrage. Marsden felt keenly the death of her old friend as well as the threat that Mrs. Pankhurst might be killed by the rough handling that followed arrest and hunger strikes. What could make such losses seem in any way victories? Poets, in words and dithyrambs, might try that transformation, but the friends of Davison and Pankhurst would know better.
Marsden saw her own work--and that of the poets she affiliated herself with--as deconstructive:
We are analyzing terms; we believe indeed, that the next work for the lovers of men is just this analysis of naming. It will go completely against the grain of civilization, but straight across culture. . . . All who wield authority, do it in the name of an idea: equality, justice, love, right, duty, humanity, God, the Church, the State. Small wonder therefore if those who sit in the seats of authority look askance at any tampering with names and ideas. 15
The Imagist purge of poetic verbiage, as Marsden understood it in August 1913, was one part of that systematic effort. Brevity as a stylistic feature was understood widely as a fit response to fakery in language. One month later Ford Maddox Hueffer attributed the general dislike of poetry to its verbiage and inauthenticity: "We seemed to get from them [Tennyson, Swinburne, Browning, and Pope] the idea that all poets must of necessity write affectedly, at great length, with many superfluous words. . . ." 16 When Pound wrote in "The Serious Writer" (the first installment of which displaced Marsden's editorial for The New Freewoman of 15 October 1913) that the good writer "uses the smallest possible number of words," he was presupposing a literary-critical context that had been established by Ford (a month earlier), but also by Marsden who, a month before that, gave an antiliberal ideological significance to laconicism. 17
Marsden, for her part in this collaboration, quite deliberately talked about poetry in terms derived from Pound and based on the experience of Imagist poetry:
The difference [between poetry and prose] is one of brevity, completeness and finish simply because in poetry all the evidence of laboratory work is removed; the creaking of the thinking-machine is not there: it has done its work. Poetry . . . is brief because it is reduced to the exact equivalent: it has reached the completeness of knowledge when its dimensions can be expressed in a formula. 18
She was actually apprehensive of images, as of words; in fact they were the same to her: "The virtue which inheres in a word is its potency to create involuntarily the imaginary image which embodies the meanings of things in isolation from things as wholes. It releases from the thing--its concept." 19 In 1914 she spoke of images as indispensible: "Feeling, that is, life, defines itself into images: they are thinking's raw material without which to work upon the intellectual process is meaningless. . . ." 20 What she sensed in Imagist poetry was an extraordinary rhetorical power--troublesome, in that it conveys the illusion of essences; but attractive, in that it might be put to her political uses.
In 1915, when Pound had temporarily withdrawn from The Egoist, Marsden used the terms of Imagism to construct a psychological account of desire itself:
The vital instinct is to follow such sensations as offer promise of developing themselves into something new: which said differently, means that life is in its highest condition of well-being when it is enlarging its world to include something new. . . .
It appears that certain Images of the Mind . . . suggest the prospect . . . of yielding such experiences, and by them the mind becomes magnetized. Where such a prospective experience suggests itself men will harness, concentrate and apply their energies to the utmost in order to make the more definite Image eventuate. . . . The genius is the person capable of great emotions and becomes the Master-Expressor because great emotions are carried by their own weight and clarity to the point of expression. He breaks into Expression, not to obtain Appreciation--Honour--but to gain an outlet for Images he is unable to retain. 21
This account of the psychological force of such images is designed to support those women and men who refuse to rest in the forms of social stability offered by Edwardian society, those who seek, in Pound's terms, "that sense of sudden growth, which we experience in the presence of the greatest works of art." 22 Desire leads naturally away from monogamous marriage, as from the political proposals of legislators, she argues implicitly, and poetry tracks the movements of desire.
The libertarianism of The New Freewoman was not just an objection to bureaucracy, or even to Fabian idealism; its authors resisted the pressure to render all decisions political. "The political view of life has assumed such gigantic proportions in our minds to-day that, as we have seen, a lecturer on the Woman's Movement fails to see the possibility of any progress except through legislation. All other forms of energy are subordinate to that." 23 Socialism and the women's movement were one in that they both looked to the state to ensure justice and progress: politics and advocacy of an enlarged state came to mean the same thing in the prewar years. The antistatist views of the New Freewoman, on the contrary, were presented as supposedly antipolitical. One contributor wrote:
. . . The Democratic Movement and the Woman's Movement . . . put the cart before the horse and mistake the power for the product. They suppose Life and Feelings are the outcome of just institutions. They are not, they are the origin of them. When we have all got Life and Feelings again, we shall get living and sensitive institutions. What is the use of tinkering with moribund Politics? 24
Individualism, for Marsden, was an effort to locate an area outside of politics, in "Life and Feelings," a vitalist alternative to the rise of socialism and the welfare state. Jonathan Rose shows that Hulme's remark that "all the best people take off their hats and lower their voices when they speak of Life" accurately identified "the often monotonous Edwardian obsession with that simple word." 25 In response to Christabel Pankhurst's argument for chastity as the remedy for epidemic venereal disease, Marsden wrote in 1914:
It is more important to heighten vitality than to combat disease: which as a matter of fact can only be overcome by increased vitality, and there is more danger to "health" to be awaited from the misery of renunciation and the dull heats of virginity than from the ills of syphilis and gonorrhea. . . . The sole thing which can be called a "cause" of disease is low vitality and of all the things which tend to lower it, the chief is dullness. 26
No other Edwardian exploits the antistatist significance of the term vitalism that Marsden proposes.
Her nominalist opposition to abstract terms derived from an anarchist-libertarian opposition to the state itself, which in turn entailed a resistance to all notions of collaboration among individuals. This meant that from the founding of The New Freewoman in 1913 Marsden was proselytizing against ideology. At the cost of incoherence, she refused the very notion of a movement such as Individualism, exactly because individuals get lost in crowds: "Accurately speaking," this one-time suffragette announced in her first issue, "there is no 'Woman Movement.'" 27 She dismissed all essentialist definitions of woman--upon which the suffrage movement rested--together with political affiliations based upon essentialist feminism: "'Woman Movement' forsooth. . . . Woman? Is there such a thing even as a woman sensed from the inside?" 28 The Women's Social and Political Union showed what institutionalized collaboration might look like, but more generally socialism was understood as the state form of collaboration. Opposition to collaboration in the arts was homologous in some fashion to opposition to state socialism. One must remember that 1913-14 was a crucial period in the development of social welfare in England. Until the war broke out and the British state took unto itself many new prerogatives, intellectuals debated what the limits should be to state authority. After 1914 the force of war and later of precedent rendered this debate moot.
Pound's interest in Individualism was not just a way of conforming to Marsden's enthusiasms, or a casual use of a current term. He tried to reconcile his affiliations of 1913 and 1914 in terms of just this idea, lest he be thought to be moving frivolously, in the continental manner, from one theatrical "ism" to the next. When he wrote his appreciation of the Vorticist painter Edward Wadsworth in August 1914, he quickly addressed the subject of the movement that claimed his allegiance after Imagism had passed into Amygism: "The vorticist movement is a movement of individuals, for individuals, for the protection of individuality." 29 Pound was far from alone in his commitment to individualism. Aldington, an editor of The Egoist in 1914, wrote: "In art the important thing is the individual. When two individuals agree on a few points they can raise hell; when ten agree they change the art history of their century. (In art as in life the rarest thing is the individual.)" He extended his point by arguing wrongly but spiritedly that Imagist poetry had a special angle on individuality (Aldington had not moved on to Vorticism in 1914):
. . . I demand that it [free verse] receive as much or more attention than academic verse on the ground that its use is, at present, a sign of individuality. . . . For the essential difference between free verse and accented verse is just this: the old accented verse forced the poet to abandon some of his individuality, most of his accuracy and all his style in order to wedge his emotions into some preconceived and sometimes childish formality; free verse permits the poet all his individuality because he creates his cadence instead of copying other people's, all his accuracy because with his cadence flowing naturally he tends to write naturally and therefore with precision, and all his style consists in concentration, and exactness which could only be obtained rarely in the old forms. 30
This sentimental explanation of free-verse would not have been Pound's, but Aldington's efforts show how hard these writers worked to build a coherent ideology in the prewar years. Both Pound and Aldington felt the burden of explaining to London audiences how the confederations of Imagists and later Vorticists were not bands of theatrical conformists but rather alliances of "individuals." The Individualist philosophy had the special appeal of enabling a strong defense against the charge of imitating the Italian Futurists.
Imagism was the perfect literary parallel for Marsden's anticollaborative political position, because Pound and others liked to claim that these poets--unlike the Italian Futurists--were sufficiently empirical to consider the idea of a movement and of manifestos somewhat ironically. Only a "few don'ts," not a manifesto; a matter of technique, not ideology. "The imagistes admitted," Rebecca West wrote,
that they were contemporaries of the Post Impressionists and the Futurists; but they had nothing in common with these schools. They had not published a manifesto. They were not a revolutionary school; their only endeavour was to write in accordance with the best tradition, as they found it in the best writers of all time--In Sappho, Catullus, Villon. 31
The tone of disdain here was not inadvertent. The Imagists and their publicists effectively tapped a strain of anticontinental ressentiment in London, and the particular occasion was the avant-garde activity of Marinetti and the Futurists. "Europe is literally swarming with freaks," one contributor to The New Freewoman wrote in November 1913.
They indulge in the most extravagant devices in order to obtain the pearl of great price, publicity. Matters have now arrived at a state where serious thinkers are giving to these intellectual, artistic and sociological parasites a great deal more thought than, intrinsically, they deserve, for by their numbers and ingenious ways of becoming conspicuous, they are gradually corrupting the public taste. The result of this inquiry is a unanimous answer from varied minds: the need of the present age is discipline. 32
Neither Marsden nor Pound expressed such sweeping criticism of art movements; on the contrary, it is extraordinary that Marsden, who was loosely allied with anarchists, would publish an essay calling for discipline, or social control. This dissidence with her views, and those of the journal, suggest that she was ready to go some way to appeal to a particular range of London opinion.
Imagist rhetoric exploited this antitheatrical skepticism and simultaneously gained some of the cachet of collaborative movements. The sight of ladies and mothers demonstrating in the streets was a shocking spectacle to many bourgeois Londoners of 1913-14, as Lisa Tickner has shown. 33 The spectacle of Marinetti and the Futurists brought the shock of theatricality to art and literary circles. 34 It was the March 1912 Futurist exhibit at the Sackville Gallery in London that made English artists see the need to emulate Futurist publicity methods. Marinetti had read his inaugural 1909 manifesto to a women's group in 1910, but his 1912 lecture in the Bechstein Hall drew an enormous amount of attention. Over three hundred and fifty articles were written about the show. Marinetti returned to London in 1913. Between November 1913 and June 1914, a month before Blast appeared, Marinetti gave ten lectures to large audiences in London. 35 Art, it then seemed, was to be the function of impressarios and committees. The suffragettes and the Futurists looked spectacularly vulgar to many Londoners, including some artists and intellectuals. And in the music halls it seemed that spectacle was just what the working class was accustomed to. 36 The antitheatrical sentiment that Pound and others exploited had broad roots in prewar English culture. The women's suffrage movement, the continental avant-garde, and the working classes in public looked alike to some Londoners: the image of one could evoke the memory of the others, through the experience of spectacle. Imagism was constructed as a movement against movements, an English antitheatrical version of the avant-garde.
So far I have spoken only of the intellectual context of Imagism; I want now to discuss two pairs of poems by Pound that address the subject of women, class, and the public sphere. The first is "The Garden" and "Commission," which appeared together in Poetry in April 1913, one month after the issue containing articles on Imagism by Pound and Flint appeared there. "The Garden" was reprinted in August in The New Freewoman. These two poems express the poet's satirical view of bourgeoise British women, that is, of those social groups that produced the suffrage movement. The bored, aenemic, and lonely woman in "The Garden" has no future in the British polis, "In her is the end of breeding"--which "end" of course cuts both ways, as pinnacle and cessation. The "rabble," as he says, the very poor, "shall inherit the earth." Whether she should be able to vote is entirely beside the point. As Ruthven notes, this poem is a parody of seventeenth-century promenade poems, in which "the lady is usually surrounded by flowers, not street urchins." 37 Several other Imagist poems bear similar titles: H.D.'s "The Garden," Aldington's "Au Vieux Jardin," F. S. Flint's "In the Garden," and Amy Lowell's "In a Garden" make it clear how much Imagist poetry, however urban its origins, was focused on the difficulties of retirement.
Most Imagist poetry was landscape or nature poetry--this at a time when the face of London was being transformed by electrical lighting and trains. Aldington's parody of "The Garden" pokes fun at Pound for dragging into an Imagist poem contemporary, urban, vulgar subject matter: "Like an armful of greasy engineer's-cotton / Flung by a typhoon against a broken crate of duck's eggs." The Imagist assertion of access to beautiful landscapes or to the subjects of ancient Greek poetry was an effective, though implicit, insistence on the investment of poetry in a world apart from the structures and constraints of the collective urban life of England in 1913-14. Politically these constraints were beginning to be recognized through social legislation such as the Health Insurance Act of 1911, the Mental Deficiency Act of 1913, as well as the demonstrations of suffragettes and workers, such as the striking Welsh miners in 1912. The new activities of the state, however, are wholly irrelevant to the prewar Imagist poems, conspicuously so. Most Imagist poems are committed to the project of transcending the orders of rationality, talk, negotiation, and politics; this aspiration is apparent above all in the war poems after 1914. But this is not to indict the Imagists for escapism--far from it. One can distinguish the retirement poems of some of the Imagists from those of the Georgians, because Imagists such as Pound ironically expressed the desire to retire, as here in "The Garden." After 1914 the obstacles to retirement became still more frustrating in the work of the soldier-Imagists, such as Aldington and F. S. Flint. Aldington's "Living Sepulchres," for instance, expresses explicitly the impossibility of retiring through poetry from the trenches. "The Garden" is surely critical of the classes of women who comprised the political base of the suffrage movement, but Pound was skeptical too of the prospect of removal from the political scene of London in 1913; and this was the prospect one Imagist poem after another tried to brighten. The future of England lay neither with ancient Greece nor with the British landscapes, but with the working classes fenced out of the gardens.
Pound had a shallow sense of the oppression of women, however moved he was by the suffering of particular women, like Bride Scratton. In "Commission" he implores his poems to
Go to the bourgeoise who is dying of her ennuis,These women and others are "the enslaved-by-convention," which is to say that indiscretion could set them free. Their oppressors are despised, but the suggestion is that only by turning away from the social structure of the family and domesticity can they liberate themselves. No legislation can do the job for them.
Go to the women in suburbs.
 As Ruthven notes, the second line of "Shop Girl"--"Like a swallow half blown to the wall"--recalls the first line of "The Garden": "Like a skein of loose silk blown against a wall." But the press of the young working woman is deliberate and therefore erotic. None of these four poems is among Pound's best, but they do show that Pound's admiration and curiosity were aroused much less by the bourgeoise and upper-class British women who were advocating the suffragette cause than by the young working women who were making their way outside of marriage by selling only their labor. 39 (The women's movement produced rather few working-class women activists.) Marsden felt that Christabel and Emmeline Pankhurst "favored wealthy, titled women, not the plain Janes (or Doras) of this world." 40 Pound was probably close to the thinking of his friend Wyndham Lewis on this subject, because Lewis too made a point of saying in the second issue of Blast: "BLESS . . . All A.B.C. Tea-Shops (without exception)." 41 "I see every day in a certain A.B.C. Shop," Lewis wrote, "at least three girls who belong to a new and unknown race. They would furnish an artist looking for an origin with the model of a new mankind. And it would be as individual and apparently strange as that genre of Englishwoman that attracted Rossetti." 42 Lewis too liked watching working girls, but he was a predatory watcher. According to Marsden, women could achieve liberation only by economic means; political enfranchisement would follow when it could be effective. The vote was something that would be taken once women had achieved sufficient economic power to control their own lives.
Once writers such as Lewis, Hulme, Gaudier, Aldington, and others had seen what the proportions of industrial warfare would be, it was obvious that the modern state would indeed become much more powerful and interventionist than it had been in the past. The question that had helped to make the suffrage movement interesting was settled really. Lewis had written sarcastically in the first Blast: "We all foresee . . . in a century or so men and women being put to bed at 7 o'clock by a state nurse (in separate beds, of course!)." 43 British Liberals had successfully passed very controversial health insurance legislation in 1911. In fact, as historians make clear, "A 'social service state,' in which certain minimum standards were assured, was now [in 1914] beginning to emerge" (TCM, 30). When the war was over in 1918 the Representation of the People Act gave the vote to all men (over forty percent of British men were without the vote in 1911) and to women over age thirty. Women were also permitted to take seats in Commons in 1918. The vote for women over twenty-one did not come until 1928.
Gladstone was still respected,
When John Ruskin produced
"Kings' Treasures"; Swinburne
And Rossetti still abused.
Foetid Buchanan lifted up his voice
When that faun's head of hers
Became a pastime for
Painters and adulterers.
The Burne-Jones cartons
Have preserved her eyes;
Still, at the Tate, they teach
Cophetua to rhapsodize;
Thin like brook-water,
With a vacant gaze.
The English Rubaiyat was still-born
In those days.
The thin, clear gaze, the sameHow strange that after the war ended Pound again felt the pathos of the 1890s. But Pound and Lewis had admired the utopian ambitions of the Pre-Raphaelites and the avant-garde of the 1911-14 period was often measured against their example. More importantly, Pound felt that the British Liberals were to blame for some of the sufferings of the Pre-Raphaelites, which is why this poem begins with reference to the Liberal statesman Gladstone. When Pound and Lewis looked at the young working women in the London tea shops, they thought about Elizabeth Siddall, the Pre-Raphaelite model, an oppressed woman whom Rossetti turned into a new ideal of British femininity, as Lewis said. She was a sign of the power of art to alter a nation's perception. Pound had a more ironic way of thinking of this than Lewis could manage. In "The Tea Shop" he says,
Still darts out faun-like from the half-ruin'd face,
Questing and passive. . . .
"Ah, poor Jenny's case" . . . 44
Yes, she also will turn middle-aged,Like the poet, that is, she will turn middle-aged; she too will spread. Will the nation really be altered by this Helen? Probably the muffins will still come to the table. And in time we will all be well-spread. Pound had his apocalyptic moments, but the shop girls also aroused his urbanity.
And the glow of youth that she spread about us
As she brought us our muffins
Will be spread about us no longer.
She also will turn middle-aged. 45
One of the satellite controversies around the suffrage question involved the rights of prostitutes and their clients, or of eroticism in the public economy. The essentialist feminism of the WSPU predicted a higher moral tone for Britain after women won the vote. Christabel Pankhurst's campaign against prostitution and venereal disease was taken as a sign of what could be expected after women began to vote. The controversy about prostitution actually bore indirectly on the question of the power of art. Pound translated a series of Fontenelle's dialogues for The Egoist, beginning in May 1916; the first of these is between Phrine, a courtesan, and Alexander the Great. At issue is the relative power of beautiful women and illustrious warriors. "Beauty has a natural right to command men," Phrine argues; "valour has nothing but a right acquired by force. A beautiful woman is of all countries, yet kings themselves and even conquerors are not." 46 Phrine cites the example of another beautiful Phrine, the mere glimpse of whose face swayed the court of the Areopagus after oratory had failed. Phrine the Younger gets the better of Alexander on a number of counts, but she concedes that she had been excessive (though so had he), in taking so many lovers that she could afford to rebuild the walls of Thebes. Two or three affairs would have been reasonable. "But if one wishes merely to make a commotion," she concludes, "one may be better equipped than by possessing a very reasonable character." 47
Phrine chose excess, as beauty does. The irrepressible authority of beauty is exactly what Pound's poems express, particularly the early Cantos and his most famous Imagist poem, "In a Station of the Metro." 48 A number of Imagist poems could be listed under this thematic heading: Aldington's "A Girl," H.D.'s "Sitalkas," F. S. Flint's "Beggar," Pound's "Alba" and "A Girl." Pound was close to the center of conventional views of gender in these years. Like any number of his contemporaries, he represents beauty as a woman--the two were commonly synonymous. The narrator of Virginia Woolf's Jacob's Room , for instance, says:
As for the beauty of women, it is like the light on the sea, never constant to a single wave. They all have it; they all lose it. . . .  Then, at a top-floor window, leaning out, looking down, in a ditch--beauty glowing, suddenly expressive, withdrawn the moment after. No one can count on it or seize it or have it wrapped in paper. . . . Thus if you talk of a beautiful woman you mean only something flying fast which for a second uses the eyes, lips, or cheeks of Fanny Elmer, for example, to glow through. 49
What Hugh Kenner has called a modernist aesthetic of glimpses was understood in its time as bearing some special appropriateness to the depiction of women. 50 The history of Imagism is tied to the history of the women's movement through Marsden and The New Freewoman; this is a matter of straight-forward literary history. But Imagism is also tied to the women's movement formally by constraining itself to the moment, which was often understood in this period to be exactly where women revealed themselves. Women were thought to be outside of the continuities established by male authority: the principles and instances enforced by the legal system, or the premises and conclusions established by syllogisms. Women were not represented in these early years of modernism as the traditional source of stability--earthly and so forth--but rather as just the reverse. That conspicuous woman at the end of a paragraph in Jacob's Room "who has come home drunk and cries all night long, 'Let me in! Let me in!'" is the pathetic rather than the epiphanic version of this representation. 51 Her husband has presumably locked her out of her home, just as women in the street behind her are shown to have been locked out of the British Museum. They were eliminated from the structures of continuity by men, and celebrated for their beauty as they appeared to poets like Pound and Williams in fleeting glances. Woman (or beauty) was the supposed thing itself, beyond categories of understanding and desire. Whether one could think outside of ideology and whether one could see a woman were one question: "One wonders," Aldington wrote, "if ever it will fall within Mr. Wells' capacity during his present sojourn on earth to look directly at a woman--any woman--Countess, High School Mistress, or the One who does his cars and see in her something more than a peg to hang his passing views on." 52 From this point of view, prostitutes are neither victims of social and economic oppression nor the agents of moral corruption. They control their impact on men and keep their sexual encounters brief--like glimpses. They are the masters, or mistresses, of the erotics of the glimpse.
In Pound's first translation of Fontenelle, despite the facetious tone of Phrine's argumentation, the implicit question is how stable a government can be that does not draw its power from the sources that empower art: women, beauty, sudden visions. Pound, like Marsden, was outspokenly antiparliamentarian: "He [the artist] knows he is born to rule but he has no intention of trying to rule by general franchise. He at least is born to the purple. He is not elected by a system of plural voting." 53
This extraordinary bluster rests on the serious claim that artists command cultural resources that might indeed overturn states: the belief of people in sudden illumination, transcendent beauty. These might be resources that a ruler or government would wish to exploit in order to retain power. Artists indeed might "rule" in the sense that those values they uphold and, perhaps more importantly, the representatives of those values, women, could gain much greater sway over the political life of England after 1914, but not by means of suffrage, which Pound like Lewis supported indifferently.
Part of what is called artistic license is the right to represent women as licentious, as creatures of passion. Fontenelle's Dido complains to the Syrian queen Stratonice that Virgil made her a flirt, whereas she was in fact fidelity itself. Stratonice answers this complaint with the story of a painter who, "discontented" with her, took revenge before leaving town by painting her in the arms of a common soldier. "As I was painted admirably well and with a great deal of beauty," she tells Dido, "--although the attitude was scarcely creditable to my virtue--I forbade them [Syrian subjects] the burning [of the painting], had the painter recalled and pardoned him." 54 The political power of women, art, and beauty resolves to one force, unconstrained by prudence or rationality. Aristotle is Fontenelle's avatar of rationality. His counterpart Anacreon tells him plainly that philosophy is easy because it leaves out women and the experience of the passions: "A philosopher is concerned only with men and by no means with the rest of the universe." Poets, drinkers, and lovers take the greater risks: "To sing and to drink, as I [Anacreon] did, required that one should have disentangled one's soul from violent passions; that we should not aspire to things not dependent upon us, that we be ready always to take time as we find it." 55 The implicit Imagist counsel to women was to accept and exploit a sphere (that of art and beauty) separate from state politics. Individualists like Marsden and Pound hoped that the prerogatives of the state might be so circumscribed as to leave room for a separate sphere that would not be trivial.
My argument about the politics of Imagism, I think, has significant consequences for our understanding of Pound's development and of the politics of modernism generally. For it is clear that Pound in 1913-14 was vehemently antistatist, and anti-socialist. It is hard to imagine how an anti-statist politics would lead to the politics of state totalitarianism, though that was the path that Pound took and, I believe, that Mussolini took as well. In Pound's case it is difficult even to use the term "development" to cover these two positions. His political development seems to have brought a direct contradiction of his earlier anarchist Individualism. What follows from this observation, I think, is that, contra Davie, "the development from imagism in poetry to fascism in politics" is anything but "clear and unbroken."
Robert von Hallberg is Professor of English and German at the University of Chicago. His book Literary Intellectuals and the Dissolution of the State: Professionalism and Conformity in the German Democratic Republic will appear in the fall.
1 Donald Davie, Purity of Diction in English Verse (1952; New York: Schocken, 1967), 99.
2 In exasperation at his failed effort to take over part of The Egoist, he referred to Marsden as incapable of receiving ideas; letter to John Quinn, 2 February 1917, The Selected Letters of Ezra Pound to John Quinn, 1915-1924, ed. Timothy Materer (Durham, N.C.: Duke University Press, 1991), 12.
3 Pound to Dora Marsden, August 1913, quoted in Les Garner, A Brave and Beautiful Spirit; Dora Marsden, 1882-1960 (Brookfield, VT: Avebury, 1990), 115.
4 Pound to Amy Lowell, 18 March 1914; The Selected Letters of Ezra Pound, The Selected Letters, ed. D. D. Paige (New York: New Directions, 1971), 33.
5 Pound to Dora Marsden, July 1913; quoted in Jane Lidderdale & Mary Nicholson, Dear Miss Weaver (New York: Viking, 1970), 68; hereafter abbreviated DMW.
6 Pound, Selected Letters, 33.
7 Michael Levenson, Modernism and the Fate of the Individual (Cambridge: Cambridge University Press, 1991).
8 Max Stirner, The Ego and Its Own, trans. Steven T. Byington (New York: Harper and Row, 1974), 173; hereafter abbreviated EIO.
9 For an account of the broad range of Marsden's influence on modern literature, see Bruce Clarke, "Dora Marsden's Egoism and Modern Letters: West, Weaver, Joyce, Pound, Lawrence, Williams, Eliot," Works and Days, 2 : 27-47.
10 See Michael Levenson, A Genealogy of Modernism (Cambridge: Cambridge University Press, 1984); and K. K. Ruthven, "Ezra's Appropriations," TLS (20-26 November 1987): 1278, 1300-1301.
11 Mike Weaver, William Carlos Williams: The American Background (Cambridge: Cambridge University Press, 1971), 27.
12 Dora Marsden, "Men, Machines and Progress," The Egoist (2 February 1914): 41.
13 W. B. Yeats, Essays and Introductions (New York: Macmillan, 1961), 159.
14 Dora Marsden, "Views and Comments," The New Freewoman (15 June 1913): 3.
15 Dora Marsden, "Thinking and Thought," The New Freewoman (15 August 1913): 82.
16 Ford Maddox Hueffer, "The Poet's Eye," The New Freewoman (15 September 1913): 126.
17 Ezra Pound, "The Serious Artist," The New Freewoman (1 November 1913): 194.
18 Dora Marsden, "The Art of the Future," The New Freewoman (1 November 1913): 183.
19 Dora Marsden, "VII. The Constitution and Origin of the 'Image' in Imagination," The Egoist (April 1917): 85.
20 The Egoist (1 September 1914): 322.
21 Dora Marsden, "The Gentle Art of 'Appreciation,'" The Egoist (2 August 1915): 118-19.
22 Ezra Pound, "A Few Don'ts by an Imagiste," Poetry, I, (March 1913): 201.
23 Godfrey Blount, "Towards Reconstruction," The New Freewoman (1 July 1913): 28.
24 Godfrey Blount, "Towards Reconstruction," The New Freewoman (1 July 1913): 27.
25 Jonathan Rose, The Edwardian Temperament, 1895-1919 (Athens, Ohio University Press, 1986), 74. My thanks to Lawrence Rainey for bringing Rose's work to my attention.
26 Dora Marsden, "The Chastity of Women," The Egoist (2 February 1914): 46.
27 Dora Marsden, "Views and Comments," The New Freewoman (15 June 1913): 5.
28 Dora Marsden, "Views and Comments," The New Freewoman (1 July 1913): 24.
29 The Egoist (15 August 1914): 306.
30 The Egoist (15 September 1914): 351.
31 Rebecca West, "Imagisme," The New Freewoman (15 August 1913): 86.
32 Edgar A. Mowrer, "Discipline and the New Beauty," The New Freewoman (1 November 1913): 196.
33 Lisa Tickner, The Spectacle of Women (Chicago: University of Chicago Press, 1990).
34 See Marjorie Perloff, The Futurist Moment (Chicago: University of Chicago Press, 1986).
35 Richard Cork, Vorticism and Abstract Art in the First Machine Age, vol. 2 (Berkeley: University of California Press, 1976), 224. For a history of the London reception of Marinetti, see Lawrence Rainey, "The Creation of the Avant-Garde: F. T. Marinetti and Ezra Pound," , 1 (September 1994): 195-217.
36 See Laurence Senelick, British Music-Halls, 1840-1923 (Hamden, CT: Archon, 1981).
37 K. K. Ruthven, A Guide to Ezra Pound's Personae (Berkeley: University of California Press, 1969), 76.
38 Ezra Pound, Personae, ed. Lea Baechler and A. Walton Litz (1909; New York: New Directions, 1990), 89.
39 C. B. Cox and A. E. Dyson, Twentieth-Century Mind: 1900-1918 (New York: Oxford University Press, 1968), 33; hereafter abbreviated TCM.
40 Garner, A Brave and Beautiful Spirit, 130.
41 Wyndham Lewis, "Bless," Blast 2 (July 1915 [reprint, Santa Barbara, Cal.: Black Sparrow, 1981]): 93.
42 Wyndham Lewis, "The Art of the Great Race," Blast 2 (July 1915): 71.
43 Wyndham Lewis, "The Melodrama of Modernity," Blast 1 (June 1914 [reprint, Santa Barbara, Cal.: Black Sparrow, 1981]): 144.
44 Pound, Hugh Selwyn Mauberley, in Personae, 189. The ellipses are Pound's.
45 Pound, Personae, 120.
46 The Egoist (1 May 1916): 68.
47 Ibid.
48 For a particularly interesting analysis of the representation of women in canto 6, see Ronald Bush, "Excavating the Ideological Faultlines of Modernism: Editing Ezra Pound's Cantos," in Representing Modernist Texts: Editing as Interpretation, ed. George Bornstein (Ann Arbor: University of Michigan Press, 1991).
49 Virginia Woolf, Jacob's Room (1922; San Diego: Harcourt Brace Jovanovich, 1978), 115.
50 Hugh Kenner, The Pound Era (Berkeley: University of California Press, 1971), 69-71.
51 Woolf, Jacob's Room, 109.
52 Richard Aldington, "Modern Poetry and the Imagists," The Egoist (1 June 1914): 203.
53 Ezra Pound, The Egoist (16 February 1914): 68.
54 The Egoist (1 June 1916): 88.
55 The Egoist (1 June 1916): 103
.


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Why Use the OData Validator?
- OData Validation tool is a key part of the OData ecosystem.
- It validate rules based on OData protocol specifications.
- Supporting validation for multiple OData versions, payload formats, and resource endpoint types.
- It is an Open Source project on GitHub.


United to renew the injured Bailly's contract
by BeSoccerHis contract ends soon, but Manchester United want to tie down his future as soon as possible, despite him still being injured and hardly being able to play in the last two seasons.
After hard, long and serious injuries, the African CB has hardly been able to play in the last two campaigns. His last official match was in April 2019.
Featured links
- BREAKING NEWS: Mourinho replaces Pochettino at Tottenham
- The latest football transfers news and rumours
- Wales, golf, Madrid... in that order
- Luis Enrique returns to Spain national team
But United took a gamble on the player and at 25, he still has a lot to give the Old Trafford club. They paid almost 40 million for his services.
According to 'The Sun', the ex Espanyol and Villarreal defender will be offered a contract renewal soon. From 1st January he could sign with any other club, but United have plans for Bailly.


PIZZA PALACE
Get the best pizza in town Make your preferred pizza and have it delivered to your doorstep or pick it up when ready.
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When Proximity runs a script or executes commands in the
Proximity Python interpreter, it makes an instance of the
Proximity
class available.
This instance is stored in the variable
prox
. The Proximity
class and
prox
object provide access to the database itself
as well as much of Proximity’s higher level functionality including
querying the database, creating samples, and
instantiating
models.
The prox
object provides shortcuts
to many important Proximity data structures. In particular, you can
directly access the data structures containing database objects,
links, attributes, and containers through the prox
object:
Data structure Shortcut objects prox.objectNST
links prox.linkNST
object attributes prox.objectAttrs
link attributes prox.linkAttrs
root container prox.rootContainer
arbitrary container prox.getContainer("
container-name
")container attributes prox.containerAttrs
See the example scripts in this chapter and in Chapter 7, Learning Models for examples of using these shortcuts in Proximity scripts.


Elementus analysts have identified $105 million leaving crypto exchange CoinBene’s wallets, arguing that patterns are “consistent with how exchange hacks commonly play out.”
Caglio28-Mar-19 05:52 PM
@Deleted User cant open ur link due damn win xp
1
siu - Chainmakers28-Mar-19 06:19 PM
Text book example of new support found on the 8/41 cross
On the weekly chart
Markus28-Mar-19 06:24 PM
what 8/41 means
Deleted User28-Mar-19 06:25 PM
what does that mean ?
siu teasing us :D
Alexfrog28-Mar-19 06:29 PM
8 period and 41 period moving average cross
Markus28-Mar-19 06:29 PM
whats so special about 41
i know ppl use 21 and 50 but whats the deal with 41


--- layout: archive title: Zulip Chat Archive permalink: /stream/116395-maths/topic/strange.20theorem.html ---
α : Type u, A B : set α, t : set (set α), ht1 : t ⊆ {A}, ht2 : set.finite t, ht3 : ⋂₀ t ⊆ B ⊢ A ⊆ B
claim: you can't prove it without using ht2
I mean, constructively, of course
I was going to say, I'm pretty sure I can prove it, since I can use LEM :simple_smile:
:D
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


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45min
- Exterior Hand Wash
- Towel Hand Dry
- Wheel Shine
- Sealer Hand Wax
- Tire Dressing
DELUXE WASH
Ksh.4500
35min
- Exterior Hand Wash
- Towel Hand Dry
- Wheel Shine
- Tire Dressing
- Windows In & Out
PREMIUM WASH
Ksh.8000
25min
- Sealer Hand Wax
- Interior Vacuum
- Wheel Shine
- Dashboard Clean
- Wheel Shine
Booking Summary
DURATION:
TOTAL PRICE:


| Package | system.base |
|---|---|
| Inheritance | interface IBehavior |
| Subclasses | CActiveRecordBehavior, CBehavior, CModelBehavior |
| Since | 1.0.2 |
| Version | $Id$ |
| Source Code | framework/base/interfaces.php |
| Method | Description | Defined By |
|---|---|---|
| attach() | Attaches the behavior object to the component. | IBehavior |
| detach() | Detaches the behavior object from the component. | IBehavior |
| getEnabled() | Returns whether this behavior is enabled | IBehavior |
| setEnabled() | Sets whether this behavior is enabled | IBehavior |
|
abstract public void attach(CComponent $component)
| ||
| $component | CComponent | the component that this behavior is to be attached to. |
Attaches the behavior object to the component.
|
abstract public void detach(CComponent $component)
| ||
| $component | CComponent | the component that this behavior is to be detached from. |
Detaches the behavior object from the component.
|
abstract public boolean getEnabled()
| ||
| {return} | boolean | whether this behavior is enabled |
|
abstract public void setEnabled(boolean $value)
| ||
| $value | boolean | whether this behavior is enabled |


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Demo
Thank you for you interest in moskito. Go directly to moskito web user interface to see the stats sofar.
Currently there are following demos available:
- Struts Demo - Moskito Guestbook
- SimpleServlet Demo
- SimpleServlet Demo for Tomcat Integration without Code Modification
- On the fly UseCase recording with fibonacci numbers.
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Leon Rosenberg