diff options
Diffstat (limited to 'client/src/lib')
| -rw-r--r-- | client/src/lib/components/htmlStyles.js | 11 | ||||
| -rw-r--r-- | client/src/lib/components/scrollableContainer.js | 2 | ||||
| -rw-r--r-- | client/src/lib/db/backupDB.js | 90 | ||||
| -rw-r--r-- | client/src/lib/views/information.js | 31 |
4 files changed, 97 insertions, 37 deletions
diff --git a/client/src/lib/components/htmlStyles.js b/client/src/lib/components/htmlStyles.js index a627884..1b050a2 100644 --- a/client/src/lib/components/htmlStyles.js +++ b/client/src/lib/components/htmlStyles.js @@ -29,4 +29,15 @@ export default StyleSheet.create({ fontSize: 16, lineHeight: 30, }, + h2: { + color: 'white', + fontFamily: '"Futura-Medium", sans-serif', + fontSize: 14, + lineHeight: 16, + fontWeight: 'bold', + paddingTop: 10, + paddingBottom: 5, + display: 'block', + textAlign: 'left', + }, }) diff --git a/client/src/lib/components/scrollableContainer.js b/client/src/lib/components/scrollableContainer.js index b0beb63..4d97359 100644 --- a/client/src/lib/components/scrollableContainer.js +++ b/client/src/lib/components/scrollableContainer.js @@ -29,7 +29,7 @@ export default class ScrollableContainer extends Component { <ScrollView ref={(ref) => this.scrollView = ref} contentContainerStyle={[styles.body, bodyStyle]}> {headingEl} {this.props.children} - <div style={{height: 40}}>footer</div> + <div style={{height: 40}}> </div> </ScrollView> </View> ) diff --git a/client/src/lib/db/backupDB.js b/client/src/lib/db/backupDB.js index ce50a6d..6123612 100644 --- a/client/src/lib/db/backupDB.js +++ b/client/src/lib/db/backupDB.js @@ -2455,10 +2455,11 @@ export const backupDB = { { "id": "credits", "title": "Credits", - "body": "~ Herzog & de Meuron\r\nLuis Gisler\r\n\r\n~ Ai Weiwei Studio\r\nLucas Lai, Jennifer Schmachtenberg\r\nJennifer Ng, Darryl Leung, Hanno Hauenstein, Berit Gilma\r\n\r\n~ Drones provided and operated by\r\nPhotoFlight Aerial Media Services, LLC\r\n\r\n~ interactive playout system\r\niart\r\n\r\n~ Projection equipment\r\nPRG\r\n\r\n~ Sound equipment\r\nSound Associates\r\n\r\n~ Video monitors\r\nNew City Video\r\n\r\n~ Facial Recognition System\r\nAdam Harvey\r\n\r\n~ App Development\r\nJules LaPlace", + "body": "~ Herzog & de Meuron\r\nJacques Herzog, Pierre de Meuron\r\nLuis Gisler\r\n\r\n~ Ai Weiwei Studio\r\nAi Weiwei\r\nLucas Lai, Jennifer Schmachtenberg\r\nJennifer Ng, Darryl Leung\r\n\r\n~ Park Avenue Armory\r\n\r\n~ PhotoFlight Aerial Media Services, LLC\r\nAutomated Indoor Drone System\r\n\r\n~ iart\r\nInteractive Playout System\r\n\r\n~ PRG\r\nProjection Equipment\r\n\r\n~ Sound Associates\r\nSound Equipment\r\n\r\n~ Video monitors\r\nNew City Video\r\n\r\n~ Virtual Library Research\r\nHanno Hauenstein, Berit Gilma\r\n\r\n~ Facial Recognition System\r\nAdam Harvey\r\n\r\n~ App Development\r\nJules LaPlace", "disabled": false, "__index": 2, - "dateCreated": "Sat, 13 May 2017 19:49:53 GMT" + "dateCreated": "Sat, 13 May 2017 19:49:53 GMT", + "byline": "" }, { "id": "privacy-policy", @@ -2485,14 +2486,6 @@ export const backupDB = { "dateCreated": "Thu, 18 May 2017 00:16:34 GMT" }, { - "id": "find-your-face", - "title": "Find Your Face", - "body": "Description of face recognition pipeline coming SOON!", - "disabled": false, - "__index": 7, - "dateCreated": "Sat, 20 May 2017 21:50:17 GMT" - }, - { "id": "print", "title": "Print", "body": "Go to the gift shop to purchase your print.\r\n\r\nEach print costs $10.00", @@ -2501,6 +2494,53 @@ export const backupDB = { "dateCreated": "Mon, 22 May 2017 09:54:07 GMT" } ], + "essay": [ + { + "id": "curatorial-statement", + "title": "Curatorial Statement", + "body": "<i>Hansel & Gretel</i> is the latest work in the complex and exceptionally fruitful collaboration between Pritzker Prize winning Swiss architects Jacques Herzog and Pierre de Meuron (architects for the Armory’s renovation) and the Chinese artist/activist Ai Weiwei. Having worked together for fifteen years in the field of art and architecture, never defining their roles and thus creating unexpected results, they have collaborated on projects such as the \"Bird's Nest\" stadium for the Beijing Olympic Games in 2008 and the 2012 pavilion for the Serpentine Gallery in London. <i>Hansel & Gretel</i> brings together their combined interests in the psychological impact of architecture and the politics of public space; creating a playful, strange and eventually eerie environment with different layers of reality revealed to the visitors first in the Drill Hall and then in the Head House of the Park Armory. \r\n\r\nThe initial impulse for the project was to transform the vast Thompson Drill Hall into a public park, a place of free movement and play, open 24 hours and accessible from street level. <i>Hansel & Gretel</i> is, however, quite the opposite, a dystopian forest of projected light where the floor rises up, as if lifted by an invisible force, and visitors are tracked by infrared cameras and surveyed by overhead drones as they systematically capture the parkgoers' data and movements. Here the breadcrumbs of the famous Hansel and Gretel fairy tale are not eaten by birds but rather digital crumbs are gathered and stored, reminiscent of Ray Bradbury's poignant, 1953 science-fiction novel <i>Fahrenheit 451</i>, where an omniscient state surveils its citizens from the skies. \r\n\r\nEntering from a small street-level doorway on Lexington Avenue through a long darkening tunnel, the visitor experiences both psychological menace and exhilarating wonder upon exiting into the expansive landscape of the dimmed Drill Hall, animated by interactive projections mapping the visitor's every move. Utilizing state-of-the-art surveillance technology, the installation is both an enticingly playful and unnerving experience of what it means to be constantly watched, of public space without anonymity. Only upon leaving the Drill Hall and entering the hallways of the historic Head House, does the visitor discover through a continuation of the installation the extent of what has been seen and captured. An extensive digital library of surveillance histories and technologies is available for further research. \r\n\r\nIn an age of constant scrutiny and data storage beyond the knowledge and control of ordinary citizens, <i>Hansel & Gretel</i> is perhaps less fantastical and more menacing than it may at first appear. ", + "disabled": false, + "__index": 0, + "dateCreated": "Sat, 03 Jun 2017 19:09:34 GMT", + "byline": "Tom Eccles and Hans Ulrich Obrist, Curators" + }, + { + "id": "facial-recognition", + "title": "Facial Recognition", + "body": "The Hansel & Gretel exhibition uses a custom facial recognition system that automatically captures visitors' facial biometrics as they move throughout the Armory. At all times, 5 surveillance cameras stream a 1080 pixel image at 10 frames per second (FPS) to a central image processing server located on site. Every frame from every camera is run through a series of computer vision algorithms that detect faces and convert them into biometric face prints. In less than 1 millisecond, using a minimum of 100 x 100 pixels, any face appearing in any surveillance feed is automatically extracted and stored in a local database as a 128-dimension feature vector.\r\n \r\nThese 128-dimension feature vectors represent what makes each face unique relative to other faces. Previous versions of facial recognition technology from the 1990s and early 2000s based recognition on seeing the face in a more human way, as linear combinations of composite photographs or by comparing the geometry between facial landmarks. Current state-of-the-art facial recognition algorithms, including the code used in the Hansel & Gretel system, make use of deep neural networks that automatically determine which combinations of facial features are the most useful for creating enough separation between between thousands of identities. In a controlled testing environment using frontal-pose images, the accuracy exceeds 99%. \r\n \r\nIn practice however, images captured in any surveillance system will typically be less accurate because of the differences between the pose, lighting, expression, optics and fashion accessories worn for the enrollment and capture photos. This effect is slightly minimized in the Hansel & Gretel facial recognition system because visitors are enrolled and matched on the same day. The accuracy of your matched photo will depend mostly on the equivalence of expression and pose between your submitted photo and your captured photos. According to a theory called the Biometric Zoo, match scores are also dependent on the relative similarity or difference of facial features amongst the enrolled population of faces. As with facial recognition technology and biometric recognition used in law enforcement and national security, no match is ever absolutely certain, but only a probabilistic determination based on the available matches in a database.\r\n \r\nIn the US the average person is caught on camera more than 75 times per day. The fact that our identities are captured, analyzed, and stored is a fact of contemporary life that often goes unnoticed, but what are the implications this has on our society?", + "disabled": false, + "__index": 2, + "dateCreated": "Sat, 20 May 2017 21:50:17 GMT", + "byline": "Adam Harvey" + }, + { + "id": "floor-projections", + "title": "Floor Projections", + "body": "Every movement in the Drill Hall is tracked and recorded from above by a grid of 56 small computers with infrared (IR) cameras, each attached to a projector suspended on a truss system high above the gently sloping floor. To allow for better tracking in low light conditions we installed an array of floodlights which operate in the near infrared spectrum and are thus invisible to the human eye. Each computer runs a tracking algorithm that compares a preprogrammed image of the floor to the real time camera feed, and subtracts away any redundancy until only the difference features remain. The moving person can thus be isolated, identified, and followed, which triggers a red rectangular outline and grid pattern to appear. \r\n \r\nThe IR image now overlaid with tracking data undergoes a series of visual transformations. The powerful computers are able to make adjustments in cropping, scaling, warping, shifting, rotation, exposure, brightness, and sharpness, all within milliseconds. Only then are the “real time” images sent to the projector. The entirety of the 215 x 145 feet Drill Hall floor is covered by a total projection surface of 12360 x 7850 pixels, with each pixel being approximately ⅕ of an inch. \r\n \r\nThe projections enable visitors to reflect upon the growing web of interconnected devices designed with ever evolving sensing capabilities and make tangible the reality that we leave digital traces almost everywhere.", + "disabled": false, + "__index": 3, + "dateCreated": "Sat, 03 Jun 2017 19:11:30 GMT", + "byline": "iart" + }, + { + "id": "drones", + "title": "Drones", + "byline": "PhotoFlight Aerial Media & Easy Aerial", + "body": "The drone technology used in this installation is the result of six months of research and development. While neither autonomous nor indoor drone flying are difficult tasks, combining the two operations with multiple drones simultaneously presented a challenge that very few teams have successfully accomplished.\r\n \r\nFor autonomous flight outdoors, drones use GPS technology to be aware of their point in space. In order for this operation to work indoors, we needed to create a system that allows the drones to understand their location in the environment, and the position of the other drones in the formation. A network of 32 sonar beacons were installed throughout the Drill Hall and special software was developed specifically for this project to provide real time communication between the beacons and the drones, ensuring the drones can successfully follow their individual pre-programmed paths.\r\n \r\nThe drones themselves are most often used for remote autonomous infrastructure inspections and surveillance. They consist of a Flybot - a computer core that takes care of control and communication, and four arms with electric motors and propellers. In this installation, their payloads are thermal cameras that capture the images of people roaming about the space, transmitting live video to screens throughout the Head House.\r\n \r\nWhen flying indoors near the public, nets are usually used to create a barrier between drones and people, mitigating the risk of any injuries resulting from a malfunction. However, using a net for this installation was not an option. A special Drone Safety Suspension System (or DS3), consisting of a pulley and tether system was specifically developed to ensure the safety of visitors. The DS3 was carefully designed and requires each drone to be equipped with its own retractable tether. The end of the tether is attached to a pulley that travels on a steel cable stretched above the floor. If the drone malfunctions, the tether prevents it from falling it onto visitors.", + "disabled": false, + "__index": 4, + "dateCreated": "Sat, 03 Jun 2017 19:49:36 GMT" + }, + { + "id": "notes-on-surveillance", + "title": "Notes on Surveillance", + "byline": "Ai Weiwei", + "body": "<h2>To Watch and Be Watched</h2>\r\nSurveillance is the strongest characteristic of contemporary life, affecting everything from the highest levels of politics to the mundane everyday. Through rapid developments of technology, often by governments for scientific or military purposes, surveillance has become increasingly pervasive in society. The gathering of information through observation functions as the most essential and valuable tool of those in power. No one can say they are unfamiliar with this concept because no one in society is immune or exempt. Yet why surveillance exists and how it functions is both familiar and unfamiliar, a physical and virtual language requiring definition.\r\n\r\nFrom early on, the act of surveillance functioned to identify, target, or help draw a conclusion about a subject—whether it be about an individual, a group, a movement, or society at large; it was a way to gather intelligence and come to a rational conclusion about the suspicious, questionable, or unidentified. Surveillance has existed since human intelligence manifested; or, to be clear, since humans understood themselves to be human, coexisting independently and among each other in a group.\r\n\r\n<h2>Game of Cards</h2>\r\nEach player has a set of playing cards which are known only to them. There’s the deck of remaining cards and the cards which have already been revealed. The cards that have been drawn—with their face values exposed—is public knowledge, which is shared fairly and openly.\r\nThe card that will be drawn next represents the present condition, affecting the exposed cards, your own unrevealed cards, as well as the cards remaining in the deck. The cards in the deck are unknown to all and will ultimately determine who wins and who loses.\r\n\r\nA player would only agree to play if they believed that the unknown cards remain that way until openly revealed to all. In reality, those in power, whether it be cultural or political, democratic or authoritarian, hold an advantage. They know the value of the hidden cards.\r\n\r\nThe advantage comes from technological and logistical superiority, supported by special rules and laws. Often, the excuse for this unfair condition is an opaque appeal for greater security against the specter of terrorism. But why do we allow ourselves to play against a stacked deck?\r\n\r\nSociety has accepted the idea that data acquired through surveillance constitutes truth and fact. However, in many cases, the findings of this surveillance - from the cherry picked material presented, what is deleted and what is kept, the digital reconstruction of, and the context in which we see the data - is not in real time but a copy of that time which has been analyzed, interpreted, and then selectively disseminated.\r\n\r\nLike photography, is information gathered from surveillance reality or a (mis)representation of reality? Can the context in which it is made be divorced from the image we see? What of the intention to record in the first place? The public’s reaction is manipulated through means of presenting a doctored reality.\r\n\r\n<h2>A Captivated Audience</h2>\r\nWhen a magician performs on stage, everything has the veneer of perfection; he pulls a rabbit out of a hat or tells you exactly which card you selected in the deck. A miracle has happened right in front of your eyes.\r\n\r\nIn 2011, I was arrested and secretly detained for 81 days. My interrogators brought up fabricated accusations issued in an attempt to dirty my name. I looked them in the eye and asked, “Do you think the people will believe this?” The interrogator replied with confidence that 99% of people will believe them. A fundamental belief of those in power is that the understanding of the masses can be manipulated. That captivated audience, that 99%, will always exist, and that is who the magician performs for.\r\n\r\nSurveillance only works because of the demand for truth. However, this truth is provided by those with the power to conduct surveillance. The ones being watched are subject to the truth. In that case, that power of surveillance only exists when you are a willing participant in the system. The power of the magician comes from the audience’s invitation for them to perform. The audience wants to watch, to see with their own eyes. They don’t even need to be convinced; they are being lied to, but they rapturously applaud. This is our society.\r\n\r\nCard players are different because you are invited to the game. You have to believe in fairness to even play. If the game is an illusion, you’ve already lost. Why waste your time with a game you can never win?\r\n\r\n<h2>Argos</h2>\r\nSurveillance is a constant, unblinking set of eyes watching over us; the Greek myth of Argos Panoptes come to life. From that, a sense of truth is formed. This generates within our minds an understanding of something parallel to truth and reality, which is the power of constant surveillance, that you’re under watch and your actions can be recorded and played back.\r\n\r\nModern surveillance is a game changer because those in power are not only interested in knowing more about you, but also in having the power to make you aware you are being watched at all times, which has two advantages.\r\n\r\nFirst, those in power can exploit the data gathered against a target—often through disclosures of distorted fragments of information—in the name of evidence or truth, transformed into the sharpest weapon. This can be information gathered such as where you have traveled to, who you choose to associate with, or what you have said or done in the most intimate settings.\r\n\r\nIn China, the police will never show the unedited recorded images or video, even though they have the CCTV recordings. Often, the reason given is that a technical error occurred. In the US, cases of police misconduct often go unresolved because body cameras “malfunction” or security footage goes missing. They are able to tell the so-called “true story” while obscuring the full picture. Without providing all of the information, it will always be a one-sided game. The public is misled and exploited through the masquerade of transparency.\r\n\r\nIf arrested in the US, the police will tell you, “You have the right to remain silent and refuse to answer questions. Anything you say may be used against you in a court of law.” With surveillance, there is no declaration of any rights to not be observed, and all materials gathered can be used against you.\r\n\r\nSecond, to announce that a recording or evidence exists, without revealing it, can be damaging. The mere suggestion can imply a more serious situation than what took place in reality.\r\nPeeking into someone’s life without the observed noticing, or even to openly announce this capability, has a powerful psychological effect which changes human behavior. You may or may not be under surveillance and you will never know for certain. This uncertainty not only serves to promote self-editing but can also drive a person mad. It is like living in front of a two-way mirror. We can all see ourselves, but who else is also watching us?\r\n\r\n<h2>To Know the Unknown</h2>\r\nThe more private something becomes, the greater the desire to know more. The level of exposure and public interest to know more are tied; how private it is increases its perceived importance and the sensation surrounding it.\r\n\r\nConsider the case of Michael Flynn, the retired lieutenant general who has refused to testify in the investigation on the Russia-Trump campaign. How much does the US intelligence community already know? The public’s attention has been captured by what did or did not take place. What we do not know constructs the desire to know more. The unknown can be as vast as the universe.\r\n\r\nPerhaps knowing too much puts us in a more difficult position to enjoy, imagine, and dream. When we first saw a footprint on the surface of the moon, a thousand years of poetry about the moon collapsed and no one wrote any new poems about the moon. Knowing more, we ended up with less.\r\n\r\n<h2>Getting Lost</h2>\r\nToday, the individual can no longer get lost. There are new technologies which tell us which roads to take in the most unfamiliar surroundings, that track how many steps we have taken or how many calories our bodies have exhausted, or the present temperature anywhere across the globe, immediately. Those in power can also easily track us. They can check the record of anyone they want using text messages, email, and phone calls to see who you have been in contact with; GPS to track where you have traveled to; or simply bug your home or hotel room to listen in on your most private conversations. They can draw a complete map.\r\n\r\nIn 2015 I discovered hidden listening devices installed in the electrical sockets around my studio-home. Hearing a story about a snake and discovering one under your table are completely different feelings. It’s still alive and you can’t kill it. The authorities begged that I return these to them, hating that they had been exposed.\r\n\r\nThe individual will always be left in a state of confusion because surveillance affects all the traces of our lives. The traces are the marks we have made; these are the choices that identify us as individuals. This includes our language, politics, education, traditions, and who we choose to associate with. The traces are evidence in our art, architecture, literature, poetry, and music. It is in all our activities and we have no other legacy than our traces. All these things that we care deeply about have become data for a superior power to scrutinize without our consent. The saying, “It is none of your business” is now meaningless.\r\n\r\nWe believe that civilization is constantly working towards enlightenment. That knowledge has given us our self-consciousness, influenced what we know as human rights, and given us the understanding of equality. However, this is an old measurement. With new technology, we were promised greater equality, a Utopian future, but new technology has raised more questions than provided answers. We are no longer created equal. We have become creatures guided by unknown forces in ways we don’t understand, and we live with a greater sense of uncertainty because we now doubt the information around us. Your judgement, your ability to discern fact from fiction, is under increasing stress.\r\n\r\nSuddenly, you are standing, helpless, in the middle of nowhere—lost. Your sense of trust is gone. It is gone because we now have different realities and different truths, which often contradict each other. Indeed, we have become lost in an effort to be more clear. We depend so much on virtual reality that reality has become less important; our old understanding—of size, shapes, volume, texture, temperature, sound, lines, and light—remains, but, at the same time, they also exist in virtual reality, which gives us a completely different understanding about our very existence.", + "disabled": false, + "__index": 1, + "dateCreated": "Sat, 03 Jun 2017 20:04:13 GMT" + } + ], "stream": [ { "id": "livestream", @@ -2508,19 +2548,31 @@ export const backupDB = { "streams": [ { "text": "Entrance", - "uri": "https://www.youtube.com/watch?v=fO_-p8bi_Lk" + "uri": "https://www.youtube.com/watch?v=r72Azq0C0_E" }, { "text": "Tunnel", - "uri": "https://www.youtube.com/watch?v=lDtcQID42Sg" + "uri": "https://www.youtube.com/watch?v=GON5zMPrG4M" }, { "text": "Exit", - "uri": "https://www.youtube.com/watch?v=Szu3aBo8taQ" + "uri": "https://www.youtube.com/watch?v=LeKgQdZLJuQ" + }, + { + "text": "Part 2 Left", + "uri": "https://www.youtube.com/watch?v=E_66XZcernM" + }, + { + "text": "Part 2 Right", + "uri": "https://www.youtube.com/watch?v=Pm6kg0wJws0" + }, + { + "text": "Infrared Cameras", + "uri": "https://youtu.be/adIZfkGDXAM" }, { - "text": "Part 2 Entrance", - "uri": "https://www.youtube.com/watch?v=ErXmu-t6JcE" + "text": "Drones", + "uri": "https://www.youtube.com/watch?v=9GLDrLDALoo" } ], "disabled": false, @@ -2534,10 +2586,10 @@ export const backupDB = { "id": "drone-statistics", "title": "Drone Statistics", "intro": "An unmanned aerial vehicle (UAV), commonly known as a drone, is an aircraft without a human pilot aboard. UAVs are a component of an unmanned aircraft system (UAS); which include a UAV, a ground-based controller, and a system of communications between the two. The flight of UAVs may operate with various degrees of autonomy: either under remote control by a human operator or autonomously by onboard computers.\r\n\r\nCompared to manned aircraft, UAVs were originally used for missions too \"dull, dirty or dangerous\" for humans. While they originated mostly in military applications, their use is rapidly expanding to commercial, scientific, recreational, agricultural, and other applications, such as policing, peacekeeping, and surveillance, product deliveries, aerial photography, agriculture, smuggling, and drone racing. Civilian drones now vastly outnumber military drones, with estimates of over a million sold by 2015, so they can be seen as an early commercial application of Autonomous Things, to be followed by the autonomous car and home robots.", - "strikes": "2,274", - "totalKilled": "6,336-9,178", - "civiliansKilled": "734-1,397", - "childrenKilled": "240-307", + "strikes": "2,935", + "totalKilled": "6,382-9,240", + "civiliansKilled": "739-1,407", + "childrenKilled": "240-308", "__index": 0, "dateCreated": "Thu, 18 May 2017 20:42:04 GMT", "links": [ diff --git a/client/src/lib/views/information.js b/client/src/lib/views/information.js index 9dc5ced..aace0d9 100644 --- a/client/src/lib/views/information.js +++ b/client/src/lib/views/information.js @@ -8,7 +8,7 @@ import { } from 'react-native'; import HTMLView from 'react-native-htmlview' -import Modal from 'react-native-modal' +import Modal from '../components/modal' import htmlStyles from '../components/htmlStyles' @@ -64,17 +64,19 @@ export default class Information extends Component { ) }) return ( - <ScrollableContainer heading="ABOUT THIS WORK" bodyStyle={styles.bodyStyle}> - <View style={styles.essays}> - {essays} + <View> + <ScrollableContainer heading="ABOUT THIS WORK" bodyStyle={styles.bodyStyle}> + <View style={styles.essays}> + {essays} - <TouchableOpacity onPress={() => this.showBios()}> - <View style={styles.essayContainer}> - <ClearText style={styles.essayTitle}>Artist Biographies</ClearText> - <ClearText style={styles.essayByline}>Ai Weiwei, Jacques Herzog, Phillipe de Meuron</ClearText> - </View> - </TouchableOpacity> - </View> + <TouchableOpacity onPress={() => this.showBios()}> + <View style={styles.essayContainer}> + <ClearText style={styles.essayTitle}>Artist Biographies</ClearText> + <ClearText style={styles.essayByline}>Ai Weiwei, Jacques Herzog, Phillipe de Meuron</ClearText> + </View> + </TouchableOpacity> + </View> + </ScrollableContainer> <Modal style={styles.modal} isVisible={this.state.biosVisible}> <ScrollView contentContainerStyle={styles.modalContainer}> @@ -91,8 +93,6 @@ export default class Information extends Component { <ClearText style={styles.bio}> {this.props.content.deMeuronBio} </ClearText> - <ClearText style={styles.footer}> - </ClearText> </View> </ScrollView> @@ -109,7 +109,7 @@ export default class Information extends Component { </ScrollView> <Close onPress={() => this.hideEssay()} /> </Modal> - </ScrollableContainer> + </View> ); } } @@ -121,7 +121,6 @@ const styles = StyleSheet.create({ alignItems: 'flex-start', }, bodyStyle: { - marginRight: 10, }, video: { alignSelf: 'stretch', @@ -153,7 +152,6 @@ const styles = StyleSheet.create({ }, essays: { - marginLeft: -55, marginBottom: 20, }, essayContainer: { @@ -161,7 +159,6 @@ const styles = StyleSheet.create({ margin: 5, }, essayTitle: { - textDecorationColor: '#bbb', textDecorationLine: 'underline', }, essayByline: { |