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January 27, 2016 8 Comments In this Ext JS 6 Tutorial, you will learn how to edit data with an Ext JS 6 Grid and a PHP backend.
Part 2, which will follow this article, explains how to add new records and delete records from the Ext JS Grid. As depicted in the screenshot, a user can modify a model car’s name, vendor and category through the Ext JS Grid.
The app folder that contains the model, store and view folders that will host the app’s models, stores and views respectively. Point the stylesheet and script references to the Ext JS Library in the head section of the file to the folders where you placed the Ext JS 6 Library on your development workstation. We connected this Store to the model-cars.php backend file through the Store’s proxy config. We set the autoSync config of the Store to false to prevent the Store from synchronizing changes with the server automatically.
As the proxy config shows, the Store will pull data from the vendors.php file, which we will create later. The Grid’s selType config indicates the xtype of the Selection Model we want to use in the Grid. In the listeners config of the rowediting plugin we defined a listener for the plugin’s edit event. We’ll add this handler because when the user edits the vendor name through the ComboBox editor, we need to update the vendorId field of the selected record on the Grid so we can use this identifier to update the backend data. We will use an Ext JS ViewController instance to handle the edit event of the Grid’s rowediting plugin. When you specify a View Controller in a View’s definition, each instance of the View will have a new View Controller, therefore, the instances are isolated.
Another important characteristic of a View Controller is that it’s bound to its View for the View’s lifecycle. In the method, we first create the vendorColIdx variable to hold the index of the Vendor Name column. Note how you can use ctx.grid to gain access to the Grid’s columns (and therefore to the column editors) and Store. Here we just list the models, stores and views using their respective configs; and specify the app’s main view with the mainView config. We’ll an instance of the VendorsCollection Class to deliver the vendors records to the Ext JS application. In a real-world application, you would retrieve the vendors records from a database or data file.
If you are interested in learning how to pull data from a database into a PHP page, leave me a note in the comments section . The second component of our backend is the PHP page that will provide the model car records for the Ext JS Grid. The properties of the ModelCar PHP Class map to those of the ModelCar Model in the Ext JS application. We will use this function to send the ModelCars collection from the server to the Ext JS application. When the page receives a GET request, it means that the Vendors Ext JS Store is requesting data.
After we load the results into the $result variable, we json-encode the records and send them out in the HTTP response. The Vendors Store’s json reader, which we defined using the Store’s reader config, will de-serialize this json string and create an object holding a modelCars array. When the vendors Store in the Ext JS app wants to synchronize updated data with the server, its proxy will generate a POST request to the PHP page. As in this tutorial we will not write any database routines, we will just send a success response that the vendors Ext JS Store will use to mark its records as synchronized through the proxy. To build the success response, we create a PHP array containing a single item with a success property set to true.
This is the equivalent of a JavaScript Object with a success property set to true, which the Vendors Store will interpret as a success response. You can test this code by opening the developer tools of your browser and refreshing the application.
In the next part of this tutorial, you will learn how to add and remove records with an Ext JS Grid. Sign up to receive my posts via email and get a FREE Mobile User Interface Recipes Kit with mockups packages for three real-world mobile apps. Create a UserControl, that pops up underneath the current row after clicking "Edit" button. Now we have to use our CustomCell class which is going to be used in the first text box column. The saveButton`s click event is used to set the values from these controls, back into the grid cells. Come and join us at the Congress of the Humanities and Social Sciences (May 28 – June 3) for our Canadian Literature Collection book launch (General Editor, Dean Irvine). Venez vous joindre a nous au Congres des sciences humaines (28 mai – 3 juin) pour le lancement de livres de notre Collection de litterature canadienne (directeur Dean Irvine).
Finally, please consider checking out Linked Modernisms, the companion site for the REM, which uses RDF, domain expert verification, and machine reasoning to plumb the REM‘s content for metadata and connections among terms. Each of these Subject Editors commissioned, managed, edited, and selected hundreds of entries.
My tireless Project Managers Laura Dosky, lately replaced by Amy Tang, have made the project possible when it seemed completely overwhelming. Lastly, Polly Dodson, Senior Editor at Routledge, indefatigable champion of the project, wry interlocutor, and kind but at-times demanding partner in crime has been a complete joy to work with. It is hoped that the print edition will be followed by an electronic edition that will include the fifty essays, plus fifty book reviews by Laurence and several speeches, convocation addresses, and tributes to Canadian literary figures such as Malcolm Ross, Clara Thomas, Marian Engel, Lois Wilson, Hubert Evans, and W.L. We should all be proud and honoured as a community to see EMiC cited in Digital Humanities Quarterly for best practices in student research, labour, and training. Among the newest features of the Modernist Commons is a collection of articles migrated from The Modernism Lab.
Many thanks to Alan Stanley and Rosie LeFaive at Agile Humanities Agency for their work on this initiative.
This conference will speak to the recent resurgence in interest in the modernist text as editorial object and the various platforms through which readers encounter modernist text. Professor Scott McCracken (Keele University) will present a talk about the scholarly edition as cultural production. Dr Nathan Waddell (University of Nottingham) will present a talk titled ‘Problems, Possibilities, Polemics: Taking the Arrows of Wyndham Lewis’.
With the sole exception of the audio recordings, the recently relaunched bpNichol.ca Digital Archive is a collection of photographic images that stand in stark contrast to the print-medium objects they represent. Nichol’s oeuvre, with its enormous scale and variety, represents an archive of limit-cases of Canadian small press publishing techniques and technologies.

The re-launch of the bpNichol digital archive thus serves as the institutionalization of a new phase of engagement with Nichol’s work that shifts beyond the direct impression of the biological author. One such builder is filmmaker Justin Stephenson, who was at the conference to show us a glimpse of his new bpNichol film called The Collected Works in advance of its Toronto premiere. The narrative of Nichol’s first poem, the beginning of the complete works, anticipates these problems and possibilities. Nichol revisited this poem almost a hundred times in the years that followed, creating a series of translations that he published as Translating Translating Apollinaire. It is, at present, a growing repository of Nichol’s work all available for free because of the enormous generosity of Ellie Nichol. The recipient will be invited to accept the award and to address the society in a plenary session of the annual conference at Congress, which will be held this coming year at the University of Calgary in the spring of 2016.
This award is typically given to an early-career scholar whose work relates to any area of the digital humanities, broadly conceived, whether theoretical, critical, applied, or in the area of community building.
The Awards committee will compile a short list, and confirm with nominees whether they are willing to be considered, in December 2015. Lors de la remise du prix, le recipiendaire sera invite a prononcer une conference lors d’une session pleniere du congres annuel de la Societe canadienne des humanites numerique qui aura lieu a Calgary au printemps 2016. Ce prix est generalement accorde a un(e) chercheur(se) en debut de carriere dont les travaux s’inscrivent dans le domaine des humanites numeriques, ce qui inclut les travaux de nature theorique, critique, appliquee ou cherchant a contribuer au developpement de la communaute de chercheurs(ses) dans le domaine des humanites numeriques. Les mises en candidatures, d’un maximum de 500 mots, doivent etre soumises au plus tard le 30 novembre 2015.
Le Comite des prix dressera une liste restreinte de candidats, confirmera avec les candidats retenus s’ils acceptent leur nomination et, le cas echeant, leur demandera de transmettre tous les documents necessaires a l’evaluation de leur dossier de candidature (curriculum vitae, lettres d’appui, acces aux realisations, lorsque celles-ci ne sont pas facilement accessibles) au plus tard le 15 janvier 2016.
EMiC is funded by a Strategic Knowledge Cluster grant from the Social Sciences and Humanities Research Council of Canada. While we will let the user enter free text for the Name and Category fields, for the Vendor field we will provide a ComboBox with a list of vendor names.
The model-cars.php file, which we will create in a couple of minutes, will send the model cars data to the Ext JS 6 app. We will trigger the synchronization manually after making sure that the edited record’s values are valid. In addition, the View Controller will automatically receive inline events declared on the View. The page will feed the Vendors Store, which in turn will feed the vendors ComboBox we show when users edit the Vendor column in the Ext JS Grid. In a real-world application, you would use this function to retrieve the model cars records from a database or data file. We already talked about the response to the first request, which is when the ModelCars Ext JS Store requests data for the model cars Ext JS Grid in the application. The page should capture the updated data, save it to a database, and then send a response to the Store signaling that the update succeeded. Once the reload completes, update a record and check the network activity generated by the update. This makes the communications between the application and the server more efficient, as only the changed data travels to the server.
We learned how to set up Grid column editors, and how to use an Ext JS ViewController to handle events generated by a View.
Books to be launched include critical editions of Malcolm Lowry, Carroll Aikins and Charles Yale Harrison as well as a new title on the Canadian short story in our CLC monograph series. Des editions critiques de Lowry, Aikins et Harrison y seront lancees ainsi qu’un nouvel ouvrage sur les nouvelles au Canada. We are already preparing the first major update to the REM, and will launch that material by the fall of 2016. It features some pretty cool visualisations, and you can use the RelFinder tool to check out how many degrees of separation there are between your favourite figures, movements, places, works, techniques, etc. Some of them will stay on as we move into production, while others will move on to other responsibilities, but they all have done enormous work to ensure that the REM is as good as it possibly can be. The legion of graduate students who helped prepare entries by formatting them for web presentation, copy editing, and fact-checking, likewise merit a great big thank you. We’ve torn through a number of other team members at Routledge over the years, but Polly has remained the backbone of this operation.
The forthcoming issue (2016 10.1), now avalable in a preview online, features an article co-authored by EMiC alumna, Katrina Anderson. Directed by Pericles Lewis at Yale University, the Modernism Lab is a virtual space dedicated to collaborative research into the roots of literary modernism.
And thanks to Pericles Lewis and Trip Kirkpatrick at Yale for their support and assistance.
The conference invites scholars to share their research about and methodologies for textual editing of modernist literature.
In modernist studies, several large-scale editorial projects are currently underway, including the Dorothy Richardson and the Wyndham Lewis Editions projects, and last year saw theComplete Prose of T.S. Prof McCracken is the Principal Investigator for the Richardson Editions Project, which is funded by the AHRC and which is leading to the publication of scholarly editions of Richardson’s 13-volume Pilgrimage with Oxford University Press. Dr Waddell is on the Editorial Board of the Oxford University Press Complete Edition of Wyndham Lewis’s fiction and non-fiction. We have, then, a medium translation into the symbolic regime of the archive, where data (in fact, the texts that Nichol produced and published) are isolated into discrete series in order to open them to different configurations. The two-dimensional digital files, however, efface some of the most striking characteristics of these often handmade objects, produced as they were in micro, sometimes single-digit, print runs, and often made for or given personally to a specific person. This shift was evident at the 2014 bpNichol symposium I organized at Brock University in St. Functioning as both a dynamic archive and creative work in its own right, Stephenson’s work translates Nichol’s poetry (not his biography) into a dance of light and sound. A student at the time in Vancouver, he wrote the poem while visiting his brother in Toronto in the summer of 1963. The series broke apart and rewrote this poem with the ambition of uncovering every conceivable means that a translation he could be produced. There are over 100 items currently digitized in the space, thousands of pages of work, with hundreds more books and chapbooks to come. Early career, in this context, usually extends from the later stages of doctoral work to up to 10 years since award of a PhD. Evidence of scholarship may take the form of print or online publications, a design portfolio, fabrications, prototypes or tools, or a production system. We will then request the submission of supporting material (CV, letters of support, and access to contributions or projects if not readily accessible) by January 15, 2016. Pour etre admissibles, les candidats doivent avoir obtenu leur doctorat depuis moins de 10 ans. Les realisations des candidats peuvent prendre la forme de publications (papiers ou numeriques), de portfolio, de conceptions de prototypes ou d’applications, de systemes de production. This requires a special setup for the Ext JS Grid and its Controller, which we will explore in a few minutes.

As the Ext JS docs explain, a view controller is a Controller we can attach to a specific View instance so it can manage the View and its child components. This saves you from having to manage the Controller’s lifecycle, increasing the stability and performance of your application. You will see a request to the model-cars.php page with a payload containing the updated fields. The first text box column is going to be used for storing our "Edit" button, and the other two respectively for storing the grid cells values. Vous pourrez egalement jeter un premier coup d’?il a nos prochains titres : Translocated Modernisms, A Journey in Translation ainsi que Malcolm Lowry’s Poetics of Space. The REM aims to provide the most comprehensive resource in existence on modernist aesthetic practice around the world and across the arts. We have much more to post, so if you don’t see what you are looking for (yet), please hang tough. Again, we are constantly updating the content, enhancing the density of the metadata you can explore, so if you notice something missing (even something pretty central) please hang on for more updates. They oversaw teams of between 3 and 15 Editorial Board Members, whom I cannot list here, but who have likewise lifted enormous burdens in getting this material to the screen. The original project covers the period 1914-1926, from the outbreak of the First World War to the full-blown emergence of English modernism. Despite the gregarious warmth of bpNichol, Canada’s preeminent avant-gardist—indeed, our own “Captain Poetry”—the archive flattens the lush sensuality, the intricate materiality of his works into two-dimensional images, digital files that are represented entirely by light patterns on a smooth screen.
Nichol was a communitarian, and used his literature and publishing ventures to create and foster avant-garde communities. Catharines called “At the corner of mundane and sacred” which featured 16 paper presentations, 20 poets reading work inspired by bp, and hundreds of people on twitter doing an online flash mob of their favourite lines and puns from his work. He was working on a normative translation of Guillaume Apollinaire’s modernist masterpiece “Zone” when all of a sudden the sun struck his page as the cars whizzed by and the sight of bodies browning in a park below his window transported him for an instant into what he felt was an experience of perfect synchronicity with the poem.
It is wild, radical research and it demonstrates Nichol’s commitment to writing not as the creation of discrete beautiful objects, but as a process of engaging with the world, of investigation, of learning, ultimately of opening oneself up to the Other; as a dynamic processing of the past. The website was designed and built by Bill Kennedy, with the enormous support of Alana Wilcox, Editorial Director of Coach House Books, and assisted by EMiC-sponsored Research Assistant Julia Polyck-O’Neill.
Work produced by a member of a larger collaborative team may be considered for this award; in such a case, the nomination should include a letter from the leader of the team (which may be the nominee her or himself) explaining the nature of the nominee’s contribution to the team activities. Les travaux realises en collaboration au sein d’une equipe de recherche seront consideres pour ce prix. Une annonce sera diffusee au printemps 2016 et sera accompagnee de la sortie du programme de la conference de la SCHN pour le Congres 2016. In that case, the ModelCars Store will synchronize these updates, through its proxy, with the PHP page. Many thanks to Canada’s Social Sciences and Humanities Research Council for funding the development of the site. This is a collaborative project including over eighty graduate and undergraduate students at Yale and ten other universities. However, it also concerns problems and methods inherent to the production and dissemination of modernist digital editions and digital archives.
Media archaeologist Wolfgang Ernst highlights such a “cold archaeological gaze” as “the melancholic acknowledgement of the allegorical gap that separates the past irreversibly from the present, a sense of discontinuity, as opposed to the privileging of continuity in historical narrative” (44-5).
As such, the photograph “liberate[s] the past from historical discourse (which is always anthropomorphic) in order to make source data accessible to different configurations” (48). Apollinaire’s 1913 poem presents a fragmented collage of a flaneur walking the streets of Paris, moving out across Europe, and recording the modernist shift of that moment. Building from this template, the archive is best thought of as just another conceivable means of translating bpNichol’s complete works. I am the curator of the space and would like to invite you all to get involved in expanding the archive (if you are interested, click on “contact” and send me a note) because even though the digital file violates the spirit of the original (I am reminded of Jean Mitry’s quip that “To betray the letter is to betray the spirit, because the spirit is found only in the letter” (4)), the desire for opening avant-garde community spaces and engagement through this work remains.
Over 1000 specialists have contributed material to an editorial team of over 60 to bring this project to fruition.
This founding initiative has sought to broaden the canon of works studied in the period by paying attention to minor works by major authors, major works by minor authors, and works that may have been influential in their time but that are no longer much read. We welcome proposals in any area of modernist scholarship that engages with ‘editing’, the archive, and editorial practice.
These are paralleled in recent digital archives and editions such as the Modernist Versions Project and Infinite Ulysses.
The digital archive encodes this separation without demanding a binding historical narrative.
As such, they performed a kind of exclusive communitarian function that contradicts open source digitalization: these were not intended to be objects of simultaneous collective reception. We were lucky to have some of bp’s closest friends, colleagues, and collaborators presenting, including Steve McCaffery, Stan Bevington, and Stephen Scobie, but what was most striking about the event was the presence of new generations and their investment in thinking upon his works and discovering new ways to manifest his spirit of investigation, sincerity, and generosity. Stephenson’s film ruptures “the illusion of pure content” by his creative interventions in the re-staging and selection of Nichol’s work.
Powerful new technologies—the airplane, the automobile, electricity—were supplanting mythology and nature, but a new kind of communion, a new kind of culture, indeed a new kind of individual was emerging in the shift. With the Lab’s integration into the Modernist Commons, these principles of the original project extend to include a more expansive international repertoire of modernist literatures and cultures.
The question of how contemporary editorial practice can draw on modernist practice is of keen interest, as textual editing was often a key self-reflexive concern for modernist authors, many of whom were publishers and editors themselves. These are the things, separated from their aura as Benjamin would note, reconstructed in order to maximize access and circulation.
Similarly, the bpNichol.ca digital archive encodes self-reflexivity by documenting the time, date, and (where available) technology of digitization as part of the meta-data record for each object in the archive.
Nichol abandoned his straight translation of “Zone” and wrote a short lyric about the experience of being transported by Apollinaire in Toronto sunshine: a poem of the play of light and its historical trace! The REM is truly a communal project on a scale well beyond anything I, for one, ever imagined attempting. From the collaborative editorial practices that underpinned such works as T.S Eliot’s The Waste Land and Djuna Barnes’s Nightwood to the production of modernist little magazines, innovative modernist editorial practices continue to interest scholars as they take on the role of contemporary editors to texts such as these. There are, of course, three time signatures at play in each photograph: the content, Nichol’s work, the interface, our photographic rendering of them, and the intraface, the archive frame itself. His poem was called “Translating Apollinaire” and it was published in 1964 in Vancouver in bill bissett’s new magazine Blew Ointment. The somewhat diminutive work launched a career of investigation into the question of what happens when writing, poetry, language move into new, hitherto unimagined spaces; what happens when new interfaces are used to transpose historical residue.

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