Athone ə
Atébé fhes ə osztpamé onsgs poȝeroite ba cen-toszte barror. Fra ŋgemt a’u dhʀotts śófh-d’sellt-kleifeobós-mosk śófh-arr, kelds; haudsodd amdos u-ŋgemt. Cinnfeis_ fhussté-manetetth-ŋgemt lite-əu-cófhtetthe. Conn ketȝile mosk keld þholbases haudsodd mitts keld śófh-thoszte. Fras.
| #!/usr/bin/awk -f | |
| # Script for automatically generating metro networks | |
| # based on a more compact script. | |
| # We're working with a CSV-like language. | |
| BEGIN { | |
| debug = 0; | |
| time_pad = 4; | |
| FS = ", "; |
| ;; (in-package #:lut) | |
| (lut-setup "lyrics" | |
| :alternate-name "gb-ecml-greensleeves-yami" | |
| :voice-dir "YAMI VCCV English" | |
| :out-file "lyrics" | |
| :time-signature #(3 4) | |
| :key-signature "1 = G4") | |
| ;; Verse 1 | |
| (note 1 "la," "R") |
| (defun solfege->note-number (solfege octave key mode base-octave) | |
| "Convert a note in the movable-do system into absolute notes." | |
| (let ((note-correspondences | |
| '(#|de = ti|# ("do" . 0) ("di" . 1) | |
| ("ra" . 1) ("re" . 2) ("ri" . 3) | |
| ("me" . 3) ("mi" . 4) | |
| #|fe = mi|# ("fa" . 5) ("fi" . 6) | |
| ("se" . 6) ("so" . 7) ("si" . 8) | |
| ("le" . 8) ("la" . 9) ("li" . 10) | |
| ("te" . 10) ("ti" . 11) |
A specific, representative algorithm-finding problem that was derived from traditions in Ùzje.
A collection of cuboids \(C_1, C_2, \ldots, C_i\) all have the same dimensions \(x, y, z\). On the one of the largest faces in terms of surface area, there are several areas coloured red, and the rest are coloured green. All areas are bounded by Jordan curves, so there is a clear sense of what’s inside and what’s outside.
Magic comes in two flavours:
| (project "This is a test song" "Yami VCCV English" | |
| :tempo 120 | |
| :time 4 | |
| :convert-romaji :kunrei-shiki) | |
| (measure | |
| (1 "te" "C-4") | |
| (1/2 "su" "D-4") | |
| (1/2 "to" "E-4") | |
| (1/4 "te" "F-4") | |
| (1/4 "ki" "G-4") |
The world we live in is full of names. Although they are meant to be handles to the identities to individual objects in the world, unique to the object alone and free for all to use to refer to it, many times names fail to achieve either or both of these goals.
One of the many ways that this fails is in the names of some of the most pervasive names of them all: the names of brands and franchises. They are plastered all over the world,
| :PACKAGES: | |
| #+LaTeX_HEADER: \usepackage{linguex} | |
| #+LaTeX_HEADER: \usepackage{textcomp} | |
| #+LaTeX_HEADER: \usepackage{tikz} | |
| #+LaTeX_HEADER: \usepackage{tikz-qtree} | |
| #+LaTeX_HEADER: \usepackage{color} | |
| #+LaTeX_HEADER: \usepackage{multicol} | |
| # #+LaTeX_HEADER: \usepackage{minipage} | |
| #+LaTeX_HEADER: \usepackage[all]{nowidow} | |
| #+LaTeX_HEADER: \usepackage{chngcntr} |
The idea of actually outright saying things that are not true in order to entertain and inspire is a surprisingly recent invention in Pasaru, as opposed to the idea of saying things that are not true in order to deceive, manipulate and punish (which is genuinely an ancient act). However, precursors to fiction as the former do exist for a long time, particularly in the form of religion.