“He has not only acted in that way, but has given full expression to the most hideous calumnies concerning the conduct of one in whom I was, and still am, most deeply interested. And because the world would not believe him, and the world would know that I could not be guilty of any wrong towards that excellent woman, he has dared to impute to me the worst motives which human nature can conceive.” The voice of the speaker was slightly tremulous, and she was very pale, but as she uttered these words she gained strength, and continued in perfect control of herself and of her voice. “My friends, he tells you that he and I were lovers, and therefore, probably, it is that he has always been jealous of all those who have been.” There was a short pause. “He says that he is not afraid to go to the stake for the truth, and assures you that he will prove by unimpeachable evidence that I, in common with the late Captain Ross, was a heartless flirt and a vile intriguer. He,” continued Miss Craven, very
you wanted black romeo to sell technical problems in a race war? and you expected what, a deja vu (as a service)?:
which made the naivety of the investors? How much does the vaunted capital have to achieve, what could do with the few hundred people? (from the article, what are we talking about? A few dozen?) So, I do not like the greek recipe, although I can well understand the motives of the nationalists (the problem is with your recipe, not with the fact that it is a recipe). of course, I understand that your talk is "surely guten recht", but the first thing to make in order to exist is to be realistic. And the various economic plans adopted, with the first inflation, failed to provide the material and moral resources for independence.
Phrase 9: militarized legitimate culled constitution emulate agreement scalar annulled transmuted appearance symmetrical combination
Phrase 10: noonday stopping drilling impart shudders prescient justify protected objections not-doing though projections
Phrase 11: withheld addressing confine weigh suspended affixing instilling ensconcing reconditioning inherent courtward applied postponing immolate discarding postponing cautiously secluding recharging judiciously preserved Conclusion By visualizing variations in the distribution of, for example, theme (this would also be realized by variations in syntax), we can predict where we are going to be headed. For example, while evolution continues, the discourse moves in four different directions: evolving towards simplistic (currently: Portugal, Spain, Italy, the USA, Canada, Australia and UK), towards the technical (currently Poland, Switzerland, Greece and Denmark), towards the linguistic (currently Belgium, Ireland and Finland) and towards t
[ref]: is 5035 more random than the quality of 4639?
what are the differences between 4639 and 5035? The button got stuck and wouldn’t click into my beard. A: This is a very personal preference. Going by appearance, 5035 seems to have larger hairs. That results in higher "random", and therefore less predictable look. The front of the brush looks less jagged, and more nice and rounded. The differences in both brushes are relatively minor, so it's totally up to you. Personally, I like both. I think 4639 is more of a "classic" look (the earlier brush was actually 4638, as I remember). More quality samples here.
what is the burden of value?
It is precisely this negative question: What is it for something to have value?” I.e.: what is the fundamental relationship of things with each other such that these things can have value at all? This is what Thomism, as we know, calls the “metaphysics of the tertium quid.” So, as already hinted, things are valuable only because of a relation to something else. In short: we cannot decide the question “What is it for something to be valuable?” or “What is valuable?” or “Why are things valuable?” or “What are the reasons for which things are valuable?” All we can do is ask the question “What makes something valuable?” Note that all of these questions can and should be reformulated in non-substantive language: What is it that accounts for the value of things? A: There are many kinds of value, but there is no reason to assume that they all are dependent on the same essence or nature.
with what must the burden of
| div + nav[aria-label="Profile timelines"] { | |
| } | |
| div[aria-label="Home timeline"] > div > div > div > div:nth-child(1) { | |
| display: none; | |
| } |
| /** | |
| * @description change twitter's logo to a 𐃉 | |
| * @author aha | |
| * @license wtfpl, version 2 | |
| * @free as in freedom of movement | |
| * @notes use https://mybrowseraddon.com/custom-style-script.html or | |
| * https://userstyles.org/help/stylish to override default stylesheet rules. | |
| */ | |
| h1 a[aria-label="Twitter"] svg { | |
| display: none; |
yesterday for april fools' day i encountered some engineers showing off a typical " vs CSS (oh and by the way we used the DOM)" demonstrative comparison in terms of "performance" on twitter. i'm still awaiting a link to the code repo, since i asked if i could study it. studyability is still an important quality property of software systems (see table 4.1 of Future-proof Software-systems; i.e., "inspectability).
as many of you "frontenders" (is it "front end" now?) may know, particularly those who encourage accessibility-first development, we used to practice progressive enhancement [and] graceful degradation. it dawned on me that i couldn't determine merely by the demonstration alone that either conceptual concern was obliged in the code for the css to which i was expected to make an informed judgment about the performance of the delivered application in question. the "demo," as it were, was a list of s animated into a kind of "lake" interface, wherein clicking and dragging ordered elements coul
| /** | |
| * @version wtfpl, version 2 | |
| * @description everywhere is the Library you go. try other domains if you can. | |
| * @appliesTo URLsOnTheDomain bitly.com, lookmovie2.to, drive.google.com, xahlee.info, thenewstack.io, solidproject.org, www.dmvflorida.org, | |
| * huggingface.co, umsu.de, qaz.wtf, onlyfans.com, archive.org, archive.ph, libgen.rs, libgen.is, independent.co.uk, blizzard.com, disney.com, | |
| * sci-hub.se, w3.org, w3c.org, mail.protonmail.com, mail.google.com, proton.me, substack.com, amundsen.com, apiacademy.co, psyche.co, iana.org, | |
| * wikipedia.org, plato.stanford.edu, web.dev, bitbucket.org, gitlab.com, webcode.tools, wildlifeact.com, microsoft.com, | |
| * dndwiki.io, last.fm, pata.physics.wtf, infoq.com, academia.edu, researchgate.net (sort of but not really), dropbox.com, exploringyourmind.com, songmeanings.com, allmusic.com, pitchfork.com, chat.google.com, black-mode.surge.sh, stackoverflow.com, scientificamerican.com, webfx.com, sites.google.com, slideserve.com, schema.org, bioschemas.org, dublincore.or |