Instead of connecting an output to a particular task, you can also choose to let it connect to a track. A track is created by taking a task’s output, retrieving its semantic, and then connecting it to the next available task that is “magnetic to” this semantic.

Patching has no implicit, magical side-effects and is strongly encouraged to customize flows for a specific case in a quick and consise way.

An additional benefit is semantic identifiers. For example, --main-text-color is easier to understand than #00ff00, especially if this same color is also used in other contexts.

I'm still calling this v1.00 as this is what will be included in the first print run.

I don't want Svelte to go out of its way to try to catch all these edge cases. It would require lots of fragile heuristics in the compiler. I want a solid compiler I can trust, not something magic but often out of service. I want it the simplest possible.

Designing with constraints. Using inline styles, every value is a magic number. With utilities, you're choosing styles from a predefined design system, which makes it much easier to build visually consistent UIs.

The Master and Margarita: Devilish satire

manes

Theseus

Cornelius Agrippa

elixir of life

the principles of Agrippa

philosopher’s stone

The raising of ghosts or devils

I’m on cloud nine. Look at this glorious keyboard! An Esc key! Inverted-T arrow keys! A millimeter of key travel! Enough spacing between the keys for our fingers to accurately orient themselves! And keystrokes will probably work, 100% of the time, for years!

the best notebook keyboard ever

Two automatons stood on the table. One, called “The Singing Lesson,” was the creation of Jean-Eugène Robert-Houdin, the nineteenth-century watchmaker-turned-conjurer, who is considered the father of modern magic. The other was a Chinese cups-and-balls conjurer built by Robert-Houdin’s father-in-law, Jacques Houdin.

Jean Prévost’s “La Première Partie des Subtiles et Plaisantes Inventions,” the earliest known important conjuring book, printed in Lyons in 1584.

Magic is about working hard to discover a secret and making something out of it. You start with some small principle and you build a theatrical presentation out of it. You do something that’s technically artistic that creates a small drama.

Two automatons stood on the table. One, called “The Singing Lesson,” was the creation of Jean-Eugène Robert-Houdin, the nineteenth-century watchmaker-turned-conjurer, who is considered the father of modern magic. The other was a Chinese cups-and-balls conjurer built by Robert-Houdin’s father-in-law, Jacques Houdin.

Jean Prévost’s “La Première Partie des Subtiles et Plaisantes Inventions,” the earliest known important conjuring book, printed in Lyons in 1584.

Magic is about working hard to discover a secret and making something out of it. You start with some small principle and you build a theatrical presentation out of it. You do something that’s technically artistic that creates a small drama.

novel method developed within the MAQC-III project utilizing the expression distributions, corrected for noise and batch effects, and assisted by random resampling, to compute DEG scores related to the Wilcoxon U test (Magic, see Additional file 1: Supplementary Note 2)

Spells are nothing but poems intended to write something new on the face of reality.

Rhetoric and Primitive Magic

It’s like magic.

Manhas,asitwere,becomea kind of prosthetic God. When he puts on all his auxiliary organs he is truly magnificent.

His proposal, derived from synopses of Paracelsus and Jakob Böhme, is that we learn to think of language as magic. Magic is what will substitute for structure, in which case one synonym for post-structuralism is “the occult.” Agamben wants magical signs; this, roughly, is what he means by “signatures,” signs that aren’t just neutral stand-ins for things, tokens or pointers, but charmed symbols vibrating with their own energies, signs that have “efficacy,” “efficacious likenesses,” not marks that you write down but marks that are written across you. Every spoken sentence changes the world and is in that sense a spell or hex. This is probably the clearest instance of the “regression” that Agamben makes central to his method: “the opposite of rationalization,” he calls it. If you are serious about your critique of enlightenment, you are going to need an enchanted epistemology.