1. Updated font
   • weights
   • colors
   • letter spacing
2. Updated header text
3. Updated buttons
4. Updated page indicators

1. Updated Disclaimer color
2. Updated Disclaimer pop up
   • Updated font
     • weights
     • colors
     • text style
   • updated icon
   • updated modal (blur)

1. Updated font

   • weight
   • colors
   • letter spacing

2. Updated Form Fields

   • Border radius
   • active & focus states
   • font color, weights, and family for labels and input fields
   • Check box color and icon
   • Submit button
3. Regular Form Page
   • updated left column background color (Ballpoint vs Blueberry gradient)
4. Updated play button colors (normal, hover, active, and focus)

1. Updated font
   • weight
   • colors
2. Updated Resource background color
3. Updated Resource item interaction (hover & active states)
4. Updated asset headers and buttons

https://en.wikipedia.org/wiki/Sortition

• for: vita activa, new forms of political participation

HTML forms have an internal validation mechanism.

Las acciones que se pueden realizar dentro de un formulario son definidas como form controls. El número de acciones es bastante grande y vale la pena revisar todas las posibilidades.

• for: progress trap, unintended consequences, progress trap - new life forms, progress trap - bioengineering
• comment
  • this opens up a big can of worms. A general theory of progress traps (https://jonudell.info/h/facet/?max=100&expanded=true&user=stopresetgo&exactTagSearch=true&any=progress+trap) is urgently needed to systematically study the unintended consequences of progress.

Accents: Contrast is created by means of highlighting certain elements of the music, either regularly or irregularly. When timbre or duration are not at play, accents are the only rhythmic criteria. Timbre: Contrast is produced by hearing/playing different tone colors in turn, either regularly or irregularly. When accents or duration are not at play, timbre is the only rhythmic criterion. Duration: Contrast is produced by the succession of unequal time val- ues. When accents or timbre are not at play, durations are the only rhythmic criteria. 16 As for meter, Arom adds that “it is in fact the most elementary manifestation of rhythm,” 17 made of identical durations with regular stress patterns. Fred Lerdahl and Ray Jackendoff suggest other definitions of the accent, of which they see three types:

The description of this scene is insinuating on the importance of the little things which I believe is what the author was trying to convey when asking such questions to seeing a dog with a bone. He even refers to Plato at one point who was known as a philosophical speaker who was wise in such ideas. "Plato says that true and reliable knowledge rests only with those who can comprehend the true reality behind the world of everyday experience." (Macintosh) Platos theory of forms suggested that there is a different reality to everything for each person. That would insinuate that for a dog, that bone is big thing worth his time, while as humans, we see the dog with his bone and think "why bother?".

!- Thomas Piketty : On redistribution of all forms of wealth - concerning energy, certain harmful forms of energy such as fossil fuels need to be phased out and made illegal due to their harmful effects - ALL forms of wealth, whether financial, energy, housing, needs to be progressively taxed and redistributed equitably. So a billionaire would pay 90 percent tax per year but there will still be a range of wealth...up to millionaires for instance.

Goutor only mentions two potential organizational patterns for creating output with one's card index: either by chronological order or topical order. (p34) This might be typical for a historian who is likely to be more interested in chronologies and who would have likely noted down dates within their notes.

In addition to deduction and induction, narrative, as identified by Aristotle, can be a form of argument.

!- in other words : social forms * social forms only have symbolic reality

https://www.zylstra.org/blog/2022/06/spring-83/

I've been thinking about this sort of thing off and on myself.

I too almost immediately thought of Fraidyc.at and its nudge at shifting the importance of content based on time and recency. I'd love to have a social reader with additional affordances for both this time shifting and Ton's idea of reading based on social distance.

I'm struck by the seemingly related idea of @peterhagen's LindyLearn platform and annotations: https://annotations.lindylearn.io/new/ which focuses on taking some of the longer term interesting ideas as the basis for browsing and chewing on. Though even here, one needs some of the odd, the cutting edge, and the avant garde in their balanced internet diet. Would Spring '83 provide some of this?

I'm also struck by some similarities this has with the idea of Derek Siver's /now page movement. I see some updating regularly while others have let it slip by the wayside. Still the "board" of users exists, though one must click through a sea of mostly smiling and welcoming faces to get to it the individual pieces of content. (The smiling faces are more inviting and personal than the cacophony of yelling and chaos I see in models for Spring '83.) This reminds me of Stanley Meyers' frequent assertion that he attempted to design a certain "sense of quiet" into the early television show Dragnet to balance the seeming loudness of the everyday as well as the noise of other contemporaneous television programming.

The form reminds me a bit of the signature pages of one's high school year book. But here, instead of the goal being timeless scribbles, one has the opportunity to change the message over time. Does the potential commercialization of the form (you know it will happen in a VC world crazed with surveillance capitalism) follow the same trajectory of the old college paper facebook? Next up, Yearbook.com!

Beyond the thing as a standard, I wondered what the actual form of Spring '83 adds to a broader conversation? What does it add to the diversity of voices that we don't already see in other spaces. How might it be abused? Would people come back to it regularly? What might be its emergent properties?

It definitely seems quirky and fun in and old school web sort of way, but it also stresses me out looking at the zany busyness of some of the examples of magazine stands. The general form reminds me of the bargain bins at book stores which have the promise of finding valuable hidden gems and at an excellent price, but often the ideas and quality of what I find usually isn't worth the discounted price and the return on investment is rarely worth the effort. How might this get beyond these forms?

It also brings up the idea of what other online forms we may have had with this same sort of raw experimentation? How might the internet have looked if there had been a bigger rise of the wiki before that of the blog? What would the world be like if Webmention had existed before social media rose to prominence? Did we somehow miss some interesting digital animals because the web rose so quickly to prominence without more early experimentation before its "Cambrian explosion"?

I've been thinking about distilled note taking forms recently and what a network of atomic ideas on index cards look like and what emerges from them. What if the standard were digital index cards that linked and cross linked to each other, particularly in a world without adherence to time based orders and streams? What does a new story look like if I can pull out a card either at random or based on a single topic and only see it or perhaps some short linked chain of ideas (mine or others) which come along with it? Does the choice of a random "Markov monkey" change my thinking or perspective? What comes out of this jar of Pandora? Is it just a new form of cadavre exquis?

This standard has been out for a bit and presumably folks are experimenting with it. What do the early results look like? How are they using it? Do they like it? Does it need more scale? What do small changes make to the overall form?

For more on these related ideas, see: https://hypothes.is/search?q=tag%3A%22spring+%2783%22

Missing here is the creative divergence of creating plot points which could be later connected. This part of the process is incredibly difficult for many as seen in the poor second act development in most of narrative history. Beginnings and endings are usually incredibly easy, but the middle portions for connecting the two is incredibly hard.

Is this because creating connections between the ends when there no intervening ideas to connect is nearly impossible? How can one brainstorm middle plot points so that they might be more easily connected?

Lots of info on form validation

Webflow MultiStep Form - DEMO 2

• Webflow Showcase Link: https://webflow.com/website/Advanced-Form-with-Multi-Steps-and-Conditional-Logic
• View in Webflow Designer: Link here
• Live Site Link: https://sketchzlab-test-1.webflow.io

Webflow MultiStep Form - DEMO .

• Webflow Showcase Link: https://webflow.com/website/Multi-Step-Form-with-Input-Validation

• View In Webflow Designer: Link Here

• Live Site Link: https://brota-msf.webflow.io/variant-b

Webflow MultiStep Form - CODE GENERATOR

Live Site: https://advanced-forms.webflow.io/

Github Documentation: https://github.com/brotame/multi-step-form

Clean form code. Pretty elegant + covers best practices. This video also showed me some previously unknown HTML features.

https://www.youtube.com/watch?v=tIdNeoHniEY

To collect crop. Contraction of "reaped."

A small stream. Usually with this form, referring to the hills covered in chalk in southern England.

In Middle-English, verbs in their past tense forms sometimes lose the vowel in the ending. Here, "mossed" becomes "moss'd."

In Middle-English, verbs in their past tense forms sometimes lose the vowel in the ending. Here, "brimmed" becomes "brimm'd."

The contraction of "over" is used in order to comply with poetic meter.

A small stream. Usually with this form, referring to the hills covered in chalk in southern England.

In Middle-English, verbs in their past tense forms sometimes lose the vowel in the ending. Here, "mossed" becomes "moss'd."

In Middle-English, verbs in their past tense forms sometimes lose the vowel in the ending. Here, "brimmed" becomes "brimm'd."

The contraction of "over" is used in order to comply with poetic meter.

To collect crop. Contraction of "reaped."

In Middle-English, verbs in their past tense forms sometimes lose the vowel in the ending. Here, "mossed" becomes "moss'd."

In Middle-English, verbs in their past tense forms sometimes lose the vowel in the ending. Here, "brimmed" becomes "brimm'd."

The contraction of "over" is used in order to comply with poetic meter.

Interesting to note this shift in narrative style. How can one interpret this from the perspective of orality versus literacy?

This might seem confusing at first glance. However this is just simple "nested destructruing" and "smart function parameters" used together

Read the "Nested Destructuring" and "Smart Function Parameters" sections from the link below to get a better idea of what's going on.

https://javascript.info/destructuring-assignment#object-destructuring

the set() function can also be written as -----

let set = (name) => {
    return ( (e) => {
        setDetails( {...details , [ name ] : e.target.value });
        console.log(details);
    })
}

notice how the predeclared variable name is being used as a key in the object. { [name] : value } NOT { name : value}. Skipping the box brackets will throw you an error This is because name is actually a variable. Similar to the way in which we use object[key] = value; notation to add a k-v pair, we have to use { [name] : value } ie. enclose the variable name in square brackets while creating an object using object literal syntax to make sure that the code works

A paper as a game!

I love that after the break, he brings it back around to something from the beginning to close things out nicely. Something done by the best writers and usually the best comedians).

Create some context, then use that context to your advantage.

Surprised they called it submit, since that could imply that you're triggering an action called submit.

They use other verbs to describe this:

• sync
• populate
• write

Analogous to Reform's sync / sync_models method.

Actually, the name makes a lot of sense when you see it in context:

    @conference_form = ConferenceForm.new(conference)
    @conference_form.submit(conference_params)

    if @conference_form.save

Seems similar to Reform, but simpler, plays nicely with Rails

Introduced by Pierre Bourdieu in the 1970s, the concept has been utilized across a wide spectrum of contemporary sociological research. Cultural capital refers to ‘knowledge’ or ‘skills’ in the broadest sense. Thus, on the production side, cultural capital consists of knowledge about comportment (e.g., what are considered to be the right kinds of professional dress and attitude) and knowledge associated with educational achievement (e.g., rhetorical ability). On the consumption side, cultural capital consists of capacities for discernment or ‘taste’, e.g., the ability to appreciate fine art or fine wine—here, in other words, cultural capital refers to ‘social status acquired through the ability to make cultural distinctions,’ to the ability to recognize and discriminate between the often-subtle categories and signifiers of a highly articulated cultural code. I'm quoting here from (and also heavily paraphrasing) Scott Lash, ‘Pierre Bourdieu: Cultural Economy and Social Change’, in this reader.

Proving to myself that isValid does correctly change to true even when a key in $errors is an array.

Similar to: form_for, but not actually for forms, apparently

key point on why FRP is good: misc usages on each 'state' change in the form - record and save state for 'undo' feature, save to local storage to be recovered later, etc

key point on naming of 'template-driven forms'

key point - advantage of reactive forms is the testability of its validation

Here, is the author suggesting that the different forms or structures of rhetoric compete or can be at odds with each another?

I believe people in sometimes feel they have no voice are say. There are pathways were people try there best to find change and still see no result i believe to have to change we have to write congress men and people in the government letters to how we may feel. We must be aware together but, its better sometimes to be the odd person out the bunch. It takes one person doing something different to see results.

kudos for citing (rather than just mentioning) the dataset and especially for including the consent forms (they are in Study_protocol.docx)

Moe aptly presents her argument again, as she argues that Elizabeth's frustration with Charlotte, for example, has to do with her own issues managing her frustration with "social forms." Moe allows the reader to "fill in the blank" here, as the reader can use this piece of information to better understand Elizabeth's reaction to Charlotte--her frustration is in Charlotte's refusal to resist the social forms that inherently oppress women and impact the emotional aspect of marriage. By giving her reader room to make this judgement herself, Moe's argument consequently becomes more concrete.

Does this almost harken back to Plato's Theory of Forms, or the idea that a perfect and original realization of a thing exists in a higher form beyond our grasp? Can we only see and know shadows of a thing (in this case, a leaf) and mere copies of our perception of that thing?

Chosen survey-taking software for iPad surveys given to users at GSU.

Are we allowing the technology we use to build around us reform the way society interacts with itself and its surroundings?

Easily entertained and distracted in a battle of egos on the surface of "forms"

Plato's shadow cave.

This reminds me of Plato, and illusion of what is real but not the real knowledge.