Neutrino utilizes webpack under the hood for building projects by augmenting it with knowledge about build middleware. Neutrino middleware are discrete pieces of webpack configuration that use a custom configuration API. You can compose many of these middleware together into custom presets, and each will modify the build accordingly.

Instead of overriding a service with your own implementation, you enhance an existing service with your own concerns. This pattern is known as middleware.

here’s how you’d use React.Children.toArray() with React.cloneElement() to add top and bottom classes to the List component’s children.

Reactabular has been designed to be extensible. Rather than implementing a lot of functionality in its core, it provides extension points. You can, for instance, customize rendering on cell level. It is possible to implement functionality, such as search, pagination, sorting, and inline editing, through composition.

What does composition have to do with mocking?Everything. The essence of all software development is the process of breaking a large problem down into smaller, independent pieces (decomposition) and composing the solutions together to form an application that solves the large problem (composition).

Put another way, mocking is required when our supposed atomic units of composition are not really atomic, and our decomposition strategy has failed to decompose the larger problem into smaller, independent problems.

They are a pattern that emerges from React’s compositional nature.

Suspending is built on the mechanism as error boundaries. In fact, we recently (like last week) completely rewrote error handling to prepare for this feature. It's also built on the same "expiration time" model we use for CPU scheduling. I love it when features compose together!

As Sebastian Markbage pointed out, no abstraction is superior to wrong abstractions. We are providing low-level components to maximize composition capabilities.

About this time I met with an odd volume of the Spectator.[18] It was the third. I had never before seen any of them. I bought it, read it over and over, and was much delighted with it. I thought the writing excellent, and wished, if possible, to imitate it. With this view I took some of the papers, and, making short hints of the sentiment in each sentence, laid them by a few days, and then, without looking at the book, try'd to compleat the papers again, by expressing each hinted sentiment at length, and as fully as it had been expressed before, in any suitable words that should come to hand. Then I compared my Spectator with the original, discovered some of my faults, and corrected them. But I found I wanted a stock of words, or a readiness in recollecting and using them, which I thought I should have acquired before that time if I had gone on making verses; since the continual occasion for words of the same import, but of different length, to suit the measure, or of different sound for the rhyme, would have laid me under a constant necessity of searching for variety, and also have tended to fix that variety in my mind, and make me master of it. Therefore I took some of the tales and turned them into verse; and, after a time, when I had pretty well forgotten the prose, turned them back again. I also sometimes jumbled my collections of hints into confusion, and after some weeks endeavored to reduce them into the best order, before I began to form the full sentences and compleat the paper. This was to teach me method in the arrangement of thoughts. By comparing my work afterwards with the original, I discovered many faults and amended them; but I sometimes had the pleasure of fancying that, in certain particulars of small import, I had been lucky enough to improve the method of the language, and this encouraged me to think I might possibly in time come to be a tolerable English writer, of which I was extremely ambitious. My time for these exercises and for reading was at night, after work or before it began in the morning, or on Sundays, when I contrived to be in the printing-house alone, evading as much as I could the common attendance on public worship which my father used to exact of me when I was under his care, and which indeed I still thought a duty, thought I could not, as it seemed to me, afford time to practise it.

A composite process, remember, is organized from both human processes and computer processes

books of rhetoric which abound in the world,

Hugh Blair and George Campbell,

omposition and hacking are alreadyclose allies

first-year writing

“The day is upon us where we need to strongly consider nurse practitioners and physician assistants as equal in the field,” he says. “We’re going to find a much better continuity of care for all our patients at various institutions with hospital medicine and … a nurse practitioner who is at the top of their license.”

Recent State of Hospital Medicine surveys showed that 83% of hospitalist groups are utilizing NPs and PAs, and SHM earlier this year added Tracy Cardin, ACNP-BC, SFHM, as its first non-physician voting board member

we must routinely and explicitly give them structured practice opportunities to critically examine their own thinking.

“Humans” do not simply assemble different apparatusesfor satisfying particular knowledge projects but are themselves specific localparts of the world’s ongoing reconfiguring

Although some professors who urged a focus on public discourse and argumentation expressed opposition to the current-traditional approach, that method prevailed and, indeed. continued to be the predominant approach to composition through the first two-third~ of the twentieth century-and on some campuses much longer.

Why, we ask at once, was there no continuous writing done by women before the eighteenth century?

For current-traditional rhetoric, reality is rational, regular and certain - a realm which when it is not static is at least in a predictable, harmonious, symmetrical balance. Meaning thus exists independent of the perceiving mind, reposing in external reality.

Phil9sophy is .i!1~ep¥Uble fyom Jang4age, and no self-consciousness will alter or transcend tqat circumstance.

women helped each other come lo public voice,

some wrilers have spoken or Rhetoric us 1he Art of Compoi.itio

Composition, however, of the Argumentative II )\)fe kind, may be considered (as has been above stated) as coming under the province of Rhetoric. And this view of the subject is the less open to objection, inasmuch as it is not likely to lead to discussions that can be deemed superfluous, even by those who may chuse to consider Rhetoric in the most restricted sense, as relating only to "Per-suasive Speaking"; since it is evident that Arg11• me/II must be, in most cases at least, the basis of Persuasion.

for which university training in rhetoric prepared men

hetoric/composition

makesitgodead

andromanticism

usingeverything.

writingasitismade

goingtobethereandwearehere

eginningagainandagain

athingacceptedbecomesaclassic

isanoutlawuntilheisaclassic

time-sense.

thewar

makesacomposition,itconfuses,itshows,itis,itlooks,itlikesitasitis,andthismakeswhatisseenasitisseen

BythisImeansosimplythatanybodyknowsitthatcompositionisthedifferencewhichmakeseachandallofthemthendifferentfromothergenerationsandthisiswhatmakeseverythingdifferentotherwisetheyareallalikeandeverybodyknowsitbecauseeverybodysaysit

hat use-value the curriculum may ultimately have for them in their particular contexts

As a result, students will begin to see rhetoric as an adaptive process that requires a proliferation of methods at every instant. Instead of pre-ordained processes or methods, students would “start with experience, generalize a pattern or schema from that experience, turn that pattern on future experience, and then adapt the pattern to devise a new schema

Hawk’s emphasis on ecology and immersion promises to counter-act such hyper-disciplinarity and ossification.

s. It is no surprise then that institutionalized writing is steadily moving away from the essay as the universal proving ground for student writers, and towards teaching to write effectively in a variety of genres students can expect to work in as they leave college for the workforce. This shift from writing as a single, universal skill to writing as multiple and genre-based is both potentially liberating and potentially disenfranchising.

as the ability to think of different ways of locating themselves within complex human-technological networks, the emergence of students’ own purposes for using rhetoric, and along with that, their own methods of rhetorical invention.

Instead of a pedagogy of heuristics, which presupposes interiority, Hawk argues for the importance of “ecology and immersion,” in which students gain a greater understanding of their rhetorical presence as multivalent, existing from moment to moment, in connection with other bodies and technologies

Functional programming is not only about composing functions and algebraic data structures — it makes concurrency composable

The simplest way is to just have the melody played down the octave. This gives you a strong sound. It’s not the most interesting, but it works

Notice that the interval between the top two voices is always a 3rd or 4th. This is ideal and correct for the traditional style. It is possible to have a major 2nd in this range but I try to avoid it; in the next octave up it may even sound like a mistake. A minor second should be totally avoided if you are going for a traditional sound

This is where you maintain the shape of the chord (same interval structure) and move it under the melody

It is handy to think of the 9th as replacing the tonic.

There is another option to consider when harmonizing the tonic chords. If you wish to create a really traditional sound, a la Glenn Miller, then use 6th chords instead of major 7th chords

There are a few ways to harmonize this F, but the most common method (and my default) is to use a ‘passing diminished.’

Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

through the effective selection, organization, and analysis of content.