Myspace sadlier oxford vocabulary answer

Put my transition on hold for years, starting to feel ready again, but where to begin?

2024.05.13 22:32 RamonaMaybe Put my transition on hold for years, starting to feel ready again, but where to begin?

My egg cracked about six years ago. I had felt out-of-step with, uncomfortable with my masculinity for nearly as long as I can remember, including feeling a sense of horror over my changing body in puberty that I did not have the vocabulary for yet. I’d always been very passionate and vocal about queer rights, and as the conversation and civil rights struggle shifted more and more to trans issues, I kept seeing more and more of myself, my experiences, my feelings described in the stories and testimonials of trans folks.
At this time, around 2018, I was beginning to take some small baby steps toward exploring my gender identity and beginning some form of transition. However, soon after that, my life got really hectic and stressful, and I had to focus on other stuff. Just in that time period, I finished my dissertation, the pandemic happened, I moved cross-country multiple times, first to help with my dad’s end-of-life care and then to start a new job in a new city, and soon after that I decided the career I was in was not right for me.
The upshot of all this is that I met a wonderful woman in my new city, one who knows about my gender identity and is very supportive of whatever my journey ends up looking like. I’m in a small city that should be pretty good on queer protections, but it’s hard to be confident about that in America today.
Recently, it’s felt like the eggs cracked all over again. I could feel that desire, that need to do … something creeping back into my central focus, prodding for my attention. It's becoming all I can think about, and it's feeling closer and closer.
And last week, a conversation with my therapist helped me have a major, seismic shift in my thinking. We were talking about other things (my sense of imposter syndrome in grad school, specifically, which I think was at least partially my dysphoria), and our conversation made me see how hung up I get on labels and how that keeps me from engaging in the process behind those labels. In other words, that I get so bogged down in the questions that I don’t look for the answers.
And this really felt like it rearranged some of the puzzle pieces in my mind. One of the things that I had really struggled with, and had kept me from pursuing next steps, was feeling like my gender identity was still very TBD. I’m confident that I am not a cis man–that just leaves everything else. I definitely feel a pull toward at least experimenting with being a transwoman, but I also feel a pull in more non-binary / genderqueer directions, maybe even something like bigender.
And I think I’d let that lack of a definitive answer kept me from pursuing the steps that would help me get that answer. And I am increasingly aware of all this time I’ve been spending on therapy without addressing what is almost certainly the root cause of at least some of my mental health issues. But I also know how bad the political situation is right now; I worry that by trying to be my most authentic self, I could paint a target on my back and the backs of those I love.
Fuck, this would be so much easier if our existences weren’t so politicized. I just want to figure some shit out, not be the tip of the spear of the culture wars.
Anyway, I think my problem is one of scale. It’s all so daunting, and anytime I try to focus on the first steps, the kaleidoscoping wholeness of every little thing, every possible direction I could go, every possible good outcome, every possible bad outcome, just overwhelm me. This until-relatively-recently unnameable static in my mind has been the background radiation of my existence for almost four decades. Figuring out how to translate that in concrete steps, into the process I’ve been scared to start for so long, is hard. But all good things are, and I think it's time I start.
submitted by RamonaMaybe to asktransgender [link] [comments]


2024.05.13 22:22 lemonfreshhh Chances of advancing in a 4-team play-in tournament

I tried already to ask this over at statistics but I don't feel like I got the right answer. Apologies in case I'm not using the right vocabulary, I hope I still manage to get the question across.
So the play-in tournament in the NBA (as well as in the Euroleague) is already behind us, and I still can't get my head around the teams' probability shares for advancing.
The format is the following: - Teams placed 7 & 8 play a single game and the winner is the first team to advance into the playoffs - Teams placed 9 & 10 play a single game and the loser is eliminated - The loser of the 7/8 game and the winner of the 9/10 game play a single game, and the winner is the second team to advance into the playoffs while the loser is eliminated
To make this a bit easier, let's assume that in each of the three games played, both teams have 50% chance of winning.
So what are each team's advancement probability shares? However I think of it, I seem to run into internal contradictions.
If the teams placed 7 & 8 both have a 50% chance of winning their first game, and winning means advancing into the playoffs, together they should have a 100% chance of advancing. Leaving teams placed 9 & 10 with 0% chance, which can't be. But if you assigned them a an advancement probability share larger than 0, which I suppose you should, than teams placed 7 & 8 must have a share that's less then 50% each on average, which also doesn't make sense to me - since it's a coin flip.
I guess my logical error must be in assigning any team a 50% chance of success on a coin flip automatically, since nothing else makes sense. But if I'm team in place 7 or 8, and have a 50% chance of winning, and winning means advancing, how is this not true?
Help me out guys and guys and diverse, what gives?
submitted by lemonfreshhh to AskStatistics [link] [comments]


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submitted by jennyacosta09 to Statisticshelpers_ [link] [comments]


2024.05.13 21:56 Besmoque Poor shopper experience - or so I was told

This was cross posted to the Shopify sub as well.
Hello Shopify experts,
I am in need of your assistance. I have quite an underperforming store...approximately a sale every 2 months. I know my product is sensational but I have yet to get the word out regarding just how good it is, due to serious financial limitations hindering my ad resources. I realize a good site is paramount and I asked someone in the “biz” (from a different sub) to take a quick look at my site and see if they would offer any feedback. The initial feedback was that it was a poor shopper experience and that navigation within the product was bland and boring. I didn't think so, but I am brand new to Shopify and I certainly don't have the answers.
The Shoemaker Crockett and Jones Is a company I would consider a competitor, and when looking at their product page I feel they provide a fantastic example of a shopper experience. https://us.crockettandjones.com/collections/mens-oxfords-collection/products/connaught-2-black-calf
As mentioned above I have severe financial limitations, I am a cancer patient and my medical bills have decimated my life savings and I am trying to make this storefront a source of income as I have been unemployed for the last 3 1/2 years, and so I will be looking to hire on a Fiverr gig, but I want to be able to describe to the person who's going to do the job how I'd like to design the product page.
I would be extremely grateful if you could help me by reviewing the link above and comparing it to my description, and help me fill in any blanks.
Firstly, I see the product image occupying what looks to be 50% of the viewable area, with the description, price and product title matching the same height and width to the right side. They scroll in unison and you begin to see the next options, which is to choose your size, with a link to a size guide and a fitting guide underneath.
Next are the standard buttons to add to cart.
The next sections look to be meta fields that tie into the delivery &returns, contact us, etc... - I would change these to match my documentation. Are these metafields?
I very much like the next section as you scroll down which begins to show you further information about the shoe last (shape), the shoe style, the sole type, the materials used, and a brief description of the craftsmanship. I am curious if these are also meta fields? And would metafields be the best suggestion to use?
I ask because I have 14 shoe styles, each can come in 4 different shoe shapes (or shoe last - ex: a chisel toe, round toe, soft square, and chisel toe) 20 different colors, 10 different sole types and a plethora of materials.
I LOVE the brief animations from the second half of the scroll down and the fonts add some flair, not sure I like the font choices overall but the two types of fonts add to the feel of the page.
I use the free dawn theme - would this even be possible with my theme?
Thanks for taking the time to read and any for any and all assistance, suggestions, or recommendations you can provide!
Sincerely,
Mitchell
submitted by Besmoque to ShopifyeCommerce [link] [comments]


2024.05.13 21:46 Head-Staff-8189 How Do You Do It?

I’ve been asked time and time again
“How do you do it?”
“Do what?”
“What you do, how do you do it?”
“How you put words together so easily?”
I don’t really know how to answer that
I guess I’d have to say
Vocabulary flows through my veins
It’s part of my DNA
I open up at different times
Different t situations cause an influx
Of writting inspiration
When the flood gates open
I ride the wave
I ride it until there’s nothing left
And I couldn’t possibly write anymore
Sometimes these waves lasts for minutes
Sometimes years..but this time?
Perhaps forever?
It’s all because of you…
submitted by Head-Staff-8189 to HeadStaff8189Poetry [link] [comments]


2024.05.13 21:19 ahawk_one Paradrome Cube

I was reading the lore pages of older seasonal artifacts for fun, and the Seasonal Artifact from Season of the Splicer had an interesting segment that I hadn't noticed before. But before we get to that, a quick note about the word Paradrome. My google searches only came up with the Oxford English Dictionary website. It is the only one that claimed to have a definition, which is unfortunately blocked by a subscription wall.
However, if we look up the root words Para and Drom separately, we get a good image of what it means.
Para, for those that don't know, is a prefix that indicates being close to or next to something else.
Drom, is probably a little less familiar but it comes from the Greek Dromos, which is a word for avenue or walkway, or entrance, or other related concepts.
Paradromic, is an adjective that means running side by side or in paralel. The impression I get is that it would be more likely to refer to two roads or entryways, rather than two people running in parallel, but I suppose either is probably a correct usage.
So the Paradrome Cube then is going to have something to do with things operating or running in parallel. While I think there are multiple layers, an obvious one that you will see below is that when looking at this thing, Mithrax sees two visions. The artistic implication being they visions are parallel to eachother.
On to the lore! The text on the cube is as follows:
PARADROME CUBE - SEASONAL ARTIFACT FOR SEASON 14, SEASON OF THE SPLICER
A CUBE OF LIVING CODE CLAIMED FROM THE VEX DOMAIN.
Mithrax sat on a carpet in his meager quarters, held the Paradrome Cube in his hand, and concentrated.
Hours passed before Eido, concerned, sat beside him. She touched his arm.
"What do you see?" she whispered.
He saw the Endless Night split open. He saw fluid falling like white rain on the City. Massive Minotaurs rising from the shallow seas. He saw the gunfire of the Guardians in the Tower, but it did not reflect on the rippling liquid, and he dismissed the vision.
A hundred more illusions took its place, then a thousand, then a thousand lifetimes' worth:
-a shape frozen inside a crystal prison a towering figure in white recognition flooding bloodshot eyes a city of voices speaking at once shadow taking form the realization they had always been watched tears on metal-
A choice, and its consequences.
"Lies," he answered plainly.
There is a lot of symbolism here, but the thing that I wanted to bring to our attention is the phrase "a towering figure in white". Season of the Splicer is the midpoint in the year following Beyond Light. WQ hasn't released yet, so no one has even imagined the Witness as an antagonist yet, and when we first get this artifact no one will have guessed that Savathun is posing as Osiris. Yet here we have a direct foreshadowing of the Witness coming, and of the Vex's knowledge of it, as this cube came out of their general network. And crucially this is NOT the Sol Divisive. This is something he pulled out of their network that we use to splice into it later as we hunt for Vex Minds and ultimately for Queria.
For fun, here is a short list of possible literal definitions. But there may be symbolic or figurative definitions as well:
First Vision - Seems to mostly be an account of the Vex plan to assault the City with overwhelming force.
Second Vision -
A shape frozen inside a crystal prison - The most obvious option is Eramis being frozen back on Europa, but I think this is more likely a way that this cube of Vex is conceptualizing the Witness's "final shape" because...
A towering figure in white - clearly fits the description of the Witness. It is a towering figure, and it is pasty
Recognition flooding bloodshot eyes - I'm less sure of this, but I do know that Vex eyes are red, and that The Gate Lord's Eye seasonal artifact references bleeding as part of it's internal structure. So my thought here is that this is the Vex recognizing the Witness in some capacity.
A city of voices speaking at once - Witness's plurality of form. It is a multitude of beings crammed together into a single body. A multitude of voices speaking as one, with one voice.
Shadow taking form - I think this is probably referring to the Witness's plans starting to move again. Things are in motion, and the Pyramids are here, and the Witness is coming for the Traveler.
The realization they had always been watched - The Witness has been watching us, watching the Vex, watching everything. Witnessing the universe.
Tears on metal - I don't know if this is tears as in crying tears, or if this is tears as in tearing fabric. And either way, I don't know what this is referencing.
So to me, this "vision" he sees is a version of what the Vex in this cube think will happen. What is going to happen in the future. And it is a direct foreshadowing of the Witness itself as a villain, as well as it's ultimate plans for the universe. Later, during the Vow of the Disciple Raid, Guardians will discover a prophecy wall inside Rhulk's Pyramid that describes everything the Witness does in Lightfall perfectly.
Just a nice piece of continuity I noticed. Thanks for reading!
submitted by ahawk_one to DestinyLore [link] [comments]


2024.05.13 21:15 Besmoque Poor Shopper Experience-or so I've been told.

Hello Shopify experts,
I am in need of your assistance. I have quite an underperforming store...approximately a sale every 2 months. I know my product is sensational but I have yet to get the word out regarding just how good it is, due to serious financial limitations hindering my ad resources. I realize a good site is paramount and I asked someone in the “biz” (from a different sub) to take a quick look at my site and see if they would offer any feedback. The initial feedback was that it was a poor shopper experience and that navigation within the product was bland and boring. I didn't think so, but I am brand new to Shopify and I certainly don't have the answers.
The Shoemaker Crockett and Jones Is a company I would consider a competitor, and when looking at their product page I feel they provide a fantastic example of a shopper experience. https://us.crockettandjones.com/collections/mens-oxfords-collection/products/connaught-2-black-calf
As mentioned above I have severe financial limitations, I am a cancer patient and my medical bills have decimated my life savings and I am trying to make this storefront a source of income as I have been unemployed for the last 3 1/2 years, and so I will be looking to hire on a Fiverr gig, but I want to be able to describe to the person who's going to do the job how I'd like to design the product page.
I would be extremely grateful if you could help me by reviewing the link above and comparing it to my description, and help me fill in any blanks.
Firstly, I see the product image occupying what looks to be 50% of the viewable area, with the description, price and product title matching the same height and width to the right side. They scroll in unison and you begin to see the next options, which is to choose your size, with a link to a size guide and a fitting guide underneath.
Next are the standard buttons to add to cart.
The next sections look to be meta fields that tie into the delivery &returns, contact us, etc... - I would change these to match my documentation. Are these metafields?
I very much like the next section as you scroll down which begins to show you further information about the shoe last (shape), the shoe style, the sole type, the materials used, and a brief description of the craftsmanship. I am curious if these are also meta fields? And would metafields be the best suggestion to use?
I ask because I have 14 shoe styles, each can come in 4 different shoe shapes (or shoe last - ex: a chisel toe, round toe, soft square, and chisel toe) 20 different colors, 10 different sole types and a plethora of materials.
I LOVE the brief animations from the second half of the scroll down and the fonts add some flair, not sure I like the font choices overall but the two types of fonts add to the feel of the page.
I use the free dawn theme - would this even be possible with my theme?
Thanks for taking the time to read and any for any and all assistance, suggestions, or recommendations you can provide!
Sincerely,
Mitchell
submitted by Besmoque to shopify [link] [comments]


2024.05.13 20:53 play_it_safe 30x30 J CREW Ludlow French Navy Slim Pants; SMALL JCREW, Thomas Mason, EVERLANE Shirts; 30, 31 LANDS END CANVAS Shorts, 30x30 J CREW Lined Navy Pants; 38R Marks and Spencer Navy Blazer Slim; 8.5 Made in Maine Cole Haan Loafers Brown; 9.5 SEBAGO MiUSA Camp Mocs; FARIBAULT Canvas/Wool Weekender Bag

[SELLING, PRICED TO MOVE]
SHIRTS, TOPS
SMALL J CREW Slim Oxford Shirt AND Merona Casual Shirt
SMALL J CREW Thomas Mason Ludlow Dress Shirt
SMALL EVERLANE Shirt Charcoal
SMALL Brooks Brothers Zip Merino Sweater Striped
SMALL ZARA White Dress Shirt
SMALL Merona OBCD Short Sleeve and OBCD Long Sleeve Shirts
EXTRA SMALL Patterned Blue/Navy Blue Sweater
EXTRA SMALL Murano Linen Slim Fit Short Sleeve Button Down
SMALL Uniqlo Non-iron Cutaway Collar Dress Shirts x 2
SMALL TAYLOR STITCH Grey Shirt MiUSA
SHORTS and PANTS
30x30 TWO J CREW Bowery/Ludlow Slim French Navy Pants Stretch
30x30 J CREW Navy Fleece Lined Pants
31 LANDS END CANVAS Olive Shorts
30 LANDS END Fitted Navy Shorts
31x30 J CREW Wool Pants Hopsack Bowery Pants
TAILORING
38R MARKS AND SPENCER Navy Blazer Slim
FOOTWEAR
COLE HAAN Made in Maine Pinch Loafers with OG box, shoe bags 8.5
HI TEC Altitude IV Hiking Boots Dark Chocolate 10
NORDSTROM Chukka Boots Black Water Resistant, Ortholite 9
SEBAGO Campsides Camp Mocs Made in USA 9.5
ACCESSORIES
TWO Ties 2.5", Banana Republic, Silk, Cotton, Vintage Pink And Gray, Made In USA, Italy
FARIBAULT WOOLEN MILLS Weekender /Duffel Bag Navy / Tartan Plaid Wool / Canvas
HOW TO BUY
On Grailed, which now forces sellers to use exorbitantly priced labels of theirs (20 bucks for a pair of pants that I can ship via USPS for 4 bucks...), so message here for best price, bundling. I'll send full invoice via PayPal with same buyer protection and copy of the item page, etc: https://www.grailed.com/users/8189-crzyboystewardrobe
NOTES
Finally, thanks for looking, and check out all my listings if you're so inclined. Happy to make deals (bundled shipping and possibly additional discount) for multiple purchases.
submitted by play_it_safe to MaleFashionMarket [link] [comments]


2024.05.13 20:42 AnybodyAlert3403 Elevate v5.141.0 MOD APK (Premium Unlocked)

Elevate v5.141.0 MOD APK (Premium Unlocked)
https://preview.redd.it/iasht8p2o80d1.png?width=512&format=png&auto=webp&s=ddf65ccb6513339d0999177f97e324e74e68f625
Name Elevate - Brain Training Games
Publisher Elevate Labs
Genre Education
Size 70M
Version 5.141.0
MOD Premium Unlocked
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Elevate provides a series of training sessions for all levels of participants, from beginner to advanced. Brain training activities will be available to users. As a result, the target audience will expand. To facilitate tracking, the system will record some of your basic information. Several dashboards have been created to compare results obtained at various times. Users will have access to math problems and memory-related brain games. Your brain will be active in the appropriate area to achieve the desired result. The system uses several methods to help you discover and maintain good habits.

TRAINING THROUGH SIMPLE GAMES

The route will begin with very simple startup problems. Elevate will gradually increase the difficulty of the challenges, allowing you to absorb new information quickly. More than 40 mini-games aid in this process. When your brain is ready for a new challenge, it will be deployed one after the other. Some quizzes help users improve their memory, concentration, or processing speed. Then we strive for speed of thought and accuracy of results. These accomplishments are dependent on each individual’s receptivity. As a result, a separate performance meter was created. Each user has their own set of metrics that they can use to compare training results. Sometimes the app makes ability conclusions right after you finish the game’s challenges.
Individual exercises will be used to introduce users to the game. You will have a distinct path for brain development and reflexes. You can join them by creating a schedule for each day and period. The application allows users to customize the number and type of questions they answer. Naturally, the outcomes are all recorded and aggregated in tables. After you have completed the previous objectives, the system will increase the difficulty. Users will experience new emotions due to this specific brain development roadmap. The system has 150 achievement points in total. To encourage learning, the user can receive a reward at each stage.

NEW GOALS SET BY USERS

Elevate’s main goal is to provide a conducive environment for brain exercises. Furthermore, the application aims to improve each individual’s ability to connect with society. You will discover and capitalize on your inherent worth. Some vocabulary exercises are also provided to help users improve their communication skills. Word order, sentence completion, and correct word choice are common quizzes. Human needs will be met to strengthen weaknesses and promote strengths. The system will keep the training program up to date so that your learning process is not disrupted.
Elevate was created in the hope that more super brains would be discovered. They also hope to improve people’s lifestyles and ways of thinking in this technological age. The application combines groundbreaking research with a simple implementation to reach a large audience. Users will quickly become accustomed to how it operates. On the device screen, all information is arranged in chronological order. The application will be launched when you use the touch and swipe commands together. We will integrate it with several social networking platforms to facilitate user feedback.
submitted by AnybodyAlert3403 to Modifiedmods [link] [comments]


2024.05.13 19:47 CathanRegal Looking for Some Help with My Situation (I can't follow the road map as written)

Sorry in advance for the blocks of text...I'm not great at paring my thoughts down.
Relatively new to the DS platform, but really enjoying it. Started DS after finishing DuoLingo A1 in April, so I can't really say my progress will be similar to others. I decided to transition from Duolingo specifically because it was making me angry and becoming demotivating. I don't like getting told I'm wrong because my meaning was correct, but I didn't perform a word-for-word translation. We all know language doesn't work that way.
Further, I HAVE to use some level of Spanish periodically for work, so I just know things even if I don't always know how to say them correctly. Specifically, I can direct someone through certain computer or web-based activities, ask simple questions, and talk to small children in a way they understand. It just is what it is. I also have had to read kids picture books in Spanish for years for work. Like I said...it just is what it is. Most of my exposure in working with Spanish speakers for work is LATAM Spanish, specifically South American.
The result is that I have decent comprehension in some areas, and can easily watch Intermediate videos on a lot of topics, but every now and then I stumble into a video, and am suddenly totally lost. It's a very frustrating experience at times. I can currently watch beginner videos in general without mentally translating at all. I treat Superbeginner videos as something to only use for exercise, or when partially distracted, because it just gets really, really boring.
By Guide:
Shelcin was the first video I saw, and I was like "Oh wow, it's a meme video, but in easy Spanish. Nice." So I watch quite a bit of her content.
Andrea is fun for me, because I just think she makes very engaging facial expressions. That's like the dumbest reason to like a teacher, but you're welcome.
Agustina might be my favorite so far, just because she's easy for me to understand and I'm really interested in travel content.
By Guide:
Pablo is harder for me to understand.
Michelle is very hit or miss for me, sometimes I can't understand her at all...what's the difference between her accent and Andrea's that makes them so different in terms of comprehensibility for me...
Andres is enjoyable as well, but I would really struggle to understand him if he was speaking faster.
TL;DR: My predicament: I don't really know what to do about the sections of videos I just have no understanding of. I literally go from "I understand all of this" to "I caught like 3 of those words, and don't understand what's happening anymore" really quickly sometimes. I know the answer is probably just more input, but should I stick to the stuff I find really enjoyable in the intermediate area, or should I try to watch some beginner content in the areas I don't enjoy as much but may include more vocabulary I don't know yet?
Question 2: Should I try to read less? I can't avoid reading kids books entirely. It's part of my job. But I do also read some for pleasure during work hours because it's covered under "work I do". Should I try to limit my reading down to what is absolutely necessary?
submitted by CathanRegal to dreamingspanish [link] [comments]


2024.05.13 18:08 RuiEnglish 🎧Pet Lovers - The Unbreakable Bond

https://youtu.be/331rhOPcN8k
Learning objectives: develop skills in understanding vocabulary in context, reading for specific information, making inferences, and giving a personal reaction to a reading.
Do you believe pets reflect the personalities of their owners, or do they develop their own unique traits?
What's the most unexpected or amusing behavior your pet has ever exhibited?"
If your pet could suddenly talk for one day, what's the first question you'd ask them?
Before reading the passage, reflect on your own experiences with pets or animals. Consider the role they play in your life and the emotions they evoke. Share a brief anecdote or memory about a pet or animal that has had a significant impact on you.
What's the funniest thing your pet has ever done?
What do you think are some of the biggest joys and challenges of having pets?
Are there any specific pet breeds or species that you've always been fascinated by or curious about? Why?
The Unbreakable Bond
A Reflection on the Furry Family
In the ethereal backdrop of time, in a home saturated with affection and an unbreakable union, your loyal four-legged companion has traversed a journey brimming with moments that will never fade. Together, you've shared adventures that defy oblivion, laughter that resonates through eternity, and a bond that transcends all adversities. With each walk, with each playful moment, with every instance of care, the connection between you has strengthened, weaving a tapestry of love and loyalty.
Yet now, as he faces the challenges of health fragility, yearning for human warmth and support like never before, the harsh reality looms. Will the affection you shared be replaced by the coldness of a cage? Will the care and dedication be relegated to the solitude of imprisonment?
Don't let the mere word "hospitalization" obscure the truth inherent in abandonment and desolation. Don't let financial greed or automated indifference dictate your choices. Your pet is more than just a mere pet; he is a beloved member of your family, an intrinsic part of your existence. He deserves all the love and affection, especially in the most arduous times.
Love him tirelessly. Stand by his side, offering the comfort and security he longs for. Don't let the prison (disguised as 'hospitalization') overshadow the freedom and warmth of the home he has always known. Honor the bond you've built together and let love be the foundation that sustains you, even in the darkest of times.
May this story lead us to reflect on the importance of cherishing the presence of our furry friends, granting them the love and dedication they so abundantly deserve. May it inspire us to reject the idea of abandonment, opting instead for the path of empathy and solicitude. After all, true love knows no bounds and transcends beyond time and circumstances.
P.S. This story serves as a poignant reminder to readers to remain vigilant against the unchecked greed of veterinary clinics that prioritize profit over the well-being of our beloved companions during their moments of fragility, agony, and pain. Let us advocate for ethical and compassionate care for all animals, ensuring that they receive the love and support they deserve in their time of need.
VOCABULARY
Ethereal Extremely delicate and light in a way that seems not to be of this world.
Defy To resist or challenge the concept of forgetting or being overlooked.
Oblivion The state of being forgotten or ignored.
Harsh Severe or unkind, often referring to a difficult reality or circumstance.
Looms To appear imminent or threatening, often in a large or overwhelming manner.
Greed Excessive desire for wealth or possessions, particularly when prioritized over the well-being of others.
Fragility The quality of being delicate or easily broken.
Adversities Difficulties or misfortune.
Unbridled Not controlled or restrained.
Solitude The state or situation of being alone.
Desolation A state of complete emptiness or destruction.
Abundantly In large quantities; plentifully.
Solicitude Care or concern for someone's well-being.
A Answer the following questions.
  1. What kind of connection does the passage emphasize between the pet and its owner?
A) A connection based on fear and control.
B) A bond of love and loyalty that strengthens over time.
C) A relationship marked by indifference and neglect.
  1. Why does the passage caution against the word "hospitalization"?
A) Because it suggests the pet needs medical attention.
B) Because it may lead to financial strain.
C) Because it may mask the reality of abandonment and isolation.
  1. What is the main message conveyed in the passage?
A) Pets should be kept in cages for their safety.
B) Owners should prioritize their pet's well-being and not let greed dictate their decisions.
C) Pets are disposable and can be replaced easily.
B Check ✅ True or False. The passage suggests that pets should be treated as disposable and easily replaceable.
  1. ⬜ True ⬜ FalseThe author encourages readers to prioritize their pet's well-being over financial considerations.
  2. ⬜ True ⬜ False According to the passage, the word "hospitalization" may hide the truth of abandonment and isolation.
  3. ⬜ True ⬜ False The passage implies that pets are solely responsible for their own well-being and do not require human care and affection.
  4. ⬜ True ⬜ False The main message conveyed in the passage is that financial greed should dictate decisions regarding a pet's care.
submitted by RuiEnglish to u/RuiEnglish [link] [comments]


2024.05.13 17:38 SuperXDoudou Doing the Math : Tempering and Probabilities

Hey,
Below you'll find probabilities of looking for specific affixes using the Tempering system. The probabilities are computed before any Tempering.
The idea is to answer this question : "I just dropped this Legendary item, what are the odds that I can get the two affixes I want ?". This can help you assessing the cost (mats) and risk (do I need a back up item before my attempts?) associated with your build idea.
I based my reasoning on how the Tempering system worked in the PTR according to this maxroll.gg guide written by Slothmaster. This article was my inspiration for this work as I wanted to verify their own calculations (spoiler : my results are very similar to the examples they gave, that does not change the conclusion about the best strategy).
TLDR: I would like to cite Maxroll's recommandation :
It is advisable for players to pick at least 1 recipe that has a very low number of affixes, or multiple acceptable affixes
I would complete by saying that by lowering your expectations, you indeed increase dramatically the odds of getting the item you want. I like this system because it makes very easy (likely and cheap) to get a functionnal build (with acceptable affixes) but very hard (unlikely and costly) to get a perfect build.
Be aware : since some devs stated in recent interviews that not all changes are documented in the Patch Note, it means the Live tempering system could be different from the PTR's one, hence the calculations could be wrong.
Vocabulary :
By "size" of a Temper Manual, i mean the number of different affixes obtainable when using it. It is between 2 and 5. The bigger the size is, the less likely it is to obtain a specific affix.
By "desirable" affix, I mean one of the affixes you want from the Manual. It mostly depends on your expectations. Having lower expectations, you can be "ok" with any of 2 affixes ouf of 4, even if one of them is not "best in slot".
Case 1 : High Expectations : Each Manual has one desirable affix
Desirable affixes 1 / 2 1/ 3 1/4 1/5
1/2 93.75% 84.00% 74.08% 65.57%
1/3 84,00% 73.66% 64.16% 56,35%
1/4 74.08% 64.16% 55.51% 48.54%
1/5 65.57% 56.35% 48.54% 42.33%
How to read : If I a Manual has one desirable affix out of 4, and the other one has one desirable affix out of 5, the probability of getting the desired affixes out of 5 rerolls is 48.54% (approx 1/2)
Case 2 : Medium Expectations : One Manual (columns) has 2 desirable affixes, the other Manual (lines) has 1 desirable affix
Desirable affixes 2/2 2/3 2/4 2/5
1/2 98.44% 97.01% 93.75% 89.13%
1/3 91.22% 88.34% 84.00% 78.88%
1/4 82.20% 78.67% 74.08% 69.07%
1/5 73.79% 70.06% 65.57% 60.86%
How to read : If a Manual has one desirable affix out of 4, and the other Manual has 2 desirable affixes out of 5, the probability of getting two desirable affixes after 5 rerolls is 69,07% (approx 2/3).
Case 3 : Low expectations : Each Manual has 2 desirable affixes
Desirable affixes 2/2 2/3 2/4 2/5
2/2 100.00% 99.86% 98.44% 95.33%
2/3 99.86% 99.31% 97.01% 93.07%
2/4 98.44% 97.01% 93.75% 89.13%
2/5 95.33% 93.07% 89.13% 84.14%
How to read : If a Manual has two desirable affixes out of 4, and the other Manual has 2 desirable affixes out of 5, the probability of getting two desirable affixes after 5 rerolls is 89.13% (approx 9/10)
Case 4 : Very low expectations : One Manual (columns) has 3 desirable affixes, the other Manual (lines) has 2 desirable affixes
Desirable affixes 3/3 3/4 3/5
2/2 100,00% 99,98% 99,59%
2/3 99,86% 99,64% 98,77%
2/4 98,44% 97,67% 96,13%
2/5 95,33% 94,01% 91,93%
I do not copy the other cases because of the rapidely diminishing returns of lowering your expectations : going from 2 desirable affixes to 3 desirable affixes only increases the probability to get what you want by a few points.
Further details for nerds :
Here are some assumptions I made concerning the design of the Tempering system :
Picking an affix is a Bernouilli trial (with a success being "picking one of the desired affixes"). For each Temper line, we are looking to the probability of obtaining a success after n repetitions. Thus if X is the random variable computing the number of trials needed to get one success, X follows a geometrical distribution. The difficulty here come from the fact that we do have 2 independant random variables, one for each Tempering line, but the sum of the number of trials of both variables has to be equal or inferior to 7 (because you have 1 initial pick for each Tempering line, plus up to 5 rerolls total for the item).
Let be p the probability of picking a desired affix during one trial, k the number of desirable affixes in a Manual of size n, then
p = k/n
Let X (resp. Y) be the random variable modelizing the frequence of trials needed to get one success with the first (resp. second) Manual. Then the probability to get desirables affixes after 5 rerolls is, for a,b positive integers different of 0 such that a+b=7 : P(X<=a AND Y<=b) = P(X=1)*P(Y<=6) + P(X=2)*P(Y<=5) + ... + P(X=6)*P(Y=1)
English is not my native language, please pardon the mistakes and let me know below if you spot one
submitted by SuperXDoudou to diablo4 [link] [comments]


2024.05.13 11:43 Jdlongmire The Inadequacy of "Self-Cause": Why an Intelligent First Cause Remains the Best Explanation

The idea that the universe and its exquisite fine-tuning is the product of "self-organization" or "self-cause" is a woefully inadequate and logically incoherent attempt to explain away what is more reasonably attributed to the intentional activity of a transcendent intelligent Creator. As philosopher William Lane Craig argues, "The most plausible answer to the question of why something exists rather than nothing is that there is a necessarily existent being, God, who is the ground of being for everything else that exists." (Craig, 2008, p. 182)
The concept of "self-organization" posits that the staggeringly complex and finely-calibrated cosmos arose through mindless, unguided processes - that the unimaginably precise initial conditions and physical constants required for a life-permitting universe all fell into place by sheer chance or some inscrutable naturalistic mechanism. But as philosopher and mathematician William Dembski notes, "The amount of specified complexity in even the simplest life-forms is staggering. The probability of their occurrence by chance is unfathomably small. Attributing such specified complexity to blind natural causes is akin to attributing the integrated circuit to the blind heat of a kiln. It strains reason." (Dembski, 2004, p. 151)
In our uniform and repeated experience, specified complexity and informational richness invariably originate from minds, not mindless processes. As former atheist philosopher Antony Flew observes, "The only satisfactory explanation for the origin of such 'end-directed, self-replicating' life as we see on earth is an infinitely intelligent Mind." (Flew & Varghese, 2007, p. 132) To suggest that the functional complexity and apparent design of biological systems and the cosmos as a whole is the product of unguided natural processes is as absurd as suggesting that the informational content of software wrote itself, or that the faces on Mount Rushmore are the result of mere wind and erosion. It flouts the principle of abductive reasoning, which compels us to infer to the best explanation given our background knowledge. As philosopher Richard Swinburne contends, "The hypothesis of theism is a simple hypothesis which leads us to expect these observable phenomena, when no other simple hypothesis will do so." (Swinburne, 2004, p. 68)
Moreover, "self-cause" scenarios run aground on inescapable logical and metaphysical absurdities. They inevitably involve the universe somehow "causing itself" or "arising from nothing" - but this is patent nonsense. As Aristotle recognized, "Nothing can come from nothing, and nothing can become actual except it is potentially so." (Aristotle, Physics, 1.8) Being cannot spontaneously arise from non-being. Every contingent effect requires a sufficient non-contingent cause. As philosopher Alexander Pruss argues, "The Principle of Sufficient Reason (PSR) and the causal principle. . . provide strong reasons to suppose that there is an ultimate cause of contingent things and that this cause. . . is a necessary being." (Pruss, 2009)
An eternal, uncaused, immaterial, unimaginably powerful and intelligent Mind - in short, God - is a far more plausible and logically coherent explanation for the origin and fine-tuning of the cosmos than naturalistic appeals to "self-cause." As philosopher Robin Collins concludes, "Given the fine-tuning evidence, the many-worlds hypothesis is at least no better as a theory for explaining the fine-tuning than the design hypothesis, and arguably is worse. . .[T]he inference to design is in this case the best explanation." (Collins, 2009, p. 274)
Those who deny this and attribute everything to "self-cause" are really just engaging in a thinly-veiled attempt to evade the obvious conclusion to which the evidence points - that our universe is the product of a transcendent and intentional Creator. They accuse theists of a "God of the gaps" approach while conveniently ignoring their own "self-cause of the gaps" explanatory failure.
Abductive logic and the principle of inferring to the best explanation compel the conclusion that an intelligent First Cause is the most plausible and causally adequate explanation for the origin and fine-tuning of the cosmos. To quote Cambridge astrophysicist Sir Fred Hoyle, himself no theist, "A common sense interpretation of the facts suggests that a superintellect has monkeyed with physics. . . and that there are no blind forces worth speaking about in nature." (Hoyle, 1982, p. 12) The cosmos bears the unmistakable imprint of intentional design by a Supreme Intelligence. Naturalistic appeals to unguided "self-organization" simply fail to adequately account for its astounding sophistication and specificity.
In conclusion, the concept of "self-cause" is nothing more than an ad hoc "X of the gaps" attempt to deny what the evidence clearly indicates - that our universe is the product of an intentional and intelligent First Cause. Pushing the explanatory question back a step by appealing to an inscrutable "self-organizing" process is a glaring explanatory failure that runs aground on logical absurdities and violates the principle of abductive reasoning. A transcendent and superintelligent Creator remains the best and most causally adequate explanation for the origin and fine-tuning of the cosmos.
References: - Aristotle. (4th c. BC) Physics. - Collins, R. (2009). The teleological argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 202-281). Wiley-Blackwell. - Craig, W. L. (2008). Reasonable Faith. 3rd ed. Crossway. - Dembski, W. (2004). The Design Revolution. InterVarsity Press. - Flew, A. & Varghese, R. A. (2007). There Is a God. HarperOne. - Hoyle, F. (1982). The Universe: Past and Present Reflections. Annual Review of Astronomy and Astrophysics. Vol. 20, pp. 1-35. - Pruss, A. (2009). The Leibnizian Cosmological Argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 24-100). Wiley-Blackwell. - Swinburne, R. (2004). The Existence of God. 2nd ed. Oxford University Press.
submitted by Jdlongmire to ChristianApologetics [link] [comments]


2024.05.13 11:42 Jdlongmire The Inadequacy of "Self-Cause": Why an Intelligent First Cause Remains the Best Explanation

The idea that the universe and its exquisite fine-tuning is the product of "self-organization" or "self-cause" is a woefully inadequate and logically incoherent attempt to explain away what is more reasonably attributed to the intentional activity of a transcendent intelligent Creator. As philosopher William Lane Craig argues, "The most plausible answer to the question of why something exists rather than nothing is that there is a necessarily existent being, God, who is the ground of being for everything else that exists." (Craig, 2008, p. 182)
The concept of "self-organization" posits that the staggeringly complex and finely-calibrated cosmos arose through mindless, unguided processes - that the unimaginably precise initial conditions and physical constants required for a life-permitting universe all fell into place by sheer chance or some inscrutable naturalistic mechanism. But as philosopher and mathematician William Dembski notes, "The amount of specified complexity in even the simplest life-forms is staggering. The probability of their occurrence by chance is unfathomably small. Attributing such specified complexity to blind natural causes is akin to attributing the integrated circuit to the blind heat of a kiln. It strains reason." (Dembski, 2004, p. 151)
In our uniform and repeated experience, specified complexity and informational richness invariably originate from minds, not mindless processes. As former atheist philosopher Antony Flew observes, "The only satisfactory explanation for the origin of such 'end-directed, self-replicating' life as we see on earth is an infinitely intelligent Mind." (Flew & Varghese, 2007, p. 132) To suggest that the functional complexity and apparent design of biological systems and the cosmos as a whole is the product of unguided natural processes is as absurd as suggesting that the informational content of software wrote itself, or that the faces on Mount Rushmore are the result of mere wind and erosion. It flouts the principle of abductive reasoning, which compels us to infer to the best explanation given our background knowledge. As philosopher Richard Swinburne contends, "The hypothesis of theism is a simple hypothesis which leads us to expect these observable phenomena, when no other simple hypothesis will do so." (Swinburne, 2004, p. 68)
Moreover, "self-cause" scenarios run aground on inescapable logical and metaphysical absurdities. They inevitably involve the universe somehow "causing itself" or "arising from nothing" - but this is patent nonsense. As Aristotle recognized, "Nothing can come from nothing, and nothing can become actual except it is potentially so." (Aristotle, Physics, 1.8) Being cannot spontaneously arise from non-being. Every contingent effect requires a sufficient non-contingent cause. As philosopher Alexander Pruss argues, "The Principle of Sufficient Reason (PSR) and the causal principle. . . provide strong reasons to suppose that there is an ultimate cause of contingent things and that this cause. . . is a necessary being." (Pruss, 2009)
An eternal, uncaused, immaterial, unimaginably powerful and intelligent Mind - in short, God - is a far more plausible and logically coherent explanation for the origin and fine-tuning of the cosmos than naturalistic appeals to "self-cause." As philosopher Robin Collins concludes, "Given the fine-tuning evidence, the many-worlds hypothesis is at least no better as a theory for explaining the fine-tuning than the design hypothesis, and arguably is worse. . .[T]he inference to design is in this case the best explanation." (Collins, 2009, p. 274)
Those who deny this and attribute everything to "self-cause" are really just engaging in a thinly-veiled attempt to evade the obvious conclusion to which the evidence points - that our universe is the product of a transcendent and intentional Creator. They accuse theists of a "God of the gaps" approach while conveniently ignoring their own "self-cause of the gaps" explanatory failure.
Abductive logic and the principle of inferring to the best explanation compel the conclusion that an intelligent First Cause is the most plausible and causally adequate explanation for the origin and fine-tuning of the cosmos. To quote Cambridge astrophysicist Sir Fred Hoyle, himself no theist, "A common sense interpretation of the facts suggests that a superintellect has monkeyed with physics. . . and that there are no blind forces worth speaking about in nature." (Hoyle, 1982, p. 12) The cosmos bears the unmistakable imprint of intentional design by a Supreme Intelligence. Naturalistic appeals to unguided "self-organization" simply fail to adequately account for its astounding sophistication and specificity.
In conclusion, the concept of "self-cause" is nothing more than an ad hoc "X of the gaps" attempt to deny what the evidence clearly indicates - that our universe is the product of an intentional and intelligent First Cause. Pushing the explanatory question back a step by appealing to an inscrutable "self-organizing" process is a glaring explanatory failure that runs aground on logical absurdities and violates the principle of abductive reasoning. A transcendent and superintelligent Creator remains the best and most causally adequate explanation for the origin and fine-tuning of the cosmos.
References: - Aristotle. (4th c. BC) Physics. - Collins, R. (2009). The teleological argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 202-281). Wiley-Blackwell. - Craig, W. L. (2008). Reasonable Faith. 3rd ed. Crossway. - Dembski, W. (2004). The Design Revolution. InterVarsity Press. - Flew, A. & Varghese, R. A. (2007). There Is a God. HarperOne. - Hoyle, F. (1982). The Universe: Past and Present Reflections. Annual Review of Astronomy and Astrophysics. Vol. 20, pp. 1-35. - Pruss, A. (2009). The Leibnizian Cosmological Argument. In W. L. Craig & J. P. Moreland (Eds.), The Blackwell Companion to Natural Theology (pp. 24-100). Wiley-Blackwell. - Swinburne, R. (2004). The Existence of God. 2nd ed. Oxford University Press.
submitted by Jdlongmire to Apologetics [link] [comments]


2024.05.13 11:03 Kindness-is-Gold [Repost] Migration to the UK, Mental Health and Cognitive Processing of Stressful Life Events (People who migrated to the UK at least 4 years ago)

A research project from the University of Oxford.
Would you like to contribute to an important research project looking at the mental health of those who have migrated to the UK, and how they react to stressful life events?
👉Are you 22 years-old or +?
👉Have you moved to the UK from another country?
👉Have you lived in the UK for + than 4 years?
If the answer is YES, then please make sure you participate in this online anonymous survey (20-30 mins): https://psychiatryoxford.qualtrics.com/jfe/form/SV_dbvY5f6JBLD7vrU
Looking for participants who have refugee status particularly, but other types of visa/migration status are also welcome to fill the survey. Thanks, let me know if you have any questions and your participation is much appreciated! 🙂
submitted by Kindness-is-Gold to SampleSize [link] [comments]


2024.05.13 08:48 Pitiful_Employment80 PTE Answer Short Questions and Important Questions

Answering short questions in the PTE (Pearson Test of English) can be both challenging and crucial for your score. Here are some tips and important questions you should focus on:
Listen Carefully: Pay close attention to the question being asked. Sometimes, the answers can be tricky and may require careful listening.
Be Concise: The name says it all - "short questions." Your answers should be brief and to the point. Avoid unnecessary elaboration.
Practice Regularly: Familiarize yourself with the types of questions asked in this section. There are common themes and topics that often appear, so practicing regularly will help you anticipate what to expect.
Key Vocabulary: Build a strong vocabulary base. Many answers can be inferred from the context, so knowing key words and their meanings will aid comprehension.
Grammar Matters: While the answers are short, correct grammar is still essential. Pay attention to verb tense, subject-verb agreement, and word order.
Now, here are some important questions that frequently appear in the PTE short answer section:
Remember, while these questions may seem straightforward, it's easy to make mistakes if you're not adequately prepared. Practice, focus, and confidence are key to acing this section of the PTE!
submitted by Pitiful_Employment80 to EnglishLearning [link] [comments]


2024.05.13 07:25 Willy_Fisher Count Magnus.

By what means the papers out of which I have made a connected story came into my hands is the last point which the reader will learn from these pages. But it is necessary to prefix to my extracts from them a statement of the form in which I possess them. They consist, then, partly of a series of collections for a book of travels, such a volume as was a common product of the forties and fifties. Horace Marryat's Journal of a Residence in Jutland and the Danish Isles is a fair specimen of the class to which I allude. These books usually treated of some unfamiliar district on the Continent. They were illustrated with woodcuts or steel plates. They gave details of hotel accommodation, and of means of communication, such as we now expect to find in any well-regulated guide-book, and they dealt largely in reported conversations with intelligent foreigners, racy innkeepers and garrulous peasants. In a word, they were chatty. Begun with the idea of furnishing material for such a book, my papers as they progressed assumed the character of a record of one single personal experience, and this record was continued up to the very eve, almost, of its termination. The writer was a Mr. Wraxall. For my knowledge of him I have to depend entirely on the evidence his writings afford, and from these I deduce that he was a man past middle age, possessed of some private means, and very much alone in the world. He had, it seems, no settled abode in England, but was a denizen of hotels and boarding-houses. It is probable that he entertained the idea of settling down at some future time which never came; and I think it also likely that the Pantechnicon fire in the early seventies must have destroyed a great deal that would have thrown light on his antecedents, for he refers once or twice to property of his that was warehoused at that establishment. It is further apparent that Mr. Wraxall had published a book, and that it treated of a holiday he had once taken in Brittany. More than this I cannot say about his work, because a diligent search in bibliographical works has convinced me that it must have appeared either anonymously or under a pseudonym. As to his character, it is not difficult to form some superficial opinion. He must have been an intelligent and cultivated man. It seems that he was near being a Fellow of his college at Oxford—Brasenose, as I judge from the Calendar. His besetting fault was pretty clearly that of over-inquisitiveness, possibly a good fault in a traveller, certainly a fault for which this traveller paid dearly enough in the end. On what proved to be his last expedition, he was plotting another book. Scandinavia, a region not widely known to Englishmen forty years ago, had struck him as an interesting field. He must have lighted on some old books of Swedish history or memoirs, and the idea had struck him that there was room for a book descriptive of travel in Sweden, interspersed with episodes from the history of some of the great Swedish families. He procured letters of introduction, therefore, to some persons of quality in Sweden, and set out thither in the early summer of 1863. Of his travels in the North there is no need to speak, nor of his residence of some weeks in Stockholm. I need only mention that some savant resident there put him on the track of an important collection of family papers belonging to the proprietors of an ancient manor-house in Vestergothland, and obtained for him permission to examine them. The manor-house, or herrgård, in question is to be called Råbäck (pronounced something like Roebeck), though that is not its name. It is one of the best buildings of its kind in all the country, and the picture of it in Dablenberg's Suecia antiqua et moderna, engraved in 1694, shows it very much as the tourist may see it to-day. It was built soon after 1600, and is, roughly speaking, very much like an English house of that period in respect of material—red-brick with stone facings—and style. The man who built it was a scion of the great house of De la Gardie, and his descendants possess it still. De la Gardie is the name by which I will designate them when mention of them becomes necessary. They received Mr. Wraxall with great kindness and courtesy, and pressed him to stay in the house as long as his researches lasted. But, preferring to be independent, and mistrusting his powers of conversing in Swedish, he settled himself at the village inn, which turned out quite sufficiently comfortable, at any rate during the summer months. This arrangement would entail a short walk daily to and from the manor-house of something under a mile. The house itself stood in a park, and was protected—we should say grown up—with large old timber. Near it you found the walled garden, and then entered a close wood fringing one of the small lakes with which the whole country is pitted. Then came the wall of the demesne, and you climbed a steep knoll—a knob of rock lightly covered with soil—and on the top of this stood the church, fenced in with tall dark trees. It was a curious building to English eyes. The nave and aisles were low, and filled with pews and galleries. In the western gallery stood the handsome old organ, gaily painted, and with silver pipes. The ceiling was flat, and had been adorned by a seventeenth-century artist with a strange and hideous "Last Judgment," full of lurid flames, falling cities, burning ships, crying souls, and brown and smiling demons. Handsome brass coronæ hung from the roof; the pulpit was like a doll's-house, covered with little painted wooden cherubs and saints; a stand with three hour-glasses was hinged to the preacher's desk. Such sights as these may be seen in many a church in Sweden now, but what distinguished this one was an addition to the original building. At the eastern end of the north aisle the builder of the manor-house had erected a mausoleum for himself and his family. It was a largish eight-sided building, lighted by a series of oval windows, and it had a domed roof, topped by a kind of pumpkin-shaped object rising into a spire, a form in which Swedish architects greatly delighted. The roof was of copper externally, and was painted black, while the walls, in common with those of the church, were staringly white. To this mausoleum there was no access from the church. It had a portal and steps of its own on the northern side. Past the churchyard the path to the village goes, and not more than three or four minutes bring you to the inn door. On the first day of his stay at Råbäck Mr. Wraxall found the church door open, and made those notes of the interior which I have epitomized. Into the mausoleum, however, he could not make his way. He could by looking through the keyhole just descry that there were fine marble effigies and sarcophagi of copper, and a wealth of armorial ornament, which made him very anxious to spend some time in investigation. The papers he had come to examine at the manor-house proved to be of just the kind he wanted for his book. There were family correspondence, journals, and account-books of the earliest owners of the estate, very carefully kept and clearly written, full of amusing and picturesque detail. The first De la Gardie appeared in them as a strong and capable man. Shortly after the building of the mansion there had been a period of distress in the district, and the peasants had risen and attacked several châteaux and done some damage. The owner of Råbäck took a leading part in suppressing the trouble, and there was reference to executions of ringleaders and severe punishments inflicted with no sparing hand. The portrait of this Magnus de la Gardie was one of the best in the house, and Mr. Wraxall studied it with no little interest after his day's work. He gives no detailed description of it, but I gather that the face impressed him rather by its power than by its beauty or goodness; in fact, he writes that Count Magnus was an almost phenomenally ugly man. On this day Mr. Wraxall took his supper with the family, and walked back in the late but still bright evening. "I must remember," he writes, "to ask the sexton if he can let me into the mausoleum at the church. He evidently has access to it himself, for I saw him to-night standing on the steps, and, as I thought, locking or unlocking the door." I find that early on the following day Mr. Wraxall had some conversation with his landlord. His setting it down at such length as he does surprised me at first; but I soon realized that the papers I was reading were, at least in their beginning, the materials for the book he was meditating, and that it was to have been one of those quasi-journalistic productions which admit of the introduction of an admixture of conversational matter. His object, he says, was to find out whether any traditions of Count Magnus de la Gardie lingered on in the scenes of that gentleman's activity, and whether the popular estimate of him were favourable or not. He found that the Count was decidedly not a favourite. If his tenants came late to their work on the days which they owed to him as Lord of the Manor, they were set on the wooden horse, or flogged and branded in the manor-house yard. One or two cases there were of men who had occupied lands which encroached on the lord's domain, and whose houses had been mysteriously burnt on a winter's night, with the whole family inside. But what seemed to dwell on the innkeeper's mind most—for he returned to the subject more than once—was that the Count had been on the Black Pilgrimage, and had brought something or someone back with him.
You will naturally inquire, as Mr. Wraxall did, what the Black Pilgrimage may have been. But your curiosity on the point must remain unsatisfied for the time being, just as his did. The landlord was evidently unwilling to give a full answer, or indeed any answer, on the point, and, being called out for a moment, trotted off with obvious alacrity, only putting his head in at the door a few minutes afterwards to say that he was called away to Skara, and should not be back till evening. So Mr. Wraxall had to go unsatisfied to his day's work at the manor-house. The papers on which he was just then engaged soon put his thoughts into another channel, for he had to occupy himself with glancing over the correspondence between Sophia Albertina in Stockholm and her married cousin Ulrica Leonora at Råbäck in the years 1705-1710. The letters were of exceptional interest from the light they threw upon the culture of that period in Sweden, as anyone can testify who has read the full edition of them in the publications of the Swedish Historical Manuscripts Commission. In the afternoon he had done with these, and after returning the boxes in which they were kept to their places on the shelf, he proceeded, very naturally, to take down some of the volumes nearest to them, in order to determine which of them had best be his principal subject of investigation next day. The shelf he had hit upon was occupied mostly by a collection of account-books in the writing of the first Count Magnus. But one among them was not an account-book, but a book of alchemical and other tracts in another sixteenth-century hand. Not being very familiar with alchemical literature, Mr. Wraxall spends much space which he might have spared in setting out the names and beginnings of the various treatises: The book of the Phœnix, book of the Thirty Words, book of the Toad, book of Miriam, Turba philosophorum, and so forth; and then he announces with a good deal of circumstance his delight at finding, on a leaf originally left blank near the middle of the book, some writing of Count Magnus himself headed "Liber nigræ peregrinationis." It is true that only a few lines were written, but there was quite enough to show that the landlord had that morning been referring to a belief at least as old as the time of Count Magnus, and probably shared by him. This is the English of what was written: "If any man desires to obtain a long life, if he would obtain a faithful messenger and see the blood of his enemies, it is necessary that he should first go into the city of Chorazin, and there salute the prince...." Here there was an erasure of one word, not very thoroughly done, so that Mr. Wraxall felt pretty sure that he was right in reading it as aëris ("of the air"). But there was no more of the text copied, only a line in Latin: "Quære reliqua hujus materiei inter secretiora" (See the rest of this matter among the more private things). It could not be denied that this threw a rather lurid light upon the tastes and beliefs of the Count; but to Mr. Wraxall, separated from him by nearly three centuries, the thought that he might have added to his general forcefulness alchemy, and to alchemy something like magic, only made him a more picturesque figure; and when, after a rather prolonged contemplation of his picture in the hall, Mr. Wraxall set out on his homeward way, his mind was full of the thought of Count Magnus. He had no eyes for his surroundings, no perception of the evening scents of the woods or the evening light on the lake; and when all of a sudden he pulled up short, he was astonished to find himself already at the gate of the churchyard, and within a few minutes of his dinner. His eyes fell on the mausoleum. "Ah," he said, "Count Magnus, there you are. I should dearly like to see you." "Like many solitary men," he writes, "I have a habit of talking to myself aloud; and, unlike some of the Greek and Latin particles, I do not expect an answer. Certainly, and perhaps fortunately in this case, there was neither voice nor any that regarded: only the woman who, I suppose, was cleaning up the church, dropped some metallic object on the floor, whose clang startled me. Count Magnus, I think, sleeps sound enough." That same evening the landlord of the inn, who had heard Mr. Wraxall say that he wished to see the clerk or deacon (as he would be called in Sweden) of the parish, introduced him to that official in the inn parlour. A visit to the De la Gardie tomb-house was soon arranged for the next day, and a little general conversation ensued. Mr. Wraxall, remembering that one function of Scandinavian deacons is to teach candidates for Confirmation, thought he would refresh his own memory on a Biblical point. "Can you tell me," he said, "anything about Chorazin?" The deacon seemed startled, but readily reminded him how that village had once been denounced. "To be sure," said Mr. Wraxall; "it is, I suppose, quite a ruin now?" "So I expect," replied the deacon. "I have heard some of our old priests say that Antichrist is to be born there; and there are tales——" "Ah! what tales are those?" Mr. Wraxall put in. "Tales, I was going to say, which I have forgotten," said the deacon; and soon after that he said good night. The landlord was now alone, and at Mr. Wraxall's mercy; and that inquirer was not inclined to spare him. "Herr Nielsen," he said, "I have found out something about the Black Pilgrimage. You may as well tell me what you know. What did the Count bring back with him?" Swedes are habitually slow, perhaps, in answering, or perhaps the landlord was an exception. I am not sure; but Mr. Wraxall notes that the landlord spent at least one minute in looking at him before he said anything at all. Then he came close up to his guest, and with a good deal of effort he spoke: "Mr. Wraxall, I can tell you this one little tale, and no more—not any more. You must not ask anything when I have done. In my grandfather's time—that is, ninety-two years ago—there were two men who said: 'The Count is dead; we do not care for him. We will go to-night and have a free hunt in his wood'—the long wood on the hill that you have seen behind Råbäck. Well, those that heard them say this, they said: 'No, do not go; we are sure you will meet with persons walking who should not be walking. They should be resting, not walking.' These men laughed. There were no forest-men to keep the wood, because no one wished to hunt there. The family were not here at the house. These men could do what they wished. "Very well, they go to the wood that night. My grandfather was sitting here in this room. It was the summer, and a light night. With the window open, he could see out to the wood, and hear. "So he sat there, and two or three men with him, and they listened. At first they hear nothing at all; then they hear someone—you know how far away it is—they hear someone scream, just as if the most inside part of his soul was twisted out of him. All of them in the room caught hold of each other, and they sat so for three-quarters of an hour. Then they hear someone else, only about three hundred ells off. They hear him laugh out loud: it was not one of those two men that laughed, and, indeed, they have all of them said that it was not any man at all. After that they hear a great door shut. "Then, when it was just light with the sun, they all went to the priest. They said to him: "'Father, put on your gown and your ruff, and come to bury these men, Anders Bjornsen and Hans Thorbjorn.' "You understand that they were sure these men were dead. So they went to the wood—my grandfather never forgot this. He said they were all like so many dead men themselves. The priest, too, he was in a white fear. He said when they came to him: "'I heard one cry in the night, and I heard one laugh afterwards. If I cannot forget that, I shall not be able to sleep again.' "So they went to the wood, and they found these men on the edge of the wood. Hans Thorbjorn was standing with his back against a tree, and all the time he was pushing with his hands—pushing something away from him which was not there. So he was not dead. And they led him away, and took him to the house at Nykjoping, and he died before the winter; but he went on pushing with his hands. Also Anders Bjornsen was there; but he was dead. And I tell you this about Anders Bjornsen, that he was once a beautiful man, but now his face was not there, because the flesh of it was sucked away off the bones. You understand that? My grandfather did not forget that. And they laid him on the bier which they brought, and they put a cloth over his head, and the priest walked before; and they began to sing the psalm for the dead as well as they could. So, as they were singing the end of the first verse, one fell down, who was carrying the head of the bier, and the others looked back, and they saw that the cloth had fallen off, and the eyes of Anders Bjornsen were looking up, because there was nothing to close over them. And this they could not bear. Therefore the priest laid the cloth upon him, and sent for a spade, and they buried him in that place." The next day Mr. Wraxall records that the deacon called for him soon after his breakfast, and took him to the church and mausoleum. He noticed that the key of the latter was hung on a nail just by the pulpit, and it occurred to him that, as the church door seemed to be left unlocked as a rule, it would not be difficult for him to pay a second and more private visit to the monuments if there proved to be more of interest among them than could be digested at first. The building, when he entered it, he found not unimposing. The monuments, mostly large erections of the seventeenth and eighteenth centuries, were dignified if luxuriant, and the epitaphs and heraldry were copious. The central space of the domed room was occupied by three copper sarcophagi, covered with finely-engraved ornament. Two of them had, as is commonly the case in Denmark and Sweden, a large metal crucifix on the lid. The third, that of Count Magnus, as it appeared, had, instead of that, a full-length effigy engraved upon it, and round the edge were several bands of similar ornament representing various scenes. One was a battle, with cannon belching out smoke, and walled towns, and troops of pikemen. Another showed an execution. In a third, among trees, was a man running at full speed, with flying hair and outstretched hands. After him followed a strange form; it would be hard to say whether the artist had intended it for a man, and was unable to give the requisite similitude, or whether it was intentionally made as monstrous as it looked. In view of the skill with which the rest of the drawing was done, Mr. Wraxall felt inclined to adopt the latter idea. The figure was unduly short, and was for the most part muffled in a hooded garment which swept the ground. The only part of the form which projected from that shelter was not shaped like any hand or arm. Mr. Wraxall compares it to the tentacle of a devil-fish, and continues: "On seeing this, I said to myself, 'This, then, which is evidently an allegorical representation of some kind—a fiend pursuing a hunted soul—may be the origin of the story of Count Magnus and his mysterious companion. Let us see how the huntsman is pictured: doubtless it will be a demon blowing his horn.'" But, as it turned out, there was no such sensational figure, only the semblance of a cloaked man on a hillock, who stood leaning on a stick, and watching the hunt with an interest which the engraver had tried to express in his attitude. Mr. Wraxall noted the finely-worked and massive steel padlocks—three in number—which secured the sarcophagus. One of them, he saw, was detached, and lay on the pavement. And then, unwilling to delay the deacon longer or to waste his own working-time, he made his way onward to the manor-house. It is curious," he notes, "how on retracing a familiar path one's thoughts engross one to the absolute exclusion of surrounding objects. To-night, for the second time, I had entirely failed to notice where I was going (I had planned a private visit to the tomb-house to copy the epitaphs), when I suddenly, as it were, awoke to consciousness, and found myself (as before) turning in at the churchyard gate, and, I believe, singing or chanting some such words as, 'Are you awake, Count Magnus? Are you asleep, Count Magnus?' and then something more which I have failed to recollect. It seemed to me that I must have been behaving in this nonsensical way for some time." He found the key of the mausoleum where he had expected to find it, and copied the greater part of what he wanted; in fact, he stayed until the light began to fail him. "I must have been wrong," he writes, "in saying that one of the padlocks of my Count's sarcophagus was unfastened; I see to-night that two are loose. I picked both up, and laid them carefully on the window-ledge, after trying unsuccessfully to close them. The remaining one is still firm, and, though I take it to be a spring lock, I cannot guess how it is opened. Had I succeeded in undoing it, I am almost afraid I should have taken the liberty of opening the sarcophagus. It is strange, the interest I feel in the personality of this, I fear, somewhat ferocious and grim old noble." The day following was, as it turned out, the last of Mr. Wraxall's stay at Råbäck. He received letters connected with certain investments which made it desirable that he should return to England; his work among the papers was practically done, and travelling was slow. He decided, therefore, to make his farewells, put some finishing touches to his notes, and be off. These finishing touches and farewells, as it turned out, took more time than he had expected. The hospitable family insisted on his staying to dine with them—they dined at three—and it was verging on half-past six before he was outside the iron gates of Råbäck. He dwelt on every step of his walk by the lake, determined to saturate himself, now that he trod it for the last time, in the sentiment of the place and hour. And when he reached the summit of the churchyard knoll, he lingered for many minutes, gazing at the limitless prospect of woods near and distant, all dark beneath a sky of liquid green. When at last he turned to go, the thought struck him that surely he must bid farewell to Count Magnus as well as the rest of the De la Gardies. The church was but twenty yards away, and he knew where the key of the mausoleum hung. It was not long before he was standing over the great copper coffin, and, as usual, talking to himself aloud. "You may have been a bit of a rascal in your time, Magnus," he was saying, "but for all that I should like to see you, or, rather——" "Just at that instant," he says, "I felt a blow on my foot. Hastily enough I drew it back, and something fell on the pavement with a clash. It was the third, the last of the three padlocks which had fastened the sarcophagus. I stooped to pick it up, and—Heaven is my witness that I am writing only the bare truth—before I had raised myself there was a sound of metal hinges creaking, and I distinctly saw the lid shifting upwards. I may have behaved like a coward, but I could not for my life stay for one moment. I was outside that dreadful building in less time than I can write—almost as quickly as I could have said—the words; and what frightens me yet more, I could not turn the key in the lock. As I sit here in my room noting these facts, I ask myself (it was not twenty minutes ago) whether that noise of creaking metal continued, and I cannot tell whether it did or not. I only know that there was something more than I have written that alarmed me, but whether it was sound or sight I am not able to remember. What is this that I have done?" Poor Mr. Wraxall! He set out on his journey to England on the next day, as he had planned, and he reached England in safety; and yet, as I gather from his changed hand and inconsequent jottings, a broken man. One of several small notebooks that have come to me with his papers gives, not a key to, but a kind of inkling of, his experiences. Much of his journey was made by canal-boat, and I find not less than six painful attempts to enumerate and describe his fellow-passengers. The entries are of this kind: "24. Pastor of village in Skåne. Usual black coat and soft black hat. "25. Commercial traveller from Stockholm going to Trollhättan. Black cloak, brown hat. "26. Man in long black cloak, broad-leafed hat, very old-fashioned." This entry is lined out, and a note added: "Perhaps identical with No. 13. Have not yet seen his face." On referring to No. 13, I find that he is a Roman priest in a cassock. The net result of the reckoning is always the same. Twenty-eight people appear in the enumeration, one being always a man in a long black cloak and broad hat, and the other a "short figure in dark cloak and hood." On the other hand, it is always noted that only twenty-six passengers appear at meals, and that the man in the cloak is perhaps absent, and the short figure is certainly absent. On reaching England, it appears that Mr. Wraxall landed at Harwich, and that he resolved at once to put himself out of the reach of some person or persons whom he never specifies, but whom he had evidently come to regard as his pursuers. Accordingly he took a vehicle—it was a closed fly—not trusting the railway, and drove across country to the village of Belchamp St. Paul. It was about nine o'clock on a moonlight August night when he neared the place. He was sitting forward, and looking out of the window at the fields and thickets—there was little else to be seen—racing past him. Suddenly he came to a cross-road. At the corner two figures were standing motionless; both were in dark cloaks; the taller one wore a hat, the shorter a hood. He had no time to see their faces, nor did they make any motion that he could discern. Yet the horse shied violently and broke into a gallop, and Mr. Wraxall sank back into his seat in something like desperation. He had seen them before. Arrived at Belchamp St. Paul, he was fortunate enough to find a decent furnished lodging, and for the next twenty-four hours he lived, comparatively speaking, in peace. His last notes were written on this day. They are too disjointed and ejaculatory to be given here in full, but the substance of them is clear enough. He is expecting a visit from his pursuers—how or when he knows not—and his constant cry is "What has he done?" and "Is there no hope?" Doctors, he knows, would call him mad, policemen would laugh at him. The parson is away. What can he do but lock his door and cry to God? People still remembered last year at Belchamp St. Paul how a strange gentleman came one evening in August years back; and how the next morning but one he was found dead, and there was an inquest; and the jury that viewed the body fainted, seven of 'em did, and none of 'em wouldn't speak to what they see, and the verdict was visitation of God; and how the people as kep' the 'ouse moved out that same week, and went away from that part. But they do not, I think, know that any glimmer of light has ever been thrown, or could be thrown, on the mystery. It so happened that last year the little house came into my hands as part of a legacy. It had stood empty since 1863, and there seemed no prospect of letting it; so I had it pulled down, and the papers of which I have given you an abstract were found in a forgotten cupboard under the window in the best bedroom.
submitted by Willy_Fisher to oldstories [link] [comments]


2024.05.13 07:08 Previous_Science7675 5 Major Don’ts to Avoid in IELTS Speaking

The IELTS speaking test is a component of the International English Language Testing System (IELTS), which assesses the English language proficiency of non-native English speakers. The speaking test evaluates a candidate's ability to communicate effectively in English through a face-to-face interview with a certified examiner. Through physical IELTS classes and IELTS online classes, students can practise how to face the speaking component of the test.

The speaking test for IELTS Sri Lanka usually lasts around 11 to 14 minutes and is divided into three parts:
· Part 1: Introduction and Interview (4-5 minutes) - The examiner introduces themselves and asks the candidate to introduce themselves and answer some questions about familiar topics such as family, work, studies, hobbies, etc.
· Part 2: Long Turn (3-4 minutes) - The candidate is given a task card with a particular topic written on it. They are given one minute to prepare and make notes, then they speak about the topic for up to two minutes. This part tests the ability to speak at length on a given topic without interruption.
· Part 3: Discussion (4-5 minutes) - The examiner asks further questions related to the topic of Part 2. This part aims to assess the candidate's ability to express and justify opinions, analyse and discuss abstract issues, and speculate about the future.

The speaking test is conducted face-to-face with a certified examiner, and it is recorded for evaluation purposes. It assesses various aspects of spoken English, including fluency, coherence, lexical resource, grammatical range, and pronunciation. Candidates are graded on a scale of 0 to 9, with 9 being the highest score, based on their performance in all three parts of the test.

In the IELTS speaking test, there are several "don'ts" that candidates should avoid to perform well:
· Don't give yes/no answers: Try to expand your answers instead of just saying "yes" or "no". Provide explanations, examples, and details to showcase your speaking skills.
· Don't memorise answers: While it is good to prepare, avoid memorising scripted responses. Examiners can usually detect rehearsed answers, and it may negatively affect your score.
· Don't speak too fast or too slow: Maintain a natural pace of speech. Speaking too quickly may make you difficult to understand, while speaking too slowly can make you appear hesitant or lacking confidence.
· Don't ignore grammar and vocabulary: Pay attention to your grammar and vocabulary usage. Use a range of grammatical structures and vocabulary to demonstrate your proficiency in English.
· Don't panic if you don't understand a question: If you don't understand a question, don't be afraid to ask the examiner to repeat or clarify it. It is better to ask for clarification than to provide an irrelevant answer.
· Don't focus solely on accuracy: While accuracy is important, fluency and coherence are also key factors in your speaking score. Don't get too caught up in trying to be perfect; focus on communicating your ideas effectively.
· Don't give one-word answers in Part 3: In Part 3, avoid giving brief responses. This section is designed to assess your ability to engage in extended discussion and express opinions. Provide detailed and well-developed responses.
· Don't ignore pronunciation: Pay attention to your pronunciation, intonation, and stress patterns. Clear pronunciation enhances your overall communication and makes it easier for the examiner to understand you.
· Don't forget to listen to the examiner: Actively listen to the examiner's questions and prompts. This shows that you can engage in a conversation and respond appropriately.
· Don't rush through Part 2: Take your time to plan your response in Part 2. Use the one-minute preparation time wisely to jot down key points and organise your ideas before you start speaking.

By avoiding these common pitfalls, you can improve your performance in the IELTS speaking test and achieve a higher score. You can follow a good preparatory course in order to be better prepared for this test. The IELTS Sri Lanka course fee varies from institute to institute, and you can find one that suits your budget easily.
submitted by Previous_Science7675 to u/Previous_Science7675 [link] [comments]


2024.05.13 02:40 TeamPuzzleheaded7841 AITAH for breaking up with my boyfriend because he sent me bot letters..

I, (19F) have been in a long-distance relationship for a little over 4 months now with my (20M) boyfriend. One thing my boyfriend and I always did was write letters back and forth to each other along with small gifts. Particularly in one letter he had sent for my birthday, I noticed he was using vocabulary he would never normally use and overly correct grammar. I suspected that he was using ChatGPT, but I figured every letter he had sent before seemed sincere and sounded like himself, so I didn’t say anything at first. Also, for those who don’t know, ChatGPT is an artificial intelligence chat where you can basically ask it any question and it will give you an answer or, in my now ex-boyfriend’s case, ask a specific prompt to write you something. Today, I opened my mailbox and found a letter from him with a total of five handwritten love letters inside the envelope, all signed by my boyfriend. I opened the letters and each one had the same kind of vocabulary he never used, with the same fancy punctuation. I’m not sure if he knows what it is. So, tonight, I asked him if he had ever sent me letters written from ChatGPT, and he told me yes but gave a whole speech about how he had never straight up copied the paragraphs but "took inspiration from them"… which I know is a lie because I had put in a bunch of prompts into the site until I got almost word-for-word sentences from my love letters. I should also add that when he sent me the letter on my birthday, he made it a point to tell me that he had spent so much time on my letter and how he had different drafts of the letter, almost like he was trying to make sure I knew he wrote it. I know this is a crazy thing to end a seemingly perfect relationship, but I feel as if, if he can so easily lie about something like a love letter to his girlfriend that he “loves more than life,” then what else can he lie about? Ive since ended things with him and he’s tried to explain over and over again that i’m making a mistake. I’ve talked to my parents about this and they said they don’t see an issue because most guys won’t even make an effort to even write a handwritten letter to their girlfriends. I feel like I shouldn’t accept the bare minimum in any parts of our relationship. So, am I the asshole?
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2024.05.13 02:35 KnightRider8286 Vlad’s Distressed Mistress

Vlad's Distressed Mistress: A New FNAF Theory....
A while ago, I came across a new perspective on a commonly overlooked part of the FNAF franchise, and I couldn’t help but not go deeper and share my findings. Plus with the advent of new FNAF content, this topic only seems to get more and more interesting.
Back in FNAF Sister Location, at the end of nearly each night, we find ourselves in what we assume to be Mike's house, where he spends some time watching a show called 'The Immortal and the Restless.' For those who may be new to the franchise, this four episode show seems to be styled after late 50's soap operas. Specifically, it is very similar in style and music to a real life soap opera called 'As The World Turns' from 1956 and also has a similar naming convention as 'The Young and the Restless' from 1973.
In Immortal, we catch a glimpse into the lives of Vlad the vampire and Clara, who are shown to be consistently on edge with each-other.
At a glance, this doesn't seem like much, but as I delved deeper I noticed many things that I have never heard or seen talked about in the FNAF community. So here it is, my notes and theories on what Scott might be trying to tell us through 'The Immortal and the Restless.'
Sources:
NOTE #1: William Afton had an Affair
As I was reading the Ultimate Guide, I came across the script for The Immortal and the Restless on pages 420 and 421. But what got me thinking wasn't what Vlad or Clara said, but it was the first lines that was spoken by the narrator.
In episodes 1 & 2 of I&R, Clara is described by the narrator as ‘Vlad’s distressed mistress…’
Immortal and the Restless: Episode 1
Narrator: Another day, another dramatic entry in the lives of Vlad and his distressed mistress!
Narrator: Will Vlad and hisdistressed mistressfind common ground? Tune in next time!
Immoral and the Restless: Episode 2
*Narrator: As the sun sets, so does another chapter in the saga of love lost between Vlad and his distressed mistress…
The fact that this phrasing was used three times got me to thinking. To start, what does the word mistress mean? According to to the official Oxford Language website, the word has two meanings;
  1. A woman in a position of power or authority
  2. A woman having a extramarital sexual relationship, especially with a married man.
With this in mind, I am under the impression that Vlad and Clara are NOT married. Clara does brings up a Dimond ring in episode 4: ‘Well, how’s this? Im keeping the diamond ring.’ I believe that she is most likely referring to a engagement ring, which only further cements my initial observation that these two are NOT married.
Through-out the story of I&R I find no evidence that Vlad and Clara are married. From the language used in the script to even watching the shorts closely and taking note of their hands for wedding bands. Nothing. They are referred to as ‘long lost lovers’ and ‘star-crossed lovers’, but nothing that indicated that they officially ‘tied the knot’.
With this information, I believe that Vlad had an affair with Clara and cheated on Mrs. Vlad. Then, if we are to assume that Vlad is a representation of William Afton in this story, than I believe that Willam had an affair with another woman. This is why Mrs. Afton left, sure William was probably consumed by his work with the animatronics, but the fact that he cheated on her is most likely what sent her off the edge.
NOTE #2: Child Support
As I was reading trough the I&R script again, there are a few times that the story brings up Vlad having to pay child support.
Immortal and The Restless: Episode 1
Clara: Well, then, at least pay your child support, you deadbeat!
Immortal and the Restless: Episode 4
Narrator: But what about the baby? What about the back child support?
Why would Vlad have to pay child support? If we are building off of the theory that Vlad cheated on his wife, she probably filed for divorce and demanded custody of the baby. A custody battle ensued, with Vlad coming out on top, giving us an explanation of why we see the baby with him in I&R. I then looked through-out the franchise and, wouldn’t you know it, there is a reference to a custody case in three other places.
1.Fazbear Frights Stitchwraith Stinger #1 (The Books)**
In the first Stitchwraith stinger at the end of the first Fazbear Frights book Into the Pit, we meet Detective Larson who just divorced his wife and is in the middle of a custody battle over their seven-year-old son Ryan.
2.Five Nights at Freddie’s Security Breach: Retro CD 4-7140 (A Modern Game)**
In Retro CD 4-7140, while having a session with Vanessa, the therapist brings up the fact that Vanessa’s father, Bill, ‘didn’t play fair’ when he was in a custody battle with Vanessa’s mother. Quote from the game;
Therapist: I know you do. Your supervisor notes that you follow instructions perfectly. Your dad made you follow instructions, didn’t he? I’m talking about the custody battle between your mom and your dad. Your dad didn’t play it fair, did he? He used to make your mom look bad in court.
While this snippet could be used to explain how Vanessa got to where she is in the game, I think that this has a deeper meaning that could relate to this story in I&R.
3.Five Nights at Freddie’s The Movie**
In Five Nights at Freddie’s Movie, one of the main points of the film is that Mike was *fighting for custody** of his sister Abby against their horrible aunt. It is one of, if not the main reason why Mike accepted the job at Freddie’s in the first place.
With all of this in mind, the biggest question is WHAT DOES IT MEAN? Ok, so William Afton had a custody battle, but for which child? Is it Crying Child? Is it Michael? Or is it Elizabeth? What other implications does this have on the lore overall? For that, I am still working out an answer.
Regardless, the fact that this comes up FOUR different times in multiple aspects of the franchise gives me more than enough reason to think that Scott is trying to tell us something. Now, I personally do not have open access to either the Fazbear Frights or Tales from the Pizzaplex series, so there could be a chance that there could be more cases of custody battles. For that, I reach out to you, my fellow theorists, please comment down below and let me know if there are other instances of this in the franchise.
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2024.05.13 01:46 Paladynee thesaurus (the dinozorus)

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