It's a link to the project page for the main book and it does a good job of explaining itself and the available resources. I guess the biggest issue is it's not immediately obvious the left navigation menu changes between the project and subproject landing pages.
The author of the comment higher up is describing a person who is boycotting X because they are strongly against its stewardship and moderation but regardless continues to find ways to indulge themselves in the content produced by users of X, for other users of X.
How else should we describe the position held? It's clearly not entirely principled and veers directly into performative action (i.e. virtue signalling).
I admit I'm not nor have been a Twitter/X user so am able to look at the situation without a sense of entitlement or attachment.
> The author of the comment higher up is describing a person who is boycotting X because they are strongly against its stewardship and moderation but regardless continues to find ways to indulge themselves in the content produced by users of X, for other users of X.
Yes. Because we have to participate in a society in which sometimes, that's where the info is. Some towns only post their announcements on Facebook/X! Some people prominent on my framework of choice are only on X.
> How else should we describe the position held? It's clearly not entirely principled and veers directly into performative action (i.e. virtue signalling).
Virtue isn't a binary. I can reduce my externalities, even if I can't eliminate them.
The cool thing about vibe coded projects is they don’t need to ask the question of intended audience. The author has happily delegated the entire process to Claude Code, which will have included affirmative answers to the important questions of scope, audience, feasibility and utility.
I don’t enjoy being so negative but it’s likely you’ve spent more time interrogating the concept than the author would have.
I'm genuinely curious, because clearly they cared enough to ask it to be built, and happy enough with it to publish and promote it. I have every confidence the author has a use case for it. But for the life of me I simply don't know what problem it actually solves. Claude wrote the README and is happily convinced of the utility of its work, but it beyond explaining how to run the tool, it doesn't explain why.
Like my parent said, the grapes in East Asia are thick-skinned, and people either peel them or suck out their flesh. The ones sold in Europe are very thin-skinned, and peeling is largely impractical. I'm relating the latter to boba.
big purple concord grapes grow wild in the US and are thick skinned and you squeeze or suck out the grape inside, skin significantly more tart than the sweet grape, pretty sure those are the tannins that you get in wine from skin contact even those those are different grape varieties.
I've visited a number of European winegrower family farms and they frequently also grow table grapes for their own consumption. The table grapes they eat are much much less sweet than vinifera grapes where the yeast consume all the sugar into alcohol and which are basically too sweet to enjoy.
I split my time between Europe and China so I'm aware of the differences in that regard. My question was specifically regarding the comparison between European grapes and boba because I was struggling to identify any shared attributes from the varieties I have experienced. Is there a variety of grape which is more chewy in texture, perhaps?
I'm unclear why such a simple question appeared to offend at least one person.
That comment makes more sense if you read it as referring to popping boba [0] rather than the "normal" chewy tapioca boba. Grapes don't pop but the feel of the skin is similar enough.
> On the commercial side, we'll no longer be trying to grow the business around Tailwind. All existing customers will of course maintain their access to products like Tailwind Plus and ui.sh, but we're closing sign ups for new customers to focus on Tailwind CSS at Shopify.
> All existing customers will of course maintain their access to products like Tailwind Plus and ui.sh, but we're closing sign ups for new customers to focus on Tailwind CSS at Shopify.
You've got to wonder how long that model can continue if no new customers are allowed in.
They've even removed the Plus splash page so clicking Plus on the homepage or going to /plus takes you to a login page with no detail about what it was.
The author of the comment further up this thread seemed to suggest they use their television as a traditional television rather than as a host for several streaming service clients.
I think it’s quite reasonable with this framing to question frequent update cycles.
It’s likely you understand this well and have decided to argue something else for reasons unknown.
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