Joke Maker App Download
Marylee Newness
As far as I know, the only way to mail something internationally is in an envelope as a document. Otherwise, you need a customs form and those have a tracking number of them. If you are mailing your prints as a document, they don't qualify as a document and you need to ship them some other way. You may want to ship these as digital files.
And yes the star seller program is a joke. Etsy is supposed to reward the best sellers and shops with these stars but in reality, a lot of resellers and infringing shops have them while shops selling Etsy legal, non-infringing shops don't. And the large number of shop owners who have problems that come into the forums declaring they have no idea what is wrong because they have star seller status and always have is unbelievable when other sellers can look at their shop and tell almost instantly what is wrong.
This is lawsuit is a cautionary tale that trademark holders need to pick and choose their targets carefully. Sometimes by suing, you bring more attention to the alleged infringer, and in this case, it seems that Louis Vuitton is the butt of the joke. There are several examples of trademark holders sending silly cease and desist letters, only to have the action backfire on them in a very public way.
i know that you bad at the game when you dont even write the characters name right. shes called widowmaker and shreds noobs that cant deal with her or play her by themself and be better then he other widow.
The Comparison is probably the easier of the two jokes to generate. In other languages it would be difficult even with a dictionary dataset, but we can take advantage of a sometimes-annoying feature of the Wolfram Language: the fact that WordData contains compound nouns, nouns with two or more component words.
Then we group all of the compound words by the first component word, and delete any groups with only one element. We then truncate each group to two elements only. This discards some possible jokes, but it makes the list more manageable.
NOTE: While the two joke types shouldn't have overlapping symbol namespaces, just to be on the safe side you should quit the kernel with Quit[] before starting this section of the code.
We start out by defining the number of syllables that have to match at the end of two words for those words to rhyme. You can set this to anything, but I've found that a value of 2 generally produces the highest-quality results. Bear in mind that a higher value will produce less jokes.
The next part creates a list of four-word lists that contain the words applied to the joke formula. It uses a large piece of code, but it's mostly just a bunch of tests in a Select statement ensuring that all four words are unique and that no two words are too similar.
This code still has its fair share of problems. For example, the second sentence always starts with "A", even if the next word starts with a vowel sound (although this should be pretty easy to fix.) Also, the conditional tests could probably be improved to weed out "jokes" like this:
The Paul Simon costume gag came from the very first classified ads writing session we ever did for Framley. Rob, Alex, Jason and I were trying to explore what the tone for the spoof might be, and how we might generate loads and loads of jokes. Every page would need on average one hundred potential laughs, we had randomly decided, to justify downloading what, at the time, was a pretty big image file over 56K broadband.
I think the following six-word gag might be my favourite joke I\u2019ve ever been involved with. (Maybe alongside \u2018Uri Geller: I Can Do Dogshits\u2019 from Viz, and the bit at the start of the \u2018Cunk On Everything\u2019 book where she\u2019s revealed to have possibly written the foreword whilst sitting on a rollercoaster.)
A nice person on social media flagged it up as a piece of short but craftsmanlike comic writing, so I was thinking about it. And I reckon it\u2019s a good example of how these sort of joke shapes work, so maybe it\u2019s worth a ponder.
All four of us had by this point, we thought, managed to write a solid batch of news stories and display ads (especially after Jason had come up with his tone-setting \u2018CYCLE LANE NOT AS LONG AS SMALL CYCLE\u2019 piece that ended up being the first front page.) We\u2019d fought shy of tackling the dense small ads pages, but we knew if we wanted to do an entire newspaper, the novelty would be that it included the sort of machine-gun gag pages that were the backbone of the great comedy books we loved (Not, Goodies, Python, Fegg), but nobody on the web had tried yet. This session was just me and Alex biting the bullet. So we took a real local newspaper each, and tried staring at it until it turned into jokes.
We knew this was a good way to generate jokes: looking at real newspapers while not quite paying attention. We tried reading too quickly, or with the paper upside down, or while talking, or slightly drunk, or tired, or with our eyes defocused. And then we\u2019d write up whatever we\u2019d mistakenly seen in the paper, straight, as if it were real. In Framley, we had decided the rule was that your overtired eyes were correct.
Absurdism is a game we play with this error detection process. With nonsense comedy, our brain skips through the incoming data as fast as ever, using its prediction engine to fill in what\u2019s likely to be next. And it hits a nonsense obstruction, something really stupid and unexpected, just lying in the road where it wasn\u2019t meant to be, and it stumbles. When your sense-parser goes back, unlike most times this happens, it\u2019s not a mistake; it really was something incongruous. So what now? We used that quirk to generate jokes that would, in turn, play the same trick on the potential audience.
If you\u2019re not writing jokes, you\u2019ll realise there\u2019s no such thing as a Paul Simon suit, rewind and correct. But when making comedy, the trick is to turn mis-parsing of data into a joke. And you do that by going back to check the error, and glitching your brain into returning the result \u2018no error\u2019. And then changing the (comic) world to fit that.
Once we\u2019ve done that, we come up with a way of selling the audience that same slip, and recovery - Paul Simon? / Oh, hang on Paul Smith \u2013 but with the added element that this time it is 100% a Paul Simon suit. And then the game for joke maker and joke receiver is: now make sense of that.
A\u2026 Paul\u2026 Simon\u2026 suit? What if it\u2019s not a smart formal dress suit. What if it\u2019s like a spacesuit? An outfit for doing something? Or even a Spider-Man suit or a Batman suit? How about fancy dress? And then we\u2019re in better territory, because immediately we\u2019re thinking \u2018costume\u2019. And maybe the joke is actually \u2018Paul Simon costume\u2019, and the next leap is to why would someone dress up as Paul Simon.
But surely the bestselling fancy dress outfits aren\u2019t for grown ups \u2013 they\u2019re stuff like Cinderella or Buzz Lightyear? Or costumes kids put on for Hallowe\u2019en. Oh! Paul Simon\u2019s quite wee. So maybe that\u2019s the joke.
We\u2019d come to call those long stories that we\u2019d boiled down to half a dozen words \u2018WinZip jokes\u2019, after the compression program that used to condense data-stuffed computer folders down to manageable size for emailing. Sharing a lot of data in the smallest possible package.
If you\u2019re doing longer-form writing, you can pack writing room hysteria into a line rich with implication of a character\u2019s backstory. Or a nod to some unseen adventure or concealed character note. As long as the tiny clue has all the elements for the audience to finish the gag, and explore the implications. The packing down, the reduction of each joke to a tight little stock cube bursting with potential flavour is why a script gets better the more you edit it. It\u2019s why 22 minutes is a great format for really dense comedy. Think of The Simpsons. Every skated-over gag worthy of a bit of consideration, revealing the original laughter in the writers\u2019 room. Depth and complexity in comedy doesn\u2019t have to mean \u2018long\u2019. It can just be quick, but hidden.
Maybe it\u2019s why collaboration is so helpful for good comedy, so someone is laughing while you\u2019re working, for the air to fill with laughter before you cork it for later use. All of my favourite Framley jokes have the residual imprint of us pissing ourselves laughing. And you can do it on your own. Read your stuff back to yourself, see if it can still satisfy. I don\u2019t really like writing, but I love having written, because then, if I\u2019ve packed the gag down small enough, I get to read it again, pared to the bone, and trip myself over. Check you\u2019ve not left so many clues that your own joke won\u2019t surprise you with its implications.
It\u2019s unfashionable, but I suspect you\u2019re meant to laugh at your own jokes, so that there is that residual echo of laughter trapped inside the zipped-up package. \u2018This joke was recorded before a live audience, and then freeze dried, to preserve its comic nutrients, so it would last forever, for consumption in space.\u2019
Taking a step back, our goals were for AI to feel included for the vast majority of makers, but we needed some limits to manage costs in extreme scenarios. We wanted to design a system that scales, and can cater to teams that have power users, while still giving flexibility for other team members to test out AI.
I can only support the request. The 9 thousand credits we have with three Doc-Makers are usually used up within the first week. The approach of buying additional credits with new doc makers is absurd, as this also leads to follow-up costs for the packs. We had to rebuild all documents built with Coda-AI after the beta and use the OpenAI plugin. Please urgently offer credit packs for purchase. Currently this is really the stupidest strategy Coda can use (not to mention that the credits are not enough for anything).
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