A Second Sample

This is the start of the article with example text in English. It also has hyperlinks and other text styles such as emphasis, strong, etcetera, interspersed with text that may be needed such as italic and bold. Thus the second bit starts here with a short ditty in blockquotes on the beauty of ugly things:

Blockquote/pull quote: Oh, things that are called gross and foul and unsightly come forth in joy for you are as you are and there is no ugliness, just ignorance, taste and context.

Author Name, publication, 1852, p19.

176 words – sufficient length to get a better feel for measure, colour, and typographic nuance in the text. A series of words that only alludes to feelings without ever sufficiently describing them. Rather, they’re like a finger pointing the way ☞, but the emotions live in the counters, in the gaps between words and colour and form and layout. The feelings take shape in the brain without language. An amygdalic flux of reception and reaction. Senses soak everything in without words. Physiological counterpoints returning signals to be processed into language that barely even explains what that shape, sound, or text instantiated inside us. Instead, we feel the sensory inputs and reach for words after the fact, sloughing into the actual impressions to form literal ones. Thus we communicate, awkwardly, sometimes beautifully, but rarely clearly. The words point the way to a shared experience, or to one that could be shared if they inspire action. So it could be said that describing our senses is an invitation to others to share them, not an explaination of them.

• A regular unordered list with standard 1/2 line height gutters
• The second list item
• And the third

Immersion is completed by the mere persistence of reading this far in the age of ‘tl;dr’ (a grossosity to coin an equally dislikeable string). Nevertheless bevity is appreciated but leaves little room for those moods that can only be created with cadence and phrasing that sometimes – not always – makes art from prose.

• Class=”short-list”: And unordered short-list with no li gutters
• And this is another
• With a final one for completeness

Another ‘graph to end on a block before the h2 test. This can be short, right?

Header two

176 words – sufficient length to get a better feel for measure, colour, and typographic nuance in the text. A series of words that only alludes to feelings without ever sufficiently describing them. Rather, they’re like a finger pointing ☞ the way, but the emotions lives in the counters, in the gaps between words and colour and form and layout. The feelings take shap in the brain without language.

1. A regular ordered list with standard 1/2 line height gutters
2. The second list item
3. And the third

An amygdalic flux of reception and reaction. Senses soaking, physiological counterpoints returning signals to be processed into language that barely even explains what that shape, sound, or text instantiated inside us. Instead, we feel the sensory inputs and reach for words after the fact, sloughing into the actual impressions to form literal ones.

Header three

Thus we communicate, awkwardly, sometimes beautifully, but rarely clearly. The words point the way to a shared experience, or to one that could be shared if they inspire action. So it could be said that describing our senses is an invitation to others to share them, not an explanation of them.

Header four

1. Class=”short-list”: And ordered short-list with no li gutters
2. And this is another
3. With a final one for completeness

This is the end, beautiful friend. 👋