In theory, I work an eight-hour day and a five-day week which means I can socialise with my pals who mostly have normal jobs like teaching and computer programming.
I was at a party, and some squiggly looking dude with a bow tie came up and said, 'How'd you like to be on TV?' Turns out he was the programming guy at the Food Network. They had me come into the office, and I did a 'Ready, Set, Cook' with Emeril Lagasse, I believe.
My father taught me Basic and rudimentary C, I learned everything else on my own, including studying computational complexity on my own. That's more a function of my age than anything else though - back when I was in school there were hardly any programming classes.
I love cities, and I love city governments in particular. But in politics it would have taken me 8 years from implementing a policy before I would get to see the feedback. With programming I could model the same policies and see the impact immediately. Technology is a far more efficient way to test.
My first app was released in July or August of 2008. It was a 'fingermill' - a treadmill for your fingers. My level of programming was quite basic to begin with, so it was more gimmicky to start with. Day one it was up there, I had 79 pounds worth of revenue.
I think USA has a great handle on programming and content. They know their viewers and they know what works... Character driven programming!
On the back end, software programming tools and Internet-based services make it easy to launch new global software-powered start-ups in many industries - without the need to invest in new infrastructure and train new employees.
Many computer scientists have fallen into the trap of trying to define languages like George Orwell's Newspeak, in which it is impossible to think bad thoughts. What they end up doing is killing the creativity of programming.
Trying to express implicit and fuzzy relationships in ways that are explicit and sharp doesn't clarify the meaning, it destroys it.
We know about as much about software quality problems as they knew about the Black Plague in the 1600s. We've seen the victims' agonies and helped burn the corpses. We don't know what causes it; we don't really know if there is only one disease. We just suffer - and keep pouring our sewage into our water supply.
The combination of threads, remote-procedure-call interfaces, and heavyweight object-oriented design is especially dangerous... if you are ever invited onto a project that is supposed to feature all three, fleeing in terror might well be an appropriate reaction.
Television programming for children need not be saccharine or insipid in order to give to violence its proper balance in the scheme of things.... But as an endless diet for the sake of excitement and sensation in stories whose plots are vehicles for killing and torture and little more, it is not healthy for young children. Unfamiliar as yet with the full story of human response, they are being misled when they are offered perversion before they have fully learned what is sound.
Only in high school when I began programming computers, did I become interested in tech and start-ups, which led me to attend Stanford and major in Computer Science.
Good engineering is characterized by gradual, stepwise refinement of products that yields increased performance under given constraints and with given resources.
One: demonstrations always crash. And two: the probability of them crashing goes up exponentially with the number of people watching.
We must not forget that the wheel is reinvented so often because it is a very good idea; I've learned to worry more about the soundness of ideas that were invented only once.
The nice thing about programming at the RDF level is that you can just say, I'll ask for all the books. You can ask for all the shelves. You can ask for a given shelf whether a book was on it. And you're not worrying so much about the underlying syntax.
There's the underlying feeling that writing must be easy, because it's all about putting letters together. That's only true in the same way that programming is all about putting numbers together.
I'd rather work on my radio show, which no one hears but I put about eight hours of programming and writing into it for those 30 people who do tune in.
So-called "natural language" is wonderful for the purposes it was created for, such as to be rude in, to tell jokes in, to cheat or to make love in (and Theorists of Literary Criticism can even be content-free in it), but it is hopelessly inadequate when we have to deal unambiguously with situations of great intricacy, situations which unavoidably arise in such activities as legislation, arbitration, mathematics or programming.
Too many managers and executives try to reduce programming to a low-level assembly-line activity. That's inefficient, wasteful, costly in the long run, and inhumane to programmers.
I am a design chauvinist. I believe that good design is magical and not to be lightly tinkered with. The difference between a great design and a lousy one is in the meshing of the thousand details that either fit or don't, and the spirit of the passionate intellect that has tied them together, or tried. That's why programming - or buying software - on the basis of "lists of features" is a doomed and misguided effort. The features can be thrown together, as in a garbage can, or carefully laid together and interwoven in elegant unification, as in APL, or the Forth language, or the game of chess.
It turns out that style matters in programming for the same reason that it matters in writing. It makes for better reading.
So, what does it mean for teaching and learning programming when the solution to every beginner problem is available on the Internet?
For some reason at Sundance, more than other festivals that I'm aware of, you find filmmakers rushing to screen works that sometimes aren't completed. In my seven years of programming at Toronto, I'm not aware of any documentaries that went back for serious editing after their premiere - other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards.
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