Bertrand Meyer's technology blog

In a few weeks I will be teaching again my Introductory Programming course at ETH, based for the first time on the published “Touch of Class” textbook [1]. For fun (mine if no one else’s) every lecture will conclude with a haiku summarizing the topic.

I made up a few, given below, and am opening a competition for more. Every proposal should be submitted in the form of a comment to this post. Every winner’s haiku and name will appear in the course slides, and in the special Programming Haiku page which will be added to the book’s site. There are four rules:

• The contribution has to be a proper haiku: “three unrhymed lines of five, seven, and five syllables”.
• It must summarize the principal concept of a chapter or main section of the textbook or, better yet, of one of the course’s lectures; see [2] for the lecture plan.
• It must give the book reference (chapter or section) or lecture number or both.
• The prize committee’s members are secret and its judgments final.

Here, for a start, are my own examples.

Proof of the undecidability of the halting problem

Section 7.5 of the book; lecture 5.2.

If it stops, it loops,
Yet if it looped, it would stop.
Sad contradiction.

Recursion

Chapter 14, especially section 14.3; lecture 9.1.

Often, I call you.
But when the going gets tough,
I will call myself.

Topological sort

Chapter 15; lectures 11.1 and 11.2.

Partial to total?
With the right data structures,
O of m plus n.

Dynamic binding

Section 16.3; lecture 8.1.

O-O programmers:
How many to screw a bulb?
None whatsoever.

Deferred classes

Section 16.5; lecture 8.1.

Do not implement!
Though for a truly Zen spec
You need a contract.

References

[1] Touch of Class: An Introduction to Programming Well Using Objects and Contracts, Springer Verlag, 2009. See Amazon page (still wrongly says the book is not yet published).

[2] “Introduction to Programming” course at ETH Zurich, Fall 2009: course page. This does not have the slides yet, but you can see last year’s slides in last year’s page.

 (Originally a Risks forum posting, 1998.)

Although complaints about Microsoft Word’s eagerness to correct what it sees as mistakes are not new in the Risks forum, I think it is still useful to protest vehemently the way recent versions of Word promote the dumbing down of English writing by flagging (at least when you use their default options) any sentence that, according to some mysterious criterion, it deems too long, even if the sentence is made of several comma- or semicolon-separated clauses, and even though it is perfectly obvious to anyone, fan of Proust or not, that clarity is not a direct function of length, since it is just as easy to write obscurely with short sentences as with longish ones and, conversely, quite possible to produce an absolutely limpid sentence that is very, very long.

Are you a Beethoven or a Mozart? If you’ll pardon the familarity, are you more of a betty or more of a mozzy? I am a betty. I am not referring to my musical abilities but to my writing style; actually, not the style of my writings (I haven’t completed any choral fantasies yet) but the style of my writing process. Mozart is famous for impeccable manuscripts; he could be writing in a stagecoach bumping its way through the Black Forest, on the kitchen table in the miserable lodgings of his second, ill-fated Paris trip, or in the antechamber of Archbishop Colloredo — no matter: the score comes out immaculate, not reflecting any of the doubts, hesitations and remorse that torment mere mortals. 

Beethoven’s music, note-perfect in its final form, came out of a very different process. Manuscripts show notes overwritten, lines struck out in rage, pages torn apart. He wrote and rewrote and gave up and tried again and despaired and came back until he got it the way it had to be.

How I sympathize! I seldom get things right the first time, and when I had to use a pen and paper I  almost never could produce a clean result; there always was one last detail to change. As soon as I could, I got my hands on typewriters, which removed the effects of ugly handwriting, but did not solve the problem of second thoughts followed by third thoughts and many more. Only with computers did it become possible to work sensibly. Even with a primitive text editor, the ability to try out ideas then correct and correct and correct is a profound change of the creation process. Once you have become used to the electronic medium, using a pen and paper seems as awkard and insufferable as, for someone accustomed to driving a car, being forced to travel in an oxen cart.

This liberating effect, the ability to work on your creations as a sculptor kneading an infinitely malleable material, is one of the greatest contributions of computer technology. Here we are talking about text, but the effect is just as profound on other media, as any architect or graphic artist will testify.

The electronic medium does not just give us more convenience; it changes the nature of writing (or composing, or designing). With paper, for example, there is a great practical difference between introducing new material at the end of the existing text,  which is easy, and inserting it at some unforeseen position, which is cumbersome and sometimes impossible. With computerized tools, it doesn’t matter. The change of medium changes the writing process and ultimately the writing: with paper the author ends up censoring himself to avoid practically painful revisions; with software tools, you work in whatever order suits you.

Technical texts, with their numbered sections and subsections, are another illustration of the change: with a text processor you do not need to come up with the full plan first, in an effort avoid tedious renumbering later. You will use such a top-down scheme if it fits your natural way of working, but you can use any other  one you like, and renumber the existing sections at the press of a key. And just think of the pain it must have been to produce an index in the old days: add a page (or, worse, a paragraph, since it moves the following ones in different ways) and you would  have to recheck every single entry.

Recent Web tools have taken this evolution one step further, by letting several people revise a text collaboratively and concurrently (and, thanks to the marvels of  longest-common-subsequence algorithms and the resulting diff tools, retreat to an earlier version if in our enthusiasm to change our design we messed it up) . Wikis and Google Docs are the most impressive examples of these new techniques for collective revision.

Whether used by a single writer or in a collaborative development, computer tools have changed the very process of creation by freeing us from the tyranny of physical media and driving to zero the logistic cost of  one or a million changes of mind. For the betties among us, not blessed with an inborn ability to start at A, smoothly continue step by step, and end at Z, this is a life-changer. We can start where we like, continue where we like, and cover up our mistakes when we discover them. It does not matter how messy the process is, how many virtual pages we tore away, how much scribbling it took to bring a paragraph to a state that we like: to the rest of the world, we can present a result as pristine as the manuscript of a Mozart concerto.

These advances are not appreciated enough; more importantly, we do not take take enough advantage of them. It is striking, for example, to see that blogs and other Web pages too often remain riddled with typos and easily repairable mistakes. This is undoubtedly because the power of computer technology tempts us to produce ever more documents and in the euphoria to neglect the old ones. But just as importantly that technology empowers  us to go back and improve. The old schoolmaster’s advice — revise and revise again [1] — can no longer  be dismissed as an invitation to fruitless perfectionism; it is right, it is fun to apply, and at long last it is feasible.

Reference

[1] “Vingt fois sur le métier remettez votre ouvrage” (Twenty times back to the loom shall you bring your design), Nicolas Boileau