os trabalhos e os dias vivendo o sonho e a realidade ao mesmo tempo (1)

9Feb/06Off

Noite funda

Juntam-se muitas vozes na minha cabeça, ou será só a minha? São convivas habituais, juntam-se em mim como vizinhos que desde sempre se sentam à mesma mesa do café. Juntam-se e falam:

Coleridge lamenta:

Who is the God of the dead? where doth he make his dwelling? what sacrifices are acceptable unto him? for I have offered, but have not been received; I have prayed, and have not been heard; and how can I be afflicted more than I already am?

Diz Poe:

Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.

Ian Curtis grita:

Touching from a distance, further all the time

Emily, deliciosa Emily, fala tu, fala até que eu durma:

I ’m nobody! Who are you?
Are you nobody, too?
Then there ’s a pair of us—don’t tell!
They ’d banish us, you know.

Falam as vozes, não fala ninguém.

3Feb/06Off

Why is programming fun?

Why is programming fun? What delights may its practitioner expect as his reward?

First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God's delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake.

Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child's fist clay pencil holder "for Daddy's office."

Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate.

Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes practical, sometimes theoretical, and sometimes both.

Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.

Yet the program construct, unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard, and a display screen comes to life, showing things that never were nor could be.

Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

Fred Brooks, The Mythical Man-Month