put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes... James Joyce, Ulysses
evolution of specific concepts Concepts: → Formal syntactic notation, → formal semantic definitional techniques, → attempts at designing machines whose instruction code is a higher level language, → user defined languages.
user to specify his [sic!] instructions – or wishes – in a natural language such as English. That is a shorthand way of saying that the user could use his [sic!] native language, including notation (e.g. Algebra, molecular diagrams) appropriate to his particular field. This concept does not envision one single computer system understanding all of English. It does envision many systems, each of which is capable of dealing with a particular field, specifically including its specialized jargon. Jean E. Sammet, Programming Languages: History and Future. IBM Corporation, 1972
a remarkable patience. Juliet, a likewise young woman of remarkable grace. Ophelia, a remarkable woman much in dispute with Hamlet. Hamlet, the flatterer of Andersen Insulting A/S. Act I: Hamlet's insults and flattery. Scene I: The insulting of Romeo. [Enter Hamlet and Romeo] Hamlet: You lying stupid fatherless big smelly half-witted coward! You are as stupid as the difference between a handsome rich brave hero and thyself! Speak your mind! You are as brave as the sum of your fat little stuffed misused dusty old rotten codpiece and a beautiful fair warm peaceful sunny summer's day. You are as healthy as the difference between the sum of the sweetest reddest rose and my father and yourself! Speak your mind! You are as cowardly as the sum of yourself and the difference between a big mighty proud kingdom and a horse. Speak your mind. Speak your mind! [Exit Romeo] # rest of the code omitted
deploying a term liek nonelen in these cases is acutually similar to your cirtique of the term ideopigical unamlsing as a too-broad unanuajce interprestive proacdeure. You say too musch lie a steamroller when we need dental (I,d say jeweller’s) tools.
what it says, then it can also be said to be like poetry inasmuch as it involves both written and spoken forms. The analogy to poetry suggests numerous aesthetic and critical possibilities for code, beyond its serving simply as functional instructions. Geoff Cox, Speaking Code: Coding as Aesthetic and Political Expression, p. 32
in ways similar to other human communicative expression through language and gesture. They do this through their manipulation of layers of representation, including symbols, then words, language, and notation. Geoff Cox, Speaking Code: Coding as Aesthetic and Political Expression