raino@td2cad.intel.com (Rodger Raino) (09/07/88)
These are some comments that stem from the discussion here about syntax (pre-post-in-outfix), data typing, etc. All these issues imply that machine concerns are more important than human concerns. A DO loop is really looking at something from the machines point of view, it has very little to do with how *I* think as a human being. Now being good programers it seems we have a talent for speaking in terms that machines "like", but perhaps this also influences what we are capable of saying. Forth allows (encourages?) us to move away from the tyranny of the machine. For example in Forth I can write poetically : AI ( -- ) the Rules learn ; This probably needs a bit of fleshing out to run, but it is in fact a ligit and elegant (IMHO) program. Notice that as a statment to humans (as opposed to machine) the visual layout is as important as the syntax. I think the most interesting word here is "the". Anyone want to venture a defination beyond : the ' (the) ; which doesn't quite do the trick. And what about this pesky "(the)", what *do* we use this word *for* in english? Forth thru it's insistence that no character is "special" and can be used for *any* purpose allows humans to dominate the machine. Once we give away even a single glyph, maybe just a simple "()" set of parens, the machine is in a controling position. We end up speaking (and thinking) in it's language not our own. In the past it this may have been reasonable due to hardware costs, but now we should just tell the droids to eat cake! One final note RPN doesn't just mean flipping the order around think(big) /shouldn't have given the parens away /and what about this backslash does not become big think rather based on what *you* want to say it should be something like big thinking big thoughts big idea thanks rodger -- -_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_ i know i'm a bad speller, don't waste FlameWidth pointing out old news intel agrees with this, but not necessarly anything above the line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .