Let’s Begin
A computer is a clock with benefits. They all work the same, doing second-grade math, one step at a time: Tick, take a number and put it in box one. Tick, take another number, put it in box two. Tick, operate (an operation might be addition or subtraction) on those two numbers and put the resulting number in box one. Tick, check if the result is zero, and if it is, go to some other box and follow a new set of instructions.
How Does Code Become Software?
We know that a computer is a clock with benefits, and that software starts as code, but how?
We know that someone, somehow, enters a program into the computer and the program is made of
code. In the old days, that meant putting holes in punch cards. Then you’d put the cards into a box and give them to an operator who would load them, and the computer would flip through the cards, identify where the holes were, and update parts of its memory, and then it would—OK, that’s a little too far back. Let’s talk about modern typing-into-a-keyboard code.
You, using a pen and paper, can do anything a computer can; you just can’t do those things billions of times per second. And those billions of tiny operations add up. They can cause a phone to boop, elevate an elevator, or redirect a missile. That raw speed makes it possible to pull off not one but multiple sleights of hand, card tricks on top of card tricks. Take a bunch of pulses of light reflected from an optical disc, apply some math to unsqueeze them, and copy the resulting pile of expanded impulses into some memory cells—then read from those cells to paint light on the screen. Millions of pulses, 60 times a second. That’s how you make the rubes believe they’re watching a movie.
Apple has always made computers; Microsoft used to make only software (and occasional accessory hardware, such as mice and keyboards), but now it’s in the hardware business, with Xbox game consoles, Surface tablets, and Lumia phones. Facebook assembles its own computers for its massive data centers.
So many things are computers, or will be. That includes watches, cameras, air conditioners, cash registers, toilets, toys, airplanes, and movie projectors. Samsung makes computers that look like TVs, and Tesla makes computers with wheels and engines. Some things that aren’t yet computers—dental floss, flashlights—will fall eventually.
When you “batch” process a thousand images in Photoshop or sum numbers in Excel, you’re programming, at least a little. When you use computers too much—which is to say a typical amount—they start to change you. I’ve had Photoshop dreams, Visio dreams, spreadsheet dreams, and Web browser dreams. The dreamscape becomes fluid and can be sorted and restructured. I’ve had programming dreams where I move text around the screen.
You can make computers do wonderful things, but you need to understand their limits. They’re not all-powerful, not conscious in the least. They’re fast, but some parts—the processor, the RAM—are faster than others—like the hard drive or the network connection. Making them seem infinite takes a great deal of work from a lot of programmers and a lot of marketers.
The turn-of-last-century British artist William Morris once said you can’t have art without resistance in the materials. The computer and its multifarious peripherals are the materials. The code is the art.
How Does Code Become Software?
We know that a computer is a clock with benefits, and that software starts as code, but how?
We know that someone, somehow, enters a program into the computer and the program is made of
code. In the old days, that meant putting holes in punch cards. Then you’d put the cards into a box and give them to an operator who would load them, and the computer would flip through the cards, identify where the holes were, and update parts of its memory, and then it would—OK, that’s a little too far back. Let’s talk about modern typing-into-a-keyboard code.
You, using a pen and paper, can do anything a computer can; you just can’t do those things billions of times per second. And those billions of tiny operations add up. They can cause a phone to boop, elevate an elevator, or redirect a missile. That raw speed makes it possible to pull off not one but multiple sleights of hand, card tricks on top of card tricks. Take a bunch of pulses of light reflected from an optical disc, apply some math to unsqueeze them, and copy the resulting pile of expanded impulses into some memory cells—then read from those cells to paint light on the screen. Millions of pulses, 60 times a second. That’s how you make the rubes believe they’re watching a movie.
Apple has always made computers; Microsoft used to make only software (and occasional accessory hardware, such as mice and keyboards), but now it’s in the hardware business, with Xbox game consoles, Surface tablets, and Lumia phones. Facebook assembles its own computers for its massive data centers.
So many things are computers, or will be. That includes watches, cameras, air conditioners, cash registers, toilets, toys, airplanes, and movie projectors. Samsung makes computers that look like TVs, and Tesla makes computers with wheels and engines. Some things that aren’t yet computers—dental floss, flashlights—will fall eventually.
When you “batch” process a thousand images in Photoshop or sum numbers in Excel, you’re programming, at least a little. When you use computers too much—which is to say a typical amount—they start to change you. I’ve had Photoshop dreams, Visio dreams, spreadsheet dreams, and Web browser dreams. The dreamscape becomes fluid and can be sorted and restructured. I’ve had programming dreams where I move text around the screen.
You can make computers do wonderful things, but you need to understand their limits. They’re not all-powerful, not conscious in the least. They’re fast, but some parts—the processor, the RAM—are faster than others—like the hard drive or the network connection. Making them seem infinite takes a great deal of work from a lot of programmers and a lot of marketers.
The turn-of-last-century British artist William Morris once said you can’t have art without resistance in the materials. The computer and its multifarious peripherals are the materials. The code is the art.
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