jmkr

Been interested in parser combinators for a while now but never really understood how people use them outside of toy examples (including watching this video multiple times).

Are there any books like the popular compilers books that use them to build a language. Or is it just finding parsec implementations?

I've been interested in Coalton lately, and I guess this is one of the examples, so maybe I've answered my own question.

https://github.com/coalton-lang/coalton/tree/main/examples/q...

Thanks!

I've been chipping away at something similar. I mostly keep writing "what is art," "who are artists," and "what is programming" "what is a programmer?" So I may reach out. It's not formal, but is inspired from my academic career and interests.

> The first step in our study of aesthetic standards in source code will identify the aesthetic ideals ascribed by programmers to the source code they write and read; that is, the syntactic qualifiers and semantic fields that they refer to when discussing program texts. To that end, we first start by clarifying whom we refer to by the term programmers , revealing a multiplicity of practices and purposes, from massively-distributed codebases to ad hoc , one-line solutions, cryptic puzzles and printed code.

Even this paragraph is similar how I've written in terms of word choice. :)

Nice bibiliography too. Happy to see Tractatus there.

> But aesthetically, the source code used to construct the latter array is more "readable" than the former.

Not aesthetically, visually.

Article has some pretty great links.

Programming and aesthetics (Art) are probably the two things that itch my mind the most.

There's a certain type of mindset that people that do and participate in creative programming/digital art have in common with other passionate/creative types. Part of it is the discovery, the inquisitiveness, the plasticity, and the unexpected.

In general sarcastic prose. When you focus more on the creative side you get the general purpose dynamic, memory managed languages. Just make something cool. When you focus more on the comp sci side you get the strongly functional languages, Haskell, Ocaml. And if you mix them together you get lisp.

Clojure and Common Lisp has spoiled /me/.

Things really are, and can be that simple. Rich has some talks that should be required viewing for all programmers.

Turns out that I miss all the conveniences whenever I'm not using a lisp-like.

I discovered memoryview when looking at the JACK Python library. It is pretty neat. But also one of those things I wouldn't have known to look for.

I have thought Python's arrays have been overlooked for years. So much so that people call a list an array.

In Sonic 3 there is a carnival level. At a certain point in the game there's this spin bouncing platform you need to move to get past. Many hours/days spent trying to get past that part.

Year later, in college I was thinking back on it and I looked it up, turns out it should have been much easier. Seeing your comment made me look it back up. Apparently it's called "the barrel of doom" and well known.

Before discovering GameFaqs, some games just ended at a certain part because you were lost.

For audio analysis:

https://librosa.org/

Audio track seperation:

https://github.com/adefossez/demucs

demucs works pretty well.

I assume most people would find a dominant dissonant. A V7 is difficult to figure out. A V9 sounds better.

To say blues doesnt sound dissonant sounds more like only adding the relative minor b5. Or British blues rock.

I have neither used Rocksmith nor my links, but I have found these on my guitar quest (not opensource).

https://tonelib.net/jam-overview.html https://yousician.com/guitar

But I have been interested in something like https://github.com/PolyMeilex/Neothesia for guitar.

We still play Jazz standards from 100 years ago. It seems if you want to be able to have your own take on something you should be able to do it the intended way, capture l'espirit, and then impart your own.

Also it's much cooler to switch back and forth between styles.

Synthwave is pretty cool, but it'd also be pretty cool to hear a Moog play a piece from an old composer instead of a simple drone.

> I like to view artists as mediums that can channel and manifest art, but that art stands on its own. Bach just happened to be the one in our lifetime to do that with what he discovered. — The strongest evidence to me for this is that art can outlast the artist every single time.

> I like to think music exists beyond humans and humanity. Maybe far out there in the galaxy or in some other dimension not yet seen. Not exclusive to us, not an anthropological view, maybe spiritual.

I write about this very frequently. I have a strong interest in Art and aesthetics, and play guitar, and write poetry. I'm going to try to not post an essay, which is hard, but I could talk about this for days and am open to any others that want to talk about music and art.

I think I mostly agree with these quotes.

I specifically think that Art is so transcended from humanity it escapes it, it escapes the emotions, it escapes the day to day. One might be emotional about it, but emotional intent isn't a part of it since Art is beyond emotion, and thus also the communication of emotion.

If you want a good definition for what I think of as Art, read Zarathustra. My thoughts on overcoming are similar as to do with Art. Which is, is it something we can really achieve? Or is the intention enough to make it? And if so, how much intention is needed?

However I will leave you with something else about Art, something that I think is more closely to how we most of the time experience music.

John Dewey describes Art as the relationship between the artist, the medium, and the audience. All three are needed for it to be Art.

When you go see a live show, one with skilled musicians which are able to improv (playing with modal changes, and knowing how to build and release tension without thought), you get something new, an experience, that only exists in that moment. That experience cannot be captured, the audio can, even video of the audience and performers can, but that experience only exists during that improv, it will never happen again. And in my opinion that is the closest thing to Art, not only for music, but for other traditional art forms as well.

> The fact we channel it to express our emotions is incredible...

This conflicts with my first definition of Art (Platonic) but sits nicely with the second definition (John Dewey). There is something inescapable communicated listening to Pavarotti, but there's also something inescapable being communicated listening to Grant Green. Two completely different forms of music, communicating different things, but it's still very human and powerful.

What is it like working with hard real time? As in, is there some tooling to determine how long a given function will take to run to meet a deadline? It starts to sound like an NP problem, but we have other kinds of correctness and proof testing.

I suppose it's hard to make guarantees with different environments and hardware, but I realized when we (non-realtime people) ship software we don't really have guarantees for when our functions run.

As a web developer, learning music and audio programming makes my mind melt. We often say "real time" when we mean "fast." But in audio real time means "really fast, all the time" and somewhat deterministically.

If your tempo drifts, then you're not going to hear the rhythm correctly. If you have a bit of latency on your instrument, it's like turning on a delay pedal where the only signal coming through is the delay.

One might assume if you just follow audio programming guides then you can do all this, but you still need to have your system setup to handle real time audio, in addition to your program.

It's all noticeable.

Yeah it should, it pretty much just checks what's in the installed libraries of the given project/path.

I typed it up: https://git.sr.ht/~jlambda/docs/tree/docs/item/python/python...

You can create a virtual environment that you don't source/activate (for your projects), then you can use that to `pip install` the libraries you want to share and add that to your `PYTHONPATH`.

Since your `PYTHONPATH` searches in order your project virtual environment will override any other libraries you have in your path, say with different version.

It will look something like this:

    PYTHONPATH=${PWD}:${HOME}/envs/shared/lib64/${PYTHONVERSION}/site-packages/

No thanks, security is already ridiculous.

> There's nothing worse than hundreds of phone screens glowing in your face while you're trying to enjoy a live act.

Plenty of worse things. People throwing up on you. Harassment. Tarps. Passing out. Being sold water even though it's supposed to be free. Taking bottle caps away from you. People talking during the show. People yelling about politics.

I don't enjoy all the phones either, but it is what it is.

Yam Yam and Karina Rykman would fit in your list. Thanks for it.

There's a lot of negative vibes in programming these days. When I think of a programming community I think of fun, learning, engagement, projects, /programming/. These days it feels like it's just for money or power. These negative feelings make it all less fun.

So I've been doing music instead. I'm not good at it at all, but learning it ticks pretty much all the boxes that programming does. It's scientific in some ways, creative in others, and overall kind of fun to just build things.

Sometimes I like to wave at people. On tour buses they will almost never wave back, off tour buses they will sometimes. In the latter case I'm not really making a judgement, but in the former case it feels like a safari kind of thing.

Of course it's a subjective feeling I have, but I think this is different than people watching which I suspect you're referring to.

In the your comment I've started asking people about their cool/interesting clothes. Some people are receptive others aren't. This is an aside from what I was saying but just want to mention I've started having fun and interesting conversations that way.

> One of the animals raises her head over her enclosure and gazes pensively at me, her widely spaced eyes and odd, rectangular pupils seeking to make contact—and perhaps even connection.

One time I did scuba, and I'm swimming in the water. There were fish, I have no idea what kind of fish, kinda small, maybe they size of an open hand. One fish swam in front of me, facing me, and stopped. It just chilled there. You can't speak under water, and even if you could you can't communicate with a fish. But there was some kind of connection we were making. I realized at that moment, in that moment, we were both experiencing something, and we were both inquisitive of each other. Me, a foreigner to the water, a tourist, and the fish, a local, wondering about this one biped that looks kinda funny.

After a few minutes I guess it decided that the "conversation" had come to a natural ending and swam away. Out of the many fish that were near me that day, that was the one to stop and say hi.

There are many tourists in this world. I have gone abroad and witnessed the tourists expecting something from the locals. I also see a lot of tourist and noticed they look at me, a local, like I'm a (non-human) animal. Over the years I like to think back to that specific individual fish, and realize that our differences aren't so great, and humans are the tourists that expect something from them, entire industries that capture a number of them every year that's so large many of us can't even comprehend.

I have a few stories similar to this fish with other animals, and because of that the above quote resonates with me. I hope more articles come out which are not about just "sciency things" void of the humans and non-human condition, but the self actualization and realization of the individual that we're not alone.

The sphere would have been my 50th.

Definitely my musical inspirations as well. Top musicians that make me appreciate music, just all music, better.

Still hyped from summer tour.

Hope to see you in a couple of days.

In my experience pipewire didn't work for me but Jack did.

> It had a steep learning curve and a lot of configuration

Yeah I experienced that with Jack too. I spent even more time trying to learn and configure Pipewire, much longer than I ever did with Jack, all to give up and go back to Jack.

I also hope the "pro" audio side gets more love. I'm not an audio pro, but I do play music.

Long story short, I tried pipewire for a year, it was a wasted year. Realtime audio never worked, it was a mess of configurations that didn't fix anything. Went back to Jack, everything worked.

Was sad that I could have spent more time making music instead of messing with "the newest, greatest, and best" in the Linux world.

Same. I used to read a lot when younger, then grad school happened.

I think it made me burnt out of reading.

I think practice and keeping up with reading is part of it. But I think a larger part of it is now that I associate reading with time management and stress. The brain is active.

I've had this conversation with others that went to grad school. It's like the brain can't read or learn something without constant pressure and stress to understand everything about it.

This is a strange comment because not only is academic philosophy built from the Greek tradition, but it is formalized. Maybe one can say it stagnated for centuries but I find it difficult to say that the work in the 20th century is inferior.

I wouldn't say that about comparing Hilbert to Pythagoras, and this is not putting down history of knowledge.

I've never been asked this question, but I think I'd respond similarly. In fact, when I think of Rome, I think of Greece. They are nearly inseparable for me, but that's probably because my understanding of history is the history of western philosophy. You start with the Socratics, then read about the neo-platonist in Rome.

Why do you love edn? Specifically I also like edn, but I always felt like my use of it was glorified json.

I did like integrant, at least I felt like I understood it, unlike component.

There were two things about edn that made it seem better than json to me, tagged elements (and readers), and symbols. I don't remember exactly my use case but I used symbols in edn to something like namespace-resolution for multimethods. It was something like including a file in a classpath or loading a file, dev vs prod kind of config.

Backend Developer with 7 yoe with etl/data, servers (Linux) and cloud (Aws), and api. With procedural, OOP, and FP languages, and interests in formal languages, experience in search space, with interests in PL.

Location: NY

Remote: Preferably

Willing to relocate: Possibly

Technologies: Python, Clojure, Elasticsearch, Rabbitmq, pretty much backend/data

Résumé/CV: Email

Email: jmkrhn@fastmail.cn

Interesting, I went to college to study computer science because I liked computers and programming. Then I switched to philosophy. Then did some math and cs in grad school.

> Ya no wonder I wouldn’t like CS with these peers.

Yeah I'd switch out of cs again to avoid those peers :)

Though in the proper setting I would have loved sticking with cs as an undergrad.