|
|
| (16 dazwischenliegende Versionen desselben Benutzers werden nicht angezeigt) |
| Zeile 1: |
Zeile 1: |
| | + | ---- |
| | Esoterische Programmiersprachen | | Esoterische Programmiersprachen |
| | * haben nichts mit Esoterik an sich zu tun | | * haben nichts mit Esoterik an sich zu tun |
| Zeile 17: |
Zeile 18: |
| | * Befehlende Sprachen sind Abwandungen von langweiligen imperativen Programmiersprachen | | * Befehlende Sprachen sind Abwandungen von langweiligen imperativen Programmiersprachen |
| | ==Bsp.: .GERTRUDE== | | ==Bsp.: .GERTRUDE== |
| − | '''Ankündigungsmail vom Entwickler:<br>
| + | see exMediawiki-Page: [[.Gertrude]] |
| − | <pre>
| |
| − | From: Gerson.Kurz@t-online.de (Gerson Kurz)
| |
| − | Subject: [.Gertrude Stein] Text below
| |
| − | Date: Thu, 3 May 2001 21:27:56 +0100
| |
| − | | |
| − | ".Getrude Stein" is a new programming language named after the writer (which
| |
| − | I happen to like). Actually, its less of a language and more of a language
| |
| − | encoding.
| |
| − | | |
| − | The idea is simple: the code consists of regular sentences of any kind of
| |
| − | natural language. For each sentence, an average word length is calculated
| |
| − | (and rounded up/down). Words that are exactly as long as the average word
| |
| − | are ignored. For the other words, a ratio [words longer than average]/[words
| |
| − | smaller than average] is calculated and used as an instruction index. (For
| |
| − | instance, the ratio 4/1 could be the add instruction and so on). Sentences
| |
| − | that contain ! or ? are ignored and can be used as comments. Numbers are
| |
| − | encoded as ratios of the form 1/x , then decoded as (int)(1/(1/x)).
| |
| − | | |
| − | I think programming in this encoding should be *quite* difficult, because
| |
| − | you have the "unenforced" restriction that the sentences should be proper
| |
| − | english (or German, or Swaheli or whatever) sentences. [So, cheating aka
| |
| − | using "xxx" as word is not allowed]. Maybe one can enforce as restriction
| |
| − | some language heuristics (e.g. not too many of the same character in one
| |
| − | word etc.]
| |
| − | </pre>
| |
| − | ----
| |
| − | * benannt nach der Schriftstellerin Gertrude Stein
| |
| − | * benutzt Poesie als Quelltext → Aneinanderreihung von Sätzen in natürlicher Sprache
| |
| − | | |
| − | * von jedem Satz wird berechnet
| |
| − | ** die durchschnittliche Wortlänge
| |
| − | ** das Verhältnis [Wörter länger als Durchschnitt] zu [Wörter die kürzer sind als Durchschnitt]
| |
| − | * bestimmte Längenverhältnisse bedeuten bestimmte Befehle
| |
| − | * Jeder Satz steht also für einen Befehl
| |
| − | | |
| − | ===Beispiele Längenverhältnisse===
| |
| − | | |
| − | | |
| − | 6/3
| |
| − | Define a new function
| |
| − | 2/7
| |
| − | Call a function
| |
| − | 3/6
| |
| − | Begin a new code block
| |
| − | 4/12
| |
| − | End of a code block
| |
| − | 16/15
| |
| − | Define a Variable
| |
| − | 18/16
| |
| − | Assignment Statement
| |
| − | 10/20
| |
| − | +=
| |
| − | 14/10
| |
| − | +
| |
| − | 4/14
| |
| − | -=
| |
| − | 11/7
| |
| − | -
| |
| − | 23/14
| |
| − | *=
| |
| − | 6/16
| |
| − | *
| |
| − | 8/12
| |
| − | /=
| |
| − | 5/8
| |
| − | /
| |
| − | 14/8
| |
| − | %=
| |
| − | 24/17
| |
| − | %
| |
| − | 23/10
| |
| − | Or=
| |
| − | 22/23
| |
| − | Or
| |
| − | 19/22
| |
| − | And=
| |
| − | 18/14
| |
| − | And
| |
| − | 10/18
| |
| − | Nand=
| |
| − | 15/15
| |
| − | Nand
| |
| − | 14/12
| |
| − | BitOr=
| |
| − | 15/26
| |
| − | BitOr
| |
| − | 6/11
| |
| − | BitAnd=
| |
| − | 17/11
| |
| − | BitAnd
| |
| − | 15/19
| |
| − | <
| |
| − | 18/15
| |
| − | ==
| |
| − | 13/13
| |
| − | >
| |
| − | 13/15
| |
| − | <=
| |
| − | 15/14
| |
| − | !=
| |
| − | 10/15
| |
| − | >=
| |
| − | 3/1
| |
| − | Define a literal
| |
| − | 7/14
| |
| − | Print an integer value as a character
| |
| − | 7/15
| |
| − | Print a string
| |
| − | 23/20
| |
| − | not
| |
| − | 6/10
| |
| − | if-then
| |
| − | 20/18
| |
| − | while-do
| |
| − | 14/20
| |
| − | until-do
| |
| − | 12/12
| |
| − | if-then-else
| |
| − | 10/19
| |
| − | if-then-unless
| |
| − | 1/6
| |
| − | if-then-provided
| |
| − | 25/15
| |
| − | while-do-unless
| |
| − | | |
| − | | |
| − | ==="Hello World===
| |
| − | <pre>
| |
| − | From: Gerson.Kurz@t-online.de (Gerson Kurz)
| |
| − | Subject: [.Gertrude] [Long] Hello, World
| |
| − | Date: Sat, 5 May 2001 11:04:01 +0100
| |
| − | </pre>
| |
| − | The following is a -working- version of "Hello, World" in .Gertrude. All
| |
| − | sentences are taken either from the 1914 text "Tender Buttons" by Gertrude
| |
| − | Stein, available online at http://www.bartleby.com/140/1.html, or from Kants
| |
| − | Critique of Pure Reason. The interpreter for this fine sourcecode will be
| |
| − | available for downloading on my site tomorrow. I'm looking for great online
| |
| − | texts to turn into .gertrude sourcecode, so if you have suggestions, shoot.
| |
| − | ----
| |
| − | '''Code:'''<br>
| |
| − | <pre>
| |
| − | Winged to be winged means that white is yellow and pieces pieces that are
| |
| − | brown are dust color if dust is washed off then it is choice that is to say
| |
| − | it is fitting cigarettes sooner than paper.
| |
| − | A CARAFE THAT IS A BLIND GLASS.
| |
| − | Suppose they are put together suppose that there is an interruption
| |
| − | supposing that beginning again they are not changed as to position suppose
| |
| − | all this and suppose that any five two of whom are not separating suppose
| |
| − | that the five are not consumed.
| |
| − | Cut more than any other and show it.
| |
| − | He would have been peculiarly well fitted to give a truly scientific
| |
| − | character to metaphysical studies had it occurred to him to prepare the
| |
| − | field by a criticism of the organum that is of pure reason itself.
| |
| − | The difference is spreading.
| |
| − | A sight a whole sight and a little groan grinding makes a trimming such a
| |
| − | sweet singing trimming and a red thing not a round thing but a white thing a
| |
| − | red thing and a white thing.
| |
| − | A little called anything shows shudders.
| |
| − | But an thought must directly or indirectly by means of certain signs relate
| |
| − | ultimately to intuitions; consequently with us to sensibility because in no
| |
| − | other way can an object be given to us.
| |
| − | Nickel what is nickel it is originally rid of a cover.
| |
| − | Why is a pale white not paler than blue why is a connection made by a stove
| |
| − | why is the example which is mentioned not shown to be the same why is there
| |
| − | no adjustment between the place and the separate attention.
| |
| − | What is the sash like.
| |
| − | " But the category of substance when the conception of a body is brought
| |
| − | under it determines that; and its empirical intuition in experience must be
| |
| − | contemplated always as subject and never as mere predicate.
| |
| − | The change in that is that red weakens an hour.
| |
| − | But motion considered as the description of a space is a pure act of the
| |
| − | successive synthesis of the manifold in external intuition by means of
| |
| − | productive imagination and belongs not only to geometry but even to
| |
| − | transcendental philosophy.
| |
| − | A widow in a wise veil and more garments shows that shadows are even.
| |
| − | A plain hill one is not that which is not white and red and green a plain
| |
| − | hill makes no sunshine it shows that without a disturber.
| |
| − | We cannot cogitate a geometrical line without drawing it in thought nor a
| |
| − | circle without describing it nor represent the three dimensions of space
| |
| − | without drawing three lines from the same point perpendicular to one
| |
| − | another.
| |
| − | There is no search.
| |
| − | Principles a priori are so called not merely because they contain in
| |
| − | themselves the grounds of other judgements but also because they themselves
| |
| − | are not grounded in higher and more general cognitions.
| |
| − | But there is there is that hope and that interpretation and sometime surely
| |
| − | any is unwelcome sometime there is breath and there will be a sinecure and
| |
| − | charming very charming is that clean and cleansing.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | Cutting shade cool spades and little last beds make violet violet when.
| |
| − | It is very remarkable that we cannot perceive the possibility of a thing
| |
| − | from the category alone but must always have an intuition by which to make
| |
| − | evident the objective reality of the pure conception of the understanding.
| |
| − | There can be breakages in Japanese.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | Cutting shade cool spades and little last beds make violet violet when.
| |
| − | Mathematical axioms (for example there can be only one straight line between
| |
| − | two points) are general a priori cognitions and are therefore rightly
| |
| − | denominated principles relatively to the cases which can be subsumed under
| |
| − | them.
| |
| − | That is no color chosen.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | Cutting shade cool spades and little last beds make violet violet when.
| |
| − | If we employ our reason not merely in the application of the principles of
| |
| − | the understanding to objects of experience but venture with it beyond these
| |
| − | boundaries there arise certain sophistical propositions or theorems.
| |
| − | It was chosen yesterday that showed spitting and perhaps washing and
| |
| − | polishing.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | Cutting shade cool spades and little last beds make violet violet when.
| |
| − | As regards the second statement let us first take the opposite for granted-
| |
| − | that the world is finite and limited in space; it follows that it must exist
| |
| − | in a void space which is not limited.
| |
| − | The change of color is likely and a difference a very little difference is
| |
| − | prepared.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | The lamp and the cake are not the only sign of stone.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | The assertor of the all-sufficiency of nature in regard to causality
| |
| − | (transcendental Physiocracy) in opposition to the doctrine of freedom would
| |
| − | defend his view of the question somewhat in the following manner.
| |
| − | Callous is something that hardening leaves behind what will be soft if there
| |
| − | is a genuine interest in there being present as many girls as men.
| |
| − | We must seek the cause of our failure in our idea itself which is an
| |
| − | insoluble problem and in regard to which we obstinately assume that there
| |
| − | exists a real object corresponding and adequate to it.
| |
| − | It shows that dirt is clean when there is a volume.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | The place was shown to be very like the last time.
| |
| − | If we say of a thing that in relation to some other thing it is too large or
| |
| − | too small the former is considered as existing for the sake of the latter
| |
| − | and requiring to be adapted to it.
| |
| − | A cushion has that cover.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | Choose the rate to pay and pet pet very much.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | The principle of an unbroken connection between all events in the phenomenal
| |
| − | world in accordance with the unchangeable laws of nature is a
| |
| − | well-established principle of transcendental analytic which admits of no
| |
| − | exception.
| |
| − | A circle of fine card board and a chance to see a tassel.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | But still further removed than the idea from objective reality is the Ideal
| |
| − | by which term I understand the idea not in concreto but in individuo- as an
| |
| − | individual thing determinable or determined by the idea alone.
| |
| − | The question does not come before there is a quotation.
| |
| − | On the contrary this idea serves merely to indicate a certain unattainable
| |
| − | perfection and rather limits the operations than by the presentation of new
| |
| − | objects extends the sphere of the understanding.
| |
| − | In any kind of place there is a top to covering and it is a pleasure at any
| |
| − | rate there is some venturing in refusing to believe nonsense.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | A season in yellow sold extra strings makes lying places.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | I answer: It is absurd to introduce- under whatever term disguised- into the
| |
| − | conception of a thing which is to be cogitated solely in reference to its
| |
| − | possibility the conception of its existence.
| |
| − | It shows what use there is in a whole piece if one uses it and it is extreme
| |
| − | and very likely the little things could be dearer but in any case there is a
| |
| − | bargain and if there is the best thing to do is to take it away and wear it
| |
| − | and then be reckless be reckless and resolved on returning gratitude.
| |
| − | If the empirical law of causality is to conduct us to a Supreme Being this
| |
| − | being must belong to the chain of empirical objects- in which case it would
| |
| − | be like all phenomena itself conditioned.
| |
| − | Certainly glittering is handsome and convincing.
| |
| − | If we wish to divide this science from the universal point of view of a
| |
| − | science in general it ought to comprehend first a Doctrine of the Elements
| |
| − | and secondly a Doctrine of the Method of pure reason.
| |
| − | Cold pails cold with joy no joy.
| |
| − | The conceptions of reality substance causality nay even that of necessity in
| |
| − | existence have no significance out of the sphere of empirical cognition and
| |
| − | cannot beyond that sphere determine any object.
| |
| − | Is there not much more joy in a table and more chairs and very likely
| |
| − | roundness and a place to put them.
| |
| − | There are however pure principles a priori which nevertheless I should not
| |
| − | ascribe to the pure understanding- for this reason that they are not derived
| |
| − | from pure conceptions but (although by the mediation of the understanding)
| |
| − | from pure intuitions.
| |
| − | Very likely there should not be a finer fancy present.
| |
| − | Out of this sphere they are not properly conceptions but the mere marks or
| |
| − | indices of conceptions which we may admit although they cannot without the
| |
| − | help of experience help us to understand any subject or thing.
| |
| − | A closet a closet does not connect under the bed.
| |
| − | But our proof shows that external experience is properly immediate that only
| |
| − | by virtue of it- not indeed the consciousness of our own existence but
| |
| − | certainly the determination of our existence in time that is internal
| |
| − | experience- is possible.
| |
| − | Yet such really is the case here.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | At the same time we may attribute to this being infinite perfection- a
| |
| − | perfection which necessarily transcends that which our knowledge of the
| |
| − | order and design in the world authorize us to predicate of it.
| |
| − | A sight a whole sight and a little groan grinding makes a trimming such a
| |
| − | sweet singing trimming and a red thing not a round thing but a white thing a
| |
| − | red thing and a white thing.
| |
| − | Masters in the science of mathematics are confident of the success of this
| |
| − | method; indeed it is a common persuasion that it is capable of being applied
| |
| − | to any subject of human thought.
| |
| − | Dirty is yellow.
| |
| − | Where this unity of time is not to be met with as is the case with noumena
| |
| − | the whole use indeed the whole meaning of the categories is entirely lost
| |
| − | for even the possibility of things to correspond to the categories is in
| |
| − | this case incomprehensible.
| |
| − | A woolen object gilded.
| |
| − | If then in the speculative sphere of pure reason no dogmata are to be found;
| |
| − | all dogmatical methods whether borrowed from mathematics or invented by
| |
| − | philosophical thinkers are alike inappropriate and inefficient.
| |
| − | The three are on the table.
| |
| − | A little monkey goes like a donkey that means to say that means to say that
| |
| − | more sighs last goes.
| |
| − | Yet such really is the case here.
| |
| − | For such a hypothesis would introduce the principle of ignava ratio which
| |
| − | requires us to give up the search for causes that might be discovered in the
| |
| − | course of experience and to rest satisfied with a mere idea.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | A little monkey goes like a donkey that means to say that means to say that
| |
| − | more sighs last goes.
| |
| − | Yet such really is the case here.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | A SELTZER BOTTLE.
| |
| − | A little monkey goes like a donkey that means to say that means to say that
| |
| − | more sighs last goes.
| |
| − | Light blue and the same red with purple makes a change.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | A LONG DRESS.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | It shows that there is no mistake.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | Some increase means a calamity and this is the best preparation for three
| |
| − | and more being together.
| |
| − | A plan a hearty plan a compressed disease and no coffee not even a card or a
| |
| − | change to incline each way a plan that has that excess and that break is the
| |
| − | one that shows filling.
| |
| − | A LITTLE CALLED PAULINE.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | A little calm is so ordinary and in any case there is sweetness and some of
| |
| − | that.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | A seal and matches and a swan and ivy and a suit.
| |
| − | A little monkey goes like a donkey that means to say that means to say that
| |
| − | more sighs last goes.
| |
| − | Cutting shade cool spades and little last beds make violet violet when.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | The band if it is white and black the band has a green string.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | The disgrace is not in carelessness nor even in sewing it comes out out of
| |
| − | the way.
| |
| − | A little monkey goes like a donkey that means to say that means to say that
| |
| − | more sighs last goes.
| |
| − | Yet such really is the case here.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | The sash is not like anything mustard it is not like a same thing that has
| |
| − | stripes it is not even more hurt than that it has a little top.
| |
| − | A little monkey goes like a donkey that means to say that means to say that
| |
| − | more sighs last goes.
| |
| − | Yet such really is the case here.
| |
| − | But if you do not take care at the outset or at least midway to make men
| |
| − | good you will never force them into an honest belief.
| |
| − | Mathematics natural science the common experience of men have a high value
| |
| − | as means for the most part to accidental ends- but at last also to those
| |
| − | which are necessary and essential to the existence of humanity.
| |
| − | A BOX.
| |
| − | </pre>
| |
| | | | |
| | ==Bsp.: LOLCODE== | | ==Bsp.: LOLCODE== |
| − | Erfunden von:
| + | Entwickelt von: |
| | * Adam Lindsay (Mai 2007) | | * Adam Lindsay (Mai 2007) |
| | | | |
| Zeile 468: |
Zeile 57: |
| | * Es gibt Schleifen, Ein- und Ausgabe | | * Es gibt Schleifen, Ein- und Ausgabe |
| | ==Bsp.: WHITESPACE== | | ==Bsp.: WHITESPACE== |
| − | Erfunden von:
| + | Entwickelt von: |
| | * Edwin Brady und Chris Morris (Mai 2002) | | * Edwin Brady und Chris Morris (Mai 2002) |
| | | | |
| Zeile 505: |
Zeile 94: |
| | </pre> | | </pre> |
| | | | |
| | + | ---- |
| | =Stackbasierte Sprachen= | | =Stackbasierte Sprachen= |
| | * Stackbasierte Sprachen sind H-A-H-I-Sprachen (Heftzibah, Aaron, Ham, Isaschar) | | * Stackbasierte Sprachen sind H-A-H-I-Sprachen (Heftzibah, Aaron, Ham, Isaschar) |
| | * Stackbasierte Sprachen sind wortreich, aber unlesbar, und deterministisch | | * Stackbasierte Sprachen sind wortreich, aber unlesbar, und deterministisch |
| | * Stackbasierte Sprachen haben einen oder mehrere Stacks | | * Stackbasierte Sprachen haben einen oder mehrere Stacks |
| − | ==Bsp.: SHAKESPEARE== | + | ==Bsp.: SHAKESPEARE PROGRAMMING LANGUAGE (SPL)== |
| − | Erfunden von:
| + | see exMediawiki-Page: [[Shakespeare Programming Language]] |
| − | * ? (?)
| |
| − | | |
| − | | |
| − | ===Syntax=== | |
| − | * Ein Programm ist wie ein Drama von William Shakespeare
| |
| − | * Ein Programm folgt dem typischem Aufbau eines Dramas
| |
| − | * Aufbau: Titel, Dramatis Personae (Variablendeklarationen), Akte/Szenen (Anweisungen)
| |
| − | * Jeder Charakter der spricht, muss auf der Bühne stehen, Charaktere treten mit <code>[Enter]</code> auf und mit <code>[Exit]</code> (eine Person) oder <code>[Exeunt]</code> (mehrere Personen) ab
| |
| − | * Adjektive und Nomen entsprechen Zahlen (je nachdem ob sie ''nice'' sind oder nicht)
| |
| − | * Ausgabe mit Open your heart und Speak your mind
| |
| − | * Variablen sind Stacks, die mit Remember gefüllt und mit Recall geleert werden
| |
| − | | |
| − | ==="Hello World"===
| |
| − | <pre>
| |
| − | The Infamous Hello World Program.
| |
| − | | |
| − | Romeo, a young man with 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]
| |
| − | | |
| − | Scene II: The praising of Juliet.
| |
| − | | |
| − | [Enter Juliet]
| |
| − | | |
| − | Hamlet:
| |
| − | Thou art as sweet as the sum of the sum of Romeo and his horse and his
| |
| − | black cat! Speak thy mind!
| |
| − | | |
| − | [Exit Juliet]
| |
| − | | |
| − | Scene III: The praising of Ophelia.
| |
| − | | |
| − | [Enter Ophelia]
| |
| − | | |
| − | Hamlet:
| |
| − | Thou art as lovely as the product of a large rural town and my amazing
| |
| − | bottomless embroidered purse. Speak thy mind!
| |
| − | | |
| − | Thou art as loving as the product of the bluest clearest sweetest sky
| |
| − | and the sum of a squirrel and a white horse. Thou art as beautiful as
| |
| − | the difference between Juliet and thyself. Speak thy mind!
| |
| − | | |
| − | [Exeunt Ophelia and Hamlet]
| |
| − | | |
| − | | |
| − | Act II: Behind Hamlet’s back.
| |
| − | | |
| − | Scene I: Romeo and Juliet’s conversation.
| |
| − | | |
| − | [Enter Romeo and Juliet]
| |
| − | | |
| − | Romeo:
| |
| − | Speak your mind. You are as worried as the sum of yourself and the
| |
| − | difference between my small smooth hamster and my nose. Speak your
| |
| − | mind!
| |
| − | | |
| − | Juliet:
| |
| − | Speak YOUR mind! You are as bad as Hamlet! You are as small as the
| |
| − | difference between the square of the difference between my little pony
| |
| − | and your big hairy hound and the cube of your sorry little
| |
| − | codpiece. Speak your mind!
| |
| − | | |
| − | [Exit Romeo]
| |
| − | | |
| − | Scene II: Juliet and Ophelia’s conversation.
| |
| − | | |
| − | [Enter Ophelia]
| |
| − | | |
| − | Juliet:
| |
| − | Thou art as good as the quotient between Romeo and the sum of a small
| |
| − | furry animal and a leech. Speak your mind!
| |
| − | | |
| − | Ophelia:
| |
| − | Thou art as disgusting as the quotient between Romeo and twice the
| |
| − | difference between a mistletoe and an oozing infected blister! Speak
| |
| − | your mind!
| |
| − | | |
| − | [Exeunt]
| |
| − | </pre>
| |
| | | | |
| | ==Bsp.: BEATNIK== | | ==Bsp.: BEATNIK== |
| − | siehe: [[Beatnik]]
| + | see exMediawiki-Page: [[Beatnik]] |
| | | | |
| | ---- | | ---- |
| | + | |
| | =Mehrdimensionale Sprachen= | | =Mehrdimensionale Sprachen= |
| | * Mehrdimensionale Sprachen sind H-M-H-I-Sprachen (Heftzibah, Mose, Ham, Isaschar) | | * Mehrdimensionale Sprachen sind H-M-H-I-Sprachen (Heftzibah, Mose, Ham, Isaschar) |
| Zeile 627: |
Zeile 114: |
| | | | |
| | ==Bsp.: PIET== | | ==Bsp.: PIET== |
| − | Erfunden von:
| + | see exMediawiki-Page: [[Piet]] |
| − | * David Morgan-Mar (<= 2002)
| |
| | | | |
| − | | + | ---- |
| − | Designkriterien:
| |
| − | * Programme sollen aussehen wie abstrakte Kunst
| |
| − | * Besonders schöne Programme sehen aus wie Bilder von Piet Mondrian
| |
| − | | |
| − | | |
| − | Es existieren:
| |
| − | * Interpreter
| |
| − | * Piet-Editor mit Traces
| |
| − | * Online Piet Editor und Compiler (Demo)
| |
| − | | |
| − | | |
| − | Die kleinste semantische Einheit in einer solchen Bilddatei ist ein „Codel“ (Zusammensetzung von „Code“ und „Pixel“), ein – in der visuellen Repräsentation als Bild – Quadrat aus n2 Pixeln gleicher Farbe. Dieser Wert n wird dem Piet-Interpreter als Parameter übergeben und für die visuelle Darstellung von Piet-Programmen so gewählt, dass ein optisch ansprechendes (nicht zu kleines) Bild resultiert. Bei den Beispielen rechts hat n den Wert 4 (oben) beziehungsweise 11 (unten).
| |
| − | | |
| − | | |
| − | Technisch muss der Programmcode in Form einer Bilddatei im GIF-Format vorliegen. Piet ist eine Interpretersprache, das heißt der Piet-Interpreter liest den Inhalt der Datei (hier einer Bilddatei) mit dem Quelltext bitweise ein und interpretiert die darin enthaltenen Informationen als Programmbefehle.
| |
| − | ===Syntax===
| |
| − | * Piet ist eine grafische Programmiersprache
| |
| − | * Zwei Programmzeiger bewegen sich durch das Bild und werden durch Farbübergänge gedreht
| |
| − | * Es gibt einen Stack, auf den Werte gepusht werden können
| |
| − | * Die Zahl der Codels ("Code + Pixel") in einer zusammenhängenden Farbfläche repräsentiert einen Integer
| |
| − | * Der Übergang von einer Farbe zur nächsten triggert eine Anweisung
| |
| − | * Schwarze Felder können nicht betreten werden, der Programmzeiger bleibt hängen und wählt eine andere Richtung
| |
| − | * Durch weiße Farbfelder gleitet der Programmzeiger ohne Veränderung
| |
| − | ===Befehlssatz von Piet===
| |
| − | * Hue Cycle: red → yellow → green → cyan → blue → magenta → red
| |
| − | * Lightness Cycle: light → normal → dark → light
| |
| − | | |
| − | ==="Hello World"===
| |
| − | [[Datei:Piet_hello_big.png]]
| |
| − | ==="Piet"===
| |
| − | [[Datei:Piet Program.gif]]
| |
| | | | |
| | =Stochastische Sprachen= | | =Stochastische Sprachen= |
| Zeile 670: |
Zeile 125: |
| | ==Bsp.: JAVA2K== | | ==Bsp.: JAVA2K== |
| | ... | | ... |
| | + | ---- |
| | + | =Links/Artikel= |
| | + | * https://esolangs.org/wiki/Main_Page |
| | + | * Liste von "Hallo Welt"- Programmen mit esoterischen Programmiersprachen: https://de.wikipedia.org/wiki/Liste_von_Hallo-Welt-Programmen/Sonstige#Esoterische_Programmiersprachen |
| | + | * schöner Artilel: https://tomassetti.me/discovering-arcane-world-esoteric-programming-languages/ |
| | + | * https://jaxenter.com/esoteric-languages-146286.html |
| | + | |
| | + | |
| | + | ---- |
| | + | ---- |
| | + | ---- |