|
|
| (11 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===
| |
| <table class="wikitable">
| |
| <tr><td width="86">6/3</td><td width="335">Define a new function</td></tr>
| |
| <tr><td width="86">2/7</td><td width="335">Call a function</td></tr>
| |
| <tr><td width="86">3/6</td><td width="335">Begin a new code block</td></tr>
| |
| <tr><td width="86">4/12</td><td width="335">End of a code block</td></tr>
| |
| <tr><td width="86">16/15</td><td width="335">Define a Variable</td></tr>
| |
| <tr><td width="86">18/16</td><td width="335">Assignment
| |
| Statement</td></tr>
| |
| <tr><td width="86">10/20</td><td width="335">+=</td></tr>
| |
| <tr><td width="86">14/10</td><td width="335">+</td></tr>
| |
| <tr><td width="86">4/14</td><td width="335">-=</td></tr>
| |
| <tr><td width="86">11/7</td><td width="335">-</td></tr>
| |
| <tr><td width="86">23/14</td><td width="335">*=</td></tr>
| |
| <tr><td width="86">6/16</td><td width="335">*</td></tr>
| |
| <tr><td width="86">8/12</td><td width="335">/=</td></tr>
| |
| <tr><td width="86">5/8</td><td width="335">/</td></tr>
| |
| <tr><td width="86">14/8</td><td width="335">%=</td></tr>
| |
| <tr><td width="86">24/17</td><td width="335">%</td></tr>
| |
| <tr><td width="86">23/10</td><td width="335">Or=</td></tr>
| |
| <tr><td width="86">22/23</td><td width="335">Or</td></tr>
| |
| <tr><td width="86">19/22</td><td width="335">And=</td></tr>
| |
| <tr><td width="86">18/14</td><td width="335">And</td></tr>
| |
| <tr><td width="86">10/18</td><td width="335">Nand=</td></tr>
| |
| <tr><td width="86">15/15</td><td width="335">Nand</td></tr>
| |
| <tr><td width="86">14/12</td><td width="335">BitOr=</td></tr>
| |
| <tr><td width="86">15/26</td><td width="335">BitOr</td></tr>
| |
| <tr><td width="86">6/11</td><td width="335">BitAnd=</td></tr>
| |
| <tr><td width="86">17/11</td><td width="335">BitAnd</td></tr>
| |
| <tr><td width="86">15/19</td><td width="335"><</td></tr>
| |
| <tr><td width="86">18/15</td><td width="335">==</td></tr>
| |
| <tr><td width="86">13/13</td><td width="335">></td></tr>
| |
| <tr><td width="86">13/15</td><td width="335"><=</td></tr>
| |
| <tr><td width="86">15/14</td><td width="335">!=</td></tr>
| |
| <tr><td width="86">10/15</td><td width="335">>=</td></tr>
| |
| <tr><td width="86">3/1</td><td width="335">Define
| |
| a literal</td></tr>
| |
| <tr><td width="86">7/14</td><td width="335">Print
| |
| an integer value as a character</td></tr>
| |
| <tr><td width="86">7/15</td><td width="335">Print
| |
| a string</td></tr>
| |
| <tr><td width="86">23/20</td><td width="335">not</td></tr>
| |
| <tr><td width="86">6/10</td><td width="335">if-then</td></tr>
| |
| <tr><td width="86">20/18</td><td width="335">while-do</td></tr>
| |
| <tr><td width="86">14/20</td><td width="335">until-do</td></tr>
| |
| <tr><td width="86">12/12</td><td width="335">if-then-else</td></tr>
| |
| <tr><td width="86">10/19</td><td width="335">if-then-unless</td></tr>
| |
| <tr><td width="86">1/6</td><td width="335">if-then-provided</td></tr>
| |
| <tr><td width="86">25/15</td><td width="335">while-do-unless</td></tr>
| |
| </table>
| |
| ==="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>
| |
| ===Links===
| |
| * https://esolangs.org/wiki/.Gertrude
| |
| * http://p-nand-q.com/programming/languages/gplz/gertrude.html
| |
| * http://esoteric.sange.fi/archive/2001-q2-1
| |
|
| |
|
| ==Bsp.: LOLCODE== | | ==Bsp.: LOLCODE== |
| Zeile 468: |
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 PROGRAMMING LANGUAGE== | | ==Bsp.: SHAKESPEARE PROGRAMMING LANGUAGE (SPL)== |
| Entwickelt von:
| | see exMediawiki-Page: [[Shakespeare Programming Language]] |
| * Karl Hasselström und Jon Åslund (2001)
| |
| | |
| Wikipedia-Eintrag: https://de.wikipedia.org/wiki/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 591: |
Zeile 114: |
|
| |
|
| ==Bsp.: PIET== | | ==Bsp.: PIET== |
| Wikipedia-Eintrag: https://de.wikipedia.org/wiki/Piet_(Programmiersprache)
| | see exMediawiki-Page: [[Piet]] |
|
| |
|
| | | ---- |
| Entwickelt von:
| |
| * 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 637: |
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 |
| | |
| | |
| | ---- |
| | ---- |
| | ---- |