Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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Live programming is a style of development characterized by incremental change and immediate feedback. Instead of long edit-compile cycles, developers modify a running program by changing its source code, receiving immediate feedback as it instantly adapts in response. In this paper, we propose an approach to bridge the gap between running programs and textual domain-specific languages (DSLs). The first step of our approach consists of applying a novel model differencing algorithm, tmdiff, to the textual DSL code. By leveraging ordinary text differencing and origin tracking, tmdiff produces deltas defined in terms of the metamodel of a language. In the second step of our approach, the model deltas are applied at run time to update a running system, without having to restart it. Since the model deltas are derived from the static source code of the program, they are unaware of any run-time state maintained during model execution. We therefore propose a generic, dynamic patch architecture, rmpatch, which can be customized to cater for domain-specific state migration. We illustrate rmpatch in a case study of a live programming environment for a simple DSL implemented in Rascal for simultaneously defining and executing state machines.
In The Age of Total Images, art historian Ana Peraica focuses on the belief that the shape of the planet is two-dimensional which has been reawakened in the late 20th and early 21st centuries, and the ways in which these ‘flat Earth’ conspiracy theories are symptomatic of post-digital image culture. Such theories, proven to be false both in Antiquity and Modernity, but once held to be true in the Medieval Period, have influenced a return to a kind of ‘New Medievalism’.
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