SICP – cap. 2 – Sequenze come interfacce convenzionali – 54

Continuo da qui, copio qui.

Esempio: un linguaggio di immagini
This section presents a simple language for drawing pictures that illustrates the power of data abstraction and closure, and also exploits higher-order procedures in an essential way. The language is designed to make it easy to experiment with patterns such as the ones in Figure 2.9, which are composed of repeated elements that are shifted and scaled.

Figure 2.9: Designs generated with the picture language.

 

In this language, the data objects being combined are represented as procedures rather than as list structure. Just as cons, which satisfies the closure property, allowed us to easily build arbitrarily complicated list structure, the operations in this language, which also satisfy the closure property, allow us to easily build arbitrarily complicated patterns.

Il linguaggio di immagini
When we began our study of programming [qui], we emphasized the importance of describing a language by focusing on the language’s primitives, its means of combination, and its means of abstraction. We’ll follow that framework here.

Part of the elegance of this picture language is that there is only one kind of element, called a painter. A painter draws an image that is shifted and scaled to fit within a designated parallelogram-shaped frame. For example, there’s a primitive painter we’ll call wave that makes a crude line drawing, as shown in Figure 2.10.

Figure 2.10: Images produced by the wave painter, with respect to four different frames. The frames, shown with dotted lines, are not part of the images.

The actual shape of the drawing depends on the frame—all four images in figure 2.10 are produced by the same wave painter, but with respect to four different frames. Painters can be more elaborate than this: The primitive painter called rogers paints a picture of MIT’s founder, William Barton Rogers, as shown in Figure 2.11.

Figure 2.11: Images of William Barton Rogers, founder and first president of MIT, painted with respect to the same four frames as in Figure 2.10 (original image from Wikimedia Commons).

The four images in figure 2.11 are drawn with respect to the same four frames as the wave images in figure 2.10.

To combine images, we use various operations that construct new painters from given painters. For example, the beside operation takes two painters and produces a new, compound painter that draws the first painter’s image in the left half of the frame and the second painter’s image in the right half of the frame. Similarly, below takes two painters and produces a compound painter that draws the first painter’s image below the second painter’s image. Some operations transform a single painter to produce a new painter. For example, flip-vert takes a painter and produces a painter that draws its image upside-down, and flip-horiz produces a painter that draws the original painter’s image left-to-right reversed.

Figure 2.12 shows the drawing of a painter called wave4 that is built up in two stages starting from wave:

(define wave2 (beside wave (flip-vert wave)))
(define wave4 (below wave2 wave2))

Figure 2.12: Creating a complex figure, starting from the wave painter of Figure 2.10.

In building up a complex image in this manner we are exploiting the fact that painters are closed under the language’s means of combination. The beside or below of two painters is itself a painter; therefore, we can use it as an element in making more complex painters. As with building up list structure using cons, the closure of our data under the means of combination is crucial to the ability to create complex structures while using only a few operations.

Once we can combine painters, we would like to be able to abstract typical patterns of combining painters. We will implement the painter operations as Scheme procedures. This means that we don’t need a special abstraction mechanism in the picture language: Since the means of combination are ordinary Scheme procedures, we automatically have the capability to do anything with painter operations that we can do with procedures. For example, we can abstract the pattern in wave4 as

(define (flipped-pairs painter)
  (let ((painter2 
         (beside painter 
                 (flip-vert painter))))
    (below painter2 painter2)))

and define wave4 as an instance of this pattern:

(define wave4 (flipped-pairs wave))

We can also define recursive operations. Here’s one that makes painters split and branch towards the right as shown in Figure 2.13 and Figure 2.14:

(define (corner-split painter n)
  (if (= n 0)
      painter
      (let ((up (up-split painter (- n 1)))
            (right (right-split painter 
                                (- n 1))))
        (let ((top-left (beside up up))
              (bottom-right (below right 
                                   right))
              (corner (corner-split painter 
                                    (- n 1))))
          (beside (below painter top-left)
                  (below bottom-right 
                         corner))))))

Figure 2.13: Recursive plans for right-split and corner-split.

Figure 2.14: The recursive operations right-split and corner-split applied to the painters wave and rogers. Combining four corner-split figures produces symmetric square-limit designs as shown in Figure 2.9.

By placing four copies of a corner-split appropriately, we obtain a pattern called square-limit, whose application to wave and rogers is shown in Figure 2.9:

(define (square-limit painter n)
  (let ((quarter (corner-split painter n)))
    (let ((half (beside (flip-horiz quarter) 
                        quarter)))
      (below (flip-vert half) half))))

Panico? 😯 Kwasy 😯

:mrgreen:

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