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Category: Diseases and Conditions
Created: 6/28/2022 12:00:00 AM
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Title: Can You Get Yourself Back to Normal After Psychosis?
Category: Diseases and Conditions
Created: 7/5/2022 12:00:00 AM
Last Editorial Review: 7/5/2022 12:00:00 AM

The Python Challenge is a nifty site that presents you with a series of puzzles that it asks you to solve using python; getting each answer allows you to move on to the next puzzle.

Python is a cool language and it's a good tool for this job¹ However, I'm learning clojure right now, so I thought it would be fun to try and solve a few of them in clojure. Here's my answers for challenges 0 thru 4 (warning: if you want to do these puzzles yourself, reading further now might ruin the fun)

Challenge #0 (the "Warmup")

Asks you to solve 2 to the 38th power:

(clojure.contrib.math/expt 2 38)

i.e. just use the exponent function in clojure contrib.

Challenge #1

This one throws some scrambled text at you and a clue on what the key is (ROT 2):

(defn translate [text]
  (let [lookup (vec (map char (range 97 123)))]
    (letfn [(letter? [c] (and (>= (int c) 97) (<= (int c) 122)))
            (shift-2 [c] (mod (+ 2 (- (int c) 97)) 26))]
      (apply str (map #(if (letter? %) (get lookup (shift-2 %)) %) text)))))

Create a lookup table of the chars, a predicate to test if a char is a letter. & a function to get the index of 2nd to next letter (the index loops, essentially making lookup as a ring buffer), then map across the given text, shifting by 2 if its a letter or just returning the char if its not.

Challenge #2

This one throws a big hunk of random data at you and suggests you pick out the 'rare' characters:

(defn filter-file [path]
  (let [fs (line-seq (clojure.contrib.io/reader path))
        lookup (set (map char (range 97 123)))]
    (apply str (mapcat #(filter lookup %) fs))))

A quick visual scan of the text led me to a strong hunch the "rare"² characters were lowercase alpha, so:

Re-use our lookup table from the last challenge; this time make it a set, then use the set to filter each line of the file denoted by 'path' (I first saved the text to a file to make it easier to work with); use mapcat to flatten the lines out (this has the effect of stripping empty lines altogether); apply str to the resulting sequence to get the answer.

Challenge #3

This one's a big hunk of text too, so a quick refactoring of our last solution results in a more abstract (and higher-order) function that takes a filter function as an additional parameter:

(defn filter-file [filter-fn path]
    (apply str (mapcat filter-fn (line-seq (io/reader path)))))

the filter from challenge #2 thus becomes an argument; partial works nicely here:

(filter-file (partial filter (set (map char (range 97 123)))) "path/to/file")

Now we can make a new filter for challenge #3. This one will need to find character patterns that look like this: ABCxDEF. We'll need grab x. This one just screamed regex at me, so here's a filter that gives us the answer:

#(second (re-find #"[^A-Z][A-Z]{3}([a-z])[A-Z]{3}[^A-Z]" %)))

An anonymous function³ that uses re-find to match: "not-cap followed by 3 CAPS followed by not-cap followed by 3 CAPS followed by not-cap"; the second element of the resulting vector (because we use parens to create a group) produces x; mapcat et al do the rest.

Two big assumptions/limitations here: assumes each target is on its own line, and that the target pattern wasn't on the beginning or end of the line (which was good enough to get the answer).

Challenge #4

This challenge requires one to follow a url call chain, passing a different number as the argument to a 'nothing' parameter each time. The resulting page text provides the next number to follow (and/or some noise to keep you on your toes) until eventually we get the answer.

This one gets kinda ugly.

This is the kind of problem scripting languages are made for (e.g. perl, python & ruby coders would all make short work of this problem). Still, it's possible to write procedural code in clojure, and it's still reasonably straightforward.

One decision I had to make is how to GET the url's - my weapon of choice for this sort of thing is clj-http:

(require '[clj-http.client :as client])
(require '[clojure.contrib.string :as string]

(defn follow-chain [base-url number]
  (let [result (:body (client/get (str base-url number)))
        idx (.indexOf result "and the next")]
    (cond
      (re-find #"^Yes" result) (do
                                 (println result)
                                 (follow-chain base-url (/ (Integer/parseInt number) 2)))
      (= -1 idx)               result
      :else                    (let [result-vec (string/split (subs result idx) #" ")
                                     next-number (last result-vec)]
                                 (println result)
                                 (recur base-url next-number)))))

Take the url as a base & the first number to follow; use client-http/get to grab the page; extract the body of the page; get the index of the phrase "and the next" using the java "indexOf" method - we'll use the index later to parse out the end of the text and get the next number...

...unless of course, we get text that tells us something else (like a message saying "Yes" and then instructing us to divide the last number by two and continue on as before) so...

...we set up a switch using the cond macro: If the result starts with "Yes" make a recursive call dividing the last number by two; if indexOf otherwise came up empty, that's our answer, so return it; else pick the next number out of the result by splitting the end of the string into a vector (using clojure.contrib.string/split) and recur (tail recursively call the function again).

The println's could be removed, although they were essential when figuring out what the code needed to do.

Conclusion

This was a fun exercise; clojure's holding up pretty well so far, though clojure would not be my weapon of choice for that last one; if I choose to do the next five, I'll post them in a future article.

Footnotes

Programmers solve problems. How they solve each problem is a function of their skill, talent, knowledge & time. The resultant solution will resolve the problem with greater or lesser complexity in the design. Thus, I find thinking about how (and more importantly where) complexity is handled, a useful way to evaluate a design. For this I use the time-honored technique of having three levels:

Level Zero

(Below this level, the problem is not solved)

The programmer has provided a solution. However, the interface is a mine-field; click things in the wrong order, the program crashes. Or it works great, but you need to reread the documentation Every. Single. Time. Or the resultant surrounding workflow is a Rube Goldberg device. However it surfaces, the programmer has placed the complexity on the user.

Level One

The interface is well thought out and reasonably intuitive. Controls work as expected and the solution is robust - even bulletproof. The solution not only fits the larger context, it improves it. The code itself however, is hard to change (or even understand). It is not well-organized; Or is, but full of tricky, interleaved logic. Or over-engineered, over-patterned etc. Here, the programmer has placed the complexity on the maintainer.[1]

Level Two

The burden of managing complexity is on the current programmer. The person writing the code takes the time and employs the talent and skill necessary to find an elegant solution that reduces the code to the minimum complexity needed to solve the problem and does so in such a way that is understandable (and changeable) later: The user gains the benefits of a level 1 design, while maintainers are left with clean code to change.[2]

Implications

Level zero code is common; it's the default for new programmers and an uncomfortable amount of commercial software. The thing of it is: Too often this sort of code is derided (including by me) when there is both a de facto and a cost-benefit rationale for managing complexity this way. Short-term projects are one example; software written for one's own use is another.

Level 1 software can be very valuable and enduring. I tend to equate this type of code with the Hacker ethic in all senses of that term. And I don't mean that pejoratively - we all use hacked together solutions every day and much of the world's technology infrastructure is built on it. It is a practical and stable design level.

Having the skill (and the time) to write level 2 code is a rare and wonderful thing. Amidst the hyperbole, aspiring to be such a programmer is at the heart of the "Software as Craft" movement and is a worthwhile goal for anyone who aspires to be a professional programmer.

I don't believe level 2 is inherently better than a level 1 (or level zero!) - it's about context - however, I think that for regularly edited and changed code (i.e. much IT software), this level of skill is what's implicitly expected (if not gotten) by the customer. Ironically, the time needed is often the first thing that goes as a non-technical customer can only assess code quality based on level 1 considerations and so pushes for faster results because everything "looks" OK. Only later - when their investment can't be changed without major overhaul - do they realize there is something wrong. And so the cycle continues...

Summary

This model is handy in several situations including: Judging the quality of an actual solution; choosing among different solutions to a given problem; estimating - and even when to stop refactoring. And while I don't believe that all code should be worked until it exhibits level 2 quality, it is what I want others to think of the code I leave behind. And it is what I hope to encounter in theirs. That said, being a successful professional programmer requires (among many other things) the ability to write all three levels of code, and the judgment to know when each is appropriate to use.

---

[1] This may well be the same person who wrote the code. The essential characteristic of a level 1 design is that complexity is put off to future efforts, not the current one. Thus level 1 designs tend to be high in technical debt.

[2]How the programmer achieves this is a matter of personal preference and technique. I do not subscribe to the notion that any particular set of programming practices provides this - or inhibit it by their absence. It has always been the people, not their practices that is the essential determinant of quality. Anyone who says different, is selling something.

Many, many years ago (it was Hallowe'en 1989, for the curious, the year before Good Omens was published) Terry Pratchett and I were sharing a room at the World Fantasy Convention in Seattle, to keep the costs down, because we were both young authors, and taking ourselves to America and conventions were expensive. It was a wonderful convention. I remember a huge Seattle second-hand bookstore in which I found a dozen or so green-bound Storisende Edition James Branch Cabell books, each signed so neatly by the author that the bookshop people assured me that the signatures were printed, and really ten dollars a book was the correct price. 

I could afford books. Good Omens had just been sold to UK publishers and then to US publishers for more money than Terry or I had ever received for anything. (Terry had been incredibly worried about this, certain that receiving a healthy advance would mean the end of his career. When his career didn't end, Terry suggested to his agent that perhaps he ought to be getting that kind of advance for every book from now on, and his life changed, and he stopped having to share a hotel room to save money. But I digress.) Advance reading copies of Good Omens had not yet gone out, but a few editors had read it (ones who had bid for it but failed to buy it) and they all seemed very excited about it, and thrilled for us.

On the Saturday evening Terry left the bar quite early and headed off to bed. I stayed up talking to people and having a marvelous time, hung in there until the small hours of the morning when they closed the hotel bar and all the people went away, and then headed up to the hotel room room. 

I opened the door as quietly as I could and tiptoed in the dark across the room to where my bed was located.

I'd just reached the bed when, from the far side of the room, a voice said, “What time of the night do you call this then? Your mother and I have been worried sick about you.”

Terry was wide awake. Jet lag had taken its toll.

And I was wide awake too. So we lay in our respective beds and having nothing else to do, we plotted the sequel to Good Omens. It was a good one, too. We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published Sandman became SANDMAN and Discworld became DISCWORLD™ and there wasn't ever a good time.

But we never forgot it.

It's been thirty-one years since Good Omens was published, which means it's thirty-two years since Terry Pratchett and I lay in our respective beds in a Seattle hotel room at a World Fantasy Convention, and plotted the sequel. (I got to use bits of the sequel in the TV series version of Good Omens -- that's where our angels came from.)

Terry and I, in Cardiff in 2010, on the night we decided that Good Omens should become a television series.

Terry was clear on what he wanted from Good Omens on the telly. He wanted the story told, and if that worked, he wanted the rest of the story told.

So in September 2017 I sat down in St James' Park, beside the director, Douglas Mackinnon, on a chair with my name on it, as Showrunner of Good Omens. The chair slowly and elegantly lowered itself to the ground underneath me and fell apart, and I thought, that's not really a good omen. Fortunately, under Douglas's leadership, that chair was the only thing that collapsed. 

The crumbled chair.

So, once Good Omens the TV series had been released by Amazon and the BBC, to global acclaim, many awards and joy,  Rob Wilkins (Terry's representative on Earth) and I had the conversation with the BBC and Amazon about doing some more. And they got very excited. We talked to Michael Sheen and David Tennant about doing some more. They also got very excited. We told them a little about the plot. They got even more excited.

Rob Wilkins and David Tennant on the second day of shooting.

Me and Michael and Ash aged nearly 2.

What it was mostly like shooting Good Omens: peering into screens while something happened round the corner.

I'd been a fan of John Finnemore's for years, and had had the joy of working with him on a radio show called With Great Pleasure, where I picked passages I loved, had amazing readers read them aloud and talked about them.

(Here's a clip from that show of me talking about working with Terry Pratchett, and reading a poem by Terry: https://www.bbc.co.uk/sounds/play/p06x3syv. Here's the whole show from YouTube: https://www.youtube.com/watch?v=j7OsS_JWbzQ with John Finnemore's bits too.)

I asked John if he'd be willing to work with me on writing the next round of Good Omens, and was overjoyed when he said yes. We have some surprise guest collaborators too. And Douglas Mackinnon is returning to oversee the whole thing with me.

So that's the plan. We've been keeping it secret for a long time (mostly because otherwise my mail and Twitter feeds would have turned into gushing torrents of What Can You Tell Us About It? long ago) but we are now at the point where sets are being built in Scotland (which is where we're shooting, and more about filming things in Scotland soon), and we can't really keep it secret any longer.

There are so many questions people have asked about what happened next (and also, what happened before) to our favourite Angel and Demon. Here are, perhaps, some of the answers you've been hoping for. 

As Good Omens continues, we will be back in Soho, and all through time and space, solving a mystery which starts with one of the angels wandering through a Soho street market with no memory of who they might be, on their way to Aziraphale's bookshop. 

(Although our story actually begins about five minutes before anyone had got around to saying “Let there be Light”.)

I mentioned that making Good Omens two is half of what I've been working on, and will be working on for next eighteen months, and I said I'd tell you soon enough what the other secret project I've been working on is.

It's this.

And I cannot tell you how happy I am to be making it, and making it in the way that we're making it.

Anansi Boys started in about 1996. I was working on the original Neverwhere TV series for Lenny Henry's film company, Crucial Films.

I loved a lot of what we were doing in Neverwhere. 25 years ago, it felt like we were doing something ahead of its time. 

Lenny and I went for a walk. Lenny grumbled about horror films. “You'll never get people who look like me starring in horror films,” he said. “We're the hero's friend who dies third.”

And I thought and blinked. He was right. “I'll write you a horror movie you could star in,” I told him.

I plotted one. I tried writing the first half-dozen pages of the movie, but it didn't seem to be right as a movie. And I was beginning to suspect that the story I was imagining, about two brothers whose father had been a God, wasn't really horror, either.

I borrowed Mr Nancy from the story I had not yet told and I put him, or a version of him, into AMERICAN GODS. 

In 2002 I was having lunch with my editor, and I told her the story of Anansi Boys, and said it was probably a novella. She waved her fork at me. “That is a novel,” she said, very certain. I was impressed enough with her certainty that I wrote the novel.

The creation and publishing of the novel is documented here on this very blog. Here's a useful bit, explaining its relationship to American Gods, and also explaining what Anansi Boys is:

https://journal.neilgaiman.com/2005/05/anansi-boys-question-of-day.asp

(For those of you who don't want to click, I talked about describing it thus:

My new novel is a scary, funny sort of story, which isn't exactly a thriller, and isn't really horror, and doesn't quite qualify as a ghost story (although it has at least one ghost in it), or a romantic comedy (although there are several romances in there, and it's certainly a comedy, except for the scary bits). If you have to classify it, it's probably a magical-horror-thriller-ghost-romantic-comedy-family-epic, although that leaves out the detective bits and much of the food. 

Which, oddly enough, is still a pretty good description.)

The book came out and was my first New York Times Number One Bestseller. 

https://journal.neilgaiman.com/2005/09/theres-first-time-for-everything.html 

(This is the Ukranian cover.)

A top Hollywood director wanted to buy the rights to Anansi Boys, but when he told me that he planned to make all the characters white, I declined to sell it. It was going to be done properly or not at all.

And then, about ten years ago, two things happened at the same time. Hilary Bevan Jones, a producer who had made a short film I had directed (called Statuesque) mentioned she'd love to make Anansi Boys as a TV series, and a man named Richard Fee, who worked for a company called RED, spotted me eating noodles in a London noodle bar, waited outside so he didn't seem like a stalker, and told me how much he loved Anansi Boys and that he'd love to make it into television.

I loved the TV that RED had made, loved Hilary and her team at Endor, and, unable to decide between them, suggested that they might be willing to work together. They both thought this was a good idea. 

Work started. Somewhere around 2016 I agreed to work on it to help it get made, but we all knew that we would have to be patient as I was writing and making Good Omens. And when Good Omens was in post production we began to move forward.  Amazon had loved making Good Omens, and were blown away by the viewing figures and reaction to it, and wanted to make more things with me, so Endor and Red now had a place to make it for. We put together a fabulous team of writers -- Kara Smith and Racheal Ofori and Arvind Ethan David, not to mention Sir Lenny Henry, who came on board both as a writer and as an Executive Producer to make sure that the soul stayed in it. (I'm writing the first and the last episode). 

Douglas Mackinnon agreed to co-showrun it with me, because I knew I never wanted to be the sole showrunner of anything again and after the Good Omens experience I would trust Douglas with my life and (which actually may be more important) with my stories. We planned to shoot it all around the world...

Paul Frift had been the producer of Good Omens during the South African leg of the shoot, and was indomitable, so we were very happy when he agreed to come on board as our producer.

And then in 2020 Covid happened. The Prime Directive of making Big Budget International television suddenly became “Don't Travel and Especially Don't Travel All Around The World. We Mean It.”

Douglas came up with a Plan to bring Anansi Boys to the screen that was audacious, creative and brilliant. All we needed to make it work was the Biggest Studio in Europe and access to an awful lot of cutting edge technology. 

The biggest Studio in Europe happens to be in Leith, outside Edinburgh. 

Before Covid, the plan had been first to make Anansi Boys, then immediately to make Good Omens 2. (Good Omens 2 was going to be shot in Bathgate, outside Glasgow.) That was the plan we were working on through most of 2020. Then, in September 2020, Douglas and I got a call from Amazon. “We've got good news and complicated news for you,” they said. “The good news is we are greenlighting both Good Omens and Anansi Boys. The complicated news is... well, how do you feel about making them both at the same time?”

So...

Anansi Boys is coming.

Hang on. I want to do that again in a bigger font.

Anansi Boys is coming.

I'd loved the pilot episode of Star Trek Picard, and talked to Michael Chabon about the director, Hanelle M. Culpepper, and he gave her a rave recommendation as someone who could tell a story and stay in control of the technology. We reached out to her, sent her the scripts and the novel, and she loved the project. Hanelle is going to be our lead director, and will direct two episodes.

Hanelle, Sir Lenny Henry, Hilary Bevan Jones and Richard Fee are executive producers, as are Douglas and I.  Hanelle,  Jermain Julien and Azhur Saleem are our three directors.

We will start to announce the cast soon (it's thrilling).  (The crew are, to me, just as thrilling.)

(But I'll give you one clue: one of our cast members was on a public event with me at some point in the last five years. The first thing she said when we met backstage was that her favourite book was the audiobook of Anansi Boys, read by Lenny Henry. And when I told her that there was a part in the book I'd originally written with her in mind, she was overjoyed. So when it became a reality, she was the first person I asked, and the first to agree.)

(The Anansi Boys image above is by Michael Ralph, our amazing production designer.)

Die erste Psychiatrie für misshandelte Kuscheltiere! Der Chefarzt ist verreist, und so musst du seinen Posten übernehmen. Die geniale Idee wurde leider nicht perfekt umgesezt.

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(EMAILWIRE.COM, November 08, 2024 ) The global aerospace testing market was valued at USD 5.29 billion in 2024 and is projected to reach USD 6.68 billion by 2029; it is expected to register a CAGR of 4.8% during the forecast period. Increasing air travel across the globe has increased the demand...

(EMAILWIRE.COM, November 09, 2024 ) The global Al in Biotechnology Market is projected to reach USD 7.75 billion by 2029 from USD 3.23 billion in 2024, at a high CAGR of 19.1% during the forecast period. Increasing cross-industry collaborations and partnerships that foster innovation and resource...

(EMAILWIRE.COM, November 11, 2024 ) The report "Industrial Utility Communication Market by Technology (Wired, Wireless), Component (Hardware, Software, Services), End-use Industry( Power Generation, , AC Transmission, Oil & Gas, Transportation), and Region - Global Forecast to 2028" The global Industrial...

(EMAILWIRE.COM, November 12, 2024 ) The metamaterial market is projected to reach USD 1.38 billion by 2029 from USD 0.22 billion in 2024 at a CAGR of 44.8% during the forecast period. Increasing use of metalens cameras in applications such as smartphones, laptops, and automotive and rising demand...

(EMAILWIRE.COM, November 12, 2024 ) The report "Electronic Wet Chemicals Market by Type (Acetic Acid, Isopropyl Alcohol, Phosphoric Acid) Form (Liquid Form, Solid Form, Gas Form) Application (Semiconductor, IC Packaging, PCB), End-use Industry, And Region - Global Forecast to 2028" The global Electronic...

(EMAILWIRE.COM, November 13, 2024 ) The global Antimicrobial Susceptibility Testing Market is projected to reach USD 5.68 billion by 2029 from USD 4.45 billion in 2024, growing at a CAGR of 5.0% % during the forecast period. Major driving factors for antimicrobial susceptibility market growth come...

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