I've said it in another thread here: helmut85 is clean. It had never been my intention to make trouble or bother people, it just had been a very unfortunate mishap that my two introductory posts here, more than a year ago, had been mistaken for "spam" when it was totally evident that they couldn't be considered as such, hence my anger that threatened to bias my judgement further on, hence my choice to write some 50 further posts as helmut85, in order to perfectly calm down things. Of course, I cannot totally deny my nature, so things tend to run high, under whichever pseudonym I could ever post (cf. hits for "On data storage and applications going cloud" from which this thread's a spin-off).
In fact, I'm a little bit ordealed in a way: I'm an amateur programmer who in the late Nineties, did a very fine pim, "Manuscript", flawed by the use of an inferior programming language, the one in "ToolBook" (= Paul Allen, from MS), with a 32 KB field limit and, especially, lack of stability by lack of proper memory M, so that any way of sophisticated programming didn't do anything to overcome the programming language's inherent instability (I have "proof" of this by numerous complaints of third parties in these times; the 32 KB limit seems to persist even today).
The name of "Manuscript" was daring, but then, the original Lotus "Manuscript" trademark hadn't been used for 5 years, so I didn't name my product in any illegal way (btw, the text processing sw of my choice then hadn't been Lotus Manuscript, but XyWrite, an incredibly sophisticated prog marketed by North American SW, that company that also marketed askSam in Europe at the time). From a conceptional pov, it was outstanding, i.e. it was a cascade of indentations, instead of a tree, since my programming capabilities always fell short of my my conceptional mastery, and thus my work produced some very original solutions to common problems: I wasn't able to properly program the standard solution, so I had to look out for alternative ones, and often I found rather smart ones.
Anybody interested in a description of this outstanding and obscure sw, or in further ideas of mine, is invited to refer to the defunct askSam forum, searching under "fred", to the MyInfo forum ("fred"), to the outlinersoftware.com forum ("fredy", "fred" was taken), and to the Ultra Recall forum, under "schferk".
You bet that, when designing and programming "Manuscript", I delved deep into theory, hyperspace and all that, all the early research on information technology; later then, Yourdon, Warnier, etc., and, being a stranger to programming, I did "Manuscript" in object-oriented programming style notwithstanding, and applying at least some sw engineering standards to my work.
Then, I sold 4 or 5 "light" versions of this prog (= before (my introduction to) the net, by bookstores - some bookstores, at the time, sold sw beyond books and women's devotionalia, like greeting cards, candles...).
But you bet that with not even 300 bucks for more than 1 year of hard work, I left this field...
And then, I hoped that superior programmers would deliver some superior pim, perhaps not as good as mine had been, by conception, but something decent and technically superior.
Well, we're more than 15 years later now, and nothing really good has been done (except, perhaps, in Zoot).
These last days, I had the incredible chance to stumble upon some "Got Talent" and such posts on YT.
There's no doubt that YT is an International Treasure (pun intended to "National Treasure", of course), not because it gives free access to classic performers you otherwise had to pay for, but because it gives access to obscure performances that are world-class, and which otherwise, you'd never had a chance to even know of, let alone appreciate and fall in love with.
I'm not going here to invite you into obscure French Art Cinema, knowing that sw-affiliated guys (and the one Lady here) are much more rooted to the soil, which in itself hasn't to be something bad. But then, I need to explain something. It's the nature of passion.
Have a look at this YT vid, http://www.youtube.com/watch?v=g0IxVocQZiw
It's about Jack Vidgen, 14 years old winner of Australia's Got Talent 2011, a compilation of his 3 great songs in that competition, especially the first one, "I Have Nothing", brought to fame by Whitney Houston, written by David Foster and Linda Thompson and without no doubt one of the utmost works in the history of pop music. Now watch 14-year-old Jack delivering this song: From a shy beginning to incredible mastering, and you literally see him "thinking", sensing:
This is possible! And this, encore! And just a pitch higher: Everything is possible here!
It's an incredible crescendo into utmost mastering and one of those reasons YT must survive at all cost (and yes, I'm in love with the accent of this boy, as I had been in love, many years ago, with the accent of a young Irish girl singing) - "at all cost" meaning, I'm certainly prepared to pay 20 or more bucks a month for YT whenever this will become necessary to have continuing access to it.
Now look what our young Vidgen did then, after winning this contest and the 250,000 australian dollars that came with it. Well, he's an adolescent, don't blame him - blame his managers, his entourage. In this Australia's Got Talent performance, watch Brian McFadden (the judge on the left): He's falling in love, and rightly so, splendour is a thing so rare you HAVE to immediately react. And afterwards, it's "marketing", it's about making money, it's about maximizing profit - the spell's long gone.
It's of no interest to discuss if the passing of Whitney Houston, or the passing of Amy Winehouse, was that utmost loss in music these last months (and yes, Nickolas Ashford passed away, too), but there's no doubt "Whitney Houston songs" are among the treasures of today's music (and I cite the composers expressly since some dumb people out there really think these songs are written by the singers, and that actors write the scripts of films they starr in). Have another look at YT: Here comes Aliyah Kolf, 11 years old and the future definite Soul Queen:
It's the same song - ok, the voice isn't there yet, but this voice leading and this timbre is world class (and I'm deeply in love with this accent, too: this "look" here, shortly after the beginning, I haven't heard anything as cute in my life, except in Vidgen's interpretation of the same song) - again, a screscendo into pure joy, into sheer heaven.
In quite another range of music, there's Emily Elbert, whose performances are very uneven, whose voice is sub-standard most of the time, and whose highs very easily can get on your nerves. But then, two of her songs she wrote herself, at her very young age, Dialed In & Opened Up,
where nobody could claim it hadn't got the right groove in it, and then, her masterpiece so far, Michelangelo, which, had it been written by Joni Mitchell, everybody'd call world class, and since it's written by some young Emily Elbert, only some cognoscienti know and appreciate:
Don't be mistaken, this is some of the very best of music that has been written in this century, and in the last one combined (I said it, her peaks are ugly, don't let you be mislead by such irrelevancies).
And it hasn't got anything to do with looks: Of course, I've fallen head over heals for this gal, some time ago yet, and I wouldn't hesitate to make a dozen of children to such a splendour if she ever was consenting, but then there's some Azerbaijanian jazz pianist called Isfar Sarabski who settled down to some more traditional jazz / "ethnic jazz" now, but his beginnings are filled with some false notes, and lots of passion which enabled him to do some of the most extraordinary piano solos I've ever heard in my lifetime (and from my youth, I cherish, and up to my deathbed, recitals from masters like Wilhelm Kempff, Emil Gilels or Sviatoslav Richter): Just search for "Isfar Sarabski Barnsdall" or "Isfar Sarabski Vibrato", especially the part 2 where pure joy easily overrides those wrong keys he presses here and then:
Or then, Isfar Sarabski at the Baku Jazz Festival 2010, from minute 56:00 and for the next seven and a half minutes, very sweet and to be classified Art, with a big A:
Or in a more traditional range, what about (George Gershwin's) "Summertime" by the Ray Brown Trio, i.e. the late Gene Harris on piano?
All these do NOT do it for the money, they are in LOVE with what they are doing, and it shows. (And no, I'm not bothering you with Schubert and Schumann (Kreisleriana, anyone?) here - there dead and forgotten by the plebs.) But have a look at this guy: Danny McClain's interpretation of "I Love You More Than You'll Ever Know" (which is from 2004, he should be an international superstar by now, and he isn't: see my point?):
(And no, it's not by Donny Hathaway, nor by Gary Moore, but by Al Kooper from Blood, Sweat & Tears.)
Now back to sw. We now see, by direct comparison, that most programmers are NOT driven by passion, and that they stop whenever they ain't paid enough anymore for their work (my case being extreme and thus not representative here).
And this brings me to a conclusion since the French have a saying, which is,
Ne demande Ã chacun ce qu'il peut donner.
Meaning, don't ask people what they ain't able to deliver.
The other way round: I didn't stop "Manuscript" because of these 4 or 5 sales-only, but because I would have to do it all again within a decent programming language, and not being a programmer, and not knowing of the existence of programming components at the time, I simply gave up, facing my missing programming capabilities and not knowing where to start anew, and on the other hand, I don't think anymore, today, that most programmers are perfect sw designers, and thus one-man shows in the sw field do have a big problem: Technical brilliance is sometimes there, but then, design quality is often lacking, and worse, they don't even listen to you when you explain to them how to do it instead - ok, as a naked assertion, this must sound incredibly pompous, but then, proof's plenty in those aforementioned fori, and when, in a rather sophisticated outliner like UR, there isn't even formatting within the tree, and for many, many years, stinginess and shortsightedness of the developers become apparent (= such trees are components, at different prices, you know... - same for the edit fields, etc., and most developers prefer them to be free...)
But this standstill of the industry (cf. UR and many more, e.g. Surfulater and his creator, Neville Franks, who anytime returns fall under his "acceptable" level, does something else) revolts me.
So, I'm looking out for a top-notch programmer now. There's some money I can invest, and be sure that man that will take the other 50 % of proceeds, only 50 % of proceeds going to you, is one of the best sw architects out there when it comes to IM (cf. AS, MI, outlsw.com, UR fori) - and yes, the "Manuscript" source code is available for people with credits. Contact me by private message.
It's time we all get a decent outliner, 35 years after the intro of the pc. And that means development up to state of the art level, and not the Neville Franks / Ultra Recall / Mindjet / Controllers Rule way. Without love, in art and in programming, there's no excellence to be found.
And yes, the best female composer of all time is Carole King - or then, is it Laura Nyro? You got my point, hein? Money isn't everything, especially after you'll be dead. And yes, I consider Robert Carr's Framework, conceptionally-wise, the best sw of all time. "Better" sw's, then, built up on that masterpiece. Today, they serve us crap, mainly.