path: root/2020/subtitles/emacsconf-2020--07-beyond-vim-and-emacs-a-scalable-ui-paradigm--sid-kasivajhula-autogen.sbv

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far away in the heavenly abode of the

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great god indra

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there is a wonderful net which has been

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hung by some cunning artificer

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in such a manner that it stretches out

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infinitely in all directions

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in accordance with the extravagant

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tastes of deities the artificer has hung

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a single glittering jewel in each eye of

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the net

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and since the net itself is infinite the

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jewels are infinite in number

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there hang the jewels glittering like

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stars in the first magnitude

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a wonderful sight to behold were we to

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select one of these jewels for

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inspection

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we would discover that in its polished

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surface there are reflected

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all the other jewels in the net infinite

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in number

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if we look still more closely we would

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see that each of the jewels reflected in

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this one jewel

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reflects all the others this is the

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metaphor of indra's net

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which is told in some schools of

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philosophy let's keep this metaphor in

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mind

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because it'll help us understand the

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Emacs extension that we're about to

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discuss

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so in editing text there's two

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main paradigms one

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is um editing at the ground level

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where the characters that we type

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actually appear on the screen

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the changes we make actually occur

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[Music]

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the other editing paradigm is where we

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escape to a higher level

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and now the characters that we type are

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not

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they don't actually appear on the screen

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because we're not at the ground level

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with the text we are at a higher level

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looking down at the text

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and regarding the text referring to

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this world of text in terms of a

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language

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for instance we could describe this

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world as having words and paragraphs and

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sentences and

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lines and so on and we could reason

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about this

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text in terms of these

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textual entities and this textual

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language

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this is the second paradigm of text

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editing

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and when we're in the second paradigm

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there is a way to go down to ground

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level you hit enter

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now or we'll hit enter to go down to the

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ground level and you can hit escape

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to go back out to the referential level

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enter to go down to ground level

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and escape to go up to the referential

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level

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now in vim the nouns

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in this world of text all

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share the same referential plane which

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we call

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normal mode so in normal mode all of the

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nouns

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of the world of text are available

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whether it's words or sentences or

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paragraphs

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and they all share this same

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referential plane and there's uh

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they sort of compete for space on the

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keyboard

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um so an alternative uh

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way to structure these modes is instead

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of having a single mode where all the

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nouns coexist

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peacefully or otherwise you instead

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have a dedicated mode for every noun

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so in that case what happens is because

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your modal spaces are now much smaller

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you're just talking about words or

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paragraphs or

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lines or something the keys that you use

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can be much more targeted

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and you can use the same keystrokes in

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in all of your modes and they would have

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the same ideas behind them but

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they would have different effects

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depending on which context you're using

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so it's the same keystrokes different

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contexts

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and the advantage of that is it's often

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easier

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to change context than it is to

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learn new key bindings so let's see

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an example of how that works we go into

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character mode and if you look at the

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mode

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line at the bottom of the screen there

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you'll see that we're in character mode

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and now when we move up down left and

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right we're moving by character

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we can also transform the text and

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the transformations occur in terms of

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character

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you can also go into word mode and in

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word mode

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the transformations that you do are on

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words

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and you try you your movement is also in

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terms of words

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so that's the level of granularity that

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you have

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you could also go to line mode and when

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you're in line mode

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you go up and down by line and you can

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move

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lines up and down left and right and so

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on

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and the transformations you do are in

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terms of lines

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you could also go to window mode where

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now the objects that you're referring to

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are windows and you can

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move spatially amongst the windows or

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make do transformations on the windows

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using the same keystrokes

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[Music]

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um

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so let's go to

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um right and so um the one of the things

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the the principles that play here is

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something called the rumpelstiltskin

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principle which is something

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that's known in computer science which

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is that if you can name something then

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you have that you have power

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then you have power over it so this is

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kind of an adaptation of that principle

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which says that if you can

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name something and if you can talk about

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it then it's a noun

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[Music]

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in your editing language and if it's a

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noun then it has

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it's a mode so if we can talk about it

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it's a noun

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if it's a noun then it's a mode and one

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of the things we've been talking a lot

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about

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is modes so in fact

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uh by this principle modes also

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should be a mode

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you should have a mode that can reason

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in terms of modes as objects just like

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you have

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modes where you can reason in terms of

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words or lines as objects

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and so let's do that let's go to mode

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mode

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when you go to mode mode you see that uh

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the objects that are depicted here are

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the modes that are

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that are present in the buffer

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which we knew about um because the

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style of editing that we had in this

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buffer was the vim style of editing

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where there's an insert mode at the

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ground level and a normal mode that you

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can escape

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to you insert enter the ground level

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enter to the insert mode and escape to

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normal mode and when you look at the

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mode mode

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representation you see that in fact that

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is the structure that's depicted

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but in different situations you might

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find

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that you that these modes are not the

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ones that you want you want something

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more tailored for the specific

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application

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for instance if you're editing

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[Music]

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lisp code uh or or code in general but

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list code is a particular example

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you might want to take advantage of the

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structure of

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the code and for lisp code in particular

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we have a mode called symax mode

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which is able to reason

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about your code in terms of its tree

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structure

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so you can use the same keystrokes hkl

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goes

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left right up and down but you also have

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other keystrokes that are more

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specialized to the application

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and you can run the code and

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we'll see that happen here in a minute

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and you can make changes to it really

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quickly

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and see the effects of those changes

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and you're doing this all in a mode

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that's convenient for

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this particular application which is

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editing lisp code

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and that is in this case symmex mode

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so typically when you're editing code

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like this you'd want to be

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in insert mode actually typing out the

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code

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and then you'd want to escape to simex

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mode rather than normal mode

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and then you could escape again and

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you'd end up in normal mode

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so this if we go to mode mode we see is

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depicted

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as this tower where insert is at the

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bottom and normal is at the top but

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symmex mode is in between

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the two you could also change that if

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you like if you don't want cmx mode to

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be there you could just

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move it to the top and now you find some

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mixes at the top and you enter down to

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normal

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you can see it on the status bar at the

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bottom there enter to insert

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escape to normal escape to symmex and

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in fact you can even add more modes if

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you don't like the existing ones

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[Music]

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and now we have an additional mode here

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we have window mode it goes down to

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symmex goes down to normal

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enter the insert escape to normal escape

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to smx escape the window

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um so we've talked okay so another thing

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actually to note here is that in editing

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modes um

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if you look at the mode line at the

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bottom of the screen

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you'll see that we are currently in this

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buffer

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we are currently in line mode

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and I'm going to hit enter now and

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you'll see that when I hit

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enter nothing is happening it's still in

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line mode

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if you'd escape it's still in line mode

0:10:05.120,0:10:10.640
and you can find out the reason for that

0:10:07.200,0:10:12.800
by taking another meta jump out of this

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and you'll see that in fact the reason

0:10:12.800,0:10:17.360
is that we're currently in line mode

0:10:15.279,0:10:19.519
and line mode is the only one available

0:10:17.360,0:10:21.760
in this tower

0:10:19.519,0:10:24.880
for editing the modes that are in

0:10:21.760,0:10:26.560
operation in your ground level

0:10:24.880,0:10:28.320
and in fact line mode is all you need

0:10:26.560,0:10:30.320
here because this is just

0:10:28.320,0:10:32.079
uh the nature of how these modes are

0:10:30.320,0:10:35.040
laid out is

0:10:32.079,0:10:36.399
in in rows and so line mode is the most

0:10:35.040,0:10:37.680
appropriate thing here

0:10:36.399,0:10:39.740
but you could change it to something

0:10:37.680,0:10:40.959
else if you like

0:10:39.740,0:10:44.160
[Music]

0:10:40.959,0:10:44.560
and then now we've seen two towers we've

0:10:44.160,0:10:48.079
seen

0:10:44.560,0:10:53.680
the vim tower and we've seen

0:10:48.079,0:10:56.959
also the symex tower the the lisp tower

0:10:53.680,0:10:58.880
and it turns out that because we've been

0:10:56.959,0:11:01.519
talking about towers now

0:10:58.880,0:11:02.800
by the rumpelstiltskin principle towers

0:11:01.519,0:11:06.399
also

0:11:02.800,0:11:09.279
um can be talked about

0:11:06.399,0:11:11.200
and therefore they also are a mode so

0:11:09.279,0:11:14.640
how do we go to tower mode

0:11:11.200,0:11:18.560
and the way we go tower mode is we do

0:11:14.640,0:11:18.560
we go in a slightly different direction

0:11:19.200,0:11:23.120
and we find that we are now in tower

0:11:20.800,0:11:23.120
mode

0:11:23.360,0:11:29.279
and we see that there are many towers

0:11:27.440,0:11:32.640
available so we're now

0:11:29.279,0:11:36.240
we're we're seeing several possible

0:11:32.640,0:11:39.120
towers that we have written

0:11:36.240,0:11:41.440
um to be available and for use in

0:11:39.120,0:11:44.000
different buffers and you can edit them

0:11:41.440,0:11:46.320
on the fly for instance let's enter this

0:11:44.000,0:11:46.320
tower

0:11:46.630,0:11:49.920
[Music]

0:11:48.000,0:11:51.519
and now you see that in the bottom of

0:11:49.920,0:11:52.480
the in the mode line you see that we're

0:11:51.519,0:11:54.240
going

0:11:52.480,0:11:56.480
across all of these different modes that

0:11:54.240,0:11:58.800
were in the tower

0:11:56.480,0:12:00.399
and you could escape and you could even

0:11:58.800,0:12:00.880
move things around you could put window

0:12:00.399,0:12:02.399
mode

0:12:00.880,0:12:04.079
all the way at the bottom right above

0:12:02.399,0:12:06.880
insert mode

0:12:04.079,0:12:09.839
let's see that happen there it is window

0:12:06.880,0:12:13.040
is right above insert

0:12:09.839,0:12:14.240
so on and the tower always reflects your

0:12:13.040,0:12:15.760
current position

0:12:14.240,0:12:17.600
so if you're in buffer mode here and you

0:12:15.760,0:12:19.120
go down to line mode

0:12:17.600,0:12:22.240
when you go back to mode mode you see

0:12:19.120,0:12:22.240
that we are in line mode

0:12:22.480,0:12:26.160
but in practice you wouldn't have a

0:12:24.000,0:12:28.959
tower this elaborate because

0:12:26.160,0:12:29.440
you'd rather have several smaller towers

0:12:28.959,0:12:33.360
you

0:12:29.440,0:12:36.639
enter that you alternate between

0:12:33.360,0:12:39.839
um okay so one

0:12:36.639,0:12:42.240
other thing of interest here is that

0:12:39.839,0:12:43.839
when you're in tower mode

0:12:42.240,0:12:45.920
if you look at the status line at the

0:12:43.839,0:12:49.200
bottom there we are currently

0:12:45.920,0:12:49.839
in buffer mode while we are in tower

0:12:49.200,0:12:51.600
mode

0:12:49.839,0:12:53.519
and tower mode actually isn't a mode

0:12:51.600,0:12:53.920
really neither is mode mode they're

0:12:53.519,0:12:58.000
really

0:12:53.920,0:13:00.959
referential planes or meta planes

0:12:58.000,0:13:03.120
um in any case you can see that we're in

0:13:00.959,0:13:04.560
buffer mode and we can take a meta jump

0:13:03.120,0:13:07.120
out of this to confirm

0:13:04.560,0:13:08.000
that buffer mode is the only mode

0:13:07.120,0:13:10.560
available

0:13:08.000,0:13:11.200
when we're editing towers because that's

0:13:10.560,0:13:14.240
the one

0:13:11.200,0:13:15.200
we need given that our towers are

0:13:14.240,0:13:21.839
represented

0:13:15.200,0:13:21.839
in individual buffers

0:13:23.200,0:13:26.320
right so let's uh let's see where we're

0:13:26.000,0:13:28.240
at

0:13:26.320,0:13:30.160
trump's still skin principle we talked

0:13:28.240,0:13:32.240
about mode mode

0:13:30.160,0:13:33.920
um we talked about the strange loop

0:13:32.240,0:13:37.820
application of

0:13:33.920,0:13:39.600
ground level modes in meta levels

0:13:37.820,0:13:42.240
[Music]

0:13:39.600,0:13:43.199
and yeah we saw the different towers and

0:13:42.240,0:13:46.639
in fact

0:13:43.199,0:13:49.839
you can we're currently in

0:13:46.639,0:13:49.839
vim tower

0:13:50.720,0:13:54.720
where you can go to Emacs tower and now

0:13:53.120,0:13:55.760
with a single keystroke you can

0:13:54.720,0:13:59.040
alternate

0:13:55.760,0:14:02.399
between e-max

0:13:59.040,0:14:05.519
and vim which are represented which are

0:14:02.399,0:14:07.839
modeled as towers

0:14:05.519,0:14:07.839
um

0:14:09.279,0:14:11.920
okay so

0:14:13.360,0:14:17.040
so there's uh the one thing that we've

0:14:15.360,0:14:18.160
sort of alluded to is that there are two

0:14:17.040,0:14:20.480
directions

0:14:18.160,0:14:22.399
that you can travel in when you're going

0:14:20.480,0:14:25.120
through this framework

0:14:22.399,0:14:32.560
one lev one direction is uh and we'll

0:14:25.120,0:14:32.560
visualize it with uh like so

0:14:33.760,0:14:37.040
there's two directions you can travel

0:14:35.120,0:14:38.399
and you can either go sideways or you

0:14:37.040,0:14:40.399
can go up and down

0:14:38.399,0:14:41.680
if you go sideways you're changing your

0:14:40.399,0:14:45.440
perspective

0:14:41.680,0:14:47.360
so normal mode word mode line mode

0:14:45.440,0:14:49.120
window mode and so on are all different

0:14:47.360,0:14:51.680
perspectives on your under on your

0:14:49.120,0:14:53.040
ground editing experience

0:14:51.680,0:14:55.519
and the other direction you can travel

0:14:53.040,0:14:57.920
in is up or down which takes you

0:14:55.519,0:14:59.600
through meta levels so you go from the

0:14:57.920,0:15:01.920
ground level editing experience

0:14:59.600,0:15:03.440
up to mode mode and then up to the tower

0:15:01.920,0:15:07.040
plane and so on

0:15:03.440,0:15:10.800
or uh yeah and so on

0:15:07.040,0:15:14.880
um yeah so this all sounds

0:15:10.800,0:15:18.160
very complex but the truth is

0:15:14.880,0:15:21.519
it's not really that complicated

0:15:18.160,0:15:22.959
even though it feels that way the reason

0:15:21.519,0:15:26.480
it isn't that complicated

0:15:22.959,0:15:28.800
is because no matter how many levels

0:15:26.480,0:15:30.160
up or down you go and no matter where

0:15:28.800,0:15:32.399
you are

0:15:30.160,0:15:34.079
whether you're in at the ground level

0:15:32.399,0:15:36.000
editing the actual text

0:15:34.079,0:15:37.600
or whether you're at a meta level some

0:15:36.000,0:15:39.279
unknown meta level and you don't know

0:15:37.600,0:15:42.320
where you are

0:15:39.279,0:15:44.399
no matter where you are the way in which

0:15:42.320,0:15:47.519
you interact with it

0:15:44.399,0:15:52.000
is the same at every level

0:15:47.519,0:15:55.440
and that is the great power of um

0:15:52.000,0:15:58.720
this approach is that

0:15:55.440,0:16:00.880
all of the different levels um are the

0:15:58.720,0:16:03.839
same

0:16:00.880,0:16:05.759
and in fact the complexity of the whole

0:16:03.839,0:16:08.720
is exactly identical to the

0:16:05.759,0:16:10.000
complexity of each part so if you know

0:16:08.720,0:16:12.959
how to edit words

0:16:10.000,0:16:13.440
in the ground level buffer and you know

0:16:12.959,0:16:15.839
how to move

0:16:13.440,0:16:16.720
lines around using line mode then you

0:16:15.839,0:16:19.519
know how to edit

0:16:16.720,0:16:22.800
any aspect of your editing experience at

0:16:19.519,0:16:23.310
any level

0:16:22.800,0:16:26.240
so

0:16:23.310,0:16:28.480
[Music]

0:16:26.240,0:16:28.480
um

0:16:30.079,0:16:33.839
so this is a pre-release demo this

0:16:32.000,0:16:36.880
doesn't exist on melpa

0:16:33.839,0:16:40.079
yet but you can follow updates um

0:16:36.880,0:16:44.079
at this repo on github

0:16:40.079,0:16:45.199
and if you can also be a beta tester or

0:16:44.079,0:16:46.000
something like that if you like that

0:16:45.199,0:16:49.199
would be very

0:16:46.000,0:16:50.560
uh helpful and you can learn more about

0:16:49.199,0:16:53.920
this at

0:16:50.560,0:16:55.920
dream.org which is where I house

0:16:53.920,0:16:57.279
the research that I work on and in

0:16:55.920,0:17:00.800
particular

0:16:57.279,0:17:03.600
the research on epistemic levels is what

0:17:00.800,0:17:06.480
inspired this particular Emacs extension

0:17:03.600,0:17:08.480
you can also learn about dialectical

0:17:06.480,0:17:10.880
inheritance attribution which is the

0:17:08.480,0:17:14.559
basis of

0:17:10.880,0:17:16.959
a new economic system that could be fair

0:17:14.559,0:17:19.439
and could lead to a prosperous and happy

0:17:16.959,0:17:22.799
world

0:17:19.439,0:17:26.319
and um yeah you can follow me on

0:17:22.799,0:17:31.919
twitter at countwajoula and

0:17:26.319,0:17:31.919
that's it thank you