Filippo Giunchedi

When you use something for a long time you will develop some kind of sensing of what goes together and what does not appear to fit the common pattern. The Python community seems to have given this effect a name: if something matches the common patterns it's “pythonic” if it's not, it's deemed “unpythonic”. Most aspects of the language itself are designed to not surprise you if you use them in case there would be more than one possible behavior. This is what many people refer to the Principle of Least Astonishment). In my mind there are only a handful exceptions to that rule in the language design which I will cover here as well. - Filippo Giunchedi

When you use something for a long time you will develop some kind of sensing of what goes together and what does not appear to fit the common pattern. The Python community seems to have given this effect a name: if something matches the common patterns it's “pythonic” if it's not, it's deemed “unpythonic”. Most aspects of the language itself are designed to not surprise you if you use them in case there would be more than one possible behavior. This is what many people refer to the Principle of Least Astonishment). In my mind there are only a handful exceptions to that rule in the language design which I will cover here as well. - Filippo Giunchedi

Ty­pog­ra­phy is not merely the process of ar­rang­ing font on a page. It is a liv­ing crea­ture; it feels joy in an ex­cla­ma­tion point, takes deep sighs at pe­ri­ods, grabs con­scious­ness with each bold strike and begs for un­der­stand­ing in the space be­tween every italic. It has in­tri­cate rhythm and har­mony, stac­cato para­graphs and legato head­ers that blend into a melody of en­light­ened web de­sign. Ty­pog­ra­phy is an art as much as it is an es­sen­tial de­sign process, and it is one that is best un­der­stood by fo­cus­ing on the con­trast be­tween tex­tual el­e­ments in a given de­sign. - Filippo Giunchedi

Ty­pog­ra­phy is not merely the process of ar­rang­ing font on a page. It is a liv­ing crea­ture; it feels joy in an ex­cla­ma­tion point, takes deep sighs at pe­ri­ods, grabs con­scious­ness with each bold strike and begs for un­der­stand­ing in the space be­tween every italic. It has in­tri­cate rhythm and har­mony, stac­cato para­graphs and legato head­ers that blend into a melody of en­light­ened web de­sign. Ty­pog­ra­phy is an art as much as it is an es­sen­tial de­sign process, and it is one that is best un­der­stood by fo­cus­ing on the con­trast be­tween tex­tual el­e­ments in a given de­sign. - Filippo Giunchedi

This web page is a revised and extended version of Appendix A from the book Conceptual Structures by John F. Sowa. It presents a brief summary of the following topics for students and general readers of that book and related books such as Knowledge Representation and books on logic, linguistics, and computer science. - Filippo Giunchedi

This web page is a revised and extended version of Appendix A from the book Conceptual Structures by John F. Sowa. It presents a brief summary of the following topics for students and general readers of that book and related books such as Knowledge Representation and books on logic, linguistics, and computer science. - Filippo Giunchedi