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Re: Imports / inclusion of s.el into Emacs

From: João Távora
Subject: Re: Imports / inclusion of s.el into Emacs
Date: Tue, 5 May 2020 14:40:54 +0100

On Tue, May 5, 2020 at 2:18 PM 조성빈 <address@hidden> wrote:

> > a fine manual.  I like Emacs because it respects people's
> > established workflows, and allows for programmers
> > to build on it, so they can use whatever workflow they
> > prefer.
> Really? This whole mail thread’s 80% is about why just usual
> prefix-searching isn’t good and you should use ‘C-h <something>’
> in order to search for a function.

You're confused and should read the thread.  I was not
talking about prefix-searching.  My workflow doesn't use
prefix searching (anymore) I use "flex". But I haven't impinged
my  workflow on other people.  Well I lie.  I do so on occasion,
because I think it's cool. But I'm not going to _force_ it on
other people.

> It’s not ruby-esque, mind you - it’s consistency, that almost
> every language aims to be. I can’t understand why you’re keep
> calling it as ‘ruby’ or something implying that it’s something
> new that doesn’t work with Emacs.

I was answering Philippe, and he mentioned earlier that he's
a big fan of "Convention over Configuration" a philosophy
popularized in the 2000's by the RoR community. He's also
mentioned he has done Ruby. As have I, and I have nothing
against it, quite the contrary.  Pretty nice language.  And I
also love the API lists and the naming consistency there.

> Something implying that it’s something new that doesn’t
> work with Emacs.

Quite the contrary. I'm trying to convince you that it can
work with closer to that if you work towards it without
futzing up other people's, equally legitimate, ways of
thinking about symbol names.  Hey, if Emacs had Common
Lisp, you could probably program the reader and put most
of Ruby itself in Elisp if you wanted to. Proper namespaces,
manual-extracted  API lists, existing completion styles, new
completion styles. All  these things would go a long way before
you take the thickest brush to a 40-year old painstakingly
crafted painting.  A living painting, yes and never finished,
just like a real one, but still.

João Távora

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