A theory of programming language semantics, part B by Robert Milne

By Robert Milne

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Describe what it looks like when you are doing it well. Describe what it looks like when you need to learn more. What did you need to be told? What did you learn for yourself? Think of when you are doing your best work. From outside, what would it look like? From inside, what does it feel like? Think of the classes you’ve created:. When you are teaching well, what does it look like? From the outside?. What does it feel like? From the inside?. When the students are working well, how does it look?

It wasn’t that I couldn’t write at all. I could put words to paper. I could write a poem. I could even, in a modest way, write a song. And I could always talk. But the closer the lines got to the right hand margin, the more confused I became, and the less at home I felt in words. The problem grew as I went further in school—first into high school, then into college, where the means of making myself visible to the people who taught me was the academic paper. I’d like to describe my “learning disability” to you.

I want to avoid the notion that the one who makes connections between people should be a therapist, or the one who could make complicated things simple should be a teacher, or that the one who could transform a room should be an interior decorator. Our gifts manifest themselves in many contexts. It is true that some people have a gift for chaos or for creating certain kinds of problems wherever they go. But I often think that’s because another of their gifts has been thwarted in some way, or they find themselves in contexts unsuitable to them, or because something has intervened between them and their gifts.

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