There, in that presumed paradise, the engineers were stranded in the company of an infantile mentality. They created artificial smartness, made a sim… - Ellen Ullman

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There, in that presumed paradise, the engineers were stranded in the company of an infantile mentality. They created artificial smartness, made a simulacrum of intelligence. But what they talked to all day was little more than a mechanism that read bits off a disk drive. If a comma in the code was out of place, it complained like a kid who won’t tolerate a pea touching the mashed potatoes. And, exhausted though the programmer may be, the machine was like an uncanny child that never got tired. There was Karl and the rest of the team, fitting the general definition of the modern software engineer: a man left alone all day with a cranky, illiterate thing, which he must somehow make grow up. It was an odd and satisfying gender revenge.

Is it any surprise that these isolated men need relief, seek company, hook up

This is not to say that women are not capable of engineering’s male-like isolation. Until I became a programmer, I didn’t thoroughly understand the usefulness of such isolation: the silence, the reduction of life to thought and form; for example, going off to a dark room to work on a program when relations with people get difficult. I’m perfectly capable of this isolation. I first noticed it during the visit of a particularly tiresome guest. All I could think was: There’s that bug waiting for me, I really should go find that bug.

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About Ellen Ullman

Ellen Ullman is an American computer programmer and author. She has written novels as well as articles for various publications, including Harper's, Wired, the New York Times and Salon. Her essays and novels analyze the human side of the world of computer programming.

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The machine seemed to understand time and space, but it didn’t, not as we do. We are analog, fluid, swimming in a flowing sea of events, where one moment contains the next, is the next, since the notion of “moment” itself is the illusion. The machine — it — is digital, and digital is the decision to forget the idea of the infinitely moving wave, and just take snapshots, convincing yourself that if you take enough pictures, it won’t matter that you’ve left out the flowing, continuous aspect of things. You take the mimic for the thing mimicked and say, Good enough. But now I knew that between one pixel and the next — no matter how densely together you packed them — the world still existed, down to the finest grain of the stuff of the universe. And no matter how frequently that mouse located itself, sample after sample, snapshot after snapshot — here, now here, now here — something was always happening between the here’s. The mouse was still moving — was somewhere, but where? It couldn’t say. Time, invisible, was slipping through its digital now’s.

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