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  • [MUSIC PLAYING]

  • DAVID J. MALAN: All right.

  • This is CS50, Yale University's introduction

  • to the intellectual enterprises of computer science

  • and the arts of programming.

  • All of that and so much more will make great sense before long.

  • And I thought I'd mention that Benedict and I actually go way back.

  • He and I were classmates at Harvard some 20-plus years ago.

  • And we went through our archives, even though this

  • was well before digital cameras, and found this one.

  • I used to go over to Benedict's room.

  • And I was friendly with some of his roommates as well.

  • And if you can see here, this is a stack of some very cheap pizza in Cambridge,

  • Massachusetts, from Pizza Ring.

  • It was so amazing that they would give you two pies at once

  • in the same box for like $8.

  • And if we enhance here, this is our own Professor Brown.

  • So he and I go way back.

  • And it's only fortuitous that we've now come full circle and are together now,

  • teaching this course here at Yale.

  • So if you are leaning toward computer science,

  • you might already have some comfort with the idea of being in a class like this.

  • But odds are, you don't.

  • And in fact, if you're anything like me back in the day,

  • I had no interest in or really appreciation

  • of what computer science was back in my first year of college.

  • And in fact, when I got to college, I really

  • gravitated toward things I was more familiar with.

  • At the time, I'd come off the heels of high school.

  • And I really liked a constitutional law class in high school.

  • And I liked history and that sort of domain.

  • And so I just kind of naturally gravitated

  • when I got to Cambridge toward government,

  • which was the closest concentration or major there in Cambridge.

  • And I was still, nonetheless, kind of a geek as a kid.

  • I certainly played with computers or computer games.

  • But I never really took a genuine interest in it.

  • And even my friends, ironically in retrospect,

  • who did take computer science in high school,

  • I thought they were actually the geeks and didn't really see

  • the appeal of heads down at a computer monitor, typing away,

  • door closed, fluorescent lights.

  • It just didn't really make any sense to me or resonate.

  • But I finally, sophomore year, I got up the nerve

  • to shop a course that was and still is now called CS50.

  • It was being offered only at Harvard at that time.

  • And even then, I only got up the nerve to go into that lecture hall

  • because the professor at the time let me sign up pass-fail,

  • since I really rather feared failure of some sort

  • because it was just so new and unfamiliar to me.

  • But long story short, I ended up falling in love with it

  • once I actually came to realize what it was.

  • And no joke, on Friday evenings, when back then the homework

  • assignments or problem sets would be released,

  • I would legitimately look forward to going back to my dorm room--

  • 7:00 PM, the p set would be released-- and diving

  • into that week's programming challenge.

  • But why?

  • So at the end of the day, computer science really isn't about programming.

  • It's probably not about what you perceived your own friends as doing

  • in high school versions thereof.

  • It really is about problem solving more generally.

  • So if you're feeling at all uncomfortable with the idea of shopping

  • or taking a class like this, realize that most of the people around you

  • feel that same way.

  • 2/3 of CS50 students each year have no prior CS experience.

  • So even though on occasion it might sound like it, perhaps

  • based on answers that others seem to be giving or facial expressions

  • they might be having, it's really not actually the case.

  • 2/3 of you are feeling as uncomfortable or less comfortable

  • as I was back in the day.

  • But the course itself, as you'll see in the syllabus,

  • really focuses on students individually.

  • There is no course-wide curve per se, but rather

  • what's going to matter ultimately is not so much

  • where you end up relative to your classmates at the end of this course,

  • but where you end up relative to yourself as of today,

  • and focusing on that delta and that sense of progression yourselves.

  • So what then is computer science?

  • I daresay we can simplify it as this.

  • So problem solving.

  • What does it mean to solve a problem?

  • And that domain itself doesn't have to be engineering,

  • doesn't have to be science per se.

  • Really, I daresay we can generalize problem

  • solving to be a picture like this.

  • There's some kind of input, the problem that you want to solve.

  • And there's an output, hopefully the solution to that problem.

  • And then between is this sort of proverbial, a proverbial black box,

  • this sort of secret sauce that somehow takes that input

  • and produces that output.

  • And it's not yet apparent to us how it does that.

  • But that's the goal, ultimately, of computer science

  • and solving problems more generally.

  • But to get to that point, I claim that we

  • need to talk a little bit about what computer scientists would

  • call representation, like how you actually represent

  • those inputs and those outputs.

  • And odds are, even if you really aren't a computer person yourself,

  • you probably know that computers only speak a certain language of sorts,

  • an alphabet called binary.

  • So binary.

  • But probably fewer of you have an appreciation

  • of what that actually means and how you get from 0s and 1s

  • to Google documents and Facebook and Instagram and applications and all

  • of the complexities that we use and carry around with us every day.

  • But let's start with the simplest form of representation of information.

  • Like if I were to start taking attendance in this room,

  • I might, old school-style, just take a piece of chalk or a pencil

  • and just say, OK, 1, 2, 3, 4.

  • And then I might get a little efficient and say 5,

  • just to make obvious that it's a 5.

  • But these are just hash marks on a screen.

  • And of course, I don't have to do it in chalk.

  • I can just do 1, 2, 3, 4, 5 and then count even higher

  • if I use other digits as well.

  • And digits, it's kind of a nice coincidence there.

  • And we'll come back to that in just a moment.

  • This system of using hash marks on the board or using your own human fingers

  • is what's called unary, uno implying one,

  • where the hash mark is either there or it's not.

  • And so, 1, 2, 3, 4, 5, it's like using sticks or fingers or hash marks.

  • That's unary notation.

  • There's only one letter in your alphabet, so to speak.

  • And it happens to be a 1 or a hash mark or a finger, whatever

  • the unit of measure happens to be.

  • So you can get, though, from using that unary notation of course,

  • counting up even higher if we use more hash marks or more fingers.

  • And we get to the more familiar system that we all use,

  • which is called the decimal system, dec meaning 10.

  • And the only reason for that is because you've got 10 letters in your alphabet

  • so to speak, 0 through 9.

  • 10 total digits.

  • And these are the kinds of numbers that you and I use and sort of take

  • for granted every day.

  • But a bunch of you already know and realize that computers somehow

  • only speak 0s and 1s.

  • And yet, my god, a computer, my phone, any number

  • of electronic devices these days, are so much more powerful, it would seem,

  • than us humans.

  • So how is it that using just 0s and 1s, they

  • can achieve that kind of complexity?

  • Well, turns out it's pretty much the same way we humans think.

  • It's just we haven't thought this way explicitly for quite some time.

  • For instance, on the screen here is what?

  • Shout out the obvious.

  • 123.

  • All right.

  • But why is that?

  • 123.

  • Really, well, all that's on the screen is three symbols.

  • And frankly, if we rewound quite a few years in your development,

  • it would look like just three cryptic symbols.

  • But you and I ascribe meaning to these symbols now.

  • But why?

  • And from where does this meaning come?

  • Well, if you roll back far enough in time,

  • odds are you'll recall that when thinking about a number like 1,

  • a pattern like 123, we sort of instantly these days intuitively ascribe meaning.

  • So this is the so-called 1s column or 1s place,

  • this is the 10s column or 10s place, and this is the 100s column or 100s place.

  • And so all of us rather instantaneously these days do the math.

  • 100 times 1 plus 10 times 2 plus 1 times 3, which is, of course, 100 plus 20

  • plus 3, which gets us back, to be fair, to the same symbols.

  • But now they have meaning because we have

  • imposed meaning based on the positions of those values

  • and which symbols they are.

  • So all of us do this every day any time we stare at or use a number.

  • Well, it turns out that computers are actually

  • doing fundamentally the same thing.

  • They just tend to do it using fewer letters in their alphabet.

  • They don't have 2s and 3s, let alone 8s and 9s.

  • They only have 0s and 1s.

  • But it still works, because instead of using these values, for instance,

  • I can go ahead and use, not 0 through 9, but just 0 and 1 as follows.

  • Let me give myself sort of three placeholders again,

  • three columns if you will.

  • But rather than call this 1, 10, 100, which if you

  • think about it are powers of 10--

  • 10 to the 0 is 1; 10 to the 1 is 10; 10 to the 2 is 100--

  • we'll use powers of 2.

  • So 2 to the 0 is going to give us 1 again.

  • 2 to the 1 is going to give us 2 this time.

  • And 2 to the 2, or 2 squared, is going to give us 4.

  • And if we kept going, it'd be 8, 16, 32, 64, instead of 1,000, 10,000, 100,000,

  • 1,000,000, and so forth.

  • So same idea.

  • Just a different base system, so to speak.

  • Indeed, we're using now binary, because we have two letters in our alphabet, 0

  • and 1, hence the bi prefix there.

  • So in binary, suppose that you use, for instance, these digits here,

  • these symbols, 000.

  • What number is the computer storing if it's somehow thinking of 000,

  • but in binary, not decimal?

  • Yeah, it's just 0.

  • The decimal number you and I know as 0.

  • Why?

  • Well, the super-quick math is, well, this is just 4 times 0 is 0,

  • plus 2 times 0 is 0, plus 1 times 0 is 0.

  • So that gets us back, of course, to 0.

  • But in the computer, if it were instead storing a pattern of symbols that

  • isn't 000, but maybe 001, you can probably imagine that now--

  • just do the quick math-- this is now the decimal number we know as 1,

  • because it's 4 times 0, 2 times 0, but 1 times 1.

  • Skipping ahead, you might be inclined now to represent the next number here

  • as what?

  • It's obviously not 002, because we don't have access to a digit 2.

  • We only have 0s and 1s.

  • So you might be inclined to do something like this, 11, right?

  • Because if I'm counting to 2 on my fingers, it's 1, 2.

  • So two hash marks on the board would seem to give me 2.

  • But not in binary.

  • This is unary.

  • What do I get in binary with the pattern 011?

  • AUDIENCE: 3.

  • DAVID J. MALAN: Yeah, so it's actually 3.

  • So the correct way of counting up from 0 on up in binary would be to start as we

  • did, 000.

  • Then we go up to 001.

  • Then we go up to 010.

  • Now we go up to 011.

  • And anyone, how do you count to 4?

  • What's the pattern of symbols then?

  • Yeah, 100.

  • Now skipping ahead, if we wanted to represent not 4, but rather this value,

  • how high up can we go with just three columns?

  • Seven, right?

  • So it's 4 plus 2 plus 1 gives you 7.

  • So if you wanted to represent 8, what happens next?

  • Yeah, so you sort of carry the 1.

  • So just like in our human world, when you go from 9 to 10,

  • you typically carry the 1 to a new column over to the left.

  • Exact same idea.

  • So the number 8 in binary, so to speak, would now be this.

  • But you need a fourth column, just like you would in our human decimal world.

  • So what then is the mapping between these low-level ideas

  • to actual physical computers?

  • Well, inside of computers today, whether it's

  • your Mac or PC or your iPhone or your Android phone, are millions,

  • millions of things called transistors, which

  • are tiny little switches that just turn on and off.

  • If you've ever heard of a CPU, the central processing unit, that's

  • the brain of the computer, or the phone these days, that just has so many

  • of these microscopic switches that can turn things on and off.

  • What are they doing?

  • They're really just storing or not storing electricity.

  • After all, what's the only thing you and I do probably at the end of the day

  • or even in the middle of the day if we want to keep using our devices?

  • We plug them into the wall or we plug it into a battery.

  • So there's some low-level flow of electrons, or however that works.

  • But generally speaking, the only physical input

  • to your phone or your computer these days

  • is an electrical socket or some battery in the wall or elsewhere.

  • And that's kind of an interesting principle,

  • because if the only input you have is there's either electricity flowing

  • in the form of electrons or whatnot, or there's no electricity flowing,

  • like the battery is dead or the plug isn't plugged in, well,

  • that gives you two total states in the world, two different conditions

  • that your device can be in.

  • It's either plugged in or not.

  • It's either drawing power, or it's not.

  • And what's perfect about binary is that you have two digits, 0 and 1.

  • That's all we have in the physical world when it

  • comes to charging some physical device.

  • So there's this really nice mapping between 0s and 1s

  • and electricity or no electricity, or turning something on

  • and turning something off.

  • So for instance, if we use a very large transistor like this physical phone,

  • I might say I have one switch on this phone.

  • And indeed, I can now turn it on like this.

  • So my phone, this physical device or switch,

  • might now be representing the number we know as 1.

  • And if I go ahead and turn it off, it's now representing, of course, 0.

  • And if I grabbed a couple of more phones and sort of held them like this,

  • you could imagine that each of these phones or, in turn, switches

  • is just representing a column and a value.

  • So if you give me two phones, I can count from 00 to 01 to 10 to 11.

  • And that's 3 total.

  • So with two phones, or two switches, I can count as high as 3.

  • If you want me to count higher, to like 7,

  • I'm going to need a third phone or a third switch.

  • Or an 8, I'm going to need a fourth phone or a fourth switch.

  • So this is what all of those transistors or switches inside of your computer

  • are being used for, to store information.

  • So once you have that ability to store information,

  • you can start to represent anything that's familiar, right?

  • With just 0s and 1s, switches that are on and off,

  • you can represent these numbers that we think of as binary now.

  • But you can map them, so to speak, to decimal,

  • like the number 7 or the number 8.

  • So how in the world, if all the phone or computer has

  • is electricity and these switches and this ability to think in binary,

  • how do you get to letters of the alphabet?

  • How do you send a text message?

  • How do you write a document, which, of course, involve

  • alphabetical letters, not just numbers?

  • What's the leap we now need to make?

  • Well, we'll leverage what's called in computer science

  • this notion of abstraction.

  • We're not going to spend any more time in this class talking

  • about electricity.

  • That's sort of a very low-level detail, so to speak.

  • In fact, we might rarely talk about binary, which conceptually

  • is one level higher in your mind now than the electricity that

  • flows from the wall.

  • Who cares how the electricity works or flows?

  • I just know that I can turn something on or off.

  • From that, I can get binary.

  • But if I have only have binary, I can only represent numbers.

  • Now I want letters.

  • So we need to now take things up a notch,

  • so to speak, and start to use these same ingredients to represent

  • things like the letter A. So how, whether you know this

  • or not coming in the door, how, given only those inputs to the problem,

  • might we think now about representing the letter A in a computer?

  • If all that we have is binary or, in turn, switches or, in turn,

  • electricity.

  • What do you think?

  • AUDIENCE: Using 8 bits.

  • DAVID J. MALAN: Using 8 bits.

  • So that's in the right direction, indeed.

  • I'd probably want more than just three or four columns.

  • And indeed, you've used the right term here.

  • If you've ever heard the expression bits,

  • that just stands for binary digits, condensed into one word.

  • And so these indeed represent bits, a 0 and 1.

  • OK, so yeah, we're going to need a few more bits.

  • But how do we get to the letter A?

  • How do we build up conceptually?

  • How about in back?

  • AUDIENCE: [INAUDIBLE] ascribe a value to A.

  • And then isn't that like the alphabet model?

  • DAVID J. MALAN: Yeah, I mean, that's literally

  • all we can do is to-- all we have is the ability to store numbers.

  • We humans just need to decide, you know what?

  • In the context of a text message or the context of Google Docs or Microsoft

  • Word, you know what?

  • When you see a certain pattern of bits, don't display it as a number.

  • Display it as a letter instead.

  • So we might go super simple and say A is 1, and B is 2, and C is 3,

  • and so forth.

  • Well, humans decided not to use quite that mapping years ago.

  • It turns out that the capital letter A in your phone or computer

  • is actually stored using the number 65 in decimal.

  • So the pattern of bits that gives you the number 65

  • is what your phone or computer is storing

  • if you want to represent the number 65.

  • And humans came up with mappings for B and C and D and other letters as well.

  • And they called this mapping ASCII, the American Standard

  • Code for Information Interchange.

  • Not interesting what the acronym stands for, but that it's indeed exactly

  • as you described, a mapping between numbers and letters.

  • So if we take this a little further, here's

  • where the mapping goes thereafter.

  • B is 66, it turns out.

  • C is 67, and so forth.

  • And so if right now you were to receive a message from a friend that

  • happened to be implemented using 0s and 1s,

  • and those 0s and 1s that you just received wirelessly

  • somehow were representing the numbers, say, how about 72, 73, 33, what message

  • did your friend just send you?

  • If they sent you 72, 73, or 33.

  • AUDIENCE: It's HI.

  • DAVID J. MALAN: Say again.

  • HI.

  • And then that's H-I. What might the third one be?

  • AUDIENCE: Exclamation.

  • DAVID J. MALAN: Yeah, you would only have to--

  • you would only guess this unless you knew coming

  • in it's indeed an exclamation point.

  • Because H-I is 72, 73 exclamation point.

  • If we actually looked beyond the dot, dot, dot on my slide,

  • we would see that 33 is among those values.

  • And indeed, that is how a computer represents an exclamation point.

  • You receive either via wire from your desktop computer

  • or wirelessly on your phone or laptop a pattern

  • of 0's and 1's that represents the number, 33 in this case.

  • And underneath the hood, really then, it's just some pattern of bits.

  • It might be represented using light bulbs, sort of old school style.

  • It might be represented using hash marks on the screen or 0's and 1's that you

  • might draw.

  • We can all just agree that there's probably a way to represent 0's and 1's

  • by just turning things on and off.

  • Now we can kind of think at a higher level of abstraction

  • from the electricity down here, binary here,

  • and now this thing called ASCII, which is one level conceptually above it.

  • And indeed that's where we get this notion of abstraction.

  • You have a low level detail, that frankly is not

  • really all that interesting to a lot of us.

  • Who cares how electricity works?

  • We just care that it does work.

  • But if you stipulate that it does, now you can represent decimal numbers.

  • And then we can all agree to have some mapping

  • as you propose to letters as well.

  • So two fundamental ideas so far, representation and abstraction,

  • that give us the more familiar.

  • But what about any of the other symbols that we all use, right?

  • American Standard Code for Information Interchange

  • is itself a little biased toward American English.

  • And indeed, that's what happened early on.

  • There were only 128 and then eventually 256 possible characters

  • that you could represent in a computer, which was generally

  • biased to A through Z, capital and uppercase, some letter, some numbers,

  • and some punctuation as well.

  • But there's a lot more symbols in other languages that

  • aren't represented on a typical keyboard,

  • for instance any accented character, and Asian languages having

  • a whole symbology as well.

  • There's a lot more characters in the world than 128 or 256, certainly.

  • So how do we get there?

  • Well, the world came up with, indeed, yet

  • other characters that you're familiar with as well, not to mention all

  • of these guys which you probably use pretty incessantly these days.

  • Those are just characters on the keyboard.

  • They don't look like letters in any language.

  • They look like a little comic book characters.

  • These emojis are actually just a mapping from numbers to letters, as well.

  • And that is thanks to something called Unicode.

  • So years after ASCII was decided by a whole bunch of folks decades ago,

  • Unicode was developed to not use a total as you proposed 8 bits,

  • but Unicode allows you to use maybe 16 bits or 24 bits

  • or even 32 bits, which means the more columns you have, the way bigger

  • numbers you can represent, because you keep having more and more and more

  • columns or places.

  • So Unicode allows you way more than the original value.

  • So for instance as of this year, we double checked,

  • this is the most popular emoji still in use to this day.

  • This is the face with tears of joy.

  • They all have names, as well.

  • Anyone want to hazard a guess as to what number this is?

  • It's not 65.

  • It's not 66, not 72, 73, 33.

  • We've seen those.

  • AUDIENCE: 100.

  • DAVID J. MALAN: 100.

  • Higher.

  • AUDIENCE: 1,000.

  • DAVID J. MALAN: 1,000.

  • Higher.

  • AUDIENCE: Billions.

  • DAVID J. MALAN: A billion is too high.

  • It is 128,514, completely arbitrary.

  • But we humans, unbeknownst to us, have agreed

  • that this number shall be displayed as a picture of a smiling face, that's

  • smiling so much that it has tears of joy in its eyes.

  • And every other emoji you've ever sent, similarly has a mapping as well.

  • But if you really want to take the fun out of emojis,

  • next time you send an emoji to a friend, this

  • is literally what you're sending to your friend.

  • Some esoteric pattern of 0's and 1's that their phone is just

  • displaying in a more interesting way using a font of sorts

  • to interpret those bits.

  • All right, so that was a whirlwind tour so far from electricity

  • on up to emojis.

  • Any questions so far?

  • Yeah.

  • AUDIENCE: How does syntax work in terms of, like, when we have words,

  • we have spaces in between them so we know when one starts and the next ends.

  • But on a computer, do you have--

  • is it just a long sequence of 1s and 0s and switches.

  • How does the computer know when to stop?

  • DAVID J. MALAN: Really good question.

  • So in simplest form, if you go way back into time when you had those old

  • big monitors called CRT or Cathode Ray Tubes

  • where you could actually see the dots composing the letters on the screen.

  • If you have a childhood calculator, that's kind of similar.

  • The little LED show you really the physical representation

  • of those values.

  • When you don't have fonts, everything is just fixed width,

  • like someone built a piece of hardware that

  • will display the first character here, the next character here, and so forth.

  • And typewriters in yesteryear did exactly that.

  • There was no proportionality.

  • There was no kerning, so to speak, between characters.

  • But once you have fancier Macs and PCs and phones

  • these days were born for the notion of fonts.

  • And Apple years ago really spearheaded this, especially.

  • So there are other 0's and 1's in any word document

  • or any Google document that you use that are storing other patterns of bits that

  • essentially tell the MAC, PC or phone what font

  • to use to display those characters.

  • And these days-- and we'll talk about this actually in just one moment--

  • your screen is just this amazing canvas of like millions of dots called pixels.

  • And these fonts can sort of use those pixels in different way.

  • And sometimes they'll be more squished.

  • Sometimes they'll be wider.

  • But it's more 0's and 1's.

  • And humans just needed to decide, Apple and Microsoft and elsewhere,

  • what patterns of bits represent Times New Roman or Comic

  • Sans or some other such fonts as well.

  • All right, so suffice it to say that in a smiley face like face

  • with tears of joy, there's a lot of yellow dots

  • or it would seem or just yellow color.

  • And indeed that dot is generally known as a pixel.

  • Well a pixel is sort of another thing that-- well, the computer

  • has got to represent it somehow.

  • After all how does the computer know to show me yellow or green or blue

  • or anything else?

  • Well, it reduces to pixels, as well.

  • You might have heard this acronym in some context in the past.

  • RGB stands for?

  • AUDIENCE: Red, green, blue.

  • DAVID J. MALAN: Yeah, red, green blue.

  • And if you hadn't heard that before, it's no big deal.

  • It just describes a common convention for computers

  • to store any color of the rainbow.

  • They breakdown every color you can think of into some amount of red,

  • some amount of green, some amount of blue,

  • that if you overlap those three shades, you get the color that you want,

  • for instance something like yellow.

  • So for instance, if we consider this picture here,

  • this is three pixels side by side or really RGB, a triple

  • if you will, three different values of sorts.

  • So red comes first.

  • Green comes second.

  • And blue comes next.

  • So really underneath the hood, suppose that your computer were storing

  • the same numbers as before, 72, 73, 33, but now it's

  • in the context of Photoshop or a browser or some program that's

  • designed to show graphics and not text.

  • Well, the computer will interpret potentially

  • that same pattern of 0's and 1's in just a different way.

  • Rather than display them as text, like HI!

  • H-I exclamation point, it'll display it as the combination of these three

  • colors.

  • So you'll take some amount of red, some amount of green, some amount of blue.

  • And it looks like a good amount of red, a good amount of green, and less blue,

  • just based on those numbers 72, 73, and then less, 33.

  • And if you actually combine those with each other, what you'll ultimately get

  • is, if we merge them together, that same shade of yellow.

  • Now let me stipulate for the moment that each

  • of those values of red and green and blue by human convention

  • tend to use 8 bits.

  • So with 8 bits, anyone want to guess how high you can count

  • if you have 8 columns on the board?

  • AUDIENCE: [INAUDIBLE]

  • DAVID J. MALAN: Yeah, you have to do some quick math.

  • But if you literally went 1, 2, 3, 4, 5, 6, 7, 8, this is the 1's place.

  • This is the 2's place, the 4's place and so forth.

  • If you do that math, you can count as high as 255

  • using 8 total bits or 8 total columns.

  • This is very common unit of measure.

  • And it's one of those things eventually that will just become second nature,

  • because it's used in so many places.

  • And indeed it's used in colors.

  • The computers of today typically use 8 bits, eight 0's and 1's to represent

  • how much red you want for every dot on the screen, 8 more bits

  • to represent how much green you want on the screen, 8 more bits

  • to represent how much blue.

  • So they spend 24 bits total to represent how much red, how much green,

  • how much blue each dot on your screen should be and then

  • display the resulting value as it might be here with this yellow dot.

  • But the only thing that's changed is the context

  • in which those bits are interpreted, not a word processing program.

  • But like a graphics program, it still reduces to 0's and 1's.

  • And you can see these pixels or dots, right.

  • This is that same emoji as before.

  • And if I start to zoom in on this, you start to notice a pattern.

  • And indeed that like lovely shade of yellow and the black eyes and so forth

  • are actually just a whole bunch of dots that when you look at it normally,

  • they're so small you don't realize that it's a very jagged image.

  • But if you zoom in on it quite a bit, you actually

  • start to see the pixels on the screen.

  • And you can kind of do this, not so much with phones these days,

  • if you've ever heard of retina displays and the fancy things

  • that Android phones and iPhones have, your human eyes

  • can't really even see the dots anymore.

  • But if you go home to your TV or look at an older TV,

  • especially and get way too close to be comfortable watching it,

  • you'll actually see these same dots as well.

  • And that just means every one of the yellow or black or gray dots

  • on the screen is being represented by this Mac or PC using 24 bits.

  • So the top left hand corner, that's 24 bits.

  • The next dot over is 24 more bits, 24 more bits, and so forth.

  • So if now you've ever taken a photo and you've stored

  • the file like a JPEG on your computer and it takes up 1 megabyte.

  • One megabyte means one million bits--

  • 1 million bytes.

  • And a byte anyone know?

  • AUDIENCE: 8 bits.

  • DAVID J. MALAN: It's just 8 bits, right?

  • One bit is pretty useless, right.

  • You can only count to 1.

  • But 8 bits, you can count, we just said, to 255.

  • So most people in the world talk about bytes.

  • One megabyte just means one million bytes.

  • So that's a lot more 0's and 1's.

  • So once you have a file on your hard drive storing an image,

  • the bigger the photo is, the bigger the file is going to be.

  • Or the higher the resolution is, the more dots your photos have,

  • the bigger the file is going to be.

  • Why?

  • Well, because for every one of those dots we--

  • at the risk of oversimplifying-- you have to store another 24 bits, 24

  • bits, 24 bits, 24 bits, and so forth.

  • So the bigger the image, the more disk space it's going to take up

  • and the fewer files you can even store, therefore, on your Mac or PC.

  • This is why, ultimately, you run out of space.

  • Now I borrowed this from online.

  • We'll see if it sort of remains a thing this year as well.

  • But you might have noticed quite a few GIFs, Graphical Interchange

  • Formats being posted to this Facebook and certainly many others online.

  • You might have noticed that some of those graphics are sometimes animated.

  • They literally say GIF.

  • And if you click on it, something sort of happens.

  • And sometimes you can upload videos, certainly to sites like Facebook

  • as well, and hit a play icon.

  • And then that plays as well.

  • Well, how does that fit into this sort of hierarchy?

  • Well, again, we started with electricity, 0's and 1's, then

  • we had letters.

  • But instead, if you don't interpret those 0's and 1's as letters,

  • but sort of conceptually think about them now as colors, you have images.

  • That's all an image is, a bunch of dots or pixels.

  • Well, what is an animated GIF?

  • If you've ever seen some meme going around

  • where there is sort of an animation, it's just image, image, image, image.

  • And sometimes it loops-- image, image, image, image--

  • and it creates the illusion of motion.

  • If you were a kid and ever had one of those flip books

  • with like hundreds of pages of like cartoon drawings,

  • and you flip it really fast, that's just creating the illusion of a video

  • by showing you lots of frames per second.

  • And that's all the video is.

  • Once we agree that, yeah, I can store images

  • because this is just a bunch of pixels, each of which

  • is interpreted left to right as red, green, blue, red, green, blue, how

  • much color I want for each dot.

  • Well, then all you need to do is store more of those pixels

  • to represent the second frame of a movie, the third frame of a movie.

  • And in our human world in Hollywood most movies

  • are 24 frames per second or 30 frames per second.

  • That just means when you're watching a video or even an animated GIF,

  • you're watching dozens of images fly by your eyes

  • every second creating the illusion, therefore, of motion.

  • And that's all a video file is.

  • And so here too, you can take the fun out

  • of clicking on any of the means online because you're just

  • looking at bits and bits and bits flying across the screen in some pattern.

  • Musically as well, if you've ever played a tune

  • on a keyboard or some other device, well, we

  • could think about how we can represent sounds as well, right.

  • These are musical notes, so to speak.

  • And each of those notes might be played on, for instance,

  • a piano for some unit of time.

  • So maybe one second per note or much faster than that.

  • So you could imagine maybe storing with 0's and 1's the note

  • you want to represent, maybe A or B or C or D, E, F, G, the amount of time

  • that you want to play that note for.

  • Maybe it's a split set and maybe it's a quarter of a second,

  • maybe it's a full second or the like.

  • And if you really want to get fancy, we can maybe

  • store a third value, how loud do you want

  • that note to be at some moment in time.

  • And if you just imagine now these triples, note and duration and volume

  • and just keep doing note, duration, volume, note, duration, volume, now

  • you have a whole musical staff that can be played audibly so

  • long as you have speakers as well.

  • So it's just using these bits in different patterns in different ways.

  • So that's how we might represent inputs and outputs.

  • When you save a file on Microsoft Word or Adobe Photoshop,

  • you're creating an output by saving these patterns of 0's and 1's

  • to your computer's, say, hard drive.

  • All right, so that gives us inputs and outputs.

  • But what's inside of the so called black box?

  • This really is where computer science now comes into play.

  • These are things called algorithms.

  • And in your own understanding now what is an algorithm if you could?

  • What's an algorithm?

  • Let me go a little farther back.

  • Yeah, in the back.

  • AUDIENCE: Instruction.

  • DAVID J. MALAN: An instruction to do something, presumably.

  • Other perspectives?

  • And algorithm is an instruction, something else?

  • Yeah.

  • AUDIENCE: A path to follow.

  • DAVID J. MALAN: A path to follow.

  • So a logical path to follow, yeah.

  • And let me combine those two.

  • It's really like step by step instructions for, shall we say,

  • solving a problem.

  • That's all an algorithm is.

  • And so when you hear about algorithms and machine learning

  • and artificial intelligence which use algorithms,

  • those are just step by step instructions that computers

  • are using to solve some problem.

  • So that's, I claim, what would be inside of this black box in the middle.

  • So what might a sample algorithm be?

  • Well one that you saw an illusion to a little bit

  • ago is this old school device here, so a phone book.

  • And inside of a phone book are hundreds or thousands of names and numbers,

  • typically alphabetical from A to Z. And even though this is old school

  • and most of us don't even use these anymore,

  • frankly, it's the same thing in our Android phones and iPhones.

  • Those just happen to be digitally implemented.

  • But they're still sorted A to Z, top to bottom.

  • And so instead of flipping through pages one at a time or two at a time, now

  • we're just kind of scrolling through one at a time.

  • But of course, on our phones, you can search for things,

  • and you can type in a friend's name and try to look them up in your phone.

  • Well, back in the day, you would do that's similar in spirit,

  • but you would have to do it with your own human eyes and not software.

  • But how is software implementing that same step by step approach?

  • Well, if I want to find someone like Mike Smith in this phone

  • book, last name Smith starting with S, well, I

  • could certainly just start at the beginning and look on the first page.

  • And nope, he's not there.

  • Second page, nope, he's not there.

  • Nope, he's not there.

  • One page at a time.

  • That is a step by step process, an algorithm.

  • Is it correct?

  • AUDIENCE: Yes.

  • DAVID J. MALAN: Yeah, it's correct in the sense that if Mike is in here,

  • I will find him if he is.

  • Is it good algorithm?

  • AUDIENCE: No.

  • DAVID J. MALAN: No, I mean it's pretty stupid.

  • This is going to take me forever to go one page at a time.

  • So in grade school I could do things twice as

  • fast by going 2, 4, 6, 8, 10, 12--

  • that's actually easier said than done--

  • and so forth and fly through the phone book twice as fast.

  • Is that algorithm correct?

  • AUDIENCE: No, it isn't.

  • DAVID J. MALAN: No.

  • Why, what's the catch?

  • AUDIENCE: You could skip him.

  • DAVID J. MALAN: Yeah, I could skip them accidentally, right?

  • Once I get pretty deep into the phone book I just might get unlucky

  • and he happens to be sandwiched in between two of the pages

  • that I'm flying through.

  • So they're still fixed.

  • I don't have to just never use two things at a time.

  • I can just make sure that when I hit Sn in the phone book

  • or maybe the T section, I know I have to at least double back maybe one page.

  • So I can fix that bug or mistake, as it would be called in programming,

  • and then see if he's on that page.

  • But most of us if we're going to use this technology at all

  • are not going to search one or two pages at a time.

  • What's a normal person going to do?

  • AUDIENCE: Just open it.

  • DAVID J. MALAN: Sorry.

  • AUDIENCE: Just open it.

  • DAVID J. MALAN: Just open it.

  • OK, I am in the M section.

  • I don't see Mike.

  • AUDIENCE: Keep going.

  • DAVID J. MALAN: Keep going where?

  • AUDIENCE: To the S, like there's more pages.

  • DAVID J. MALAN: OK some more pages.

  • But direction matters.

  • So I probably want to go to like this way to the S's if I'm ending up

  • in the middle in the M's.

  • But what does that mean?

  • It means that I know Mike is not in any of this half of the phone book.

  • So both figuratively and literally, we can tear the problem in half,

  • tear the problem in half.

  • And now I'm left not with one byte or two bytes out of the problem

  • as my first algorithms involved, now I've

  • taken like 500 bytes out of the problem all at once.

  • But they're not incorrect, right.

  • I know Mike, as you say, it's not there because he's toward the S's.

  • All right, what do I do now?

  • I open it up.

  • All right, ah, slightly too far.

  • I'm in the T section now.

  • What do I obviously do next?

  • Now he's this way.

  • But that means there are like 250 pages that I know he's not on.

  • So again, my algorithm of 1 and 2 at a time

  • is completely blown away by this much faster algorithm as well.

  • And I can repeat and I can repeat and repeat.

  • And if I did it right, hopefully, I'm going to end up with, eventually,

  • if we fast forward one page and Mike Smith

  • is either on the phone book's page or he's not.

  • I can go ahead and call him then.

  • So this is just intuitive.

  • And frankly, that's exactly what your phones

  • are doing when you search for a friend.

  • It happens in a split second.

  • But your phone typically, if you're looking for Smith in your phone,

  • it's not searching from top to bottom among your contacts.

  • It's jumping mathematically to whatever the middle is.

  • And that's probably M, give or take, depending on the distribution

  • of your friend's last names.

  • And then it's going to jump forward or back,

  • without you seeing this as a human, finding that value.

  • And what's the takeaway there?

  • Well, just how much more efficient was this?

  • Well, the first algorithm, how many steps

  • might it take me in 1,000 page phone book to find Mike Smith?

  • Yeah, I don't know like 700, 800 something like that,

  • like hundreds of pages.

  • What about the 2's approach, 2 pages at a time?

  • Like 350, 400 pages, right, half as many pages, since I'm

  • flying through twice as fast.

  • How many times is it going to take me to look for Mike Smith using

  • the third algorithm where I kept dividing the problem in half,

  • dividing and conquering if you will, and it started with 1,000 pages?

  • AUDIENCE: Three.

  • DAVID J. MALAN: Three, more than three, unless I get lucky.

  • It's closer to 8, 9, 10, right, because 1,000 in half is 500,

  • then 250, then 125, then I have to round.

  • And then I keep going.

  • But I can do that 10-ish times, depending

  • on the precise number of pages, 9 or 10 times will get me to one final page.

  • So that means I started with 1,000 pages at first.

  • I can in 10 steps, your phone can in 10 steps,

  • find that friend in the phone book, if they are actually there.

  • The first two algorithms would have taken 700 steps, 350 steps, or at worst

  • the whole phone book if, I just keep going and don't find him.

  • The algorithm that we had more intuitively is indeed the same.

  • And without getting too mathematical, we can actually

  • appreciate this even graphically.

  • So here's sort of a very simple chart on the x-axis or horizontal,

  • it's the size of the problem, like how many pages are in your phone book.

  • The vertical axis on the left is how much time does it

  • take you to solve the problem-- seconds, page turns,

  • whenever your unit of measure is.

  • Well, the first algorithm I can draw like this.

  • It's a straight line.

  • The slope has a 1 to 1 ratio, because if Verizon or the phone company

  • next year adds one more page to the phone book,

  • that might push Mike one more page forward.

  • So that might take me one more unit of time to find him.

  • So a 1 over 1 slope.

  • The second algorithm is also a straight line.

  • It's just lower than the red line, because for any given number of pages

  • on the x-axis, wherever I want to put my hand,

  • I'm going to hit the yellow line at some point,

  • and that's how many page turns or seconds it takes,

  • but if I go higher up, twice as high up, then

  • I'll see how much time the first algorithm took, the red line,

  • because it's working half as fast.

  • But the third algorithm is what we'll call this curved green line.

  • It's a different shape and even if you have

  • hazy memories as to what the term means, it's

  • what we called at some point in your mathematical backgrounds, logarithmic.

  • And if you haven't seen this term, not to worry if it's unfamiliar altogether.

  • But this has a fundamentally different shape, a fundamentally different shape.

  • It's not a straight line.

  • It's curved.

  • And notice that it almost kind of sort of gets flat even.

  • It never becomes flat.

  • It just grows or rises ever so slowly as you go farther and farther out.

  • Why?

  • Well, think about it from another perspective.

  • If Verizon doubles the number of people in the phone book next year,

  • maybe two towns East Haven and New Haven merged together into one

  • bigger phone book with twice as many pages,

  • well, how many more steps will take you to find

  • Mike Smith next year, in that case?

  • Like, one more step.

  • That's a really powerful idea, just to go up one second or one page turn

  • on the vertical axis, you have to go way,

  • way out on the x-axis, which again represents the number of pages.

  • And that's a powerful algorithm.

  • And what I claim is that even if you're feeling

  • uneasy with the idea of computer science, let alone programming,

  • a lot of the ideas we're going to explore this semester really

  • are as familiar as that.

  • And it's really just a process of translating

  • those ideas and that human intuition you already have into what we'll call code.

  • And what a perfect setup to actually introduce some code, but not

  • in specific programming language.

  • So we'll begin with this, pseudocode.

  • So pseudocode is not a formal language.

  • There's no one way to write it.

  • And everyone of us on the staff might write the following algorithm

  • in a slightly different way.

  • You just use English like syntax and grammar

  • or whatever your spoken language is to convey your ideas.

  • So for instance to implement that algorithm

  • that I ended on, finding Mike Smith by dividing and conquering again

  • and again, how would Express that a little more methodically in such a way

  • that another person or ultimately a computer could understand?

  • Well, I might jot down that step 1 is just pick up the phone book.

  • That's where I began.

  • Step 2 would be open to the middle of the phone book, you know, give or take.

  • I can be a little sloppy about it even if I want in the human world.

  • And it will average out in the end.

  • Step 3, look at the names, looking for Mike Smith on the current page.

  • It's the M section, so I already know he's not going to be there.

  • So then I have to ask myself a question, though.

  • If Smith is among the names, what do I probably want to do?

  • Call him or do something with that information.

  • So I'll indent that underneath to make clear

  • that there's cause and effect here.

  • If step 4 is true, then I should do step 5.

  • That's all the indentation means.

  • But if Mike is not on the page I'm looking at,

  • which he's not going to be if it's the M section,

  • then I might ask well else if Smith is earlier in the book to the left

  • then what do I want to do?

  • Well, as you proposed, go to the left of the book, and in this case,

  • open to middle of left of book.

  • And if I then don't find that he's earlier in the book, but rather,

  • then I have to go back to line 3.

  • Why?

  • Well let's be clear, if on line 6 Smith is earlier in the book,

  • he's to the left of where I am in the book, what do I want to do?

  • I want to open to the middle of the left half of the book.

  • And then go back to step 3 because the next step should be, look at the names,

  • if I've just jumped elsewhere in the book.

  • And I can repeat the same process again and again without writing this down

  • to be 20 or 30 or 40 lines.

  • I can reuse some of my own syntax to be more efficient.

  • But if Mike is later in the book, I instead

  • want to open to the middle of the right half of the book,

  • and then again, go back to step 3, because I want to see

  • if he's on now that page to the right.

  • Now I'm not quite done.

  • Mike's either there or he's to the left or to the right.

  • Or there's one fourth case, so to speak.

  • AUDIENCE: He's not there.

  • DAVID J. MALAN: He's not there.

  • And I should consider this.

  • So if I want to make sure I should say else.

  • If he doesn't fall into any of those three scenarios, I should just quit.

  • And if we fast forwarded a bit among the delights in any programming class,

  • ultimately is your first of many bugs or mistakes that you might make.

  • And you've seen bugs before in the world of Macs and PC and even phones.

  • If you've ever seen annoying little spinning beach ball on Mac OS,

  • or you've seen the little hourglass things spin endlessly on Windows,

  • or if you're iPhone or Android phone just freezes altogether,

  • very likely the human who wrote the code that your phone or laptop are running

  • at that moment just didn't anticipate some fourth

  • or some fifth possible scenario.

  • And therefore, there was no line of code that the computer

  • could use to handle that scenario.

  • So it just crashes or spins forever or reboots or does something unexpected.

  • So even something like this, if you left out this condition,

  • you might be looking for Mike endlessly, spinning beach ball,

  • if you never actually tell yourself to quit or to exit.

  • So we'll see more evidence of that before long.

  • But let's apply some now programming terms to these ideas here.

  • So highlighted in yellow now or henceforth

  • are what we're going to call functions.

  • These are just actions or verbs that tell the computer or the human

  • or the robot what to do in pseudocode here.

  • Those are all verbs or actions.

  • Here we have what I'm going to call-- what we're going to call conditions

  • or branches.

  • These are like decision points or metaphorical forks in the road.

  • You're either going to go this way or that way

  • just like in the phone book or maybe a third or fourth direction as well.

  • But how do you decide what road to go down logically?

  • These are a little more fancy called Boolean expressions,

  • after a mathematician named Boole in yesteryear.

  • And a Boolean expression is just a question

  • that has a yes no answer or a true false answer, or, if you will, a 1 0 answer.

  • We could reduce that to bits as well.

  • Lastly, we'll have these things highlighted here,

  • which we're going to call loops.

  • And going back to line 3 is indeed inducing this kind of idea,

  • go back and do something again such that you're in some kind of cycle

  • or as we'll say a loop.

  • And those are four of the ideas in programming

  • that we'll see now in actual code and four of the ideas

  • that will persist throughout the whole semester.

  • These relatively simple building blocks that you and I

  • use every day, either intuitively or maybe even on paper,

  • are just ways of breaking down problems into step by step instructions

  • or, again, algorithms.

  • But we're going to add a few things to the list in just a moment, things

  • called variables which you might recall from algebra or math more generally,

  • things called threads which are a little more specific to computing,

  • and events which we'll see, especially later in the semester.

  • But we're going to do this as playfully as we can by way of this character

  • here named Scratch.

  • And odds are some of you probably used in high school, middle school,

  • in grade school--

  • yes, a few.

  • So Scratch is this amazing language from MIT's Media

  • Lab developed some years ago.

  • And, indeed, it's targeted primarily at younger students.

  • But it actually encapsulates all of these ideas

  • that we've discussed thus far.

  • And we use it in CS50 as a springboard in the first week to our second week,

  • wherein next week we'll introduce you to a language or two--

  • a week and a half about, we'll introduce you to a more text-based language,

  • more traditional language called C. But let's see if we can't see--

  • no pun intended-- let's see if we can't see some of these same ideas in some

  • of the code here as well.

  • So I'm going to go to a website here Scratch.MIT.edu.

  • And ultimately, in a week and a half when the first problem set

  • or programming assignment for the course is due,

  • we'll provide you with all of this step by step instructions

  • to do the same thing yourself.

  • The first thing you can do is you'll see in the homework is

  • to create something in Scratch.

  • And you'll be prompted first to create a user name and password so that you

  • have somewhere to save your file.

  • But I'm just going to do my things here on the fly.

  • And by default, you'll see an environment that looks like this.

  • And I'm going to go ahead and dismiss the default

  • tutorial, just to give a definition of what's here on the screen.

  • So on the left hand side here is a whole bunch of seeming puzzle pieces,

  • little colorful blocks that in just a moment

  • I'm going to drag and drop and interlock them like an actual puzzle.

  • In the middle here is what we'll just call the programming area.

  • This is the editor where I'm going to drag and drop those puzzle pieces.

  • And over here is what MIT calls the stage.

  • It is the area of the screen where Scratch, the default cat that we see,

  • can move up, down, left, right make sounds, or do

  • any number of other things.

  • So we're going to create code by dragging and dropping

  • those puzzle pieces into the middle.

  • And then when I click the Start button, effectively, well, things

  • start to happen.

  • So perhaps the very first thing or simplest thing I can do with Scratch

  • is this.

  • Notice how in the left hand side here, there's these colorful categories

  • that just group different ideas into different types of puzzle pieces

  • or blocks.

  • The first one up here under Events is where I want to begin.

  • The act of clicking a start button on a phone or a laptop

  • is what a computer scientist calls an event.

  • It's something that happens that the computer can listen for.

  • And we'll see now that there's this little green flag,

  • like in a game, that when clicked over here at top right,

  • will just start the code running based on whatever I've typed.

  • Now the only thing I want to do is make Scratch look a little different.

  • And if I scroll over to Looks over here in purple,

  • there's a whole bunch of puzzle pieces, one of which is just say Hello

  • by default. So I'm going to go ahead and drag and drop that puzzle piece next.

  • And notice that as I get close to an existing puzzle piece,

  • they're sort of magnetic and they want to interlock.

  • So if I just let go, they now snap together.

  • And one of the very first programs written years ago,

  • historically, had just this phrase here, hello world.

  • Some of the very first few words ever spoken in a computer program.

  • So we'll repeat that legacy here.

  • So I now have a program.

  • It's super simple.

  • It's only got two puzzle pieces.

  • But how do I go ahead and play it?

  • Well, the code is telling me what to do.

  • When the green flag is clicked, go ahead and say, hello world.

  • So that is a program, right?

  • There's no text.

  • There's no C++.

  • There's no Java.

  • There's no Swift or any languages that might generally have heard of thus far.

  • Scratch itself is a language that happens to be graphical.

  • But it has the same ideas that we'll see in fancier form soon.

  • In fact, what has just happened-- let me go back for just a moment

  • here over to the where we began.

  • And you'll recall we had this definition of problem solving.

  • Inputs passed into algorithms which yields outputs.

  • Well, let me propose that we consider the input in this particular program

  • just to be this, hello world, the words I happen

  • to type into that little ovular box.

  • Then the algorithm is just to say something,

  • like that is the code that's taking as input those words.

  • And what is the output going to be?

  • Well, hopefully, if the code works, it's going

  • to make the cat say with a little speech bubble, hello world.

  • That's the output.

  • So this super simple program already fits into this paradigm.

  • Well, what if I want to do something a little more interesting?

  • Let me go over here now.

  • And let me go ahead and let's see what else can I have Scratch do for me here?

  • It looks like there's a whole bunch of movement that I can do.

  • It looks like there is a whole bunch of Looks

  • I can give him with saying something.

  • It looks like their Sound capability.

  • Let me scroll down here to Sensing, for instance.

  • This one's interesting, ask, what's your name, and wait.

  • So I can maybe make this program more interactive

  • so that I have to do something beyond just click a green flag.

  • Well, let me go ahead and get rid of this for just a moment.

  • And get rid of a block, you can just take it to the left and let go.

  • And it disappears.

  • Let me drag this one in here.

  • And I'm fine with that, ask, whats your name, and wait.

  • And notice over here, this puzzle piece is a little special.

  • It comes with a sort of special dependent piece, the answer

  • that the human has typed into their keyboard.

  • So how do I go ahead and use this?

  • Well, let me go back to Looks up here.

  • Let me go ahead and say something for two seconds.

  • And what do I want to say here?

  • Let me go ahead and say, hello comma.

  • And then let me go back to Sensing to get this thing.

  • Oh, no, sorry.

  • Let me go ahead and get one more puzzle piece.

  • Say something else for two seconds.

  • But notice this, I don't have to say anything there per say.

  • I can instead go to this answer.

  • And even though it doesn't quite look like it will fit,

  • these blocks will grow to fill.

  • And indeed, it feels like it's magnetic.

  • Now I can say, hello comma, and then say so and so's name.

  • So let's try this.

  • Let me go ahead now and click the red stop sign, now

  • the green flag, what's your name.

  • I'll go ahead and type in David and hit Enter.

  • Hello comma David.

  • I mean, kind of underwhelming and kind of stupid, aesthetically, why?

  • Like what rubs you the wrong way?

  • AUDIENCE: It's too long.

  • DAVID J. MALAN: It's like two seconds hello David, like I just want to say it

  • all in one breath, if you will.

  • But I can't type in words and then drag that puzzle piece there,

  • because it's going to overwrite or fill the white oval.

  • So what can I do?

  • Well, if you start to poke around-- and this

  • is a lot of what programming is initially,

  • just reading the documentation or googling for definitions of functions

  • that exist you haven't heard of yet or just skimming a list like this.

  • Well, I'm going to go down here and scroll further.

  • Well, this is a little weird for a default example, join apple and banana.

  • But those are just sample words that you can plug in.

  • So you know what I'm going to do, I'm going to grab this answer.

  • And I'm going to move--

  • I'm going to get rid of the second say block,

  • because I really just want one thing to happen.

  • And you know what?

  • I'm going to change apple to hello comma.

  • And I'm going to change banana to answer.

  • And joining is going to do what's more fancily

  • called a concatenate, combine two things left and right.

  • And then let me go ahead and drag this.

  • It's going to magnetically snap into place.

  • And now I think we have the right idea, what's your name.

  • Let me try it again.

  • David.

  • Hello comma David.

  • But notice how we're sort of building up almost vertically on the program

  • by nesting and nesting and kind of stacking these puzzle pieces.

  • But that's OK.

  • And notice here what's happening.

  • So this puzzle piece here, Ask, is somehow asking the user for input

  • and then returning it in some sense, handing it back in a variable

  • as we'll call it called Answer.

  • So in computer science and programming, we don't call variables x, y, z.

  • Typically, we give them actual names that are more descriptive, like Answer.

  • So here is a variable storing an answer.

  • And we can now use that here.

  • Well, what is Join?

  • Join is another function, an action or verb,

  • that's going to join two inputs together and create

  • one new output like hello comma David.

  • That output can become some other function's input,

  • hence the stacking that I'm doing.

  • So hello comma David is what's actually passed into the Say function.

  • And that's why I see my name ultimately printed.

  • So if we break this down into the same paradigm as before,

  • if we start with problem solving as before,

  • the input initially to the Ask block is, what's your name.

  • And the algorithm in question is, of course, ask.

  • The output of that is whatever the human's answer was stored in this thing

  • called a variable, just by Scratch for me automatically.

  • Well, then if I consider the second line of code, there's two inputs,

  • and that's OK.

  • You don't have to pass in just one input you can pass in zero or one

  • or two or more.

  • Hello comma and answer are my two inputs to this process.

  • The algorithm now is going to be that join function.

  • And it's going to figure out how to combine

  • these two things, left and right.

  • The output is hopefully going to be hello comma David.

  • But now that output, if we shift it over,

  • can become the input to some other algorithm or function.

  • And that function here might be say.

  • And that hopefully is going to output hello comma

  • David right out of the cat's mouth.

  • So again, problem solving is reduced to different forms

  • based on the language you're using.

  • And at the moment the language we're using

  • is indeed this language called Scratch that

  • allows us to program, literally, by just dragging and dropping puzzle pieces.

  • Any questions then on these steps thus far?

  • No.

  • All right, well let's try something a little fancier how about this?

  • Instead of when the green flag is clicked,

  • let's actually make them can do something a little more interesting

  • like play sound meow until it's done.

  • [CAT MEOWING]

  • OK, adorable didn't take much effort, but an adorable program.

  • But if I wanted it to meow again, I can do--

  • [CAT MEOWING]

  • --click the green flag.

  • [CAT MEOWING]

  • Click the green flag.

  • This is not the most interactive.

  • Well, it's actually very interactive.

  • It's not the most automated program, like if you have to play--

  • [CAT MEOWING]

  • --the game again every time you want to hear the cat meow.

  • [CAT MEOWING]

  • So what kind of programming construct or idea

  • can we use from before to automate this?

  • AUDIENCE: A loop.

  • DAVID J. MALAN: Yes, some kind of loop.

  • So if I kind of poke around in Scratch indeed under Control in orange,

  • there's a couple of looping blocks, repeat some number of times 10

  • by default, but I can change that, or forever.

  • I can the cat meow forever if I do something like this.

  • Let me grab the forever block.

  • And I don't want to put it here.

  • I want to logically kind of break this up and reconstitute it.

  • Let me put it in here.

  • And again that gap will grow to fill the block.

  • Now let me connect it to the green flag.

  • So that now--

  • [CAT MEOWING]

  • --I mean, it's not a very happy cat perhaps.

  • [CAT MEOWING]

  • So maybe I should grab this.

  • [CAT MEOWING]

  • And notice this is all very interactive.

  • [CAT MEOWING]

  • Let me wait one second after playing the sound.

  • [CAT MEOWING]

  • Now it's a little less worrisome what the cat is doing.

  • [CAT MEOWING]

  • And so we now have a program that's actually using a loop.

  • [CAT MEOWING]

  • Well, we can use loops in other ways.

  • Let me go ahead and open up something that I--

  • let's have the cat, for instance, count up here.

  • So how about this?

  • Let me get rid of this.

  • Let me undo this.

  • And let me go ahead and grab a variable.

  • And it turns out you don't have to just use the answer that we

  • got from the Ask block.

  • That variable you just kind of get automatically for free in Scratch.

  • You can make your own.

  • So I'm going to actually create a variable here.

  • And I'm going to call it counter.

  • And sure, I'm going to click OK.

  • Notice, it gave me now a new orange puzzle piece called

  • counter that I can now use somewhere.

  • So it also gave me these other orange puzzle

  • pieces, like set counter to zero.

  • And that's what I want to do.

  • I don't want to just--

  • I want to write a program now in a loop just counts upward.

  • So to do this, I'm going to grab that and set the counter

  • to equal to 0, then forever.

  • I'm going to go ahead and what I'm going to save the value of that counter.

  • So I'm going to drag this in here.

  • 2 seconds is going to take too long.

  • So let's just change it to 1 second.

  • Now I'm going to go back to my variable category.

  • And I'm just going to drag this one in here, just as I did before

  • with like hello, my name.

  • And then sure, I'll go ahead and wait 1 second just to slow things down.

  • And then I'm going to go back to variables.

  • And again, I'm doing this quickly only because I've

  • kind of tinkered with this before.

  • I'm going to change the counter by 1.

  • So notice I've made a fancier program.

  • But logically, it's just going to set the counter to 0.

  • And then it's forever going to say the counter's value, wait a second,

  • change the counter by 1, then do it again and again and again and again.

  • There won't be any sound this time.

  • But we will see that Scratch in this way can count, it would seem, from 0

  • on up to infinity, theoretically.

  • But we'll see that infinity-- things tend to break as you approach infinity

  • in most programs.

  • But more on that before long.

  • Well, let me go ahead and open a few that I brought with me here.

  • In fact, on the course's website, you'll see for every lecture,

  • whether here or online, all of the materials that we use

  • and what I'm doing is running source code, programming code.

  • And if I click on Studio here, I'll actually see all of the code

  • that I brought with me today.

  • And I'm going to go ahead and open up an example now called Pet.

  • What about a program now that synthesizes those two ideas

  • using sound in a loop, but also using that loop

  • to do something again and again?

  • Well, let me go ahead and see what happens here.

  • I'm going to go ahead and See Inside.

  • And you can actually see the code in question.

  • And now watch this.

  • I've clicked the green flag, but nothing seems to be happening.

  • What should I do?

  • And I clearly wrote this program already.

  • AUDIENCE: Put the mouse over the cat.

  • DAVID J. MALAN: Yeah, I should put the mouse over the cat it seems.

  • Why?

  • Because it says forever ask the following question

  • if you're touching mouse pointer, then play the sound meow until done.

  • So let's try that.

  • Here we go.

  • [CAT MEOWING]

  • Ah, so now it's like--

  • now it is more interactive.

  • [CAT MEOWING]

  • And you're sort of petting the cat with your cursor.

  • [CAT MEOWING]

  • But if you hold it there, gets a little noise.

  • [CAT MEOWING]

  • Let me go ahead and open a slightly different one, Pet1.

  • Notice, I'm starting to count zero, just as I did here,

  • just because that's a computer science convention to start counting at 0.

  • So Pet1 is now my second example.

  • Let me go ahead and see inside this one.

  • It's a little more involved.

  • [CAT MEOWING]

  • What should I perhaps not do this time?

  • [CAT MEOWING]

  • It's a little small.

  • Let me zoom in.

  • [CAT MEOWING]

  • All right, so now logically--

  • [CAT MEOWING]

  • --it seems clear that I shouldn't, for instance do--

  • [LION ROARING]

  • --that.

  • [CAT MEOWING]

  • So don't pet the cat in that particular case.

  • But again, notice, all we're doing, even though the programs

  • are getting a little more fancy and a little more involved,

  • I'm just composing more advanced algorithms using all

  • of these individual building blocks.

  • We can make a really adorable cat, for instance, do this.

  • Let me go ahead and repeat the following forever.

  • Let me go ahead and find the Motion block.

  • And I'm going to go ahead and point towards the mouse pointer my, cursor.

  • And then I'm going to go ahead and use this one, move 10 steps.

  • But I'm going to do it one step at a time.

  • A step is like dots on the screen, pixels.

  • So one step means at one dot at a time, instead of 10.

  • Let me play this.

  • And now we have sort of a cat that follows me.

  • But I'm much faster than him.

  • And so I could, for instance stop this, have him work faster,

  • and do 10 times as many things.

  • And now he'll actually follow my cursor until he gets there.

  • And now this is kind of a bug or my mistake,

  • right, like he's apparently going just past my cursor.

  • So then he's doubling back.

  • But then he's gone just too far.

  • So he's doubling back.

  • So this is a bug.

  • And it's because I'm taking 10 steps at a time.

  • It's kind of jumping over my cursor, in this case here.

  • Well, let's go ahead and make something a little more involved.

  • Let me go ahead and open this one, Bounce0.

  • So I'm going to go ahead and open this one, just as you can do later.

  • Bounce0 takes that same idea, but automates it this time.

  • So this is kind of interesting, because it's now responding to its environment.

  • And if I zoom in there, notice that it's still the same amount of movement idea,

  • but it's not following my cursor.

  • But it is asking the question, if you're touching

  • the edge, a Boolean expression, turn yourself around 180 degrees.

  • Now we could do something kind of interesting there.

  • Notice that in Scratch, and now this has less academic value,

  • has this ability to play with sounds.

  • And if I go in here for instance and Add Sound, oops, not Search for Sound.

  • And I go ahead and Record Sound and allow my microphone to be used again.

  • Ouch.

  • OK that's what the word Ouch looks like apparently in a computer.

  • And now let me go ahead and go back to code.

  • And now if I go to Sound, you'll see play sound meow until done.

  • That's fine.

  • But what I actually want to do is play sound recording 1.

  • That was the default name I just gave it.

  • So now.

  • Ouch.

  • Ouch.

  • Ouch.

  • [LAUGHTER]

  • OK, so we can do even more than that there.

  • But you know what this looks a little silly.

  • So, you know, the sound aside.

  • Ouch.

  • He's not really-- ouch-- walking--

  • ouch-- right, he's not really walking.

  • He's just kind of sliding across the screen.

  • But you know what?

  • What is just walking well walking is really just animation.

  • And if this is what the cat looks like by default. What

  • if I use some graphic artistry and just kind of give him another look,

  • another costume as Scratch calls it.

  • And now I'm in slides.

  • I'm just going to go back and forth left and right, first, second, first,

  • second.

  • And if I do this, you know, now it kind of looks like he's walking.

  • This is like a really bad flip book.

  • Like you have every page he just moves like halfway toward his step.

  • But that's really all animation is, is tricking our human eyes

  • into thinking that something's happening in real time

  • when really you're just seeing photographs fly by your eyes.

  • But I can go ahead and do this.

  • So in fact if I go into Bounce1, I did this in advance already here.

  • And this one's just a little fancier, such

  • that now he's really moving, right?

  • And if you really want to see it, we can move just five steps at a time.

  • Actually that's-- oops, not 51, 1 step at a time.

  • And he's moving slower, but now it's changing costume a little too fast.

  • So it's only once we kind of find the sweet spot, maybe 50 step, OK,

  • now a little too fast.

  • [LAUGHTER]

  • But this is all animation is, whether you're doing it

  • in software or manually or flip book style,

  • you just have this ability to create now the notion of motion.

  • But there's some other features too.

  • We've seen variables as I mentioned before.

  • But it turns out we can take advantage of fancier techniques in programming

  • as well, like in the sea lion here.

  • So this one's interesting because this is the first Scratch

  • program for which I kind of have to scroll

  • to see two different algorithms, both of which

  • are going to run when the green flag is clicked.

  • And we won't get into the weeds of the code.

  • All the code is online.

  • And for the first problem set you'll be able to take a closer look.

  • But notice what happens with this program.

  • [SEA LION BARKING]

  • He just barks--

  • [SEA LION BARKING]

  • --endlessly in a loop--

  • [SEA LION BARKING]

  • --because, notice this, there is this forever block down here.

  • [SEA LION BARKING]

  • This is annoying.

  • [SEA LION BARKING]

  • And if you can read the code, how can I stop him from barking?

  • [SEA LION BARKING]

  • AUDIENCE: The space bar.

  • DAVID J. MALAN: Yeah.

  • [SEA LION BARKING]

  • There seems to be the space bar.

  • [SEA LION BARKING]

  • If key space is pressed, set a variable called muted to true.

  • [SEA LION BARKING]

  • Rather check if muted is true.

  • [SEA LION BARKING]

  • And if so change it to false.

  • [SEA LION BARKING]

  • Else set it to true.

  • [SEA LION BARKING]

  • So if I hit the space bar, now he stops.

  • But I haven't stopped the program.

  • If I hit the space bar again--

  • [SEA LION BARKING]

  • --he's still going.

  • But what I'm doing is I'm changing a variable called

  • muted to true or false to 1 or 0.

  • And then up above in my code, I'm actually checking here.

  • If muted is false, then play the sea lion sound.

  • So if it's not muted, go ahead and play the sound.

  • So it's a way of creating your own questions that you yourself

  • can answer ultimately, so that you can finally have more interactivity.

  • And speaking of interactivity too, if you ever played the game Marco Polo

  • in like a pool as a kid, for instance, it's this game where one person--

  • everyone-- one kid like covers his or her eyes, and then everyone--

  • they yell out Marco-- and I look like an idiot right now, don't I--

  • and then everyone else yells out polo.

  • And you try to find the other person in an otherwise dark space or pool space

  • with your eyes closed.

  • So if I go ahead and play this now, notice what if I hit the space bar now,

  • the orange puppet says Marco and then the blue puppet says Polo.

  • Now it's not hard to implement that in code

  • with just one single script, as Scratch calls it.

  • But notice that each sprite here can have its own scripts.

  • This is the orange Muppet script.

  • This is the blue one's script as well.

  • So notice that what the orange guy is doing

  • is this, if the key space is pressed, say Marco for two seconds.

  • But other sprites, other characters, can't just

  • look on the screen for what's happening.

  • They have to be communicated with more programmatically.

  • So there's this notion in computer science called events.

  • This puppet can broadcast an event, which is like a secret message

  • that only computers can hear.

  • And the blue puppet, notice, can be listening for that event.

  • And he can respond, not when the green flag

  • is clicked, but to a different event when he

  • receives this event from someone else.

  • So you can have multiple characters on your screen somehow intercommunicating

  • in this way, as well.

  • And lastly, let's go ahead and take a look at this here.

  • I'm going to go ahead and open up an example of coughing,

  • so kind of a simple example.

  • And this example of coughing just has a sprite doing something

  • like this, cough, cough, cough.

  • It works.

  • It's correct, if my goal was to cough three times.

  • But it's poorly designed, right, like even knowing what we know already,

  • you can kind of imagine doing this better using what?

  • AUDIENCE: A loop.

  • DAVID J. MALAN: Yeah, so using a loop.

  • So in fact in Cough1, which is a newer version of this, it's the same idea.

  • Let me See Inside.

  • Let me hit Play.

  • It does the same thing.

  • But notice that I'm using the repeat block, so not forever,

  • because I only want to cough three times.

  • Forever would be bad, probably.

  • But three times seems reasonable.

  • But I can do it now in a loop.

  • But notice, that if you wanted to now use

  • this notion of coughing in like another program you write,

  • it's a little annoying that you would just kind of copy

  • paste these puzzle pieces again and again

  • and again anywhere in your program when you want to make a character cough.

  • But what Scratch provides us with has actually this capability as well.

  • At the very bottom of Scratch is this pink piece for Make Block.

  • You can make your own functions.

  • You can make reusable puzzle pieces that you can then use in different places.

  • And so, for instance, if I want to make a puzzle piece that coughs,

  • so that I don't have to construct it from scratch

  • like that-- no pun intended-- notice what I can do here.

  • I can literally in Scratch--

  • and this may be something you use for your own problem set--

  • define a new pink piece called cough or whatever you want, attach

  • some puzzle pieces below it, like say cough for 1 second,

  • then wait for 1 second.

  • And then you can use that puzzle piece in your own code sort of out of sight,

  • out of mind.

  • Now I can program like this.

  • So a moment ago there was like five or six puzzle pieces.

  • Now it's been whittled down to three by making my own puzzle piece

  • cough that takes its own input and produces its own output.

  • And suffice it to say, you can have your own functions, your own pink puzzle

  • pieces that take one input or two inputs not just zero inputs in this case.

  • And it's a way of modularizing your code ultimately and making

  • it ever more usable.

  • So that was a lot of little demonstrations.

  • But it's worth kind of bringing this all together.

  • Ultimately in problem set 0, the challenge

  • ahead is going to make anything of interest

  • to you, whether it's a game, an interactive animation, or artistic work

  • all implemented in Scratch.

  • And we thought we'd share with you the project from a former student here

  • called Ivy's Hardest Game, not to intimidate.

  • But we'd need in closing just one brave volunteer

  • who would be comfortable playing one of your predecessor's homework assignments

  • in front of a few people and on the internet.

  • Hi, yeah, OK, right there in the green is it.

  • Yeah, come on down.

  • What's your name?

  • AUDIENCE: Owen.

  • DAVID J. MALAN: Owen.

  • OK, come on down.

  • All right yes.

  • Encourage him.

  • [APPLAUSE]

  • OK, OK, sorry your name again was?

  • AUDIENCE: Owen.

  • DAVID J. MALAN: Owen.

  • David.

  • Nice to meet you.

  • Come on around.

  • I'm going to go ahead and full screen the game.

  • We won't actually look inside.

  • I'm going to go ahead and click the green flag.

  • And you're just going to use the keyboard ultimately to play this game.

  • [MUSIC PLAYING - NFL THEME SONG]

  • OK, you can raise the volume a little bit, Brian.

  • [MUSIC PLAYING - NFL THEME SONG]

  • Oh, yeah.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • (SINGING) Can't touch this.

  • Can't touch this.

  • AUDIENCE: I move cursor to the right?

  • DAVID J. MALAN: So you'll notice now.

  • I'll explain the pedagogy ultimately of what you're now doing here.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • [LAUGHTER]

  • So what is the Yale symbol?

  • Now it's wearing a costume that's not a cat.

  • It's instead the Y, Yale logo.

  • There's a second sprite, MC Hammer at the end.

  • He's the one who's trying to touch with the other sprite.

  • There's now two more crimson sprites, Harvard logos.

  • Each of which has its own puzzle pieces all operating

  • when the green flag started.

  • There he goes.

  • [LAUGHTER]

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • And notice, Owen is not able to go past the black walls.

  • [LAUGHTER]

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • AUDIENCE: Aah.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • DAVID J. MALAN: OK, here comes MIT.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • AUDIENCE: Aah.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • DAVID J. MALAN: You'll notice the MIT sprite is a little smarter,

  • artificial intelligence, if you will.

  • Nice.

  • AUDIENCE: Aah.

  • DAVID J. MALAN: OK, the walls are now gone,

  • so there is no if touching edge, then bounce anymore.

  • Nice.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • [LAUGHTER]

  • Nice.

  • Two of them.

  • Notice they're clearly pointing toward him.

  • AUDIENCE: Aah.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • DAVID J. MALAN: Nice.

  • Oh.

  • AUDIENCE: Aah.

  • DAVID J. MALAN: Hang in there.

  • Class might run a minute or two late.

  • Nice.

  • Second to last level.

  • Yes.

  • All right.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • Oh, Dartmouth got you.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • Hang in there, a few more lives.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"]

  • Hang in there.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"] (SINGING) Can't touch

  • this.

  • Yes.

  • Yes.

  • AUDIENCE: Aah.

  • DAVID J. MALAN: One more try.

  • One more try.

  • [MUSIC PLAYING - MC HAMMER, "YOU CAN'T TOUCH THIS"] (SINGING) Break it down.

  • All right, a big round of applause for Owen.

  • [APPLAUSE]

  • Here you go.

  • Thank you.

  • Allow us to conclude in our final moments with a look now of what else

  • awaits with the course.

  • Just as in Cambridge now, there is a tradition

  • here in New Haven of a whole series of events.

  • The first of which is CS50 Puzzle Day in just a weekend or so.

  • The second of which is the CS50 Hackathon, an opportunity with all

  • of your classmates up at Harvard, if you'd like, to join us from 7:00

  • PM to 7:00 AM working on your final projects.

  • And ultimately the CS50 Fair, a campus wide exhibition

  • here at Yale of all of your final projects.

  • So even if you've never programmed before,

  • here is what awaits you in the next weeks of class.

  • [MUSIC PLAYING - "LIVE IN THE MOMENT"]

  • (SINGING) My home is a girl with eyes like wishing wells.

  • I'm not alone, but I'm still lonely.

  • Those days are done, but I'm still glowing.

  • Ooh, la, la, la, la, la, let's live in the moment.

  • Come back Sunday morning, a lie, oh well.

  • When you're gone, goodbye, so long, farewell.

  • Ooh, la, la, la, la, la, let's live in the moment.

  • Come back Sunday morning with that soul to sell.

  • When you're gone, goodbye, so long, farewell.

  • My home is a girl who can't wait for time to tell.

  • God only knows we don't need history when your family swinging

  • from the branches of the trees.

  • God only knows we don't need ghost stories.

  • Ooh, la, la, la, la.

  • All right, that's it.

  • Christina's 50th cake is now served.

[MUSIC PLAYING]

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CS50 2019 - 耶魯大學第0講--計算思維、Scratch。 (CS50 2019 - Lecture 0 at Yale - Computational Thinking, Scratch)

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    林宜悉 發佈於 2021 年 01 月 14 日
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