 What I want to talk about tonight is cool code. It's kind of the observation that coding has a history and we are very bad at history in software development. We don't pay enough attention to it. We're also very bad at recognizing that there's kind of a vast work of literature in software, by which I mean the code. There are lots of examples that we can learn from, lots of examples that amuse us, and we're not very good at collecting this and treating that as a community. So I'll start off with this little book that I edited. 97 Things Every Program Should Know. This is the Japanese translation, which I love dearly. I can't read it, but I love it dearly. Because the quality of production is fantastic. I remember my publisher saying, oh yeah, you've got to wait for the Japanese edition because it's so well produced. Quality of paper, different templates. It even has a dust cover. If you're going to kill trees, this is a great way to do it. Now, in the preface I wrote, and I've conveniently translated it back into English for your benefit, there is an art, craft, and science to programming that extends far beyond the program. The act of programming marries the discrete world of computers with the fluid world of human affairs, which puts programmers in a rather curious position of mediating between the kind of the negotiated and uncertain truths that we find in the world of business and the very crisp uncompromising domain of bits and bytes and our constructed types. This is one of the challenges in software development. It's not so much just the code, and it's not so much just the humans. It's the fact that the very active programming has to bridge these. That is one of the things that each one of its own is hard enough. But to try and bridge that is a challenge. It's also quite exciting. Now, when I say art, it's worth clarifying that software developers are the greatest producers of installation art on this planet. This is one of my favourite pieces from Copenhagen Airport about three years ago. I like the shade of blue. I think it's quite exciting. I also like the extended and rotated landscape. I think it's provocative. I think it says something about the post-modern condition. I was disappointed that when I returned back through Copenhagen Airport on that visit, they had replaced it with some advertising. But, you know, we do produce the largest amount and greatest amount of installation art. Now, Kalyanna Berg in 97th century