#my desire to exclusively interact with the source material for now grows everyday

[codycodybobody]

late night/early morning thought is that there are many things i dislike about fanon obi wan, but the biggest thing people seem to miss is that uh. he's a kind of a jerk.

[greekstreetart-talks]

Giorgos Wake Beleveslis

The beginning of the new season comes with the architect in profession and street artist Giorgos Wake Beleveslis from Thessaloniki, permanently living in Berlin. Particularly polite and friendly he discusses with us about his start, Yakuza (a group with great interest since as a result of it several artists with remarkable works appeared ), the characters he creates in the public space and the way of life in the big urban centers.

When and how does your relation with visual art begin? Does the environment that you grew up affected you or is it a personal need which you evolved? I discovered my interest in painting only when graffiti knocked my door. I was 14 years old and suddenly found myself with a tool in my hands with which I could express myself and communicate in a new way. I didn’t have any direct influence from my family, we all together discovered what this is and where it could take me. Then I studied at the Architecture university of Volos and also met RTMone. These two have shaped a more structured and multifaceted relationship with visual arts.

When did you start to create in public space and what was the need that pushed you to? What does the street offer to an artist and what kind of difficulties come up? The year of 1998 in the basketball courts of Thessaloniki I began to observe the painted walls and realizing that from all the hip hop elements in my life this was the most surprising. At that time the book “Color of the City 1” came to my hands and everything cleared up: SGB, 114, I was totally hooked. The relation of a street artist with the street is a constantly changing situation. I started overwhelmed by the adrenalin and the immediate relation I develop with my city. A writer receives a great amount of knowledge when it comes to the urban fabric where he acts, that’s always a potential advantage. The endless hours spent outside is an educational procedure. In spite of the difficulties, all this situation can’t  have but positive influence on the style of our work, on how we perceive people and our place in society. There comes a moment when this long-term life experience gives you back the stimuli you need growing up to continue  being creative.

Member of Yakuza. A Greek crew that has great interest. When was it created, who does it consist of, how did it start and how do you imagine its future? Since 2003, the first core was born in Volos where with RTMone and Sive we developed a long friendship and through the “chill vibe” of countryside we could focus on character design and experiment with the surrounding area. The fact that we were far away from the grind of the competitive graffiti community in Athens, gave us the creative freedom to try new things, while we were still in the shadows.

As the workload was increasing, our personal style was becoming more defined and as the internet was making its way in our lives, our desire to introduce ourselves in a wider audience was growing.In 2006 the second core of the crew was making in parallel its own way in Thessaloniki with Amok, Risk, Rasel, Spike to produce high quality work attracting our interest. Us meeting each other led to the creation of a very explosive mix of traditional graffiti and a new school approach between street art and contemporary muralism. Perhaps it was the first time for all of us when there were all the elements that we liked in the wall. This coexistence seemed to have another dynamic. It was only a matter of time for Amok  to say it out loud: Let’s give it a chance and let it roll.

Our course led us to a series of travels, participation in exhibitions and festivals and mainly many chances to produce new material. This interaction morphed in many ways the members of the group that now belong in a wide spectrum of arts: painting, muralism (Sive), illustration, teaching and organizing workshops (Rtmone), architecture, installations (Wake), tattoo, graphic design (Amok, Rasel), lettering (Risk, Spike), music and break-dance (12os Pithikos aka Winte)

You give the impression that there’s a lot of love and deep appreciation between you. How important is it for people with the same vision and goal to create together from scratch? The fact that we created YKZ in a more mature age made us very open-minded and flexible in the way we worked as a group, while we had the chance to begin our friendship on a strong groundwork. Under the umbrella of the group we exchanged knowledge and energy. Graffiti after all is a celebration and a team game. The feeling that you share this journey with similar weird types of people is priceless. For me the crew is the wider circle of friends that directly or indirectly has its own creating contribution all these years: Simao, Larry Gus, Ihad, Sad, Jamer, Apset, Ionas, Rino and the list goes on.

Your characters are probably geometrical, strict, most of the times giving the impression of being melancholic and hypotonic. Tell us about them! Is there each time a different story they “narrate”? The strictness in geometry comes from my architectonical background and my tendency to classify the anatomy in basic typologies. My color palette is more earthy, graffiti is aggressive and I try to minimize the tension and enter smoothly on the wall. Many times my characters are hypotonic, exhausted from the modern lifestyle and the hyper-exposure to information. There exists a feeling of bittersweetness, an incurable sense of nostalgia with references to the adventure of living away from your home. They contain experiential elements, they are illustrations of a notebook I leave on the street to start a dialogue: today I lived and felt that, you?

How much does an artist illustrate oneself or better the stimuli of ones everyday life? Maybe after all art isn’t a product of imagination, something that existed or never will. On the contrary, it’s the most genuine and sincere way to describe the naked reality as it is through a more subjective prism. Everyday life itself, us ourselves and the people with which we correlate is the most endless source of inspiration.

In the last few years you live and work abroad. Is art your main occupation? If not what  is? How much does one influence the other? Since 2011 I live and work in Vienna as an architect. My master studies on urban design gave me the chance to go to avant-garde architecture offices like CoopHimmelb(l)au, where I could remain creative and participate on something I believe in. Architecture and graffiti are communicating vessels through which I exchange knowledge relative to the urban environment and design itself. Many of my projects maintain a dynamic geometry that comes from the deconstructivistic language of graffiti. However architecture is an object with clear limits and the cases that there’s a level of freedom are minimum. I’ ve never tried to make a living exclusively through art, recently I moved to Berlin in search of a better balance between these two.

Austria and Germany until now, right? Which are the differences with the Greek scene but also the reaction of the people to the public artworks? There’s a different tolerance towards graffiti in Greece, not because of the public appreciation for the art but because of the different prioritization of problems of the city, thinking that we have more serious problems to solve. Conditions make Greek graffiti more politicized and emotionally charged, they offer space and motivate a large amount of artists to take action and the quantity gradually brings quality. Berlin has some similarities in that regard but it also has the infrastructures and the history to evolve the Berlin scene in an international level through organizations, galleries, events etc  that familiarize the –already educated- public even more. On the contrary Vienna isn’t the urban scenery in which graffiti will blossom, it passes any creative energy in the Halls of Fame, therefore it’s a city that concentrates on the cultural activities and offers to the public organized murals more and more.

Urban lifestyle where grey dominates, stress and fast-paced way of life. Isolation and distancing between people and nature. Is street art an essential need for a more pleasant daily life? That’s true. The occupation with street art is beneficial, it gives me the ability to mentally return to pleasant memories, it’s a type of psychoanalysis and externalization of a great deal of emotions. It’s a great way of socialization and the most interesting way to discover and be a part of the urban scenery. It’s an escape, a selfless offer on the city and its citizens with whom you’re in dialogue.

In ten years from now? I wish to remain restless, curious and see more. Also live by the sea.

Follow Giorgos Wake Beleveslis Website \ Instagram \ Fb Profile

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Ξεκίνημα της νέας σεζόν με τον αρχιτέκτονα στο επάγγελμα και street artist Γιώργο Wake Μπελεβεσλή από την Θεσσαλονίκη, μόνιμα εγκατεστημένο πλέον στο Βερολίνο. Ιδιαίτερα ευγενικός και φιλικός συζητάει μαζί μας για το ξεκίνημα του, τους Yakuza, (μια ομάδα με μεγάλο ενδιαφέρον καθώς μέσα από αυτή εμφανίστηκαν στην συνέχεια αρκετοί καλλιτέχνες με αξιόλογα έργα), τους χαρακτήρες που δημιουργεί στον δημόσιο χώρο αλλά και τον τρόπο ζωής στα μεγάλα αστικά κέντρα.

Πότε κ πως ξεκινάει η σχέση σου με τα εικαστικά; Σε επηρέασε το περιβάλλον που μεγάλωσες ή είναι μια δίκη σου ανάγκη την οποία καλλιέργησες; Ανακάλυψα το ενδιαφέρον μου για τη ζωγραφική μόνο όταν το graffiti μου χτύπησε την πόρτα. Ήμουν 14 και ξαφνικά βρέθηκα με ένα εργαλείο στα χέρια με το οποίο μπορούσα να εκφραστώ και να επικοινωνήσω με έναν πρωτόγνωρο τρόπο. Δεν είχα κάποια άμεση επιρροή από την οικογένεια μου, κι αυτοί μαζί με μένα ανακαλύπταμε τι είναι αυτό και που μπορεί να με πάει. Ακολούθησαν οι σπουδές μου στην Αρχιτεκτονική του Βόλου και η γνωριμία μου με τον RTMone. Αυτά τα 2 διαμόρφωσαν μια πιο δομημένη και πολύπλευρη σχέση με τα εικαστικά.

Πότε ξεκινάς να δημιουργείς στον δημόσιο χώρο και ποια η ανάγκη για αυτό; Τι διαφορετικό προσφέρει σ’ έναν καλλιτέχνη ο δρόμος και ποιες οι δυσκολίες που προκύπτουν; Το 1998 στα κλειστά γήπεδα μπάσκετ της Θεσσαλονίκης άρχισα να παρατηρώ τους βαμμένους τοίχους και να συνειδητοποιώ ότι από τα στοιχεία της hiphop που είχαν μπει στη ζωή μου αυτό ήταν το πιο ουρανοκατέβατο. Κάπου εκεί προσγειώθηκε στα χέρια μου το βιβλίο Χρώμα της Πόλης 1 και ξεκαθάρισαν όλα: SGB, 114, το μικρόβιο μπήκε για τα καλά. Η σχέση ενός street artist με το δρόμο είναι μια διαρκώς μεταβαλλόμενη κατάσταση. Ξεκίνησα συνεπαρμένος από την αδρεναλίνη και την άμεση σχέση που αποκτάω με την πόλη μου. Ένας writer αναπτύσσει φοβέρες γνώσεις σχετικά με τον αστικό ιστό όπου δρα, αυτό είναι πάντα ένα δυνητικό πλεονέκτημα. Ο ατέλειωτος χρόνος στο έξω είναι μια εκπαιδευτική διαδικασία. Παρόλη τη δυσκολία, όλο αυτό δε μπορεί παρά να έχει μια ευεργετική επίδραση στο ύφος της δουλειάς μας, στο πως αντιλαμβανόμαστε τους ανθρώπους και τη θέση μας μέσα στο κοινωνικό σύνολο. Έρχεται η στιγμή που αυτή η πολύχρονη βιωματική εμπειρία σού επιστρέφει απλόχερα τα ερεθίσματα που χρειάζεσαι μεγαλώνοντας για να συνεχίζεις να είσαι δημιουργικός.

Μέλος των Yakuza. Μια ελληνική ομάδα που έχει μεγάλο ενδιαφέρον. Πότε δημιουργήθηκε, από ποιους απαρτίζεται πως ξεκίνησε και πως βλέπεις το μέλλον της; Από το 2003 ο ένας πυρήνας σιγόκαιγε στο Βόλο όπου μαζί με τον RTMone και τον Sive αναπτύξαμε μια πολύχρονη φιλία και είχαμε τον χρόνο μέσα από τους αργούς ρυθμούς της επαρχίας να εστιάσουμε στο character design και να πειραματιστούμε με τον περιβάλλοντα χώρο. Το γεγονός ότι ήμασταν μακριά από την τριβή της ανταγωνιστικής graffiti κοινότητας στην Αθήνα, μας έδωσε τη δημιουργική ελευθερία να δοκιμάζουμε πράγματα όντας ακόμα στη σκιά.

Όσο ο όγκος της δουλειάς μεγάλωνε τόσο προσδιοριζόταν και το προσωπικό μας ύφος, και όσο το internet έμπαινε στη ζωή μας, τόσο μεγάλωνε και η όρεξη μας να συστηθούμε σε ένα ευρύτερο πια κοινό. Το 2006 ο δεύτερος πυρήνας του crew διέγραφε παράλληλα τη δική του πορεία στη Θεσσαλονίκη, με τον Amok, Risk, Rasel, Spike, να παράγουν πολύ ποιοτική δουλειά κεντρίζοντας το ενδιαφέρον μας. Η γνωριμία μας ήταν ένα πολύ εκρηκτικό μείγμα από παραδοσιακό graffiti και μια new school προσέγγιση που ακροβατούσε ανάμεσα στη street art και το contemporary muralism. Ίσως ήταν η πρώτη φο��ά για όλους μας όπου στον τοίχο υπήρχαν όλα τα στοιχεία που μας αρέσουν. Aυτή η συνύπαρξη φάνηκε να έχει μια άλλη δυναμική. Ήταν θέμα χρόνου για τον Amok να το πει δυνατά: Ας του δώσουμε ένα όνομα κι ας το αφήσουμε να τσουλήσει.

Η πορεία μας μάς έφερε μια σειρά από ταξίδια, συμμετοχή σε εκθέσεις και φεστιβάλ και κυρίως πολλές αφορμές για να παράγουμε καινούριο υλικό. Αυτή η αλληλεπίδραση διαμόρφωσε κατά πολύ τα μέλη του crew που πλέον ανήκουν σε ένα ευρύ φάσμα των τεχνών: ζωγραφική, muralism (Sive),  illustration, διδασκαλία και οργάνωση workshops (Rtmone), αρχιτεκτονική, installations (Wake), tattoo, γραφιστική (Amok, Rasel ), lettering (Risk, Spike), μουσική και breakdance (12ος Πίθηκος aka Winte).

Δίνετε την εντύπωση πως υπάρχει πολλή αγάπη και βαθιά εκτίμηση μεταξύ σας. Ποσό σημαντικό είναι για ανθρώπους με το ίδιο όραμα και στόχο να δημιουργούν μαζί κάτι από το μηδέν; To γεγονός ότι φτιάξαμε τους ΥΚΖ σε μια πιο ώριμη ηλικία μας έκανε πολύ ανοιχτούς και ευέλικτους στον τρόπο που δουλεύουμε μεταξύ μας, ενώ είχαμε την ευκαιρία να ξεκινήσουμε τη φιλία μας σε πολύ γερές βάσεις. Υπό την ομπρέλα του crew ανταλλάξαμε γνώση και ενέργεια. Tο graffiti εξάλλου είναι γιορτή και ομαδικό παιχνίδι και το συναίσθημα ότι μοιράζεσαι αυτό το ταξίδι με παρόμοιους αλλόκοτους τύπους είναι ανεκτίμητο. Για μένα το crew είναι και ο ευρύτερος φιλικός μας κύκλος που έμμεσά ή άμεσα έχει τη δική του δημιουργική συνεισφορά όλα αυτά χρόνια: Simao, Larry Gus, Ihad, Sad, Jamer, Apset, Ionas, Rino, δεν τελειώνει η λίστα.

Οι χαρακτήρες σου είναι μάλλον γεωμετρικοί, αυστηροί, τις περισσότερες φορές δίνουν την εντύπωση ότι είναι μελαγχολικοί και λίγο υποτονικοί. Μίλησε μας για αυτούς! Υπάρχει μια διαφορετική ιστορία κάθε φορά που αφηγούνται; Η αυστηρότητα στη γεωμετρία προέρχεται από το αρχιτεκτονικό μου υπόβαθρο και την τάση μου να αναγάγω την ανατομία σε βασικές τυπολογίες. Η χρωματική που παλέτα είναι πιο γήινη, το graffiti είναι εξ’ ορισμού επιθετικό και προσπαθώ να μετριάσω τις εντάσεις και να μπω πιο ομαλά στον τοίχο. Πολλές φορές ο�� χαρακτήρες μου είναι υποτονικοί, εξουθενωμένοι από το σύγχρονο τρόπο ζωής και την υπερέκθεση σε πληροφορία. Υπάρχει μια χαρμολύπη, μια αθεράπευτη νοσταλγία με αναφορές στην περιπέτεια του να ζει κανείς μακριά από τον τόπο του. Περιέχουν βιωματικά στοιχεία, είναι εικονογραφήσεις ενός ημερολογίου που αφήνω στο δρόμο για να ανοίξω έναν διάλογ��: Εγώ σήμερα έζησα και αισθάνθηκα αυτό, εσείς;

Ποσό εικονογραφεί ένας καλλιτέχνης τον εαυτό του ή καλύτερα τα ερεθίσματα από την καθημερινότητα του? Ίσως τελικά η τέχνη δεν είναι ένα προϊόν φαντασίας, κάτι που δεν υπήρξε ή δεν θα υπάρξει. Αντιθέτως, είναι ο πιο γνήσιος και ειλικρινής τρόπος για να περιγράψεις την πραγματικότητα γυμνή, ως έχει, μέσα από ένα υποκειμενικό πρίσμα. Η ίδια η καθημερινότητα, ο ίδιος μας ο εαυτός και οι άνθρωποι με τους οποίους συσχετιζόμαστε είναι η πιο αστείρευτη πηγή έμπνευσης.

Τα τελευταία χρόνια ζεις και εργάζεσαι στο εξωτερικό. Η τέχνη είναι η βασική σου εργασία; Αν όχι με τι ασχολείσαι και πόσο επηρεάζει η μια δουλειά την άλλη; Από το 2011 ζω και εργάζομαι στη Βιέννη ως αρχιτέκτονας. Οι μεταπτυχιακές σπουδές μου πάνω στον αστικό σχεδιασμό μού έδωσαν την ευκαιρία να βρεθώ σε avant-garde αρχιτεκτονικά γραφεία όπως οι CoopHimmelb(l)au, όπου μπόρεσα να παραμείνω δημιουργικός και να συμμετέχω σε κάτι που το πιστεύω. Η αρχιτεκτονική και το graffiti είναι για μένα συγκοινωνούντα δοχεία από τα οποία ανταλλάσσω γνώση σχετικά με το αστικό περιβάλλον και τον ίδιο το σχεδιασμό. Πολλά από τα projects μου διατηρούν μια δυναμική γεωμετρία που πηγάζει από την ντεκονστρουκτιβιστική γλώσσα του graffiti. Ωστόσο η αρχιτεκτονική είναι ένα αντικείμενο με σαφείς περιορισμούς και οι περιπτώσεις που υπάρχει ένας βαθμός ελευθερίας είναι ελάχιστες. Δεν έχω προσπαθήσει ποτέ να βιοποριστώ αποκλειστικά από την τέχνη, πρόσφατα μετακόμισα στο Βερολίνο για να βρω μια καλύτερη ισορροπία ανάμεσα στα δυο.

Αυστρία και Γερμανία μέχρι στιγμής, σωστά; Ποιες οι διάφορες με την ελληνική σκηνή αλλά και την αντιμετώπιση του κόσμου στα έργα που γίνονται στον δημόσιο χώρο; Υπάρχει μια διαφορετική ανεκτικότητα απέναντι στο graffiti στην Ελλάδα, όχι τόσο λόγω της εκτίμησης του κοινού για την τέχνη όσο της διαφορετικής ιεράρχησης των προβλημάτων της πόλης, υπό την έννοια ότι έχουμε πιο σοβαρά πράγματα να λύσουμε. Οι συνθήκες κάνουν το ελληνικό graffiti πιο πολιτικοποιημένο και συναισθηματικά φορτισμένο, προσφέρουν χώρο και δίνουν ερέθισμα σε έναν μεγάλο αριθμό καλλιτεχνών να δράσουν και η ποσότητα φέρνει σταδιακά και ποιότητα. Το Βερολίνο έχει κάποιες ομοιότητες ως προς αυτό το κομμάτι, αλλά έχει και τις υποδομές και την ιστορία να εξελίξει την βερολινέζική σκηνή σε διεθνές επίπεδο, μέσα από φορείς, galleries και events που εξοικειώνουν το -έτσι κι αλλιώς εκπαιδευμένο- κοινό ακόμα παραπάνω. Αντιθέτως η Βιέννη δεν είναι το αστικό ��οπίο στο οποίο το graffiti θα ανθίσει, διοχετεύει την όποια δημιουργική ενέργεια στα Halls of Fame, συνεπώς δεν θα έλεγα ότι υπάρχει μια μαζική σκηνή που να ταράσσει τα νερά. Ωστόσο, είναι μια πόλη που εστιάζει στις πολιτιστικές δραστηριότητες και προσφέρει στο κοινό οργανωμένες τοιχογραφίες ολοένα και περισσότερο.

Αστικός τρόπος ζωής, πολύ γκρι, άγχος και γρήγοροι ρυθμοί. Απομόνωση αλλά και απομάκρυνση του ανθρώπου από την φύση. Η street art είναι ουσιαστική ανάγκη για μια πιο ευχάριστη καθημερινότητα; Ισχύει αυτό. Η ενασχόληση με τη street art είναι ευεργετική, μου δίνει τη δυνατότητα να επιστρέφω νοερά σε ωραίες αναμνήσεις, είναι ένα είδος ψυχανάλυσης και εξωτερίκευσης μεγάλου όγκου συναισθημάτων. Είναι σπουδαίος φορέας κοινωνικοποίησης και ο πιο ενδιαφέρον τρόπος να ανακαλύψεις και να συμμετέχεις στο αστικό τοπίο. Είναι διαφυγή, είναι μια ανιδιοτελής προσφορά στην πόλη και τους κατοίκους της με τους οποίους βρίσκεσαι σε διάλογο. 

Σε 10 χρόνια από τώρα; Να παραμείνω ανήσυχος και περίεργος να δω κι άλλα. Να ζω κοντά στη θάλασσα.

[phyllis207gaming-blog]

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[ifoutty-blog]

Why Teach Swift?

Why Teach Swift?

I was at a conference last July, and one of the other coding teachers said that in order for him to teach coding using Swift in his country (Poland) that he would have to justify, “ Why Swift?” Initially I thought, “Well, why not? Apple has created this new language. They make great hardware and software for us to use when we teach.” Now that I have had some time to reflect upon that simple, but powerful question, I think that I have a much better, more well-reasoned answer. Note: The following may be a little nerdy at times, but I will do my best to be in teacher mode the entire time so that the explanations are a simple and understandable as possible.

New

Swift is a new language that is only in it’s third year of public existence and use. It is a modern language that has the benefit of being able to incorporate some of the language features and syntax of other languages such as Haskell, Rust, Java, Ruby, C#, and Objective-C[1] that computer scientists have evolved in the past 40 years. This means that Swift has, as a starting point, the power and constructs of these languages with the addition of newer features and ideas in computer science such as promoting Swift as a Protocol-oriented programming language[2].

More importantly for teachers, our students will grow, learn, and develop as coders/programmers as Swift continues to develop and mature as a language. Our students will be able to contribute to the evolution of the language and its features by subscribing to and participating in the Swift Evolution group and mailing list. Current Swift programmers are already making substantive suggestions and contributions to the development of Swift. One such example was the suggestion by Erica Sadun to remove i++ as a way to increment a variable because this is a holdover from C and Swift offers us a better way to increment a variable by using addition assignment operator +=.

Expressive

An expressive programming language means, for me as a teacher, that it is a readable language. This is one of the great features of Swift. It is, in my opinion, the most readable programming language that I have ever seen.

print("Hello world!") Just as one might imagine this line of code will print out the statement:

Hello world!

codePhrase.append(Character("!")) This little bit of code will add the exclamation point to the end of the codePhrase text.

orangePortal.isActive = false This code snippet (from the Swift Playgrounds app Learn to Code 2: Types: Corners of the World tells us that the orange portal in the puzzle is not active, so that Byte can walk across it without being transported to another part of the puzzle.

Since Swift is such an expressive language, it has some built-in advantages over other languages such as Java. 1. It will be easier for students to write Swift code because it is similar to how they have written English in their Language Arts classes for years. 2. Swift is easy to read. Thus, one will be able to comprehend what the code represents because it is close in its syntax to the syntax to our natural written or spoken English. Consequently, students/developers will more easily be able to determine the purpose of previously written code or code written by another person when working as part of a team. 3. The expressiveness of Swift will also enable better and more constructive collaborative efforts by students/developers because it will be easier for students/developers to iterate over their own or someone else’s code to try to achieve the desired functionality of the code.

Open Source

Swift was open sourced in December 2015, which means that Swift code can be ported to other operating systems such as Linux, Android, Raspberry Pi, etc. Currently, Swift has been ported to Linux and an attempt is underway to port Swift to Android. The open sourcing of Swift is really, really exciting for developers. At some point soon students/developers be able to develop software for all three areas of development - app, server, and web in one language. Previously, a developer would have to learn/know three to five different languages (Objective-C or Java or C#, PHP or Ruby or Go, and JavaScript or Perl, etc.).

Swift enables students/developers to develop for the previously mentioned three areas of development (aka full-stack development) in one language! Instead of having cursory knowledge of multiple languages, students/developers will be able to gain a deep knowledge and mastery of one language. I think that the ability to do all development in Swift will lead to students/developers creating some great software that is both powerful and intuitive because they will be able to write and factor their code for the front-end (apps) and back-end (server) to work better/more efficiently together. This greater efficiency will be the natural result of students/developers writing exclusively in one language: Swift. The efficiency gains will be the direct result of the front-end and back-end code being better able to interact with each other because their functions and actions will be written and factored in a similar (if not exact) manner.

Safe

There is no such thing as perfect software. Most software developers strive for this goal, but ALL software has bugs. The only question is whether those bugs have been encountered by users of the software. There are a few features in the Swift language to help developers get closer to reaching the goal of bug-free software. Swift accomplishes this in a few ways[3]. One of which is that Swift (for our purposes as teachers) eliminates pointers (technically Swift just does not expose pointers) [4]. A pointer is code that refers to (points) to another block or piece of code for data or an action. If that code the pointer is looking for is null (has meaning no value), then the code could (and most likely will) cause unexpected behavior such as a crash. One way to think of this is to imagine you are playing Hide-n-seek with your friends. However, in this version of hide-n-seek you must find your friend Joe in order to change your role from “seeker” to “hider” - and we all know that hiding is much more fun than seeking. Next, your friend Joe must leave the game before you find him and he doesn’t tell anyone he is leaving the game. This means that you are looking for someone in the game that does not exist - unexpected behavior. This means that you will keep seeking for Joe until you collapse in exhaustion (a crash) or you will keep looking for him forever (an infinite loop). This is what happens when a pointer’s reference is null. This specific problem (and other problems) with pointers is eliminated by language design. One such way Swift eliminates this type of null pointer problem is with a new language feature in Swift: optionals. Optionals are a way for you to tell your program, “Look for Joe, but he might not be part of the game.” Joe’s participation in the is optional, and if he is not in the game then you could write a conditional statement to say, “If Joe is not part of the game, then find someone else playing the game.”

A safer language is significant for new learners and developers because this should result in our students/developers spending less time writing unsafe code that results in errors, or when they write that unsafe code they will know immediately. The immediacy of knowing that the student/developer has written unsafe code (or not writing in the first place because of the design of Swift) will directly result in the student/developer spending far less time debugging their code. Less time debugging will then result in less frustration and a better coding learning experience. Consequently, students/developers will be able to devote more time to creating more awesome and interesting features and thus will be a better experience for end users.

Great Tools and Curricular Resources

Swift Playgrounds app for iOS

Apple has developed some awesome Swift teaching tools for both iPad and Mac. On iPad the Swift Playgrounds app has fun and challenging puzzles that engages students in learning Swift without being stressed by having to only having code presented to them and thus immediately having to learn syntax. Alternatively, students are engrossed in visual puzzles that draws them into learning Swift by actually touching and physically manipulating the code through the touch interface of iPad. This is not to say that the Swift Playgrounds app is simple or just a game. The Swift Playgrounds app for iPad scales up to introduce more complex topics such as loops, variables, parameters, and eventually even the dot.syntax and types. Most importantly, the Swift Playgrounds app empowers teachers to introduce Swift and computer science to students as young as late-elementary and middle school in more genuine coding experience that resemble what working developers do everyday.

Swift Playgrounds for iPad from Brian Foutty on Vimeo.

App Development with Swift

The App Development with Swift curriculum (Teacher) (Student) and tools is a Mac-based approach to teaching Swift to high school students who are ready for a completely code-based approach to learning Swift. All of the Swift language concepts are presented in Swift Playgrounds on the Mac in a simple, easy-to-use interface. High school students get a deeper-dive into Swift, plus students will have the opportunity to get to learn Xcode. If I were to develop a Swift curriculum for Mac, this is exactly what I would have done. Students learn Swift in Swift Playgrounds so that they can focus on learning the language before they are presented with the full Xcode. Xcode is really powerful, but complicated software and delaying the students exposure to it will necessarily prevent a layer of complication that is not beneficial when learning a new programming language. Students do eventually work up to developing an app in Xcode by the end of the course.

The Swift curricular materials created by Apple are fantastic! They enable teachers with little or no computer science or coding experience to start teaching Swift to their students with just a little bit of learning and preparation. Furthermore, teachers with previous experience in coding or computer science will be able to provide their students an even more rich and engaging coding education experience by following and augmenting these materials with their own materials.

Apple's App Development with Swift Curriculum from Brian Foutty on Vimeo.

Swift has a thriving and vibrant developer community that can be seen in the previously mentioned Swift Evolution group and Swift Evolution mailing list discussions. The response and excitement to the introduction to Swift has far exceeded Apple’s expectations[5]. This kind of excitement in a language coupled with success of Apple in selling products that are in high demand translates to great Swift developer demand now and in the future in the tech and related industries. I teach in career/tech, and those high-excitement and high-demand career fields are exactly what we look for when we advise students. I cannot wait to see what our students, the next generation of developers, will create in the future!

Originally posted at iFoutty.com - Swift Teacher

Chris Lattner(June 3, 2014). Chris Lattner’s homepage.  ↩

Protocol-oreinted Programming in Swift. Apple Inc. on YouTube.  ↩

Lattner, Chris. “People Don’t Use the Weird Parts.” Interview. Audio blog post. The Accidental Tech Podcast. Marco Arment, 18 Jan. 2017.  ↩

Swift (programming language)  ↩

Lattner, Chris. “People Don’t Use the Weird Parts.” Interview. Audio blog post. The Accidental Tech Podcast. Marco Arment, 18 Jan. 2017.  ↩