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Are there no production designers for language?
After complaining recently about language anachronisms in Showtime's (otherwise excellent) "Masters of Sex," I lamented thusly: "There are no production designers for language, but there ought to be".
By Hendrik Hertzberg February 25 , 2014After complaining recently about language anachronisms in Showtime's (otherwise excellent) "Masters of Sex," I lamented thusly: "There are no production designers for language, but there ought to be".
Not the facilities — they're all… After complaining recently about language anachronisms in Showtime's (otherwise excellent) "Masters of Sex," I lamented thusly: "There are no production designers for language, but there… More than ever before, the makers of movies and television shows set in the historical past take care to get period details right.
As a fist-pumping Matthew McConaughey shouts in Steven Spielberg's anachronism-laden "Amistad" (1997, set in 1839-41), "Yesssss!" After complaining recently about language anachronisms in Showtime's (otherwise excellent) "Masters of Sex," I lamented thusly: "There are no production designers for language, but there ought to be".
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For Shaw, designers are tough to interview.
In such a case, the challenge for language designers is to reuse, as much as possible, previously defined language constructs to narrow implementation from scratch.
In this scenario, the challenge for language designers is to take advantage of the commonalities existing among similar DSLs by reusing, as much as possible, formerly defined language constructs.
This situation is in fact a consequence of the attitude that I have described in the introduction: computational science is so much focused on the performance of the computations and so little on the correctness of the results that there is no incentive for language designers and implementors to improve the situation.
Amateur designers design for themselves.
They evince a love for language analogous to a designer's love for pattern and texture; the best poems shimmer on the page, and also push against our assumptions about what kind of language is "poetic language".
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com