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The complexity of the Web is changing daily, and its scope is growing just as fast, especially with 3D rendering. is a JavaScript library for rendering 2D graphics and interactive 3D graphics within browsers. It is based on the architecture of the . WebGL uses the shader language with C- syntax. WebGL uses HTML5 <canvas> element to get 3D graphics into the browser page. Working with WebGL, and with shaders in particular, is rather time-consuming. In the development process, you need to describe each point, line, face, and so on. To render all this, we need to write a rather bulky piece of code. To increase the speed of development, Three.js library was developed. WebGL OpenGL GLSL is a JavaScript library containing a set of predefined classes for creating and displaying interactive 3D graphics in WebGL. Three.js Three.js for WebGL is the same as jQuery for JavaScript. The library offers declarative syntax, and relieves the headache associated with 3D in the browser. Let's look have a general overview of Three.js and see how to get started if you are new to the 3D world. More about Three.js Three.js library, as already mentioned, makes work with WebGL easier. When using Three.js, there is no need to write shaders (but the possibility remains), and it becomes possible to work with familiar concepts. A large number of developers work on the library. The mastermind and developer is Ricardo Cobello, known under the creative pseudonym . Mr.Doob Graphics modeling using Three.js can be compared with a film set, as we have the opportunity to manage concepts such as scene, light, camera, objects and their materials. Three so-called pillars of the library include: Scene - a kind of a platform where all the objects that we create are placed; Camera - this is the “eye” that will be directed to the scene. The camera takes and displays objects that are located on the stage; Renderer - a visualizer that allows you to display the scene captured by the camera. Three.js offers several types of cameras: Perspective Camera Stereo Camera Orthographic Camera Cube Camera The most common ones are the Perspective and Orthographic Camera. Perspective Camera This is the most common projection mode used to render a 3D scene. The perspective camera is designed to simulate what the human eye sees. The camera perceives all objects in a perspective projection: the further the object is, the smaller it seems. The perspective camera takes 4 parameters: or - defines the angle that you can see around the center of the camera. FOV Field Of View - the proportion or ratio of the width to the height of the screen. With large values of the field of view, the apparent size of objects quickly decreases at a distance. For small values, on the contrary, the apparent size of objects barely depends on distance. Aspect ratio - minimum and maximum distance from the camera that gets into rendering. Thus, very distant points will not be rendered at all, as well as points that are very close. Near & Far Orthographic Camera In this projection mode, the size of the object remains constant, regardless of its distance from the camera. That is, it is a camera remote to an infinite distance from objects. In this case, all perpendicular lines remain perpendicular, all parallel remain parallel. If we move the camera, the lines and objects will not be distorted. This can be useful when displaying 2D scenes and UI elements. Light Without light on the stage, it seems we are in a dark room, as only silhouettes are visible. In addition, by lighting the stage we add more realism. Technically, each light can be colored. Types of Light: - background lighting that is used to illuminate all objects on the scene equally; cannot be used to create shadows, as it has no direction. Ambient Light - light that gets emitted in a specific direction. This light will behave as though it is infinitely far away and the rays produced from it are all parallel. It can cast shadows, as it is directed at a specific object. Directional Light - light that is emitted from a single point in all directions. A common use for this is to repeat light emitted from a simple light bulb. Point Light - this light is emitted from one point in one direction, along a cone, expanding as you move away from the light source. Spot Light Creating objects The object created on the scene is called Mesh. A Mesh is a class that presents objects made up of a triangular polygons. Mesh is built using 2 objects: Geometry - defines the object shape (position of vertices, faces, radius, etc.) Material - defines object appearance (color, texture, transparency, etc.) Let's try to create 2 simple shapes: a cube and a sphere. First of all, we go to , and download the latest version of the library. Then we connect the library in the head section or in the beginning of the body section of our document, and we're done: https://threejs.org/ First Three.js app <!DOCTYPE html> < > html < > head < = > meta charset utf-8 < > title </ > title < > style { : ; } { : ; : } body margin 0 canvas width 100% height 100% </ > style </ > head < > body < = > script src "/js/three.js" </ > script < > script // Javascript code here. </ > script </ > body </ > html To be able to display our future object, first we need to create a scene, add a camera and set up a render. Adding a : scene scene = THREE.Scene(); var new Now we add perspective : camera camera = THREE.PerspectiveCamera( , .innerWidth / .innerHeight, , ); var new 75 window window 0.1 1000 The camera takes on 4 parameters, which were mentioned above: FOV or field of view, in our case it is a standard angle of 75; the second parameter is the aspect ratio; the last 2 parameters are the near and far clipping plane (the objects further away from the camera than the value of far or closer than near won't be rendered) Adding and setting up a : renderer renderer = THREE.WebGLRenderer();
renderer.setSize( .innerWidth, .innerHeight ); .body.appendChild( renderer.domElement ); var new window window document What do we have here: we created a renderer first, then set its size according to the visible area size, and finally add it to the page to create an empty canvas element we will work with. To create the cube itself, first we define a : geometry geometry = THREE.BoxGeometry( , , ); var new 10 10 10 class is used to create cuboids or boxes. This is a class that contains the vertices and faces of a cube. Here we have three variables set: BoxGeometry width: the length of the edges parallel to the X axis height: the length of the edges parallel to the Y axis depth: the length of the edges parallel to the Z axis *All the variables default to 1 To color the cube, we need to set up a : material material = THREE.MeshBasicMaterial( { : } ); var new color 0x00ff00 In our case, we have and color attribute, i.e. green color. This material is basically used to make the object of a uniform color. The downside is that the object loses depth. But this material is quite useful when creating wireframe objects using the parameter. MeshBasicMaterial 0x00ff00 {wireframe: true} Now we need a , that takes a geometry, and applies a material to it: Mesh cube = THREE.Mesh( geometry, material );
scene.add( cube );

camera.position.z = ; var new 25 We inserted to the scene and then moved the camera out a bit. That is needed to avoid the camera and the cube to be at the same point, since by default, when we call , the figure will be added to the coordinates (0,0,0). Mesh scene.add() To animate the cube, we need to draw everything inside the render loop using : requestAnimationFrame {
        requestAnimationFrame( render );
  cube.rotation.x += ;
  cube.rotation.y += ;      
  renderer.render( scene, camera );
}
render(); ( ) function render 0.01 0.01 is a request to the browser that you wish to animate something. We pass a function to call, that is, the . requestAnimationFrame render () Here we also set the rotation speed parameters. As a result, the loop renders our scene 60 times per second and makes the cube to rotate. So here is the result: Let’s create a sphere: geometry = THREE.SphereGeometry( , , ); var new 1 32 32 For a sphere, the class is used, which takes the following parameters: SphereGeometry (default value is 1); radius - the number of horizontal segments (triangles). The minimum value is 3, the default value is 8; widthSegments - the number of vertical segments. The minimum value is 2, the default value is 6. heightSegments By the way, the higher is the number of segments or triangles, the smoother is the surface of the sphere. Now let’s use another material - - a multicolor material that maps the normal vectors to RGB colors: MeshNormalMaterial material = THREE.MeshNormalMaterial(); sphere = THREE.Mesh( geometry, material );
scene.add( sphere );
camera.position.z = ; var new var new 3 Three.js provides about 15 types of material, some of them can be combined and applied simultaneously to one object. Read more . here The last step is setting up the render loop: {
	requestAnimationFrame( render );
	sphere.rotation.x += ;
  sphere.rotation.y += ;
  renderer.render( scene, camera );
}
render(); ( ) function render 0.01 0.01 And here is what we get: Now let’s try to create an object of a bit more complex shape , and apply another material. As an example, we’ll take the , which is affected by light. Therefore, we need to add some light to the scene first. Below we add a with a yellow tint and set its position on the coordinate axis: MeshPhongMaterial SpotLight scene = THREE.Scene(); spotLight = THREE.SpotLight( );
spotLight.position.set( , , );
scene.add(spotLight); spotLight2 = THREE.SpotLight( );
spotLight2.position.set( , , );
scene.add(spotLight2); var new var new 0xeeeece 1000 1000 1000 var new 0xffffff -200 -200 -200 , as mentioned above, gets emitted from a single point in one direction, along a cone that increases in size the further from the light it gets. In addition to color, spotlight can take the following parameters: intensity, distance, angle, penumbra, and decay. It also can cast shadows. SpotLight Now it’s time for a : material material = THREE.MeshPhongMaterial( { : , : ,
 } ); var new color 0xdaa520 specular 0xbcbcbc This material is used for shiny surfaces. We passed a gold-ish color here, and added a specular property, which defines brightness and color of reflexion. The default color is which is dark gray. 0x111111 Now we render it all and get the following: A little bit more about Three.js All you need to do to include Three.js into your project is run . npm install three If you're bundling your files with or , which allow you to “require(‘modules’)” in the browser by bundling up all of your dependencies, you are able to import the module into your source files and continue to use it as per normal. Webpack Browserify THREE = ( ); scene = THREE.Scene();
... var require 'three' var new You're also able to leverage : ES6 import syntax * THREE ; scene = THREE.Scene();
... import as from 'three' const new If you need, you can import only select parts of Three.js library, for example: { Scene } ; scene = Scene();
... import from 'three' const new Conclusion With the help of almost a couple of lines of code, we created 2 simple shapes, and one a bit more complicated. Naturally, Three.js has a lot more features. Three.js has a lot of out-the-box shapes, materials, types of lighting, etc. This is just a small part of the basics. Three.js library allows you to create really great things. Here are some catchy examples: Example 1 Example 2 Example 3 If you want to start learning 3D in JavaScript, you can find everything you need . here Previously published at https://intexsoft.com/

Introduction to 3D Javascript Library: Three.js Basics

We live in exciting times, times when there are more technological opportunities than ever before. But we’re also under more stress; depression and obesity are on the rise, and we’re told that this is the time to get a job since the Great Depression. How is it that we have so much access to technology, yet the system makes it so infuriatingly hard to get employed? Well, an employment system is a work in progress. As Fabio Lo Verde, a sociologist at the University of Palermo for the Financial Times about lagging economies that are affecting young people’s ability to find employment today: hardest speaks “Economies that are still lagging behind create a series of knock-on effects, including unemployment, in particular for that part of the population trying to find a job for the first time.” While there are job centers and employment websites for writers, engineers, and developers, things are significantly harder for aspiring artists who are trying to get into the system by themselves. Source: ft.com In order for them to get their name out there, artists need a whole crew: an agent, an SMM manager, a mentor - and numerous others. If you ever tried recording an album in a studio, you know it’s not cheap. quotes “the $800/day meter” and states that “most industry types would say between $150K and $1Million for an album,” which gives you a good idea of just how expensive this venture is. The numbers may seem rather excessive, but becoming famous starts by investing thousands, and it’s anything but cheap. Of course, it would be if the current system gave everyone a fair chance instead of prioritizing those with plenty of money. DIY Musician Why the current system is not giving every artist the same chances? Think of how many talented dancers or singers are working as baristas and waiters because they didn't have enough resources to get a producer, agent, hair stylist, mentor, and so on.  If you can’t afford to record in a studio at $800 an hour, you could use your connections (if you have any). But the system is wired in such a way that only a small fraction of people who have money or connections gets the chance to be seen and heard. Out of thousands of people who send in their videos to America’s Got Talent, only to perform in front of the judges. 250 get chosen So instead of the public deciding who gets to go through, a small minority that somehow represents the people’s interests without their consent makes the rules. But the public doesn’t want the richest artists to succeed. It wants the most talented artists to succeed. So it’s not fair to the artists or the public. Also, consider the fact that pre-blockchain systems create these additional problems: There is a huge number of intermediaries who all take their cut from all financial transactions between the public and the artist. There’s no real way to check if the public voting systems conducted by a talent show’s beneficiaries are, in fact, not rigged. Instead of they public paying directly to sponsor the artist and then getting a percentage in return, there’s a whole line of middlemen (like producers and agents) who also want to get paid. When artists do become successful, they only a share of their profits thanks to pirates, banks, managers skimming a percentage off the top, and pirates (we know we mentioned them before, but they are twice as bad as everyone else). get It’s not unusual for your producer to take 20% of the cut, another middleman gets 30%, pirates hijack 25% of your sales, and you pay 10-25% in taxes… so where did the money go? Shows like “Got Talent” and “The Voice’” are too small for the huge number of undiscovered artists One way to get famous is to explore shows like “The X-Factor”, “America/Britain’s Got Talent”, and “The Voice”. The advantages are that you’ll get a fair opinion from the world’s most adored and professional judges, and if you’re good, you’ll capture the hearts of millions of viewers on live TV. Source: wikipedia.org/wiki/The_Voice_UK But how many unemployed artists are out there - and can these shows provide fair chances for all of them? The unemployment rate among artists is almost exactly twice as high than with other professions (7.1% compared to 3.6%), according to the National for the Arts' Data Profiles. There were 231,600 unemployed “artists and related workers” in the US in 2016. Endowment There are no statistics regarding unemployed artists after that that we could find, but overall unemployment rates in the US have gone from 4.9% to 4.0% between 2016 and 2019 according to the National Conference of State Legislatures, from which we can reasonably assume the numbers dropped by approximately 1% during that period. This leaves us with 231,600 minus 2,316, which is 229,284 unemployed artists. On America’s Got Talent, thousands and thousands of people send in videos but only around 250 people get to perform in front of the judges. In a perfect world, of course, all of these thousands of people would be auditioned by Simon Cowell himself. But unless you’ve been training as a ninja from birth, like our contestant of all time, the chances that you’ll actually be audited by a judge and get a fair chance are statistically insignificant. favorite This means that in terms of overall numbers those who get a fair chance are an exception so small that it doesn’t really change anything mathematically. Who can give every artist a fair chance to become famous? Now, we mentioned earlier that this is the age of new opportunities. If we can battle cancer, fly people to the moon, and surgically attach cybernetic limbs, we should be able to solve something as banal as the talent discovery problem. As Einstein said, “We can not solve our problems with the same level of thinking that created them”, so introducing new technology would logically enable us to overcome problems we couldn’t overcome before. Using the blockchain, , , and attempt to give rising artists a real opportunity to live the life of their dreams. ISINA Sundeon InMusik Sundeon uses blockchain’s transparency, equitable rights management, enhanced artist funding mechanisms, and fair event ticketing to enable beginner artists to get funding from their fans (who effectively become music producers and get co-ownership of the royalties). Copyrights are kept safe using the blockchain’s famous security mechanisms. In addition, the system is transparent, which solves the problem of investors feeling insecure about where their money goes, and micropayments massively increases the size of contributions by introducing a principally different of contributing. With InMusik, the principle is the same: way “Invest as much or as little as you like and earn quarterly payouts based on the success of the artist.” Artists get investments from professional investors as well as their fans, who feel more confident about contributing as a result (“strength in numbers”). That’s a good way to assure that artists get paid fairly. However, ISINA takes the solution a bit further by giving the chance of getting an audition to 100 million artists (more than all other platforms and TV shows altogether). How is that possible? Participants of the ISINA platform submit their samples by uploading a file and then participating in a voting process. ISINA believes this process to be “the fairest, democratic, and transparent method available at this time.” The fact that there’s not one single party that makes the decisions is the reason why democracy is a more effective system than a monarchy: a decision made by all is a fairer one, and a decision made by a judge or even a panel at pre-screening is more likely to be biased. On ISINA, acknowledgment and observance of the voting rules are made on a blockchain voting system enhanced by biometric data security (3D face recognition). Decentralization and encryption ensure that blockchained votes are incorruptible. Source: scnsoft.com If there was a system that guaranteed incorruptibility and traceability, wouldn’t everyone vote, thereby making the number of voters an accurate representative sample? The future of talent discovery The only way to introduce a system that would enable effective talent discovery is to make it decentralized. Blockchain-based decentralization would enable: removing multiple parasitic intermediaries that consume the lion’s share of artists’ profits The introduction of micropayments, which would drastically increase the size of the contributions while making contributing safe ensuring that there is no voter fraud and that everyone is getting a fair chance of getting their time in the spotlight convincing fans to give because they can track where their funds are going and make sure they are mathematically guaranteed to get returns on their investments A talent search system that is based on the blockchain massively expands the talent search area because there are no geographical limits, it gives everyone a fair chance, and it enables investors to enter an environment where their funds are protected by smart contracts and not the fallible human factor. There are enormous pros to introducing blockchain to talent searching and working solutions are already being developed. So, what are you waiting for?

This is what “Got Talent” and “The Voice” would look like if everyone had a chance

It’s a classic saying; a magician will never reveal his secret. Why? Well, the secret is always far less impressive than the trick. Magicians use a fundamental assumption when performing magic, that people can’t think about more than one thing at once. Especially if you’re showing them something with an object they see every day. E.G. a pack of cards or in today’s world, and iPhone. People tend to switch off and go into autopilot mode in the same way they do when they’re driving a car. Magicians and hackers are more similar than you think.Hackers understand technology, electronics and code more than 99% of people and can use this knowledge to manipulate and control what users see, think, and believe in the digital space. Magicians do the same thing, in the physical space, with sleight of hand and mentalism. As someone who has done both, the similarities are shocking, but there is one monumental difference. Magicians perform magic to laypeople for applause. Hackers hack for fun, for exploration of the digital realm and what can be invented for science/art/tech sake. I will for the first and hopefully not the last time here, reveal one of my secrets. Why? I love technology, innovation and creativity, magic is just a trick, it’s embarrassing to be Watch this, it’s my America’s Got Talent Audition: Tom London America’s Got Talent Audition Now you’ve watched that, you either have a lot of questions or want to ask me if your theory as to how it all worked was correct.That’s what Twitter is for. Hit me up. This whole thing was a mission, literally, but also a dream. Controlling thousands of mobile phone screens in real-time My initial concept: to be able to control the screen on mobile phones over the internet. More precisely: Give the impression I clicked my fingers and hacked 2000 phones, in less than 100ms. What can’t I do I have to be able to control 2000+ devices, in real-time, and no one can know it’s happening. Easy enough if they’re all on the same wi-fi network right?‘There’s no wi-fi in the auditorium’ said the fat inspector. First thing I did was eliminate everything I can’t do because of the audition/stage performance/television show constraints:- No wi-fi.- No time for the audience to download an app.- Can’t physically touch any of the users’ devices.- Can’t actually tell them anything before I walk on stage.- Can’t actually do real magic (shock). Basically I can’t do it. Until this. PubNub. PubNub is a real-time data messaging platform, well, they were a year ago. Now they do cloud functions, server blocks and time-saving magic on their data stream, I mean, they power everything I do these days. I got in touch with Stephen Blum, CTO of PubNub. Enter my first SF tech company email thread experience. Stephen replies with this. Minutes later. I then had to convince him I was real? After a couple skype sessions, Stephen hooked me up with Jason and Jasdeep, two of his guys who worked with me and my father (sick programmer) on my web app which did the following. PubNub Magic PubNub works like a giant whatsApp group. You can create a group chat and different services, programs, servers can all subscribe to the chat and understand what’s going on by using a universal language like JSON for storing your data. What’s cool about PubNub is that they have a SDK or API for pretty much everything. Kettle, Sex Toy, Nintendo Switch. There’s probably an SDK for it. (There is literally no SDK for any of those things but yeah, you get it) Controlling the devices with PubNub I created a landing web page that ran a javascript script hooking the page up to pubNub and subscribed it to my channel ‘magic’. I then took out another 3 mobile phones I had laying around and watched them all connect. I then typed out a message ‘Go’ into the pubnub console and watched it fire across the internet to the devices. Once the devices got the message, the javascript triggered a onDelay event which changed the background color of the HTML body. Sick. Hacking the mainframe. Pubnub fires this tiny, several kb message across the internet in less than 100ms and all I had to do was implement their API. I tested this at an event in Barcelona for the launch of Now You See Me 2. Actually it was the pre-screening and my client was the VP of Lionsgate. They wanted me to create some magic that recreated the movie so I got to watch it 6 months early and build this very trick. Click a button, make everyone's devices flash the brand colours. I had about 600 people using it at the same time, looked insane. Bingo, on to something. Synchronising devices if you remember from the video when I raised my hands the devices quite beautifully started blinking almost exactly at the same time. This was harder to do, for many reasons. Firstly, the devices are in an auditorium which means concrete, metal, radio signals from other devices and dreaded microphone radio waves. All this noise is going to slow down the 3G/4G/LTE/Edge connections on the devices. What was crazy was that I only realised this the day before the live audition. At this point, Stephen got two of his team involved, Jasdeep and Jason. They flew out to Studio City in LA and we sat down together over an Unami burger and stressed out for 24 hours about how we could make it work. We came to the conclusion the best way was to work out the device time and the compare this to the server time. This would allow us to create a universal time for all the devices, by working out the local device time difference and adding/subtracting it from our server time. The server would then send out a message through PubNub, the message contained some information in a JSON object which stated the time at which the devices should start flashing in the future, 10 seconds into the future. This meant that once I started the routine, there was 10 seconds for the message to get sent to every device, and no matter how long it takes for them to get the message all the devices would theoretically start at 16:47 (for example). It worked better than I expected, I had devices in 5 countries during testing starting the sequence and precisely the same moment. I just realised, I created a real-time mobile phone screen system. PubNubs messaging system allows me to have theoretically… millions of devices. Picking 5 devices out at random After all the devices flash, I mention to Simon Cowell that I selected 5 devices at random. This was really, really, really cool. When the device subscribes to the stream, it issues a UDID and publishes that to PubNub. This gives me a list of every single device. My server goes through the list, picks 5 at random and pushes them down the PubNub stream. If the local device UDID matches any of those 5 on the stream, the device changes state to ‘chosen’. We’re talking a few lines of code here to do something I would consider incredibly complicated without PubNub. How I did the number trick. Well, that’s a story for another day. No, I didn’t use ‘TOXIC’. Toxic is where you type a number into the iPhone calculator and enter in a random number (call it rN) press, Plus, 0, Times, Left Bracket, Cancel. The result is any number of numbers multiplied together will = rN. I didn’t do that. I get asked how I did this on a daily basis, it was just some clever web app. I’m also shocked that when I perform this at keynote addresses, using it to open apps with pre-filled content or compose emails some people believe I actually have hacked them. You can get away with so much today if you understand the universal level of knowledge most people have for the technology they use.

A Magician Never Reveals his Secret — Unless it’s for Hacker Noon

November of last year, a study finding that “If every Brit sent one less thank you email a day, we would save 16,433 tonnes of carbon a year — the same as 81,152 flights [from the UK] to Madrid.” OVO Energy sponsored How could sending fewer emails have anything to do with greenhouse gas emissions? As it turns out, the two are connected. When humanity wastefully runs software and web services, hardware fights to keep up. In time, equipment sucks electricity and eventually wears out. : The Guardian noted Almost everything we do online increases our carbon footprint. As a perverse example, Antivirus Company [McAfee] reports that the electricity needed just to transmit the trillions of spam e-mails sent every year is equivalent to powering two million homes in the United States and generates the same amount of greenhouse gas emissions as that produced by three million cars. But waste extends more than just to consumer “overuse.” Software engineers recognize that good code not only relieves stress on hardware and power generation — it actually further enables programmers to implement more efficient solutions. What is “Good” or “Proper” Code? For starters, good or proper code works. In the short term, this standard may seem like stating the obvious. From a long-term perspective, good code works as expected at all times. Rushed code appears to work in initial testing and fails to compute when a new variable comes into play. Proper code is also easy to maintain and reuse. When proper code exists, the next generation of software engineers can quickly troubleshoot and upgrade code for more eco-friendly processing. Five Reasons Why Writing Proper Code Matters Proper code is a benefit that few notice. In contrast, even non-programmers will notice the effects of bad code. Here are five ways the absence of proper code deteriorates our overall quality of life. #1: Bad code runs servers and hardware more than necessary. Just because the Internet has saved our personal computers some general wear and tear doesn’t mean that servers aren’t paying the price. Good code powering web services and the Cloud ensure that servers last longer and run more efficiently. Bad code does just the opposite. Code run on local computers produces the same effect. Proper code extends the life of the hardware, whereas bad code more quickly deteriorates machines that we depend upon to get the job done. #2: Bad code is the opposite of eco-friendly. Computers, servers, and supercomputers demand power. While many parts of the world are learning how to generate electricity through more sustainable methods — such as renewable energy sources — most first-world countries still depend heavily upon the burning of fossil fuels. Additionally, increasing humanity’s arsenal of computer hardware grows our carbon footprint dramatically. Once a server or hard drive is exhausted, computer hardware fails to decompose nearly as quickly as most other consumer goods do. The more prevalent the bad code, the more pressure computer hardware must endure. More imminently, bad code places higher demand upon our power grids and energy sources. #3: Bad code is challenging to read, use, and repair. In today’s software ecosystem, product iteration is critical. Programmers build digital systems with plans to implement continuous improvement and product upgrades. Proper code allows everyone on a programming team to understand how the code works. Team members can promptly fix bugs and use the code to define a new batch of code foundational to a new product launch. In contrast, bad code eludes programming teams. Bugs are nearly impossible to identify and fix without scraping the code entirely. Bad code takes the “scenic route” in every computing command, and the average programmer can get lost in the mess. #4: Bad code ignores open-source solutions. The best software engineers know that there may very well be code to solve their immediate problem. A former Google software engineer, , insisted, “Before potentially reinventing a wheel, think about how common the problem is you’re trying to solve or the function is you’re trying to perform. Somebody may have already implemented a solution you can leverage.” Zachary Goldberg When programmers ignore existing solutions, they often end up building a distorted replica of efficient code that already exists. Software engineers should instead (in Mr. Goldberg’s words) “stand on the shoulders of giants.” #5: Bad code is slow. When a server must work harder to power through bad code, speed dwindles. Speed is the leading concern among consumers, and while software providers certainly want to appease their customers, slow software services often highlight bad code. Proper code converts the server command from a marathon to a sprint. The result is still the same, minus all the extra server effort it took to get there. Final thoughts While customers expect better software products and advocates demand more eco-friendly tech, the solution remains the same. Proper code extends the life of computing hardware, lowers the amount of energy required, opens the door for better code, and makes tech services faster. It is a myth that the Internet automatically saves the planet. Bad code contributes to the earth’s pollution, even in cases where all digital services are transmitted online. Good code can radically reduce our carbon footprint and overall greenhouse gas emissions. Software companies are increasingly looking to good code to lower costs and embrace more environmentally-sustainable business practices. As for most things in life, doing more with less continues to be a noble goal in the process of ongoing improvement. It’s time for more software companies to do their part by raising the bar for quality code in the construction of their products and services. Previously published at https://medium.com/@markeaze/5-reasons-why-writing-proper-code-matters-28bc6c0fffd1

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Since n.d.

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