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L Peter Deutsch I ve heard it said that to be a master at something you have to have, pretty much at your command, something like 20,000 specific cases. What s happened is the 20,000 specific cases of software design that passed in front of my face in my 45 years in the industry are just gradually becoming less and less accessible, the way memories do. I think that s pretty much what s going on. Seibel: Do you remember what it was about programming that drew you in Deutsch: With the benefit of 50 years of hindsight, I can see that I have always been drawn to systems of denotative symbols languages. Not only languages of discourse human languages but languages in which utterances have effects. Programming languages certainly fall right into that category. I think that also has something to do with why the career that I ve switched into is musical composition. Music is a language, or a family of languages, but what you say in those languages not only has denotation, maybe, but it also it has effects on people. Music is kind of interesting because on the spectrum of formality it falls between natural languages and computer languages. It s more formal and structured than a natural language, but it doesn t have nearly the structure or formality of a computer language. That, I think, may have to do with why I went into music and not poetry. I think poetry is not structured enough for me. But the short answer really is, I just gravitated to this stuff right away. Seibel: Do you remember the first interesting program you wrote Deutsch: The first program that I wrote because the content interested me was actually the second program that I wrote. The first program I wrote was some piece of calculation having to do with the Cambridge Electron Accelerator. The second program was a floating-point-output-formatting program. Seibel: Which is a pretty hairy problem.
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L Peter Deutsch Deutsch: Well it is on a binary machine. It s not a hairy problem on a decimal machine, and I was working on a decimal machine. You just slide the string around and decide where to put the decimal point. You have to decide whether to use the E or F format. But in those days, everything was a lot harder I was writing in assembly language on a batch-processing machine so this was not a trivial problem. It wasn t a hard problem but it wasn t a trivial one. That was the first program that I wrote because I wanted to. Seibel: So you were hanging out at MIT during high school and then you went to Berkeley for college. Did you want to escape the East Coast Deutsch: Sort of. I realized that it would be really good for me to go to someplace that was far away from my parents. The three places that I considered seriously were, I think it was University of Rochester, University of Chicago, and Berkeley. That was a no-brainer only one of the three has reasonable weather. So that s how I ended up at Berkeley. And it was one of the best things that ever happened in my life. I was at Berkeley and I found Project Genie pretty quickly after I arrived and stayed with that project until well there was Project Genie and then there was Berkeley Computer Corporation and then there was Xerox. Seibel: Presumably at Berkeley you started working on bigger projects than your PDP-1 Lisp implementation. Deutsch: Oh, yeah. Considerably larger projects at Project Genie. To begin with I wrote pretty much the whole operating-system kernel. The kernel was probably pushing 10,000 lines. Seibel: How did that change an order-of-magnitude difference in size change your design process Deutsch: I m trying to remember what was in the kernel. It was still a small enough program that I could approach it as a whole. There were obviously functional divisions. I know I had a clear mental model of which sections of the program were allowed to interact with which of the key data structures. But in fact there weren t very damn many data structures. There was a process table; there were ready lists. There were I/O buffers and there was
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