It is said that spoken languages shape thoughts by their inclusion and exclusion of concepts, and by structuring them in different ways. Similarly, programming languages shape solutions by making some tasks easier and others less aesthetic. Using F# instead of C# reshapes software projects in ways that prefer certain development styles and outcomes, changing what is possible and how it is achieved.

F# is a functional language from Microsoft's research division. While once relegated to the land of impractical academia, the principles espoused by functional programming are beginning to garner mainstream appeal.

As its name implies, functions are first-class citizens in functional programming. Blocks of code can be stored in variables, passed to other functions, and infinitely composed into higher-order functions, encouraging cleaner abstractions and easier testing. While it has long been possible to store and pass code, F#'s clean syntax for higher-order functions encourages them as a solution to any problem seeking an abstraction.

F# also encourages immutability. Instead of maintaining state in variables, functional programming with F# models programs as a series of functions converting inputs to outputs. While this introduces complications for those used to imperative styles, the benefits of immutability mesh well with many current developments best practices.

For instance, if functions are pure, handling only immutable data and exhibiting no side effects, then testing is vastly simplified. It is very easy to test that a specific block of code always returns the same value given the same inputs, and by modeling code as a series of immutable functions, it becomes possible to gain a deep and highly precise set of guarantees that software will behave exactly as written.

Further, if execution flow is exclusively a matter of routing function inputs to outputs, then concurrency is vastly simplified. By shifting away from mutable state to immutable functions, the need for locks and semaphores is vastly reduced if not entirely eliminated, and multi-processor development is almost effortless in many cases.

Type inference is another powerful feature of many functional languages. It is often unnecessary to specify argument and return types, since any modern compiler can infer them automatically. F# brings this feature to most areas of the language, making F# feel less like a statically-typed language and more like Ruby or Python. F# also eliminates noise like braces, explicit returns, and other bits of ceremony that make languages feel cumbersome.

Functional programming with F# makes it possible to write concise, easily testable code that is simpler to parallelize and reason about. However, strict functional styles often require imperative developers to learn new ways of thinking that are not as intuitive. Fortunately, F# makes it possible to incrementally change habits over time. Thanks to its hybrid object-oriented and functional nature, and its clean interoperability with the .net platform, F# developers can gradually shift to a more functional mindset while still using the algorithms and libraries with which they are most familiar.

Related F# Resources:

F# Programming Essentials Training

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There has been and continues to be a plethora of observational studies by different researchers in the publishing industry focused on how e-books have affected hard-copy book sales. Evidence from these studies has indicated that there is a significant and monumental shift away from hard-copy books to e-books.[1]These findings precipitate fears that hard-copy books might become more expensive in the near future as they begin to be less available.  This scenario could escalate to the point where only collectors of hard-copy books are willing to pay the high price for ownership.

The founder of Amazon, Jeff Bezos, made a statement in July 2010 that sales of digital books had significantly outstripped U.S. sales of hard-copy. He claimed that Amazon had sold 143 digital books for its e-reader, the Kindle, for every 100 hard-back books over the past three months. The pace of this change was unprecedented;  Amazon said that in the four weeks of June 2010, the rate of sales had reached 180 e-books for every 100 hard-backs sold. Bezos said sales of the Kindle and e-books had reached a "tipping point", with five authors including Steig Larsson, the writer of Girl with a Dragon Tattoo, and Stephenie Meyer, who penned the Twilight series, each selling more than 500,000 digital books.[2] Earlier in July 2010, Hachette said that James Patterson had sold 1.1m e-books to date.

According to a report made by Publishers Weekly, for the first quarter of 2011, e-book sales were up 159.8%; netting sales of $233.1 million. Although adult hard-cover and mass market paperback hard-copies had continued to sell, posting gains in March, all the print segments had declined for the first quarter with the nine mass market houses that report sales. Their findings revealed a 23.4% sales decline, and that children’s paper-back publishers had also declined by 24.1%.[3] E-book sales easily out-distanced mass market paperback sales in the first quarter of 2011 with mass market sales of hard-copy books falling to $123.3 million compared to e-books’ $233.1 million in sales.

According to .net sales report by the March Association of American Publishers (AAP) which collected data and statistics from 1,189 publishers, the adult e-Book sales were $282.3 million in comparison to adult hard-cover book sales which counted $229.6 million during the first quarter of 2012. During the same period in 2011, eBooks revenues were $220.4 million.[4] These reports indicate a disconcerting diminishing demand for hard-copy books.

As someone who works in many facets of the music industry, I used to seethe with a mixture of anger and jealousy when I would hear people in more “traditional” goods-based industries argue in favor of music content-based piracy. They made all the classic talking points, like “I wouldn’t spend money on this artist normally, and maybe if I like it I’ll spend money on them when they come to town” (which never happened), or “artists are rich and I’m poor, they don’t need my money” (rarely the case), or the worst, “if it were fairly priced and worth paying for, I’d buy it” (not true).  I always wondered if they’d have the same attitude if 63% of the things acquired by customers in their industries weren’t actually paid for, as was conservatively estimated as the case for the music industry in 2009 (other estimations put the figure of pirated music at 95%). Well, we may soon see the answer to curiosities like that. Though one can say with tentative confidence that music piracy is on the decline thanks to services like Spotify and Rdio, it could be looming on the horizon for the entire global, physical supply chain. Yes, I’m talking about 3d printers.

Before I get into the heart of this article, let me take a moment to make one thing clear: I think these machines are incredible. It’s damn near inspiring to think of even a few of their potentially world-changing applications: affordable, perfectly fit prosthetic limbs for wounded servicemen and women; the ability to create a piece of machinery on the spot instead of having to wait for a spare to arrive in the mail, or en route if your car or ship breaks down in a far away place; a company based out of Austin, TX even made a fully functioning firearm from a 3d printer a few months ago.

If these machines become as consumer-friendly and idiot-proof as possible (like computers), it’s possible that in a matter of decades (maybe less), a majority of U.S. households will have their own 3d printer. There’s also the possibility they could take the tech-hobbyist path, one that is much less appealing to the masses. Dale Dougherty of Makezine.com estimates there are currently around 100,000 “personal” 3d printers, or those not owned for business or educational purposes. I don’t think they’ll ever be as ubiquitous as computers, but there are plenty of mechanically inclined, crafty hobbyists out there who would love to play around with a 3d printer if it was affordable enough.

That being said, is there reason to worry about the economic implications of consumers making what they want, essentially for free, instead of paying someone else to produce it? Or will the printers instead be used for unique items more so than replicating and ripping off other companies’ merchandise in mass amounts? The number of people working in industries that would be affected by a development like this is far greater than the number of people who work in content-based industries, so any downturn would probably have a much larger economic implications. Certainly, those times are a ways off, but a little foresightedness never hurt anyone!