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As I developed the storyboards and script I also began to develop the system. Very quickly, the system was powerful enough that I could do basic sketches.
Once that point was reached, it was more stimulating and easier to work within the new medium, and to abandon the storyboards and script. But working in the new medium quickly began to suggest useful ideas that I do not believe I would otherwise have anticipated.
As an example, in the final video we often see multiple graphs showing the behaviour of several different neurons in a network.
This makes it easy for the viewer to understand the behaviours of different parts of the network, and to put it all together:. By contrast, my initial storyboards and script had just a single output graph.
It was only after I began using the medium that I realized it was possible to use the graphs in this way. In particular, I didn't design the system so it could plot the behavior of intermediate neurons.
Rather, that was a fortuitous happenstance, tried spontaneously as I used the medium. Another point I did not anticipate in storyboarding and scripting was how useful it would be to move and resize the neurons and the graphs, e.
A big benefit of this is object persistence. When possible, it's often useful to reuse or repurpose existing objects, since viewers have already built strong mental models of their behaviour.
This kind of dynamic reuse is harder to achieve in static media. Perhaps for that reason I did not anticipate it in my storyboarding and scripting.
By contrast, my earlier description of this proof in an online book consisted of text interspersed with interactive elements, e.
Many of the interactive elements depict minor variations on the same system. But because there is no object persistence, the user must parse each one separately, and put in the mental work required to understand the relationships.
For the most part this is not terribly hard work, but it is an additional mental burden. All told, while the script and storyboards were useful to bootstrap, once the medium was running, it was more generative to work directly within that, experimenting and evolving an approach I was comfortable with.
Here are three extensions that could be added to Magic Paper with 40 to 50 hours of additional work.
For instance, we could lasso the two-neuron gadget used to build tower functions, and turn it into a single re-usable glyph.
That abstracted glyph could then be duplicated, moved, its parameters edited, and so on, just as any other glyph. It would also be possible to inspect the internal state of the abstracted glyph, making it possible to understand multiple layers of abstraction.
Second, it should be possible to re-parameterize the abstracted glyph, so it has just three parameters, representing the height of the tower function, a starting x value, and a finishing x value.
These three parameters would then determine the biases and weights of the underlying elements. This could be implemented with a simple expression parser.
Third, it should be possible to integrate an image editor enabling the addition of extra glyphs to Magic Paper 's visual language.
Amongst other things, such an editor could be used to add unique visual representations for the abstracted glyphs.
My research colleagues sometimes express puzzlement at my interest in new media forms. They often treat it as fun but not especially serious work.
To them, advanced research usually means work on esoteric subjects. But people working on new media forms have the opportunity to rethink absolutely fundamental concepts such as number, equality, and so on; such work is about rethinking what mathematics and language is.
I believe such experiments will eventually affect and perhaps transform the way all research is done. But it will take a huge effort, since this kind of rethinking is not an individual-sized problem, it is a civilization-sized problem, and we're just getting started.
Michael Nielsen, Thought as a Technology Bret Victor, Kill Math