13 Matching Annotations
  1. Mar 2023
    1. Traditional visual environments visualize the code. They visualize static structure. But that's not what we need to understand. We need to understand what the code is doing.Visualize data, not code. Dynamic behavior, not static structure.”http://worrydream.com/#!/LearnableProgramming

      El asunto es que debido al homomorfismo, el código puede ser visto como datos y viceversa. Las mismas técnicas empleadas en visualizar el uno pueden ser usadas en los otros, como de hecho ya hemos experimentado varias veces en la comunidad de Grafoscopio a través de las narrativas de datos.

    2. Before you can manipulate anything you have to define a set of affordances. If you have no affordances you have... nothing.A lot of programming is really about manually creating affordances that can be applied to specific domains. The traditional medium for this is text, with dataflow diagrams a distant second.People often forget that this is still symbolic programming. You could replace all the keywords in a language with emojis, different photos of Seattle, or hex colour codes, but we use text because it's mnemonic in a way that more abstract representations aren't.Dataflow diagrams are good as far as they go, but it doesn't take much for a visual representation to become too complex to understand. With text you can at least take it in small chunks, and abstraction/encapsulation make it relatively easy to move between different chunk levels.

      Creo que más que manipulación directa, Victor habla de manipulación multimodal y computación con todo el cuerpo.

    3. With computer interfaces, you hardly ever interact with something in an immediate way. I want a comment to appear on this site but instead I am writing this text in a white box and not where the comment would appear. All the computer interactions are mediated by these in-between steps. (An example for unmediated interaction would be cooking. What you chop is what you get
    4. To me, the the most interesting part of Bret Victors ideas lie in the re-embodiment of disembodied interactions. The computers choreograph us anyhow, but often in a very poor and limited way – only our fingertips and our eyes move a bit. Why not make the choreography of interaction richer? Why not create a computer-aided full-body choreography of interaction?
  2. Feb 2021
    1. Bret Victor is trying to: Share the magic of computers and dynamic media with everyone Help people; do engineering for a cause, for a higher purpose Build creative tools for human expression Empower people; help everyone see and understand through insightful representations and humane interfaces Provide direct manipulation tools and immediate feedback Liberate us from the constraints imposed by poor tools and stale ways of thinking Encourage active reading and informed discourse Reinvent the way we represent thought Build a career around a guiding principle

      布雷特·维克多(Bret Victor)试图:

      • 与每个人分享计算机和动态媒体的魔力
      • 帮助人们;为事业、为更高的目标做工程
      • 为人类的表达创造创造性的工具
      • 赋能于人;通过深刻的表示和人性化的界面帮助每个人看到和理解
      • 提供直接的操作工具和即时反馈
      • 把我们从落后的工具和陈旧的思维方式中解放出来
      • 鼓励积极的阅读和有见地的讨论
      • 重塑我们表达思想的方式
      • 围绕指导原则建立职业生涯
    2. Victor points out that the Internet age was built on a non-commercial research culture that incubated the underlying technologies for decades. The personal computing and Internet industry exploited this culture, generating massive global wealth, but then failed to meaningfully contribute back. The dominant players today are "not planting seeds for a humane future". And so, we find ourselves at crossroads: now is the time do decide what the future of computing will look like. Will Victor have more success than Engelbart in winning funding to fully realise his vision? Will we curl ever deeper inward into our shiny rectangles, or are we witnessing the dawn of a new era in social, humane computing?

      维克多指出,互联网时代是建立在一种非商业性的研究文化之上的,这种文化孕育了数十年的基础技术。个人计算和互联网产业利用了这种文化,创造了巨大的全球财富,但随后却没有做出有意义的贡献。今天的主导者 "没有为人道的未来播种"。


    3. Operationally Dynamicland, Victor's research lab, follows the spirit of Douglas Engelbart and Xerox PARC, who decades ago invented the technologies and principles that became the foundation of the computer revolution and the information age. This first DL instance in Oakland is being realised by a small non-profit research group with a long-term orientation, something Victor is highly passionate about.

      在操作上,Victor的研究实验室Dynamicland遵循Douglas Engelbart和Xerox PARC的精神,他们在几十年前发明的技术和原理成为了计算机革命和信息时代的基础。这个在奥克兰的第一个DL实例是由一个小型的非营利性研究小组实现的,他们的研究方向是长期的,这也是Victor非常热衷的事情。

    4. "I just have this feeling that instead of making toys for rich kids, or devising ways to make computers go 5% faster, I could somehow somehow somehow be using my skills to save lives. Or significantly improve the global quality of life. Or something big and noble and hopelessly idealistic like that."


    5. In my view, Victor is part of a transitional tech generation, who were both a little late to experience both sides of the personal computing revolution, and a little too early to truly belong in the saturated social media culture we live in today. Victor certainly thinks about the future of technology by drawing on the thinkers of past generations for insight and inspiration. Victor is early Web, but more Xanadu at heart.


    1. Bret’s magic bookshelf reminded me of a quote by Alan Kay. Explaining his Dynabook concept to a group of children in 1968, he said: ‘I want to be able to do all the things you can do with a book, but be dynamic.’ There was something about the playful quality of the magic bookshelf that felt like it had achieved spiritual lockstep with Kay’s goals. The bridging of the digital and physical seemed oddly and unexpectedly fresh, prescient, like a rich vein worthy of continued mining.


    2. The next step, Bret said, was to get all of the books properly scanned and indexed. Soon enough, you’d be able to type in any search term, and the related physical volumes would glow, their collected relevant pages appearing above. But this was possible only by performing your own scans, owning your own data, placing it in an open, malleable format. A supple data source, it seemed, was the only way to hold forth these investigations.


    3. From behind me, Bret said: ‘Watch this,’ and pointed a small green laser at one of the books. The spine – the physical spine – lit up and above the bookshelf the book itself exploded onto an empty swath of wall. The entirety of its contents, laid out page by page by some hidden projector. The laser tracked by some hidden constellation of cameras. In his hand, Bret held an iPad, and as he pointed the laser at various projected pages they appeared on his device. As he slid from page to page on the iPad, the corresponding pages on the wall enlarged. It was a way to view both the macro and micro of a book – the overarching structure of the whole and the minutiae of the paragraph. The margins, it must be said, were gorgeous.


    4. In early August I visited Bret Victor’s Communications Design Group research laboratory in San Francisco. Against the far wall of the lab’s library stood a 10-foot wooden bookshelf. It was stuffed with manuals on the history of computers and programming and interfaces, novels and countless non-fiction books.

      去年8月初,我参观了布雷特·维克多(Bret Victor)位于旧金山的通信设计集团研究实验室。实验室图书馆远处的一面墙边立着一排10英尺高的木制书架,书架上塞满了各种关于计算机历史、编程和界面的手册,还有为数众多的小说以及各种非小说类书籍。