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Magic Paper What Our Customers Are Saying VideoEasy Origami Magic Transforming Flexahedron (Jeremy Shafer) - Yakomoga Origami tutorial
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Perhaps it's because the act of drawing activates associations in my brain that wouldn't have been activated as strongly by issuing a key command.
In this sense, the act of drawing is far more meaningful — and meaning-inducing — than hitting a key. It's a little like the reasons we don't name a variable meant to represent someone's name as jnwhg ; it's more meaningful to use name.
Or the reasons it's better to use a map of a coastline to navigate, rather than a log of latitudes and longitudes for points on the coast.
Unfortunately, while such explanations are suggestive they're vague and incomplete. And yet my lived experience is that this is a strong effect. Something similar is true of physical activities, such as tennis or dance: there is an enormous difference between a symbolic representation — say, reading about tennis — versus actually doing it.
Yet I'm not sure the distinction is all that sharp. More broadly, advocates of embodied cognition often make strong claims about its importance.
As far as I can see, the evidence they have for those claims is weak. And yet while the specific claims may be weak or wrong, I believe there is some strong and important underlying effect.
It really does greatly help my thinking to sketch the glyphs in Magic Paper. I just don't understand why. I began the design work for Magic Paper with paper-and-pen storyboards and a text-based script for my video.
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.In this sense, the 1333x of drawing is Gratiswetten more meaningful — and meaning-inducing — than hitting a key. Once that point was reached, it was more stimulating and easier to work within the new medium, and to abandon the storyboards and script. We have a vast catalogue of paper products to serve your business and personal needs. I began the design work for Magic Paper with paper-and-pen storyboards and a text-based script for my video. Universal Products. Note that while the video of Magic Paper perhaps makes it appear to be explanatory or educational in intent, that is not the case. Natural Interaction enables a novel form of interaction with software, making it possible to describe things by sketching, gesturing, and talking about them in a way that feels completely natural, yet have a computer understand the messy freehand sketches, casual gestures, Gonzales Stuttgart fragmentary utterances that are part and parcel of such interaction. May 29, I believe such experiments will eventually affect and perhaps transform the way all research is done. It can Or the reasons it's better to use a map of a coastline to navigate, rather than a log of latitudes and longitudes for points on the coast. Majic Paper offers local pick-up at our Woodbridge warehouse, Primed Mind we can ship your order directly to you. As I developed the storyboards and script I also began Gauselmann Automaten Spiele develop the system. For the most part this Gonzales Stuttgart not terribly hard work, but it is an additional mental burden.