"Society of Mind" version of epilogue to Vernor Vinge's novel, "True Names". Marvin Minsky, October 1, 1984 In real life, you often have to deal with things you don't completely understand. You drive a car, not knowing how its engine works. You ride as passenger in someone else's car, not knowing how that driver works. And strangest of all, you sometimes drive yourself to work, not knowing how you work, yourself. Then, how do we manage to cope with things we don't understand? And, how do we ever understand anything in the first place? Almost always, I think, by using analogies -- by pretending that each alien thing we see resembles something we already know. Whenever an object's internal workings are too strange, complicated , or unknown to deal with directly, we try to extract what parts of its behavior seem familiar -- and then represent them by familiar symbols -- that is, be the names of things we already know which we think behave in similar ways. That way, we make each novelty at least appear to be like something we already know from our own pasts. It is a great idea, that use of symbols. It lets our minds transform the strange into the commonplace. It is the same with names. For example, suppose that some architect invented a new way to go from one place to another: a device which serves in some respects the normal functions of a door, but one whose form and mechanism is so entirely outside our past experience that, to see it, we'd never of think of it as a door, nor guess what purposes to use it for. No matter: just superimpose, on its exterior, some decoration which reminds one of a door. We could clothe it in rectangular shape, add to it a waist-high knob, or push-plate, or a sign, lettered "EXIT" in red and white, or do whatever else may seem appropriate -- and every visitor will know, without a conscious thought, that pseudo- portal's purpose, and how to make it do its job. At first this idea may seem mere trickery. After all, this new invention, which we decorate to look like a door, is not really a door. It is not at all like what we used to mean by door, to wit: hinged, swinging slab of wood, cut into wall. The inner details are all wrong. Names and symbols, like analogies, are only partial truths; they work by taking many-levelled descriptions of different things and chopping off all of what seem the small details -- that is the one's which matter least to our presently intended purposes. But, still, what matters is that whatever symbol or icon, token or sign we choose should re-mind us of the use we seek -- which, for that not- quite-door, should represent some way to go from one place to another. Who cares how it works, so long as it works! At first this may seem mere trickery; after all, this new invention, which we decorate to look like a door, is not really a door. It has none of what we normally expect a door to be, to wit: hinged, swinging slab of wood, cut into wall. The inner details are all wrong. Names and symbols, like analogies, are only partial truths; they work by taking many-levelled descriptions of different things and chopping off all of what seem, in the present context, to be their least essential details -- that is the ones which matter least to our intended purposes. But, still, what matters -- when it comes to using such a thing -- is that whatever symbol or icon, token or sign we choose should re-mind us of the use we seek -- which, for that not-quite-door, should represent some way to go from one place to another. Who cares how it works, so long as it works! It does not even matter if that "door" leads to anywhere: in TRUE NAMES, nothing ever leads anywhere; instead, the protagonists' bodies never move at all, but remain plugged-in to the network while programs change their representations of the simulated realities! --------------------------------------------------------- ------- Isn't it interesting how the ordinary brain lacks any real sense of where it is! To be sure, most modern, educated people know that thought proceeds inside the head -- but that is something brains don't know, unless they're told. In fact, without the help of education, brains don't even know that brains exist. Perhaps we tend to place the seat of thought behind the face, because that's where so many sense-organs are located. And even that impression is somewhat wrong: for example, the brain-centers for vision are far away from the eyes, away in the very back of the head, and no unaided brain would ever suspect this. And strangely, this is also so inside the ordinary brain: it, too, lacks any real sense of where it is! To be sure, most modern, educated people know that thought proceeds inside the head -- but that is something which no brain knows until it's told. In fact, without the help of education, a human brain has no idea that any such things as brains exist. Perhaps we tend to place the seat of thought behind the face, because that's where so many sense-organs are located. And even that impression is somewhat wrong: for example, the brain-centers for vision are far away from the eyes, away in the very back of the head, where no unaided brain would ever expect them to be. --------------------------------------------------------- ------- An icon's job is not at all to represent the truth -- that is, the truth of how the designated object, or program, works. An icon's purpose is, instead, to represent a way an object or a program can be used! And, since the idea of a use is in the user's mind -- and not inside the thing, itself -- the form and figure of the icon must be suited to the symbols that the user has acquired in it's own development. That is, it has to be connected to whatever mental processes are already one's most fluent, expressive, tools for expressing intentions. This principle, of choosing symbols and icons which express the functions of things -- or rather, their users' intended attitudes toward them -- was already second nature to the designers of earliest fast-interaction computer systems, namely, the early computer games. In the 1970's the meaningful-icon idea was developed for personal computers by Alan Kay's research group at Xerox, but it was only in the early 1980's, after further work by Steven Jobs' research group at Apple Computer, that this concept entered the mainstream of the computer revolution, in the body of the Macintosh computer. There have also been a few less-publicized attempts to find iconic ways to represent, rather than the programs uses, more information about how the programs work, themselves. That would have value for the different kind of enterprise, of making it easier for a programmer to construct new programs by modifying old ones, by making representations which reveal more about the program's structures rather than their functions. Such attempts have been less successful, on the whole, perhaps because one is forced to delve too far inside the lower-level details of how the programs work. But I am convinced that the days of programming as we know it are numbered, and that eventually we will construct large computer systems not by anything resembling today's meticulous but conceptually impoverished procedural specifications. Instead, we'll express our intentions about what should be done, in terms, or gestures, or examples, at least as resourceful as our ordinary, everyday methods for expressing our wishes and convictions. Then these expressions will be submitted to immense, intelligent, intention-understanding programs which will themselves construct the actual, new programs. We shall no longer be burdened with the need to understand all the smaller details of how computer codes work. All of that will be left to those great utility programs, which will perform the arduous tasks of of applying what we have embodied in them, once and for all, of what we know about the arts of lower-level programming. Then, once we learn better ways to tell computers what we want them to get done, we will be able to return to the more familiar realm of expressing our own wants and needs. @i[For, in the end, no user really cares about how a program works, but only about what it does -- in the sense of the intelligible effects it has on other things with which the user is concerned] In order for that to happen, though, we will have to invent and learn to use new technologies for "expressing intentions". To do this, we will have to break away from our old, though still evolving, programming languages, which are useful only for describing processes. But this brings with it some very serious risks! The first risk is that it is always dangerous to try to relieve ourselves of the responsibility of understanding exactly how our wishes will be realized -- when we leave the choice of means to any servants we may choose -- no matter whether we program them or not. For, the greater the range of possible methods we leave to them, the more we expose ourselves, to accidents and incidents in which we may not realize, perhaps until it is too late to turn back, that our goals were misinterpreted, perhaps even maliciously. We see this in such classic tales of fate as Faust, the Sorcerer's Apprentice, or The Monkey's Paw (W.W. Jacobs). A second risk is exposure to the consequences of self-deception. It is always tempting to say to oneself, when writing a program, or writing an essay, or, for that matter, doing almost anything, that @i["I know what I would like to happen, but I can't quite express it clearly enough"]. However, that concept itself reflects a too- simplistic self-image, which portrays one's own self as existing, somewhere in the heart of one's mind (so to speak), in the form of a pure, uncomplicated entity which has pure and unmixed wishes, intentions, and goals. This pre-Freudian image serves to excuse our frequent appearances of ambivalence; we convince ourselves that clarifying our intentions is a mere matter of straightening-out the input-output channels between our inner and outer selves. The trouble is, we simply aren't made that way, no matter how we may wish we were. The ultimate risk comes when we greedy, lazy, master-minds are able at last to that final step -- to design goal-achieving programs which are programmed to make themselves grow increasingly powerful, by using learning and self-evolution methods which augment and enhance their own capabilities. It will be tempting to do this, not just for the gain in power, but just to decrease our own human effort in the consideration and formulation of our own desires. If some genie offered you three wishes, would not your first one be, @i["Tell me, please, what is it that I want the most!]" The problem is that, with such powerful machines, it would require but the slightest accident of careless design for them to place their goals ahead of ours. The machines goals may be allegedly benevolent, as with the robots of @i[With Folded Hands], by Jack Williamson, whose purpose is to protect us from ourselves. It may be seemingly in our behalf, as in @i[Colossus], by D.H.Jones, who takes it on itself to save us from an unsuspected enemy. In the case of Arthur C.Clarke's HAL, the machine we build decides that the mission we have given it is one we cannot properly appreciate. And in Vernor Vinge's computer-game fantasy, True Names, the dreaded Mailman (who teletypes its messages because it cannot spare the time to don disguises of dissimulated flesh) simply has ambitious has motives of its very own. <