工業(yè)設(shè)計(jì)畢業(yè)論文李四外文翻譯-預(yù)覽頁
【正文】 一個(gè)實(shí)例,早期使用腳本系統(tǒng)的蘋果電腦，有一個(gè)很完整的系統(tǒng)模式，就像是堆積起來的卡片：對(duì)需要完成的工作都有一個(gè)精確地模擬，以及如何計(jì)劃這個(gè)項(xiàng)目的運(yùn)作。自從有了電腦，無論距離有多遠(yuǎn)，都可以聯(lián)系在一起。當(dāng)我們轉(zhuǎn)動(dòng)撥號(hào)盤，我們的指尖和肌肉都會(huì)有所感受。但是我們的物質(zhì)世界和電腦的虛擬世界相比相差很大。但是，由于種種原因這種方式?jīng)]有使用到更多的應(yīng)用程序中。對(duì)于我來說，聽覺反饋的速度要比視覺反饋的速度快。 同樣重要的就是一致性。例如：你能精確地知道你做了什么。直觀的交互能減少負(fù)擔(dān)對(duì)意識(shí)思維的影響，使意識(shí)更好的操作于某個(gè)系統(tǒng)，讓我們把精力集中在我們的目標(biāo)。這就是交互設(shè)計(jì)師所應(yīng)具備的技能，它的部分反映有：當(dāng)你移動(dòng)你的鼠標(biāo)，比如：感覺它遲鈍、凜冽或明快？當(dāng)你操作你的iPod表盤，結(jié)合聲音和感覺，就像告訴你正在做什么，這些都是微妙和令人滿意的。 當(dāng)新技術(shù)出現(xiàn)時(shí)，我們一般都會(huì)想到熟悉的場(chǎng)景。 我認(rèn)為交互設(shè)計(jì)與早期的影片有著相似的階段。 一維包括單詞和詩歌。我們可以用我們熟知的、慣用的技術(shù)運(yùn)用到屏幕的結(jié)構(gòu)中去。 三維語言是以物體、雕塑的形式。 第四維度是時(shí)間。另一個(gè)重要的四維語言是電影：在二十秒一個(gè)的電視廣告里，就能告訴我們一個(gè)復(fù)雜的故事，而且內(nèi)容能被每個(gè)人所了解。我們必須聯(lián)同那些有其他技能和經(jīng)驗(yàn)的設(shè)計(jì)師，使交互設(shè)計(jì)師永遠(yuǎn)不可能成為一個(gè)隱士。 本書講述了一些交互設(shè)計(jì)師的故事，都是非常有意義和快樂的，然而，重要的是這本書建議我們，要用自己的方式來探索交互設(shè)計(jì)。 wherever you were, the escape key took you back up a never got lost and rarely made a mistake. Compare that with modern “integrated” applications. Consistency, like all forms of satisfying simplicity, is very difficult to achieve.When we interact with everyday artifacts, like a car, we don’t spend too much time thinking about the interaction: we think about where we’re heading and what we want to do. Intuitive interaction minimizes the burden of conscious thought needed to operate the system, leaving us to concentrate on our goals. A good example was Quark Express, which let you almost unconsciously zoom in on your image by holding down two keys and clicking on what you wanted to see better. It was like shifting your gaze: you didn’t have to march off somewhere to find the right tool. But too many systems still keep demanding too much attention, like inpetent bosses, distracting us from getting on with the job.When we design a puterbased system or device, we’re designing not just what it looks like but how it behaves. We’re designing the quality of how we and it is the skill of the interaction designer. It’s partly responsiveness: when you move your mouse, for instance, does it feel sluggish, or nippy and sprightly? When you manipulate your iPod dial, the bination of sound and feel, as well as telling you what you’re doing, is subtle and can design those qualities of interaction, relating what we see to what we hear or feel with the same refinement with which typographers adjust the spacing of type, or product designers the radius of a curve.But the qualities of interaction must be appropriate to the context. An adventure game needs an interaction offering subtlety of atmosphere and intriguingly challenging navigation
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