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2025-01-27 00:18本頁面
【正文】 r, would be as wele as a fire alarm with a snooze button. When new technologies are born, we tend to think of the new in terms of the familiar. When cinema started, people thought of it as pointing a camera at a theater stage, and divided silent films with “chapter headings” as if they were books. New “l(fā)anguages” eventually emerged that were true to, and fully exploited, the unique qualities of cinema itself—Eisenstein’s language of montage, for instance. But the old analogies never lose their validity: films continue to use the conventions of the theater and the novel. They are just augmented by the new languages. 6 I believe that interaction design is still in the equivalent of the early stages of cinema. As yet, we have no fully developed language unique to interactive technology. So we are still drawing on the language of previous creative modes. It may help to categorize these languages according to their “dimensions”: 1D, 2D, 3D, and 4D. 1D includes words and poetry. Are the words in a menu the most accurate encapsulations of the action they denote? Are they used consistently? And the “tone of voice” of the dialog boxes in your system: Are they too abrupt and imperious, or too cloyingly conversational? The 2D languages that interaction design can borrow from include painting, typography, diagrams, and icons. When we look at a painting, even if it’s not representational, it’s difficult not to interpret it as a perspectival space。 it’s clear how you access them and what will happen when you do. Equally crucial is certain mand in one part of the system should have the same effect in another part. An example, again from some time ago, was Appleworks, one of the first integrated office programs on the Apple II. Those were the days of green “ransomnote” characters on a black screen, and very limited functionality. But Appleworks was beautifully, satisfyingly, knew exactly what to mand in the database did exactly the same in the word 5 processor。 本文摘譯自《 What Is Interaction Design》 4 What Is Interaction Design An electromechanical object, a radio say, links its physical mechanical ponents to its electronic elements in a fairly direct we turn the dial, our fingertips and muscles can almost “feel” the stations being scanned. With puters, however, the distance between, on one hand, keystrokes and screen image, and, on the other, what’s happening inside the puter, is usua
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