工业设计毕业论文设计李四外文翻译

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1、word毕业论文设计外文翻译题 目：交互设计是什么？ 系部名称： 机械工程系 专业班级： 工设081 学生：*学 号： 7 指导教师： 东*教师职称： 讲师 2012年4月5日0 / 10交互设计是什么? 像电动机械、无线电广播、机构连接、机械部件等，都是相对于电子元件以直接的方式展现。当我们转动拨号盘，我们的指尖和肌肉都会有所感受。自从有了电脑，无论距离有多远，都可以联系在一起。它可以表现在两个方面：一方面，通过键盘就可以在电脑屏幕里输入所想的信息，另一方面，也可以从电脑屏幕中得知外面所发生的一切。所以有了电脑，我们可以更直接的了解讯息。但是我们的物质世界和电脑的虚拟世界相比相差很大。 在这

2、个时期，我们需要一种清晰的思维模式为我们所用，举一个实例,早期使用脚本系统的苹果电脑，有一个很完整的系统模式，就像是堆积起来的卡片：对需要完成的工作都有一个准确地模拟，以与如何计划这个项目的运作。同时，对用户来说就像是在翻阅卡片，可以得到更直观的使用。所以完整的思维模式所起到的作用是显而易见的。但是，由于种种原因这种方式没有使用到更多的应用程序中。 良好的设计系统表现在可以得到有效的反应，以便知道我们所做的一切都确实做到了。举一个例子,当我们在键盘上输入时，我们做到的不仅仅是字符出现在屏幕上，同时我们也能感觉到键盘的敲打，以与听见键盘所发出的滴答声。早期的时候我经常使用命令处理器去做一些重复的

3、事情，或者做一个键入命令的序列“tetick，tick，tick-tick；tetick，tick，tick-tick.如果它变成了“tick，tetick，tock我就知道我做错了。对于我来说，听觉反应的速度要比视觉反应的速度快。 仔细查看电脑的每一局部是必不可少的，特别是在屏幕上的一些图标。你需要知道你在哪个界面，在那里你能做些什么，怎样到下一层面，以与怎样返回。麦金塔电脑在这方面具有很好的影响力：菜单在屏幕顶端勾画出所有的可能性，清楚的告诉你怎样进入和提示你将要做什么。 同样重要的就是一致性。在系统中的一个命令应该和系统的其他局部具有同样的效果。举一个例如,不久前,苹果工具之一的第一综合

4、办公程序苹果II，那些“ransom-note字符在黑色的银幕上只有非常局限的功能。但苹果工具还是一直很优秀的，令人满意的。例如：你能准确地知道你做了什么。一个命令可以在数据库中做完全一样的文字处理，无论你在哪里，退出键都可以带你返回上一层面，你不会迷失和较多的犯错误。与现代“整合的应用程序相比拟，这种形式的一致性是令人满意的，但也是较难实现的。 当我们与日常生活中的产品交互时，例如一辆汽车，我们不需要花太多的时间去考虑互动，我们应该想一想我们的交互设计，我们想做的事情。直观的交互能减少负担对意识思维的影响，使意识更好的操作于某个系统，让我们把精力集中在我们的目标。一个很好的例子就是夸克软件，

5、可以让你在不知不觉中放大图象，按住两个键并且点击就可以看清你想看的了，这就像是在移动你的目光，你不必再到处寻找正确的工具了。但较多的系统仍然要求保持较高的注意力，就如不称职的老板，时刻把注意力放在我们得工作上。 当我们设计了一个计算机系统或者是设备，我们要设计的不仅仅是它的样子，而是它如何运转，品质如何，以与它们之间的相互作用。这就是交互设计师所应具备的技能，它的局部反映有：当你移动你的鼠标，比如：感觉它迟钝、凛冽或明快？当你操作你的iPod表盘，结合声音和感觉，就像告诉你正在做什么，这些都是微妙和令人满意的。我们可以设计互动的品质，与我们所看到的，我们所听到的，或有一样的感觉的相结合。 但是

6、，互动的品质必须有适当的环境。一个冒险游戏需要一个互动微妙的气氛和有趣的具有挑战性的导航栏，中央控制系统提供了这些品质。 当新技术出现时，我们一般都会想到熟悉的场景。当电影开始的时候，人们会认为它是用摄影机对着戏院舞台，而声音是与之别离的。只到语言的彻底利用，电影独一无二的品质才彰显出来。然而旧的模式从未逝去它的有效性：电影继续使用着戏剧和小说，它们只是增添了新的语言形式。 我认为交互设计与早期的影片有着相似的阶段。到目前为止，我们还没有充分开展语言的交互技术。所以我们仍需要借鉴前面创造的语言模式。因为它可以帮助这些语言进展分类，根据他们的“标准：:一维、平面、立体、四维。 一维包括单词和诗歌

7、。例如：他们在情景的表达中能否准确的运用词汇？这些词汇是否具有连贯性？同时与你所想象的“语气相比，是否他们有太多的唐突、傲慢，或者不健谈？ 二维交互设计的语言可以借用包括绘画、排版、图形和图表。当我们看到一幅画，即使它不是代表性的，但它也不难解释为一个透视空间。我们可以使用这样的成分更深层次的表现当前重要的元素。我们可以用我们熟知的、惯用的技术运用到屏幕的结构中去。同时以时间的不同来区分音色和语言的意义。我们也可以利用语言的图表和信息的搜集来说明错综复杂的事物，从而让人更好的理解。另一种二维交互设计的语言是运用计算机接口，以图标的形式让事物微小简化，从而阐述一个较大的概念或事物的立场。 三维语

8、言是以物体、雕塑的形式。一个动态的产品设计，是以“产品语义学探索人们如何理解不同的要素在产品中的表现。如果事情有一个机会，例如，我们知道我们是为了抓住它，或者遇到比它的顶点还要大的基地，经验明确我们应该重力保持基地的下跌。设计师使用这门语言将事情弄清楚，但有时也可以抱有期望，插入一些惊喜与原本的智慧，否侧可能都是平凡无奇的。 第四维度是时间。四维语言包括声音、影视和动画。在20世纪80年代比尔Gaver6设计了优美的音乐界面-无线电声波，提升了苹果桌面：当你丢弃了一个文件夹，它会变成另外一种颜色，同时发出了根据其存大小声音。这样提供了很好的反应，不仅听起来很好，而且还适合他们的目的。另一个重要

9、的四维语言是电影：在二十秒一个的电视广告里，就能告诉我们一个复杂的故事，而且容能被每个人所了解。一个多世纪以来动画的开展较快，他们通过有限的手段表达情节、情感、期望和行动。 我们正在设计一个公众能够理解的丰富的但同时又不同于这些的语言：对话框、图形、印刷和三维形态、音、影视和动画。这使得事情变得困难，因为没有人能流利的掌握这些语言。我们必须联同那些有其他技能和经验的设计师，使交互设计师永远不可能成为一个隐士。 然而，经历二十年多年的绘画到现有的表现语言，我们现在需要开展一个独立的交互语言与智能系统和设备，一个真实的语言计算中心，网络媒介和电信。从感性心理学，我们开始明白在人与设备或系统功能围的

10、互动：响应速度，也就是说，一个小围的交际能力。但是在象征性的水平，情绪，社交能力和文明的意义，我们还没有达到惊人的创新。 本书讲述了一些交互设计师的故事，都是非常有意义和快乐的，然而，重要的是这本书建议我们，要用自己的方式来探索交互设计。 本文摘译自What Is Interaction DesignWhat Is Interaction DesignAn electromechanical object, a radio say, links its physical mechanical ponents to its electronic elements in a fairly dire

11、ct way.When 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 andscreen image, and, on the other, whats happening inside the puter, is usually much less direct. Our physical world and the pute

12、rs virtual world seem miles apart.In this (historically unprecedented) situation we need a clear mental model of what were interacting with. HyperCard,5 forinstance, an early scripting system on the Apple, had a very clearmental model, a stack of cards: a precise analogy of what and howthe program w

13、orked. It was obvious to its users that in effect theywere flipping through a stack of cards: everything about thedesign reinforced this metaphor. Sadly, the same cant be said ofmany other applications.A well-designed system has reassuring feedback, so that we know what weve done when weve done it.

14、On a keyboard, for example, we can tell what weve just done because not only do characters appear on the screen but we can the feel the travel of the key itself and hear the little click it makes. Using an early word processor to do something repetitive, I often had to do a sequence of key mands tha

15、t went “tetick, tick, tick-tick; tetick, tick, tick-tick. If it went “tick, tetick, tock, Id know Id made a mistake.The aural feedback let me go faster than if Id relied just on my eyes.Navigability is also essential, particularly with things that are primarily on screen. You need to know where you

16、are in the system, what you can do there, where you can go next, and how to get back. The Star and Macintosh interfaces were very influential in this way.The menu at the top of the screen lays out all the possibilities; its clear how you access them and what will happen when you do.Equally crucial i

17、s consistency.A 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 “ransom-note characters on a black screen, and very limi

18、ted functionality. But Appleworks was beautifully, satisfyingly, consistent.You knew exactly what to do.A mand in the database did exactly the same in the word processor; never got lost and rarely made a mistake. pare that with modern “integrated applications. Consistency, like all forms of satisfyi

19、ng simplicity, is very difficult to achieve.When we interact with everyday artifacts, like a car, we dont spend too much time thinking about the interaction: we think about where were heading and what we want to do. Intuitive interaction minimizes the burden of conscious thought needed to operate th

20、e 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 didnt have to march off somewhere to find the right

21、 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 puter-based system or device, were designing not just what it looks like but how it behaves. Were designing the quality of how we and it interact.Th

22、is is the skill of the interaction designer. Its 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 youre doing, is subtle and satisfying.We can

23、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

24、interaction offering subtlety of atmosphere and intriguingly challenging navigation; central-heating control systems offering these qualities, however, would be as wele as a fire alarm with a snoozebutton.When new technologies are born, we tend to think of the new in terms of the familiar. When cine

25、ma 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 “languages eventually emerged that were true to, and fullyexploited, the unique qualities of cinema itselfEisensteins language of montage, for instance

26、. 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.I believe that interaction design is still in the equivalent of the early stages of cinema. As yet, we have no fully developed language

27、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: 1-D, 2-D, 3-D, and 4-D.1-D includes words and poetry. Are the words in a menu the most accurate encapsulations of the action

28、 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 2-D languages that interaction design can borrow from include painting, typography, diagrams, and icons. When we look at a paint

29、ing, even if its not representational, its difficult not to interpret it as a perspectival space; we can use such positional tropes to layer the screen in apparent depth or to foreground its currently most important element.We can use the familiar hierarchical conventions of typography to structure

30、the screen, and our shared sensitivity to minute differences in letter forms to add distinctions of tone and meaning. We can also use the language of diagrams and information graphics to municate a plexity which cant be intelligibly rendered in standard text, particularly on a small screen. Another

31、specialist 2-D language, much used in puter interfaces, is of course that of icons: tiny simplified images that stand for a larger idea or a thing.3-D languages are those of physical, sculptural form. One movement in product design, “product semantics, explores how people understand what the differe

32、nt elements of a product represent. If something has a handle, for example, we know we are meant to grab it; if something has a base bigger than its apex, our experience of gravity suggests that we should keep the base downward. Designers use this language to make things clear, but sometimes also to

33、 play with expectations, inserting an element of surprise and wit in what otherwise might have been mundane.The fourth dimension is time. The 4-D languages include sound, film, and animation. In the 1980s Bill Gaver6 designed a beautiful sonic interface, the SonicFinder, an augmentation of the Apple

34、 Desktop: when you dropped a folder into another folder, it made a sound according to its size: an almost-empty folder went “pink, a fuller one “plonk. It gave good feedback,but the sounds were also poetic and appropriate for their purpose. Another important 4-D language is film: in twenty seconds a

35、 TV advertisement can tell a plex story understood by everyone. And animators have been developing their spare language for more than a century, so that with very limited means they can express plot, emotion, anticipation, and action.Were designing for a public that understands the richness of all t

36、hese different languages: dialog, graphics, typography, 3-D form, sound, film, and animation. This makes things difficult because nobody can be fluent in all these languages.We must interaction designer can never be a hermit.However, after twenty years of drawing on existing expressive languages, we

37、 now need to develop an independent language of interaction with “smart systems and devices, a language true to the medium of putation, networks, and telemunications. In terms of perceptual psychology, were starting to understand the functional limits of interaction between people and devices or sys

38、tems: speed of response, say, or the municative capacity of a small screen. But at the symbolic level of mood and meaning, of sociability and civility, we havent quite achieved the breathtaking innovativeness, the subtlety and intuitive “rightness, of Eisensteins language of montage.By telling the stories of those who have been mitted to making interactive products useful, meaningful and joyful, however, this important book nevertheless suggests that we are on our way. What Is Interaction Design教师评语教师签名：2012年 5月20日