重点 (Top highlight)
Historical credit is often hard to assign, and with the story of the Isotype is it even more cloudy. While there is no question that Otto Neurath invented, directed, and drove the evolution of the Isotype, it was Marie Neurath who served as his main contributor from 1926 until 1945 when he died. She continued for another 26 years after his death, working in the name of the Isotype Institute they co-created. While Otto Neurath pushed for its international adoption, Marie was the master who put it into practice.
历史信誉通常很难分配，而关于Isotype的故事则更加模糊。 尽管毫无疑问，奥托·诺伊拉特(Otto Neurath)发明，指导并推动了同型(Isotype)的发展，但玛丽·纽拉特(Marie Neurath)从1926年一直担任主要贡献者，直到1945年去世。 在他去世后，她又继续了26年，以他们共同创建的同型研究机构的名义工作。 当奥托·尼拉特(Otto Neurath)推动其国际采用时，玛丽是将其付诸实践的大师。
There is a resurgence of interest in Marie Neurath and the Isotype Institute as a result of the exhibition “Marie Neurath: Picturing Science” at London’s House of Illustration. It’s a small but brilliant exhibition documenting the vibrant children’s books created by Marie after Otto’s death. The exhibition is filled with interesting documentation of the process and correspondence by Marie and her team, and includes many early drafts and prototypes.
在伦敦插图之家举办的“ 玛丽·尼拉特：绘画科学 ”展览中，人们对玛丽·尼拉特和同型研究所重新产生了兴趣。 这是一个小型但精彩的展览，记录了奥托去世后玛丽创作的充满活力的儿童读物。 展览中充满了玛丽及其团队对过程和通信的有趣记录，其中包括许多早期的草稿和原型。
Marie’s books are fantastic examples of visual explanations for children. The ‘Visual Science’ series focused on ways of diagramming diverse subjects as at atomic energy, telecommunications, and engineering. Each book came in student and teacher versions. Marie’s bright colors and elaborate cross-section diagrams add a layer of creativity that captivates anyone who views them (at any age). The show garnered wonderful reviews and several in-depth articles about this period of her work, but despite the recent attention, her emergence as a central figure in the history of data visualization remains unfulfilled.
玛丽的书是儿童视觉解释的绝佳范例。 “ 视觉科学 ”系列关注于用图解法表示原子能，电信和工程学等各种学科的方法。 每本书都有学生和老师的版本。 Marie鲜艳的色彩和精致的横截面图增加了一层创造力，吸引了所有观看它们的人(在任何年龄)。 该节目获得了有关她这一时期工作的精彩评论和几篇 深入的 文章 ，但是尽管最近受到关注，但她在数据可视化历史中的中心人物的出现仍未实现。
Marie Neurath was a remarkable practitioner, with a life that mirrors the turbulent events of the 20th-Century, and a staggering output spanning education, industry, civil service, healthcare, economics, and publishing. Marie researched, calculated, and co-designed nearly every Isotype ever created, from the early days in Vienna in 1925 all the way to when she retired in 1971. This article seeks to explore her career and life in data.
玛丽·尼拉特(Marie Neurath)是一位杰出的从业者，其生活与20世纪的动荡景象相呼应，其产出惊人地跨越了教育，工业，公务员，医疗保健，经济学和出版业。 从1925年在维也纳成立初期一直到1971年退休，Marie几乎研究，计算和共同设计了有史以来创建的所有Isotype。本文旨在探讨她在数据领域的职业和生活。
玛丽·纽拉(Marie Neurath)用自己的话语 (Marie Neurath In Her Own Words)
After Marie retired, she was invited to speak to the design students at the University of Reading (about an hour outside of London). This began a relationship that eventually led to the gift of the Isotype archives to the university in 1971. The Otto and Marie Neurath Isotype Collection now resides at the University of Reading in the Department of Typography & Graphic Communication. Its caretakers, Eric Kindel, Sue Walker, Christopher Burke, and Robin Kinross, have dutifully sifted through the years of notes, drawings, letters, and ephemera to publish books and curate exhibitions about the Neuraths over the years. The care this group continues to show in preserving the legacy of the Isotype has been generous, thoughtful and thorough.
玛丽退休后，她受邀与雷丁大学的设计系学生交谈(伦敦以外约一个小时)。 这开始了一段关系，最终导致1971年将Isotype档案赠予了大学。Otto 和Marie Neurath Isotype馆藏现在位于印刷与图形传播系的雷丁大学。 它的管理员，埃里克·金德尔(Eric Kindel)，苏·沃克(Sue Walker)，克里斯托弗·伯克(Christopher Burke)和罗宾·金罗斯(Robin Kinross)，多年来一直尽职尽责地筛选笔记，素描，信件和木，以出版有关尼古拉斯的书籍和展览。 该小组继续表现出的慷慨，体贴和彻底的保护同型遗产的精神。
One of their many offerings is the unassuming book “The Transformer” comprised mostly of an essay that Marie wrote in 1986 just months before her death. More of a letter than a formal record, “Vienna Method and Isotype: My Apprenticeship and Partnership With Otto Neurath” is her first-hand account of her professional life. The rest of the book is filled with notes by Robin Kinross, who spent time with Marie and became a close friend.
他们的众多作品之一是朴素的书《变形金刚》，其中大部分是玛丽在死前数月于1986年写的一篇文章。 她不是正式记录，“维也纳方法和同种型：我与奥托·尼拉特的学徒和伙伴关系”，更像是一封书信，是她职业生涯的第一手资料。 这本书的其余部分充满了罗宾·金罗斯(Robin Kinross)的笔记，罗宾·金罗斯(Robin Kinross)与玛丽(Marie)在一起并成为了密友。
It’s a fascinating book that partially explains her life and partially explains the nature of her work — detailing along the way the various design innovations for each challenge. Marie’s recollections focus primarily on how the Isotype evolved and her role in creating nearly all of them. She doesn’t get bogged down in much personal detail and her even-keeled story doesn't dwell on the hardships the couple faced — but it reveals much through the details.
这是一本引人入胜的书，部分地解释了她的生活，部分地解释了她的工作性质，并详细说明了每种挑战的各种设计创新。 玛丽的回忆主要集中在Isotype的演变方式以及她在创建几乎所有同构类型中所扮演的角色。 她并没有陷入很多个人细节上的困惑，她那曲折的故事也没有停留在这对夫妻所面临的困境上，但它从细节上揭示了很多。
The Isotype archive is filled with Otto and Marie’s sketches, notes, and working fragments that went into producing their Isotype work from 1940 afterward. It is gathered into various bins by theme, project, and date. From hand-typed lists to sketches transferred from carbon papers to research notes and letters between Otto and Marie, and their clients, friends, and supporters — it’s all in there. While organized, there is a lot to absorb. This is all to say, the story of Marie Neurath can be definitively told in her own voice and from her own documents.
Isotype档案中充斥着Otto和Marie的素描，笔记和工作片段，这些素描，笔记和工作片段从1940年起开始用于制作其Isotype作品。 按主题，项目和日期将其收集到各个容器中。 从手工打字的清单到从复写纸到草图的草图，再到奥托和玛丽以及他们的客户，朋友和支持者之间的研究笔记和信件-都在那里。 组织起来的时候，有很多东西需要吸收。 可以这么说，可以用自己的声音和自己的文件确切地讲述玛丽·尼拉特的故事。
维也纳绘画统计法 (The Vienna Method Of Pictorial Statistics)
For our purposes, Marie’s story starts with that of her collaborator and future husband, Otto Neurath, who was an urban planner and economist known for co-founding the Vienna Circle. He was, by all accounts, a very large, interesting, funny, and charismatic man. Animated and dynamic, his passion for education earned him the role as head of the Siedlungsmuseum (Museum for Housing and City Planning). In order to directly connect with the working classes, many of whom were only partially literate, Otto began to experiment with diagrams and visually focused exhibition design.
就我们的目的而言，玛丽的故事始于她的合作者和未来的丈夫奥托·诺拉特(Otto Neurath)的故事，他是城市规划师和经济学家，以共同创立维也纳圈子而闻名。 众所周知，他是一个非常大，有趣，有趣和有魅力的人。 他充满生气和活力，对教育的热情使他成为了Siedlungsmuseum(住房和城市规划博物馆)的负责人。 为了直接与工人阶级建立联系，他们中的许多人只是部分知识，奥托开始尝试用图表和视觉集中的展览设计。
A young Marie Neurath (nee Reidemeister) traveled from Braunschweig, Germany to Vienna on a student trip in 1924 and toured Otto’s museum. She recounted meeting Otto for the first time. “Otto saw how impressed I was, and asked me if I could perhaps design things of this kind; but what should I say — I had never seen anything quite like it before. ‘But’, he asked, ‘If I started a museum where such charts are designed, would you be willing to join in?’ To which I replied without qualifications ‘yes’ and I meant it.”
1924年，年轻的玛丽·尼拉特(nee Reidemeister)从德国不伦瑞克乘学生旅行到维也纳，并参观了奥托的博物馆。 她讲述了第一次见到奥托。 “奥托看到了我的印象，问我是否可以设计这种东西？ 但是我要说的是 -我以前从未见过如此类似的东西。 “但是，”他问，“如果我创办一个设计有此类图表的博物馆，您愿意加入吗？” 我没有限定地回答，“是”，是我的意思。”
Instinctively Otto had found a collaborator in Marie and shortly thereafter founded the Gesellschafts- und Wirtschaftsmuseum (Museum for Social and Economic Affairs) in Vienna in 1925. Marie finished her studies in Germany and reported to work for Otto two months after the museum started.
奥托本能地在玛丽找到了一个合作者，此后不久又成立了社会经济博物馆( Gesellschafts-and Wirtschaftsmuseum ) 玛丽于1925年在维也纳完成学业。玛丽开始在德国学习，并在博物馆开业两个月后到奥托工作。
The Gesellschafts- und Wirtschaftsmuseum became a hit and Otto’s visionary approach toward using streamlined graphics to communicate statistical information quickly became known as ‘the Vienna method of pictorial statistics.’ As the museum’s acclaim spread across Europe, talented people found themselves drawn to Otto like Gerd Arntz who emigrated from Germany with his family to begin working at the Museum in 1928. Arntz became the primary designer of the Isotype style and refined and designed many of the Isotype Icons. The trio of Otto, Marie and Gerd became the nucleus of all Isotype work from 1928–1941.
Gesellschafts-and Wirtschaftsmuseum博物馆大受欢迎，而Otto使用流线型图形传达统计信息的远见卓识很快就被称为“维也纳图形统计方法”。 随着博物馆的声望遍及欧洲，才华横溢的人们发现他们像格德·阿恩茨 ( Gerd Arntz )一样吸引着奥托(Otto)，他与家人一起从德国移民，并于1928年开始在博物馆工作。阿恩茨成为Isotype风格的主要设计师，并对许多同型图标。 奥托(Otto)，玛丽(Marie)和格尔德(Gerd)这三个人成为1928年至1941年间所有同类型工作的核心。
变形金刚 (The Transformer)
What makes Marie Neurath so particularly interesting is her role in the team, as she referred to herself as “the Transformer”. Today we would consider the work of the Transformer somewhere between a data scientist and an information designer.
使玛丽·尼拉特(Marie Neurath)如此特别有趣的是她在团队中的角色，她称自己为“变形金刚”。 今天，我们将在数据科学家和信息设计师之间的某个地方考虑Transformer的工作。
Marie explained the work of the transformer: “From the data given in words and figures, a way has to be found to extract the essential facts and put them into picture form. It is the responsibility of the transformer to understand the data, to get all necessary information from the expert, to decide what is worth transmitting to the public, how to make it understandable, how to link it with general knowledge or with information already given in other charts. In this sense, the transformer is the trustee of the public. He has to remember the rules and to keep them, adding new variations where advisable, at the same time avoiding unnecessary deviations which would only confuse. He has to produce a rough chart in which many details have been decided: title; arrangement, type number, and color of symbol; caption, etc. It is a blueprint from which the artist works.”
玛丽解释了变形金刚的工作： “从文字和数字给出的数据中，必须找到一种方法提取基本事实并将其转化为图片形式。 变压器的责任是了解数据，从专家那里获取所有必要的信息，决定什么值得向公众传播，如何使其易于理解，如何将其与常识或已提供的信息联系起来。其他图表。 从这个意义上说，变压器是公众的受托人 。 他必须记住规则并加以保留，并在适当的地方添加新的变体，同时避免不必要的偏差，这只会造成混淆。 他必须制作一张粗略的图表，其中已经确定了许多细节：标题； 符号的排列，类型编号和颜色； 字幕等。这是艺术家工作的蓝图。”
As the team at the Gesellschafts- und Wirtschaftsmuseum formed so did their working methods. Marie recounts the process. “An idea was formed by Otto; he discussed it with an expert to have his idea checked and to get suitable material. The transformer was present at such discussions to get acquainted with the subject. The transformer then took over the material and developed the way to present it visually. The sketch (in pencil and colored pencils) was discussed with Neurath (and sometimes the expert) until a final rush was agreed upon; this was copied into a duplicate book, and the colored top copy handed to the artist who took charge of design and finished artwork, in constant contact with Neurath and the transformer.”
盖瑟尔博物馆和Wirtschafts博物馆的团队成立时，他们的工作方法也随之成立。 玛丽叙述了这个过程。 “一个想法是由奥托提出的； 他与专家讨论了这个问题，以检查他的想法并获得合适的材料。 变形金刚出席了这样的讨论，以熟悉该主题。 然后，变形金刚接管了材料，并开发了可视化呈现的方法。 与Neurath(有时是专家)讨论了草图(用铅笔和彩色铅笔)，直到达成最终的协议。 然后将其复制到一本重复的书中，然后将彩色的最上面的副本递给负责设计和完成艺术品的艺术家，并与Neurath和变压器保持联系。”
“设计思考”之前的32年 (32 Years Before ‘Design Thinking’)
Otto, Marie, and Gerd constantly iterated on design ideas in search of finding communication efficiencies. While working in the museum one day, Marie discovered that informal audience feedback was an important influence on design iteration. “I often had to take school classes ‘round the museum and liked to do this. I was able to ask questions, and the children could find the answers in the charts…. Through these conversations, one could also notice when a chart was not easy enough to understand and this taught us, the producers, something.” She also said, more directly “As long as we had a museum we had a testing ground for our work…”
奥托(Otto)，玛丽(Marie)和格尔德(Gerd)不断地重复设计思想，以寻求提高沟通效率的方法。 一天在博物馆工作时，玛丽发现非正式的听众反馈对设计迭代产生了重要影响。 “我经常不得不在博物馆周围上课，并且喜欢这样做。 我能够提出问题，孩子们可以在图表中找到答案……。 通过这些对话，人们还可以注意到图表何时还不容易理解，从而教会了我们生产者一些东西。” 她还直接说： “只要我们有博物馆，我们就有工作的试验场……”
Keep in mind — this was in 1927, 32 years before John E. Arnold first uses the term ‘design thinking’ in his book “Creative Engineering” in 1959. Kinross elaborates, “now we might call this process simply ‘design’…in the wish to extrapolate from Isotype, or to include Isotype in a broad stream of design thinking… it is here in the process of visually configuring material… that the great value of isotype lies.”
请记住，这是在1927年，比约翰·E·阿诺德(John E. Arnold)于1959年在他的《创意工程》一书中首次使用“ 设计思维 ”一词早了32年。希望从同种型中推断出来，或将同种型包括在广泛的设计思想中……在视觉上配置材料的过程中……同种型的巨大价值就在于此。”
Putting it differently: the need to find a method that bridged the gap between creator and audience became central to the success of the work. Otto Neurath’s team was at the same intersection of science, design, and communication three decades earlier for the same reasons that went on to drive innovation across the rest of the 20th-Century. Indeed, Design Thinking activities such as context analysis, problem finding, ideation, creative thinking, sketching, prototyping, testing and evaluating are all parts of the process of creating an Isotype — with the additional steps of detailed research, data analysis, and data encoding.
换句话说： 找到一种弥合创作者和观众之间鸿沟的方法的需求成为作品成功的关键。 奥托·尼拉特(Otto Neurath)的团队在三十年前就处于科学，设计和传播的同一个交汇点，其原因与推动创新贯穿整个20世纪其余时间的原因相同。 事实上，设计思维活动，如上下文分析 ， 发现问题 ， 思维能力 ， 创新思维 ， 素描 ， 原型设计 ， 测试和评估是建立一种同种的过程中的所有部分-有详细的调研，数据分析的额外步骤，数据编码。
历史阻碍 (History Gets In the Way)
But Otto, Marie, and Gerd were on a collision course with the political events happening across Europe. As word of the Vienna Method spread, Otto created new foundations to spread his techniques and educational approach. First, he began to collaborate with Paul Otlet in 1929 by extending the Mundaneum from the Hague to Vienna, which paved the way for more collaborative work for the World Social Economic Congress in Amsterdam in 1931. That same year the team helped launch the IZOSTAT in Moscow, and lastly, explored a potential spin-off in London in 1932. Otto even began talks with interested groups in the USA and traveled to New York in 1933. It was an exciting development for the group as they began to teach their practice and extend their team internationally — but it all came at the wrong time.
但是，奥托，玛丽和格尔德正与欧洲各地发生的政治事件发生碰撞。 随着“维也纳方法”一词的传播，奥托为传播他的技术和教育方法创造了新的基础。 首先，他开始与协作保罗·奥特利特于1929年通过延长Mundaneum从海牙到维也纳，这铺平了世界社会的经济会议在阿姆斯特丹更多的协同工作的方式在1931年就在同一年的团队帮助推出IZOSTAT在莫斯科，最后，在1932年探索了在伦敦的潜在分拆。奥托甚至开始与美国感兴趣的团体进行会谈，并于1933年前往纽约。这对他们来说是一个令人振奋的发展，因为他们开始教他们的实践和在国际上扩展他们的团队-但这一切都是在错误的时间进行的。
In 1934, Austrian Fascists seized Vienna, and with it, the Gesellschafts- und Wirtschaftsmuseum. It’s exhibits, charts, and sculptures were all burned and the museum destroyed. At nearly the same time, the Russian government defaulted on payments from the IZOSTAT, so the team was also without the funds to continue at scale. Gerd Arntz invited Otto and Marie to The Hague to ride out the storm, but it turned out the war would catch them only a few years later. Marie explains, “the {Vienna method} was lost when we left Vienna in 1934. We could survive only as citizens of the world. Never again did we have a home like Vienna.”
1934年， 奥地利法西斯主义者占领了维也纳 ，并随即占领了Gesellschafts- and Wirtschaftsmuseum博物馆。 它的展品，图表和雕塑都被烧毁，博物馆被毁。 几乎在同一时间，俄罗斯政府拖欠了IZOSTAT的付款，因此该团队也没有足够的资金继续大规模发展。 格尔德·阿恩茨(Gerd Arntz)邀请奥托(Otto)和玛丽(Marie)到海牙度过难关，但事实证明，战争仅仅在几年后就抓住了他们。 玛丽解释说： “ {维也纳方法}在我们于1934年离开维也纳时失踪了。我们只有作为世界公民才能生存。 我们再也没有像维也纳这样的家了。”
国际主义：从维也纳方法到同型 (Internationalism: from Vienna Method to Isotype)
Safely in the Netherlands, Otto Neurath was in touch with C.K. Ogden who was developing an easy to learn variation of the English language called ‘Basic English’ (or British American Scientific International Commercial). It was agreed that Marie and Otto would illustrate the introductory book and create a second book explaining the tenents of Isotype.
安全在荷兰，奥托·诺伊拉特在触摸CK奥格登谁是开发一种简单易学所谓的“英语语言的变化基础英语 ”(或B ritish 一个 MERICAN 小号系统求解国际Çommercial)。 大家一致认为，玛丽和奥托将对入门书进行说明，并创作出第二本解释Isotype宗旨的书。
Marie recounts, “The two Basic books forced us to find a new name for the method, and the formation of the word ‘Basic’ helped in this. One afternoon I sat down and played around with it. I arrived at ‘International System of Teaching In Pictures’ — Isotip; that did not sound quite right yet, except for the first syllable. It was then only a short step to Isotype but I did not succeed in finding a good sequence of words for it, and we stayed with the not entirely satisfactory solution of ‘International System of TYpographic Picture Education’. When Otto returned in the evening from a meeting in Amsterdam he was pleased with the name and, the next day, asked Arntz to design a symbol for it. Both name and symbol were published then, for the first time, in “International Picture Language”. Marie’s name stuck: Isotype was easy to remember, the logo looked great, and it represented both the work and its the authors.
玛丽回忆说： “这两本基础书籍迫使我们为该方法找到了一个新名称，而'Basic'一词的形成对此有所帮助。 一天下午，我坐下来玩耍。 我到达了“国际图片教学系统” ——Isotip； 除了第一个音节，听起来还不太正确。 就在那时只有一步之遥，以同种型，但我没有找到的话好序为它成功了，我们呆在一起的并不完全满意的解决方案“ 我 国际电信联盟 的 TY pographic P ictureË 知识教育 变体系 ”。 当奥托(Otto)晚上在阿姆斯特丹的一次会议上回来时，他对这个名字感到满意，并于第二天要求阿恩茨(Arntz)为它设计一个符号。 然后，名称和符号都首次以“ 国际图片语言 ” 出版 。 玛丽的名字陷于困境：同型字体很容易记住，徽标看起来很棒，既代表着作品，也代表着作者。
Despite the war, the team’s work continued to spread internationally and Otto was again invited to New York City to work with the Tuberculosis Association. While in New York, the publisher Alfred A. Knopf requested to see him and asked for a picture book on Isotype. Otto suggested a book about the modern world. Marie describes his return, “He came home with this good news: we already have so much material for this, we just need to get down to it, he said. Just before we started on the work, we had a discussion, and this time it was I who urged: you have been given complete freedom, why not use the opportunity to make something quite new?… Modern Man in the Making appeared in 1939, shortly before the outbreak of war in Europe. It was published in the USA and Britain… It was the last piece of work that we carried out with our old colleagues. Then the invasion came. At the parting, Neurath said: everyone must decide for themselves now.”
尽管发生了战争，该团队的工作仍在国际范围内展开，奥托再次被邀请到纽约市与结核病协会合作。 在纽约期间，出版商Alfred A. Knopf要求见他，并索要一本有关Isotype的图画书。 奥托建议写一本关于现代世界的书。 玛丽描述了他的归来， “他带着这个好消息回家：我们已经为此准备了很多资料，我们只需要认真考虑就可以了。 在我们开始这项工作之前，我们进行了讨论，这是我所敦促的：您已经获得了完全的自由，为什么不利用这次机会来制作新颖的东西呢？……《现代人在制造》于1939年问世，在欧洲战争爆发前不久。 它在美国和英国出版。这是我们与我们的老同事一起完成的最后一件工作。 然后入侵来了。 在离别时，Neurath说：每个人现在必须自己决定。”
来自欧洲的出埃及记 (Exodus from Europe)
“When the Dutch surrendered” Marie recalls, “Neurath and I decided to escape, and the two others to stay.”
玛丽回忆说： “当荷兰人投降时 ，我和涅拉斯决定逃跑，而另两个人留下来。”
Artist and lecturer, Michelle Henning tells the story of their escape:
艺术家兼讲师Michelle Henning讲述了他们逃亡的故事 ：
“There were soldiers on the beach. An oil depot was on fire and the air was black with smoke. British and Dutch troops had been destroying fuel reserves along the coast to prevent the Germans using them. Otto said, “If we don’t find a boat I’m going on a piece of wood”… they found [a boat called] the Zeemanshoop… More than forty people had already gathered on board when they arrived. Otto joked that when they jumped from the high dock, they jumped “head over heels”. Marie said that his weight nearly sank the little boat. They thought they were the last to join the already overloaded boat. A Dutch soldier shot his gun into the air to prevent any more refugees from boarding.
“海滩上有士兵。 一个油库着火了，空气被烟熏黑。 英国和荷兰军队一直在破坏沿海的燃料储备，以防止德国人使用它们。 奥托说：“如果我们找不到一条船，我就要在一块木头上走。”…他们发现了[Zeemanshoop(Zeemanshoop)号船……抵达时已经有40多人聚集在船上。 奥托开玩笑说，当他们从高高的码头上跳下来时，他们“头顶跳了起来”。 玛丽说，他的体重几乎使小船沉没了。 他们以为自己是最后一个加入已经超载的船的人。 一名荷兰士兵向空中射击，以防止更多的难民登机。
On arrival in Britain, both Otto and Marie were classified as “Enemy Aliens”… the British military had persuaded the Home Secretary Sir John Anderson, “that every male enemy alien between sixteen and seventy should be removed forthwith from the coastal strip.” …[This] meant that the majority of newly arrived refugees from Europe, mostly Jews, were among the three thousand people interned. Otto and Marie were separated and taken into custody as they landed at Dover.
到达英国后，奥托(Otto)和玛丽(Marie)都被归类为“敌方外国人”……英国军方说服内政大臣约翰·安德森爵士(Sir John Anderson)，“应立即从沿海地带将每个十六至七十岁的男性敌方外星人赶走。” … [这] 意味着大多数来自欧洲的新来的难民，其中大多数是犹太人，都在这三千名被拘留者中。 奥托(Otto)和玛丽(Marie)在降落在多佛(Dover)时被分开拘留。
Neurath explained to the British police that he was the author of the book Modern Man in the Making. To prove it, he pulled from his pocket a review of the book illustrated with a photograph of him. This review was one of very few documents and papers he had brought from the Hague. Neurath later wrote that: “the bobbies did know Modern Man in the Making, and did hardly believe that the author was with them. Fortunately, I had with me a review of my book with a photo of mine”.
诺伊拉特(Neurath)向英国警察解释说，他是《现代人在制造》一书的作者。 为了证明这一点，他从口袋里掏出了对这本书的评论，并附了一张他的照片。 这次审查是他从海牙带来的极少数文件和论文之一。 后来，Neurath写道：“人们确实知道《现代人正在制造》，几乎不相信作者与他们同在。 幸运的是，我带着我的照片对书进行了审查。”
Otto and Marie both recollect that during this time they were both largely relieved as they arrived at their respective Isle Of Man internment camps. Otto said, “Both of us regarded the first weeks in prison etc. as a kind of relaxation or holidays after the tension in Holland.” They had lost their museum, their Foundations across Europe were broken by the war and they had effectively nothing left but each other, but their work was still growing in influence and very much alive.
奥托(Otto)和玛丽(Marie)都回想起在这段时间里，他们俩分别到达各自的马恩岛拘留所时，都大为放心。 奥托说：“ 我们俩都认为，在荷兰紧张之后，入狱等最初的几周是一种放松或度假。” 他们失去了他们的博物馆，整个欧洲的基金会都因战争而被打破，除了彼此之间，他们几乎一无所有，但他们的工作仍在发展，影响力很大，而且还很活跃。
What else could they do but continue to work? Despite the lack of resources, Otto and Marie continued to do so in the internment camps. On visiting the Isotype archives earlier this year, from among the detailed notes and sketches from this period I found a chocolate wrapper, it's inside covered with notes for a history chart. As paper was in short supply during the war one can see how Marie continued to work with whatever was at hand.
他们还能做什么但继续工作？ 尽管缺乏资源，奥托和玛丽仍然在拘留营里这样做。 在今年早些时候访问Isotype档案馆时，从这段时期的详细笔记和草图中，我发现了一块巧克力包装纸，里面包裹着历史图表注释。 由于战争期间纸张短缺，人们可以看到玛丽如何继续处理手头上的一切。
奥托·纽拉特之后的同型研究所 (The Isotype Institute after Otto Neurath)
After Otto and Marie were released from the internment camps, the pair were wedded in 1941. As the war concluded, they began planning a series of projects: a foundation in the USA, a series of books on post-war politics in England, and the initial plans for a series of children’s books. The world showed signs of blooming again. In 1942, as the newlywed Neuraths established their lives in England, they also co-founded the Isotype Institute in England. But just a few years later, Otto Neurath suddenly died in 1945, possibly from a stroke.
奥托(Otto)和玛丽(Marie)从拘留所释放后，两人于1941年结婚。战争结束后，他们开始计划一系列项目：美国的基金会，英格兰战后政治方面的书籍以及一系列儿童读物的初步计划。 世界再次显示出开花的迹象。 1942年，当新婚夫妇纽拉特(Neuraths)在英格兰建立生活时，他们还共同在英格兰成立了同型研究所。 但是短短几年后，奥托·尼拉特(Otto Neurath)突然死于1945年。
While Otto Neurath was the figurehead of the Isotype Institute, he was deliberate across his career to call out the collective ownership of the Isotype by his team. Being a staunch feminist, Otto always credited Marie with her central role from the earliest days all the way up to founding the Institute. Marie explains “Neurath had thought out the transfer: he had considered us as partners in our contract of employment with the Institute; both of us were Secretaries of the institute and ‘Directors of Studies’; when either of us dies, the duties and rights fell to the other… I had to carry the work on, and I had to take final responsibilities myself.”
Otto Neurath是Isotype Institute的负责人时，他在职业生涯中刻意召集团队对Isotype的集体所有权。 作为坚强的女权主义者，奥托始终将玛丽的重要作用归功于玛丽，从成立之初一直到创立研究所。 玛丽解释说： “纳拉思曾考虑过调动：他认为我们是我们与研究所签订的雇用合同的合作伙伴； 我们俩都是研究所的秘书和“研究主任”； 当我们中的任何一个人去世时，责任和权利都落到了另一个人身上……我不得不继续工作，而我必须自己承担最终责任。”
As Marie Neurath continued to work after Otto’s death, relationships with publishers and clients like the filmmaker Paul Rotha were in place so the work of the Isotype Institute continued. Marie found a new team to help create the charts, and in doing so, new forms of experimentation began to emerge in the design of the Isotype.
奥托(Otto)逝世后，玛丽·纽拉(Marie Neurath)继续工作，与发行商和电影制片人保罗·罗塔(Paul Rotha)等客户建立了联系，因此Isotype Institute的工作仍在继续。 玛丽(Marie)成立了一个新团队来帮助创建图表，这样做的时候，Isotype的设计就开始出现新的实验形式。
For example, a series of projects for the magazine Future in England (which was created in the image of Fortune magazine in the United States) pushed the aesthetic boundaries of her work. We see a more illustrational approach to the Isotype in these pieces, with graphic flourishes that suit the more sensational format of the magazine design. This is particularly interesting, as it shows the influence of the Isotype on other designers, and in turn the work Marie created in reaction to their portfolios. This kind of visual evolution is seen across her work throughout the rest of her career.
例如，《英国未来 》杂志的一系列项目(以美国《财富》杂志的形象创作)推动了她作品的美学界限。 在这些作品中，我们看到了对同型印刷的更多说明性方法，其图形风格非常适合杂志设计中更为轰动的格式。 这特别有趣，因为它展示了Isotype对其他设计师的影响，以及Marie为响应其作品集而创作的作品。 在整个职业生涯的整个过程中，都可以看到这种视觉上的演变。
国际主义的考验：非洲的同型 (A Test of Internationalism: The Isotype in Africa)
Then, in 1950, Marie was contacted by Obafemi Awolowo, the Prime minister of Western Nigeria. This began a series of fascinating projects by the Isotype Institute for the Nigerian government as well as neighboring projects in Sierra Leone and the Gold Coast.
然后，在1950年，西尼日利亚的首相Obafemi Awolowo与Marie取得了联系。 这开始了尼日利亚政府同类型研究所的一系列引人入胜的项目，以及塞拉利昂和黄金海岸的相邻项目。
This was, in many ways, the ultimate test of the Isotype in determining the efficiency of visual education for a non-western audience. With this in mind, Marie traveled several times to Africa to learn more about the culture and began testing initial designs for their cultural effectiveness.
从许多方面来说，这是对非西方受众确定视像教育效率的同种型的最终测试。 考虑到这一点，玛丽(Marie)多次前往非洲，以进一步了解该文化，并开始测试其文化效果的初步设计。
Throughout this period, Marie used her working process to learn about the cultural differences that her Isotype designs needed to transcend. She explains how she tested her work one day in a classroom, “When I came to Western Nigeria for the second time, I was able to bring proofs of some booklets with me to try them out… I saw with pleasure how the children eagerly examined the pictures… Of course, the symbols had to ‘speak’ to the Nigerians, just as they had to the Viennese; men, women, children had to look as they did [in Africa]; houses could not have chimneys; but in the essential rules of transformation, nothing needed to be changed.”
在此期间，Marie使用她的工作过程来了解Isotype设计需要超越的文化差异。 她解释说有一天在教室里如何测试她的工作， “当我第二次来到尼日利亚西部时，我能够带上一些小册子的证据来试用它们……我很高兴地看到孩子们热切地检查着他们图片……当然，这些符号必须像尼日利亚人一样对尼日利亚人“说话”； 男人，女人，孩子必须看起来像[非洲]一样； 房屋不能有烟囱； 但在转换的基本规则中，无需进行任何更改。”
Design historian and educator Erik Kindel explains the full story of this work in “Reaching the People: Isotype Beyond the West”. One fascinating story explains how Marie customized the colors used in her work in collaboration with a local authority. “[He] also offered thoughts on the use of color: yellow, in his view, had been correctly deployed to designate a healthy person; red by contrast should represent tuberculosis because of its Yoruba associations with danger and misfortune; blue, suggesting happiness, as appropriate for depictions of treatment and protection, and for doctors.”
设计历史学家和教育家埃里克·金德尔(Erik Kindel)在“接触人民：超越西方的同型 ”中解释了这项工作的全部故事。 一个有趣的故事解释了玛丽如何与当地政府合作定制她在工作中使用的颜色。 “ [他]还提出了使用颜色的想法：他认为黄色已被正确部署以指定一个健康的人； 相比之下，红色应代表结核病，因为它与约鲁巴族有危险和不幸的联系。 蓝色，表示幸福，适合描述治疗和保护措施以及医生。
As political situations shifted in Africa, Marie’s Isotype work trailed off, but she felt a sense of accomplishment in her approach to testing the international reach of the Isotype. She recounts years later, “The methods and approach are, I think, more universal than the symbols are. I had to discover this when I worked for Africans for some time. I had to make things clear to them, and I could not force our ‘international symbols’ on them. Many symbols, of man, woman, house, tree, field, etc. had to be specifically designed for them. When things are equal all over the world the symbols can be the same.”
随着非洲政治局势的变化，Marie的Isotype工作开始了，但她在测试Isotype的国际影响力时感到有成就感。 她在数年后说： “我认为方法和方法比符号更通用。 在非洲人工作了一段时间后，我不得不发现这一点。 我必须向他们说明清楚，我不能在他们身上强加我们的“国际符号”。 男人，女人，房屋，树木，田野等许多符号必须专门为它们设计。 当世界各地的事物都平等时，符号可以相同。”
同种型遗失(和困难)的遗产 (The Missing (and Difficult) Legacy of the Isotype)
Despite regular interest from the design community, the legacy of the Isotype remains challenging in its peekaboo influence. While references to the Neuraths can be seen across design as a whole (in the application of the pictogram and the use of icons across our information systems) mainstream recognition of their name remains elusive.
尽管设计界经常对此感兴趣，但Isotype的遗产在其躲猫猫的影响力方面仍具有挑战性。 尽管在整个设计中都可以看到对Neurath的引用(在象形图的应用和整个信息系统中使用图标的使用)，但对其名称的主流认可仍然难以捉摸。
This could partially be due to the complexity of the process behind creating an Isotype. During their lifetimes, Otto and Marie fiercely resisted the systematic definition of the Isotype, as the ethical standards needed to interpret the data were difficult to pin down at the time. They were often asked to reduce the Isotype to a more easily teachable format, but time after time, the pair refused. Otto wisely understood that a tremendous amount of summing and aggregation of data went into creating Isotypes and the reduction of the data in service of the overall message could be easily misused to present false information. The carefully crafted context of the charts was deeply important to Otto and Marie and every detail was considered, from the color, text, and orientation of the icons to each data story they represented and overall design. As a result, they felt that the Isotype could only be personally taught by them alone.
这可能部分是由于创建Isotype背后的过程很复杂。 奥托(Otto)和玛丽(Marie)在他们的一生中坚决抵制对Isotype的系统定义，因为当时很难确定解释数据所需的道德标准。 人们经常要求他们将同种型减少为更易教的格式，但他们一次又一次拒绝。 奥托明智地理解，大量数据的求和和聚合进入了同种类型，并且为整个消息服务的数据减少很容易被误用于呈现虚假信息。 图表的精心设计上下文对于Otto和Marie极为重要，并且考虑了每个细节，从图标的颜色，文本和方向到图标代表的每个数据故事和总体设计。 结果，他们觉得同等型只能由他们自己亲自教。
Indeed, Gerd Artnz independently continued after the war to make Isotype-based work in the Netherlands for the rest of his career to mixed acceptance by Otto and Marie. Rudolf Modley, a former intern at the Gesellschafts- und Wirtschaftsmuseum, considered himself a protege of Otto’s and set up his Pictorial Statistics, Inc. in the United States, which was then roundly rejected by Otto Neurath for his treatment of the underlying data.
的确，战后Gerd Artnz独立继续在荷兰从事基于Isotype的工作，余下的职业生涯被Otto和Marie混合接受。 鲁道夫·莫德利(Rudolf Modley)，曾任盖瑟尔美术馆和Wirtschafts博物馆的实习生，认为自己是Otto的产物，并成立了Pictorial Statistics，Inc 。 在美国，后来因其对基础数据的处理而被Otto Neurath全面拒绝。
Marie trained several people in transformation in Vienna, Moscow, and England and had made plans to train several Nigerians, but curiously, none of her students continued creating Isotypes on their own. Despite her efforts before and after Otto’s death, a specific school of “transformation” never materialized. As she reached her later years, she recalled “I tried to introduce a successor to my work. Nothing succeeded…I was now over 70 years old and I decided to bring the work to a close. So it had a real end just as it had a very clear beginning.”
玛丽(Marie)在维也纳，莫斯科和英国对数人进行了培训，并已计划培训数名尼日利亚人，但奇怪的是，她的学生中没有一个继续独自创造同型。 尽管在奥托(Otto)死前后，她做出了种种努力，但从未实现过专门的“变革”学派。 在她晚年的时候，她回忆道： “我试图为我的工作介绍一个继任者。 没有成功……我现在已经超过70岁，因此我决定结束这项工作。 因此，它有一个真实的终点，就像它有一个非常明确的起点一样。”
Marie’s co-author and friend Robin Kinross provides a slightly different perspective. “My view is that Isotype can be continued now, not as some settled and defined system or method, but rather as an approach to design: not just in making pictorial statistics or presentations of information, but in any field of designing. In the last analysis, Isotype is a way of thinking.”
玛丽的合著者和朋友罗宾·金罗斯(Robin Kinross)提出的观点略有不同。 “我的观点是，同种类型现在可以继续使用，而不是作为一种已经确定和定义的系统或方法，而可以作为一种设计方法：不仅可以进行图形统计或信息表示，还可以在任何设计领域进行。 在最后的分析中，同型是一种思考方式。”
We see so many aspects of Transformation spread throughout data and design practices today, though Marie’s groundbreaking approach was decades ahead of its time. As the Transformer Marie was considered to be the “trustee of the public”, a designation we see newly echoed in contemporary UX design as the “user advocate”. While UX methodologies may be applied in data visualization now, a widely adopted user-centered practice is still rare. And only recently have university programs emerged that focus on data visualization through studying both data science as well as design. While it’s not easy to train in these various skills, it is certainly possible, and Marie Neurath came across it naturally.
尽管Marie的开创性方法比其时代提前了数十年，但我们今天看到，Transformation的诸多方面已遍及数据和设计实践。 由于Transformer Marie被认为是“ 公众的受托人” ，因此我们在当代UX设计中将这一名称作为“用户拥护者”重新呼应。 虽然现在可以将UX方法应用于数据可视化，但是仍然很少采用以用户为中心的广泛实践。 而直到最近，大学课程，出现了专注于数据可视化通过研究这两个数据科学以及设计。 虽然要掌握这些各种技能并不容易，但肯定是有可能的，玛丽·尼拉特(Marie Neurath)自然地遇到了它。
认识数据可视化历史的先驱 (Recognizing A Pioneer in Data Visualization History)
As our community continues to expand the focus of data visualization history, we need to ensure that Marie Neurath’s accomplishments are celebrated in addition to the work of Otto Neurath — not only because she practiced his work longer than he did, but because she partnered with him in evolving and refining its vocabulary. While their work was a deeply collaborative effort she was the only unifying factor in all Isotypes across all 45 years. Project after project, chart after chart, it was Marie Neurath who compiled the data, who established the story, and who created the design.
随着我们社区不断扩大数据可视化历史的关注范围，我们需要确保除Otto Neurath的工作外还庆祝Marie Neurath的成就-不仅是因为她的工作时间比他更长，而且因为她与他合作在发展和完善其词汇方面。 尽管他们的工作是深度合作，但她是45年间所有同种型中唯一的统一因素。 一个接一个的项目，一个又一个的图表，由Marie Neurath编写数据，建立故事并创建设计。
Despite the fantastic research by those at the University of Reading (and many others), Marie Neurath’s story has still not been understood or embraced by a new generation of designers. It is time to change this.
尽管雷丁大学(和许多其他大学)的研究人员进行了出色的研究，但新一代设计师仍然没有理解或接受玛丽·尼拉特的故事。 现在是时候改变这一点了。
We need to embrace her identity as an innovator in information design, data visualization and celebrate her role in visual education. It is time that her tireless efforts, generosity of spirit, and revolutionary ideas gain their own place in history.
我们需要拥抱她作为信息设计，数据可视化创新者的身份，并赞扬她在视觉教育中的作用。 现在该是她孜孜不倦的努力，慷慨的精神和革命性的思想在历史上占有一席之地的时候了。
If you want to learn more about Otto and Marie Neurath, there are quite a few fantastic resources to get you started.
如果您想了解有关Otto和Marie Neurath的更多信息，有很多很棒的资源可以帮助您入门。
同型：Design and Contexts 1925 ??-1971， (Isotype: Design and Contexts 1925-1971,)
by Christopher Burke, Eric Kindel, Sue Walker | 2014
克里斯托弗·伯克(Christopher Burke)，埃里克·金德尔(Eric Kindel)，苏·沃克(Sue Walker)| 2014年
There are a number of books on Isotype, but this is the bible. But if you are really interested, then you should jump directly into this astonishing, epic book, as it is the definitive book on the subject that explains all aspects of their work, practice, and lives.
关于Isotype的书籍很多，但这是圣经。 但是，如果您真的很感兴趣，那么您应该直接跳入这本令人惊讶的史诗书，因为这是一本权威性的书，解释了他们的工作，实践和生活的方方面面。
变形金刚：制作同型图的原理 (The Transformer: Principles of Making Isotype Charts)
by Marie Neurath and Robin Kinross | 2009
Marie Neurath和Robin Kinross | 2009年
Written the year she died, this is Marie’s first-hand account of her work (and life) with annotations by her friend Robin Kinross. It is quoted throughout this article.
这是玛丽去世的那一年，这是玛丽对她的作品(和生活)的第一手资料，并有她的朋友罗宾·金罗斯(Robin Kinross)的注解。 本文全文引用。
Huge thanks to Alyssa Bell, RJ Andrews, Paul Kahn, and Elijah Meeks for the edits and support!
非常感谢 Alyssa Bell ， RJ Andrews ， Paul Kahn 和 Elijah Meeks 的编辑和支持！
This will come in a series of articles about Isotype. I’ll try to add the other stories here:
这将在有关Isotype的一系列文章中找到。 我将尝试在此处添加其他故事：
同型的教训-第1部分 (Lessons of Isotype — PART 1)
同型的教训–第2部分 (Lessons of Isotype — PART 2)
同型的教训–第3部分 (Lessons of Isotype — PART 3)
解释单一同种型 (Explaining a Single Isotype)
翻译自: https://medium.com/nightingale/the-missing-legacy-of-marie-neurath-f9800733d1fc
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