拟态孪生_亚态不会杀死拟态星-CSDN博客

拟态孪生

重点 (Top highlight)

Everything began with a couple of stories of Michal Malewicz, here on Medium. Now it’s trending in different sites and communities.

一切始于Michal Malewicz的两个故事，均在“ Medium”上。现在，它在不同的站点和社区中正在流行。

Malewicz wrote about a “new skeuomorphism” in UI design. Jason Kelley proposed “neumorphism” for the new trend.

Malewicz撰写了有关UI设计中的“ 新拟态 ”的文章。杰森·凯利 ( Jason Kelley)为这一新趋势提出了“ 同质性 ”。

In the beginning, it seemed like a new aesthetic proposal. Original, but only in the design sense. But as the term became viral in specialized sites and communities, it also became a discussion about the neumorphism as a replacement of the flat design trend.

在开始时，这似乎是一个新的美学建议。原创，但仅在设计意义上。但是，随着该术语在专业场所和社区中流行开来，它也成为了关于同态替代平面设计趋势的讨论。

Some of the discussions involve terms like usability, accessibility, adaptability, even biomorphism.

一些讨论涉及诸如可用性，可访问性，适应性甚至生物形态之类的术语。

And of course, skeuomorphism.

当然是拟态。

Let’s start with definitions: neumorphism is a form, new, but form. Skeuomorphism is not just a form, but a container, a vehicle.

让我们从定义开始：神经态是一种形式，new ，但是形式。拟态不仅是一种形式，而且是一种容器，一种交通工具。

The term skeuomorph is compounded from skeuos (σκεῦος), meaning “container or tool”, and morphḗ (μορφή), meaning “shape”—Wikipedia

术语仿制品从skeuos(σκεῦος)，意为“容器或工具”，并morphḗ(μορφή)，意思是“形”复合- 维基百科

在无声电影中，字幕和口译员 (On silent film, intertitles and interpreters)

In the beginnings of cinema (silent film era), every projection was accompanied by music played live, and by an interpreter who explained the film to the public.

在电影院(无声电影时代)的开端，每次放映都伴随着现场演奏的音乐以及一位向公众解释电影的翻译。

Yes, a person explained the silent film during the projection.

是的，有人在放映时解释了无声电影。

The theatrical part—the drama—was perfectly understood by the audience. But not the montage, the sequence of shots that build the plot.

戏剧部分-戏剧-被观众完全理解。但不是剪辑画面，而是构成情节的镜头序列。

The use of intertitle cards and interpreters were necessary to understand the plot for most of the audience.

必须使用字幕卡和口译员才能了解大多数观众的情节。

Intertitle cards and interpreters were the interfaces between the movie and the audience.

字幕卡和口译员是电影和观众之间的接口。

Image for post — An intertitle from Jonas Mekas’s *Walden (from* Wikipedia)

Of course, once the audience learned the language of cinema, the intertitles and interpreters were no longer necessary. The interface became implicit for the people.

当然，一旦观众学会了电影的语言，就不再需要字幕和翻译了。界面对人们而言是隐性的。

In other words, once the audience understood the form, the container or the vehicle was no longer necessary.

换句话说，一旦观众理解了表格，就不再需要容器或车辆。

Well, not for everyone. My daughters (from three to fourteen years old) understand very complicated movies of TV series that are difficult for my parents (from seventy to eighty years old).

好吧，不适合所有人。我的女儿(三至十四岁)了解非常复杂的电视连续电影，这对我的父母(七十至八十岁)来说很难。

When my eldest daughter explains to my mother an element of the plot hidden in a complex montage of a movie—obvious for the young, inconspicuous for the old one—, my daughter becomes an interface.

当我的长女向母亲解释电影复杂的蒙太奇中所隐藏的情节元素时-对年轻孩子而言显而易见，对老电影而言不起眼-，我的女儿便成为了一个界面。

界面是什么？ (What is an interface, anyway?)

Design is no longer a print to look at or a furnishing to use. Design is now about interactions and experiences.

设计不再是要查看的印刷品或使用的摆设。设计现在是关于交互和体验的。

That doesn’t mean that we can forget the communication factor of every design. Therefore, language.

这并不意味着我们可以忘记每个设计的沟通因素。因此，语言。

Let’s remember a little of Semiotics.

让我们记住一些符号学。

The designer is the sender, the interface is the message, the user is the receiver. The message is coded, composed of ruled signs, a language.

设计者是发送者，界面是消息，用户是接收者。该消息是经过编码的，由格状符号和一种语言组成。

Every interface is some kind of interpreter between a machine and a human, a software program (now called an app) and a user.

每个界面都是机器与人，软件程序(现称为应用程序)和用户之间的某种解释器。

In the current apps, we call a button a button because of previous knowledge of what a button is in the physical world, no matter if it looks like a physical button or not.

在当前的应用程序中，我们将按钮称为按钮是因为对按钮在物理世界中的使用已有了解，无论它看起来像物理按钮与否。

You can say a digital button is a metaphor for the physical button. Or you can say it's a metonymy. Anyway, there is a referent and there is a reference.

您可以说数字按钮是物理按钮的隐喻。或者您可以说这是一个转喻。无论如何，有一个参照物，也有一个参照物。

该界面是一条消息 (The interface is a message)

When Marshall McLuhan introduced its famous phrase “the medium is the message”, it was considered just a way to call for attention. It was difficult to understand that the cinema itself was a message and not just the content of the movies.

当马歇尔·麦克卢汉(Marshall McLuhan)引入其著名的短语“媒介就是信息”时，它被认为只是一种引起注意的方式。很难理解电影院本身就是一种信息，而不仅仅是电影的内容。

Today, it should be clear that an interface is a medium, therefore, an interface is a message.

今天，应该清楚接口是一种媒介，因此，接口就是一条消息。

For me, the save icon on a button in an app is a metaphor or metonymy of a floppy disk. For my daughter, the icon means directly “save”. And a floppy disk is a physical representation of the “save” icon.

对我而言，应用程序按钮上的“保存”图标是软盘的隐喻或转喻。对于我的女儿，该图标直接表示“保存”。软盘是“保存”图标的物理表示。

When a designer mimics an object to design another—called a derivative—retaining ornamental attributes in the new one that are no longer functional, the designer is using skeuomorphism: light bulbs were derivatives from candles, automobiles from horse carts, radio receivers from phonographs.

当设计师模仿一个对象来设计另一个对象(称为派生对象)时，在新对象中保留了不再起作用的装饰属性时，设计师便使用了拟态化：灯泡是蜡烛的派生产品，马车的汽车，留声机的收音机。

The skeuomorphism can be a resource that works as an interpreter, container or vehicle in the use of transitional objects or forms—although it can be a simple design style, of course.

拟态可以是在使用过渡对象或形式时充当解释器，容器或媒介的资源，尽管它当然可以是简单的设计风格。

You can experience and learn to use an app using your previous experience and knowledge using physical objects: volume dial, keyboard, switch button…

您可以使用以前的经验和知识(使用物理对象：音量拨盘，键盘，切换按钮...)来体验和学习使用应用程序。

But once we learn to use the digital object, the skeuomorphism is no longer necessary. Once we get used to the form, we no longer need the container.

但是一旦我们学会了使用数字对象，就不再需要拟态。一旦习惯了表单，就不再需要容器了。

The first apps for the iPhone were very skeuomorphic. Then came the material design, with its minimalism and functionalism.

iPhone的第一个应用程序非常酷。然后是具有极简主义和功能主义的材料设计。

But the material design style was only possible because we, the users, learned to use digital interfaces without the need of physical references.

但是材料设计风格之所以成为可能，是因为我们这些用户学会了使用数字接口而无需物理参考。

Well, not for everyone. Do you remember the language of films?

好吧，不适合所有人。你还记得电影的语言吗？

My daughters (especially the youngest) interact seamlessly with their apps and games on the smartphone or the tablet. Simpler apps are difficult if not impossible for my parents.

我的女儿(尤其是最小的女儿)可以在智能手机或平板电脑上与他们的应用和游戏无缝互动。简单的应用程序即使对我的父母来说也不是没有困难。

For my three-year-old daughter a flat design button is a button. For my father it is a colored rectangle with some text on it.

对于我三岁的女儿，平面设计按钮是一个按钮。对我父亲来说，这是一个彩色的矩形，上面有一些文字。

With a limited verbal vocabulary, my little daughter becomes an interface when she says “touch here, granddad!” pointing to a colored square ot a picture thumb.

我的小女儿的词汇量有限，当她说“触摸这里，爷爷！”时，她就变成了界面。指向彩色方形图片的拇指。

(By the way, my dad's response is “how does she know that?”.)

(顺便说一句，我父亲的回答是“她怎么知道的？”。)

结论 (Conclusions)

If you are making a movie for my parents, be gentle with the montage and camera movements, please. If you are designing an app for my parents, you have to use skeuomorphism. It’s not an aesthetic decision.

如果您要为我的父母拍电影，请对蒙太奇和相机动作保持温和。如果要为我的父母设计应用程序，则必须使用拟态。这不是审美决定。

But if you are making a movie or designing an app for my daughters, you have more aesthetic freedom. Make complex montages, move the camera, use material design.

但是，如果您正在为我的女儿拍电影或设计应用程序，那么您将拥有更多的审美自由。制作复杂的蒙太奇，移动相机，使用材质设计。

The use of skeuomorphism can be minimalistic or prodigal. There is no need to go baroque with skeuomorphism. In fact, I think that the real problem with skeuomorphism was not the mimic aspect of it, but the non-minimalistic and non-functional approach of its use in digital design.

拟态的使用可以是简约的，也可以是浪子。无需再进行拟态化。实际上，我认为拟态的真正问题不是其拟态，而是其在数字设计中使用的非最小化和非功能性方法。

The skeuomorphism in UI design will die someday in the future, like the need for intertitle cards and interpreters in the movies.

UI设计中的拟态将在未来某天消失，例如电影中需要字幕卡和口译员。

But not yet. There are personas in the design of user experiences and interfaces that still need a container, a vehicle, an interpreter, to understand the form.

但尚未。用户体验和界面设计中的角色仍然需要容器，车辆，解释器来理解表单。

My parents still need it.

我父母仍然需要它。