物联网络连万物教学设计
The complexity of our interactions and relationships with objects and interfaces can be divided in four different layers at which they occur, with different values of engagement and intensity:
吨他我们的互动与对象和接口关系的复杂性可以在其发生，与订婚和强度不同值的四个不同层次可分为：
Mechanical: physical interaction with an object or interface to execute a physical function.
力学 ：与对象或接口的物理交互以执行物理功能。
Sensorial: physical interaction that provokes a sensorial fruition and produces an aesthetic experience.
感官 ：激发感官成果并产生审美体验的物理相互作用。
Semantical: decoding and/or attribution of meaning(s).
语义的 ：含义的解码和/或归属。
Emotional: creating significant bonds
情感的 ：建立重要的纽带
These levels are distinct, in the sense they can be identified. But they are also overlapping. There’s a common territory between how we physically interact with an object and the sensorial experience it provides, as much as the relationships between aesthetics and meaning and meaning and emotion are iterative.
从可以识别的意义上说，这些级别是不同的。 但是它们也在重叠。 在我们与物体的物理交互方式与物体所提供的感觉体验之间，存在着一个共同的领域，即美学与意义，意义和情感之间的关系是反复的。
They also do not necessarily operate as steps, in the order that they are presented here, we can create an emotional bond with an object from a specific sensorial experience we have with it. Or, a purely graphical object, such as a printed poster, will have very little to none mechanical interaction for the viewer.
它们也不一定按步骤操作，按照它们在此处显示的顺序，我们可以通过与物体的特定感官体验与物体建立情感纽带。 或者，纯图形对象(例如印刷海报)对于观看者几乎没有机械交互作用。
第四层 (The fourth layer)
These emotional bonds are fueled by associations we create with objects, some of these are unique to us and our experiences, some are shared because they are spread via common cultural or social artifacts, and finally others are part of the design intent.
这些情感联系是由我们与对象之间的联系所推动的，其中一些对我们和我们的体验是独特的 ，有些是共享的，因为它们是通过共同的文化或社会文物传播的，而其他则是设计意图的一部分。
Of the first kind, the personal and unique, it’s that special something a special someone gave you on that special day, and this strong association is enough for us to value it more than anyone else, that object has now received the breath of life because of the memories it brings. Meaning at this level goes beyond semiotics inherent to the object, it’s almost entirely given by a personal and unique context, of which as designers and marketeers we have little to no control.
第一种是个人的和独特的，是特殊的人在那个特殊的日子给你的特殊东西，这种强大的联系足以使我们比其他任何人都珍视它，因为那个东西现在已经获得了生命的气息，因为带来的回忆 在这个层面上的意义超越了对象固有的符号学，它几乎完全由个人和独特的上下文给出，作为设计师和市场营销人员，我们几乎无法控制。
Of the second kind, those shared by a community, are the objects that get associated with events and social or cultural manifestations. For instance, a wedding ring, there’s obviously a semantic level of meaning, shared socially, but it’s then associated to an important life event and creates a personal meaning, however this personal meaning is derived from a shared social code and is not unique to us.
第二类是社区共享的对象，是与事件，社会或文化表现形式相关联的对象。 例如，结婚戒指在社交上显然具有语义上的意义，并且在社交上是共享的，但是随后它与重要的生活事件相关联并产生了个人含义，但是这种个人含义是从共享的社交密码中获得的，并非我们独有。
The cultural, social and economical value of this fourth layer is immense, as such we have cultural and social actors like advertisers, marketeers or artists appropriating objects. An example of this is the DMC DeLorean, this is a car that didn’t have great market success, and not particularly valued by its performance or aesthetics either, until it got featured in the popular 1985 movie ‘Back to the Future’. But it’s not just the fact that it got featured in the film that turned it into a cultural icon, to be fair, there are particular characteristics of this vehicle that make it uncommon or peculiar. Like the gull-wing doors or the wedge-design.
第四层的文化，社会和经济价值是巨大的，因此我们拥有文化和社会行为者，例如广告商，市场商人或艺术家，都是对象。 DMC DeLorean就是一个例子，该车在市场上没有大获成功，在性能或美学上也没有得到特别重视，直到它在1985年流行的电影《 回到未来 》中出现。 不仅如此，在影片中将其变成文化偶像的原因还在于，公平地说，这辆车的某些特殊特征使其不常见或不常见。 如鸥翼门或楔形设计。
An uncharacteristic or common car in its place would have not created an icon.
一辆不普通或普通的汽车将不会创建图标。
Added to these quirky and distinctive attributes, in the movie, the car works as time machine. These movie itself also becomes highly popular among teenagers. It’s all these factors working together that created an iconic object, a meme, and those teenagers, now adults developed an emotional bond with the car.
除了这些古怪和与众不同的属性，在电影中，汽车还可以用作时间机器。 这些电影本身也很受青少年欢迎。 所有这些因素共同作用创造了一个标志性的对象，一个模因，以及那些青少年，现在的成年人与汽车形成了情感纽带。
Alternatively, a different case is that of Mr. Wilson, the volleyball, in the 2000 movie ‘Cast Away’, the appropriated object, the volleyball, is by itself, unremarkable, unlike de DeLorean, but gains life with a palm print and becomes Chuck’s only friend in that desert island. The drawing of a face on the ball makes the object unique. The character appropriated it, and what we see is the dramatization of a strong, personal, emotional bond with an object, through appropriation and mimicry. And seeing other beings creating an emotional attachment to an object, even if we know, consciously, this bond is fake, we can’t help but empathize.
另一种情况是，与威尔逊先生的情况不同，在2000年的电影《 铸就 》中，被排挤的对象排球本身就不那么引人注目，这与DeLorean有所不同，但他却获得了掌纹并获得了生命，查克是那个荒岛上唯一的朋友。 在球上绘制面Kong使对象变得独一无二。 角色使用了它，而我们看到的是通过挪用和模仿模仿了一种与物体的强烈的，个人的，情感上的联系。 看到其他人对物体产生一种情感依恋，即使我们有意识地知道这种联系是假的，我们也不得不同情。
This is an exploration of product placement turned into Animism, which is what marketing and advertisement often try to do, aiming for that fourth layer is obviously more valuable (economically) than the mechanical and sensorial layers. Mr. Wilson, the volleyball as become a product, Wilson describes it in the following, very telling, terms (emphasis added) : “The Critics’ Choice Award Winner for Best Inanimate Object (2001) is also a fan favorite on the court. (…). The Mr. Wilson Cast Away may be a great friend, but it’s an even better ball.”.
这是将产品放置方式转变为Animism的一种探索，这是市场营销和广告经常尝试做的，旨在使第四层(在经济上)比机械层和感官层更有价值。 威尔逊先生是排球产品，威尔逊在以下非常有说服力的术语中(用重点强调)进行了描述：“最佳无生命物体的评论家选择奖获得者(2001年)在球场上也是球迷的最爱。 (...)。 威尔逊先生抛弃先生可能是一个很好的朋友 ，但这是一个更好的球。”
In both these cases the cultural artifact that gave a new emotional layer to these two objects was cinema. Popular movies like these, have the potential to reach many people and create shared memes, shared cultural artifacts, movies as mediums of storytelling also have the potential to create empathy.
在这两种情况下，为这两个对象赋予新情感层的文化人工制品就是电影院。 诸如此类的流行电影有潜力吸引许多人并创造共同的模因，共同的文化文物，作为叙事媒介的电影也具有创造同理心的潜力。
设计拨款 (Appropriation by Design)
Appropriation can happen at any layer, we can use a hammer as a paper weight (and a stone as a hammer), but appropriation is the most common way for objects to achieve emotional bonds. This appropriation can be made by the designers themselves and not just by users or marketeers ex post facto.
挪用可以发生在任何层次，我们可以使用锤子作为纸的重量(用石头作为锤子)，但是挪用是物体达到情感纽带的最常见方法。 这种分配可以由设计师自己做出，而不仅仅是事后的用户或市场商人。
Appropriation in the designing phase means copying or reproducing in certain physical characteristics of things and beings associated with certain emotional connections in order to provoke the same emotional responses through the object being created. This can be achieved, second-handedly by copying or alluding to familiar shapes and materials, to try to capture the emotional associations related to them in the new object. It can be intentional and programmed and achieved by mimicry, emulation, skeuomorphism and appropriation, but specifically when what’s being appropriated pertains to living being, it’s animism.
在设计阶段拨款是指复制或复制与某些情感联系相关联的事物和存在的某些物理特征，以便通过所创建的对象激发相同的情感React。 可以通过复制或暗指熟悉的形状和材料来实现这一目的，以尝试在新对象中捕获与它们相关的情感联系。 它可以通过模仿，仿真，拟态化和挪用来有意地进行编程和实现，但是特别是当适当的事物与生物有关时，它就是泛灵论。
万物有灵，生命之息 (Animism, the breath of life)
Thus animism in this context is treating objects like living beings. Not all emotional bonds with objects are the result of animism, but we can argue that those emotional bonds that are equivalent to the ones we have to towards living beings represent some form of animism.
因此，万物有灵论在这种情况下对待的对象就像生物。 并非所有与对象的情感联系都是万物有灵论的结果，但是我们可以辩称，那些与我们对生物的情感联系等同的情感联系代表了某种形式的万物有灵论。
The most obvious example is a plush toy or a teddy-bear, it is designed to look like an animal, with eyes, nose, mouth, ears, arms and legs, they are soft to touch and their texture resembles fur. They might even produce sounds when pressed, sounds associated with baby animals in need of care and attention to trigger our empathy. For a child the bond is easy to create, the child gives the toy a name, talks with it, hugs it and feels safe around it. It’s like there is an eagerness and preposition to creating these bonds.
最明显的例子是毛绒玩具或泰迪熊，它的设计看起来像动物，眼睛，鼻子，嘴巴，耳朵，手臂和腿都有，触感柔软，质地类似于皮毛。 它们甚至在被按下时会发出声音，与需要照顾和注意的小动物相关的声音会触发我们的同理心。 对于孩子来说，建立联系很容易，孩子给玩具起个名字，与之交谈，拥抱它，并感到安全。 就像建立这些纽带的渴望和介词一样。
Not unrelated to this, is mimicry in nature, the visual emulation of eyes is a common trick used to fool predators, and like other animals we are easily tricked into projecting feelings and intentions into visual features with which we empathize.
与此无关的是，它本质上是模仿，眼睛的视觉模拟是用来欺骗掠食者的常见技巧，并且像其他动物一样，我们很容易被诱使将感觉和意图投射到我们所能同情的视觉特征中。
帕雷多利亚，我们如何联系 (Pareidolia, how we are wired)
As with animals in general, we are wired to identify certain shapes, like two round shapes, side by side as eyes. We are also wired to read the expression of these shapes as representing feelings like happiness, sadness, aggressiveness or friendliness even if they look that way by chance and not intention.That is pareidolia, and in certain cases, it’s hard to avoid.
与一般动物一样，我们必须确定某些形状，例如两个圆形，并排眼睛。 我们也希望阅读这些形状的表达，以表达幸福，悲伤，进取或友善之类的感觉，即使它们看起来是偶然而不是故意的。这就是pareidolia ，在某些情况下，这是很难避免的。
UX，动画语言 (UX, Animistic Languages)
Robots and artificial intelligence blur the lines even further, increasing the potential of more and more realistic forms of mimicry and emulation. We try to have a meaningful conversation with Siri, again we are eager to empathize and to create a meaningful bond. But we also curse at our computers like they are ill intended because the interactions are often frustrating.
机器人和人工智能进一步模糊了界限，增加了越来越逼真的模仿和仿真形式的潜力。 我们尝试与Siri进行有意义的对话，我们再次渴望同情并建立有意义的纽带。 但是，我们也会像恶意的计算机一样诅咒我们的计算机，因为它们之间的交互常常令人沮丧。
Enter the Tamagotchi, a ‘handled digital pet’ an object which its sole purpose is animism in and of itself. It uses a simple pictograms to express artificial feelings, this bi-dimensional representation of feelings like we see similarly in the use of smileys, emoticons and emojis is often enough to drive empathy.
输入Tamagotchi ，一种“可处理的数字宠物”，它的唯一目的是自身的万物有灵论。 它使用一个简单的象形图来表达虚假的感觉，就像我们在使用笑脸，表情符号和表情符号时所看到的那样，这种二维表示的感觉通常足以激发同理心。
It’s the semantics of feelings, these are pictographic languages based on animistic properties of visual representations.
这是感觉的语义，它们是基于视觉表示的万物有灵属性的象形语言。
拒绝访问 (Access Denied)
There is generally lot of care about the aesthetics of user interfaces but still very little in making these interactions desirable at an emotional level.
通常，人们对用户界面的美观性非常在意，但在情感层面上使这些交互变得可取时却很少。
If we remove these animistic languages from User Interfaces and User Experiences we are left with a sterile landscape, there is very little being done about this fourth layer of emotional interaction when it comes to UI and UX. These interactions are either fluid or frustrating but rarely desirable, like the interactions with your local tax payer’s office. Voice interaction, through AI, like in the cases of Siri or Google Assistant help us empathize, and we are more forgiving when Siri does not understand our request than we are with error messages with pictograms that resemble traffic signs to punish us for committing the daring offense of pressing the wrong button, this is at best a terrible form of impaired communication by an authoritarian regime.
如果我们从用户界面和用户体验中删除这些泛灵的语言，那么我们将处境一片空白，当涉及到UI和UX时，关于情感交互的第四层几乎没有做任何事情。 这些交互是不稳定的或令人沮丧的，但是很少需要，例如与您当地纳税人办公室的交互。 通过AI进行语音交互(例如Siri或Google Assistant的情况)可以帮助我们移情，并且当Siri无法理解我们的请求时，我们比原本带有类似于交通标志的象形错误消息更能原谅我们，以惩罚我们胆大妄为按下错误的按钮的冒犯，这充其量是专制政权破坏交流的一种可怕形式。
Even HAL 9000's response in 2001: A Space Odyssey : “I’m sorry, Dave. I’m afraid I can’t do that.” manages to instill less frustration.
甚至是HAL 9000在2001年的回应：《 太空漫游》 ：“ 对不起，戴夫。 恐怕我做不到。 设法减轻挫败感。
Error messages are a crucial area of human-machine interaction because they are the cause of a lot of user frustration and friction. But it is also an area where the most obvious forms of animism have came to the rescue, via fail pets.
错误消息是人机交互的一个关键领域，因为它们是导致大量用户沮丧和摩擦的原因。 但这也是最失败的万物有灵主义通过失败的宠物来营救的地区。
Fail pets are not so much a solution as they are a poignant admission that there is something terrible wrong with human-machine interaction.
失败的宠物并不是解决方案，而是令人毛骨悚然的承认，人机交互存在严重错误。
At the other end of the spectrum from ‘Access Denied’ like messages are the infantilization of interfaces in Microsoft Bob and Clippy, they usually got in the way of performing tasks with clueless attempts at being helpful and pleasant.
从“拒绝访问”之类的消息的另一端来看， Microsoft Bob和Clippy中的界面是幼稚化的，它们通常会以无能为力的尝试来执行任务，从而变得有用而愉快。
精神病卡通鸭 (The psychotic cartoon duck)
Often named as one of the ugliest cars of all time, the first generation of the Fiat Multipla, the family car that looks like a “psychotic cartoon duck”. It is a design that does not aim at aesthetic fruition but at animism and in turn to the creation of emotional bonds.
第一代的菲亚特Multipla通常被誉为有史以来最丑的汽车之一，这种家用汽车看起来像“ 精神病卡通鸭子 ”。 该设计的目的不是美学上的成就，而是万物有灵论，进而创造情感纽带。
Alessi, the well known design brand, has plenty of examples of animism-driven design. Post-modernism was a fertile breathing ground for animistic objects because it embraced storytelling, playfulness and emotion. But so have been religion and magic, where the ‘breath of life’ goes even further by giving the objects supernatural powers.
著名的设计品牌Alessi有很多以万物有灵论驱动的设计实例 。 后现代主义是万物有灵的对象的沃土，因为它包含了讲故事，嬉戏和情感的氛围。 但是宗教和魔术也是如此，通过赋予物体超自然的力量，“生命的气息”得以进一步发展。
It’s not unusual that the most pleasing and elegant design can often lose to one considered more vulgar, ‘obvious’, kitsch or familiar because it failed to create emotional bonds, but also the opposite can be true, the Fiat Multipla was not a commercial success, albeit iconic. As a status symbol, a car has to satisfy a complex network of social norms and expectations, but cars are, by the simple nature of their headlights, resembling eyes, animistic objects, sport cars often convey in their design predatory animals like sharks or felines.
通常，最令人愉悦和优雅的设计经常会因无法建立情感纽带而输给一个被认为更庸俗，“明显”，媚俗或熟悉的设计，但事实恰恰相反，菲亚特Multipla并不是商业上的成功，尽管具有标志性。 作为地位的象征，汽车必须满足复杂的社会规范和期望网络，但由于前照灯的简单本质，汽车就像眼睛，万物有灵，跑车经常在设计中传达鲨鱼或猫科动物等掠食性动物的身影。 。
渴望 (Eagerness)
All our rationality is not enough to prevent us from breathing life into objects, we are eager to find life in them. And thus very eager to project feelings, consciousness and intention into objects, we are also eager to re-contextualize objects through appropriation.
我们所有的理性还不足以阻止我们将生命吸入物体中，我们渴望在其中找到生命。 因此，我们非常渴望将感觉，意识和意图投射到客体中，我们也渴望通过挪用将客体重新关联起来。
If objects and interfaces lack animistic characteristics it’s no wonder if we find them to be sterile, ill-intended and undesirable. More broadly, when the Emotional layer is not cared for, the object or interface lacks adequate social skills, it feels cold and authoritarian.
如果对象和接口缺乏泛灵的特性，这也就不足为奇了，我们发现它们是无菌的，不良的和不受欢迎的。 更广泛地讲，如果不关心情感层，则对象或界面缺乏足够的社交技能，就会感到冷漠和专制。
On the other end, the most basic forms of animism are often puerile. Animism as form of making interactions with objects and interfaces more pleasant and desirable should not be about turning these objects into cute pets, should be about creating interactions that are closer to pleasant human social interactions and emulating emotional intelligence.
另一方面，万物有灵论的最基本形式通常是薄弱的。 作为使与对象和界面的交互更加令人愉悦和可取的形式的泛灵论，不应该是将这些对象变成可爱的宠物，而应该是创建更接近人类社交互动的交互并模仿情绪智力 。
物联网络连万物教学设计
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