鲁道夫·阿恩海姆（Rudolf arnheim）和视觉思维

Surely many of you, even today, have come across UX or design deliverables full of text, instructions and descriptive phrases, which try to solve through the use of written language what could not be solved visually. These types of solutions generally hinder the understanding of the visual artefacts (interfaces, infographics…) since they do nothing other than patch design problems.

确实，即使在今天，您中的许多人还是遇到过包含文本，指令和描述性短语的UX或设计可交付成果，它们试图通过使用书面语言来解决视觉上无法解决的问题。 这些类型的解决方案通常会阻碍对视觉伪像(界面，信息图表等)的理解，因为它们除了补丁设计问题外无能为力。

This inertia, more and more disused every day, maybe due to the fact that for a long time in many countries, design or visuals had a lot of discredit among the professionals of Usability and Information Architecture. The design was completely separated from the attributes of usability, and it was very common to hear phrases such as “that is already a design problem” or “let the designer solve it”. This kind of ideas was largely conditioned by the multidisciplinary background of the pioneers of the profession, mostly coming from non-visual disciplines (engineering, psychology, library science, information science, etc.).

这种惯性每天都越来越被废掉，这可能是由于在许多国家，很长一段时间以来，设计或视觉效果在可用性和信息体系结构专业人士中都存在很大的声誉。 设计与可用性的属性完全分开，听到“已经是设计问题”或“让设计者解决问题”之类的短语非常普遍。 这种想法很大程度上取决于该行业的先驱者的多学科背景，其中大多数来自非视觉学科(工程学，心理学，图书馆学，信息科学等)。

但是，为什么这种拒绝和解释和评估视觉上的困难呢？ (But why this rejection and difficulty in interpreting and evaluating the visual?)

In western cultures, language (and therefore thought) is based on a semantic structure, we perceive the world through a series of descriptive knowledge which inevitably leads us to scientific and linear logic, we seek for an unequivocal sense of things: what, how, when and why.

在西方文化中，语言(并因此而思考)是基于语义结构的，我们通过一系列描述性知识来感知世界，这不可避免地将我们引向科学和线性逻辑，我们寻求事物的明确含义：什么，如何，何时何地。

Language and visual thinking do not work that way, the visual elements do not have an unequivocal meaning, which already collides with the way of thinking of the majority.

语言和视觉思维不是那样工作的，视觉元素没有明确的含义，它已经与大多数人的思维方式发生冲突。

One of the pioneers in analysing and dignifying visual thinking was Rudolf Arnheim, a psychologist and philosopher born in Berlin in 1904, highly influenced by Gestalt psychology and Hermeneutics. For Arnheim, modern man is permanently harassed by the world of language and uses it too much to relate to the world.

鲁道夫·阿恩海姆(Rudolf Arnheim)是分析和端庄的视觉思维的先驱之一，他是1904年出生于柏林的心理学家和哲学家，深受格式塔心理学和诠释学的影响。 对于阿恩海姆来说，现代人永远受到语言世界的骚扰，并且过多地使用它来与世界联系。

In his seminal book Visual Thinking (1969), a classic in Art and design schools, he states that there are other ways of knowing the world based on the senses, for example through the sight. Language helps us to name what has already been heard, seen or thought, but abusing from its use can paralyse us in solving problems through intuitive creation.

在他的开创性著作《 视觉思维》 ( 视觉思维) (1969年)中，这是艺术和设计学校的经典著作，他指出，还有其他一些基于感官来了解世界的方式，例如通过视觉。 语言可以帮助我们命名已经听到，看到或思考过的内容，但是滥用它会使我们无法通过直观的创造来解决问题。

“All perceiving is also thinking, all reasoning is also intuition, all observation is also invention.” — Rudolf Arnheim, Art and Visual Perception: A Psychology of the Creative Eye (1954)

“所有感知也在思考，所有推理也在直觉，所有观察也在发明。” —鲁道夫·阿恩海姆(Rudolf Arnheim)，《艺术与视觉感知：创作眼的心理学》(1954年)

我们如何看待视觉？ (How do we think visually?)

For Arnheim, intelligence is impossible without perception. The ideas or concepts that we have around an object determine how we perceive them. Perception and thought act reciprocally. For example, a visual stimulus on an unknown object attracts us more attention than another with which we are familiar (for example an exotic fruit over an apple). This continuous feedback between stimulus and intellect facilitates our daily life.

对于阿恩海姆(Arnheim)来说，没有知觉就不可能有智慧。 我们围绕一个对象拥有的想法或概念决定了我们如何看待它们。 知觉和思想相互影响。 例如，对未知物体的视觉刺激比我们熟悉的另一个刺激(例如，苹果上的奇异水果)吸引了我们更多的注意力。 刺激和智力之间的这种持续反馈促进了我们的日常生活。

By creating visual artefacts (with more or less definition or conceptualization), we do nothing but project our ideas, putting them in order on a surface to re-perceive and elaborate them better. The visual representation of the concepts helps us think and connect ideas with the real world. For Arnheim it is vital to be down to earth. We cannot teach mathematics without giving practical examples.

通过创建视觉人工制品(具有或多或少的定义或概念化)，我们除了投射想法之外，什么也不做，将它们排列在表面上以便重新感知和完善它们。 概念的视觉表示有助于我们思考思想并将其与现实世界联系起来。 对于阿恩海姆而言，脚踏实地至关重要。 没有给出实际的例子，我们就不能教授数学。

我们如何分析视觉感知？ (How do we analyse what we perceive visually?)

According to Arnheim there are three observational attitudes:

据阿恩海姆说，有三种观察态度：

The most common way is to isolate the object to perceive it in a pure state, that is, to synthesize its idea or concept in its simplest form. This is how they teach us to draw from a young age, for example scribbling the typical house. When we draw from memory, from our “internal designs” we evoke eidetic images: images printed in memory or the concepts of the stimuli that we have received. The higher the level of abstraction, the greater the universal representation capacity of the eidetic image.

最常见的方法是隔离对象以使其处于纯状态 ，即以最简单的形式综合其思想或观念。 他们就是这样教我们从年轻时就开始绘画的，例如在典型的房屋上涂鸦。 当我们从记忆中汲取灵感时，就会从我们的“内部设计”中唤起出意想不到的图像：打印在记忆中的图像或我们收到的刺激概念。 抽象级别越高，则理想图像的通用表示能力就越大。

Another attitude is not to isolate the object, but to merge it with its context, so that the attributes of the two (object and world) are mixed. This would be the pictorial gaze, in which, when an image is analysed: lights, shadows and colours are perceived, and we try to build a similar representation to the one we perceive with our eyes.

另一种态度不是隔离对象，而是将其与上下文合并 ， 从而使两者(对象和世界)的属性混合在一起。 这就是图片注视，其中当分析图像时：感知到光线，阴影和颜色，并且我们尝试构建与我们用眼睛感知到的相似的表示。

The third option is to analyse the object in a creative way, from multiple points of view and possibilities. Changing its meaning, looking for new uses and possibilities of interpretation.

第三种选择是从多个角度和可能性上以创造性的方式分析对象 。 改变其含义，寻找新的用途和解释的可能性。

These 3 forms of observation and visual thinking are continuously used and combined in our profession. For example, the first one would be used to represent diagrams and abstract concepts. The pictorial gaze would be the one used by the visual designer, who needs a realistic approach to the final product. And the third is the one we use to devise and search for new possibilities.

这三种观察和视觉思维形式在我们的职业中不断使用和结合。 例如，第一个将用于表示图表和抽象概念。 图片注视将是视觉设计师所使用的，他们需要对最终产品采取现实的方法。 第三是我们用来设计和寻找新可能性的方法。

This piece was originally written in Spanish at Guindo’s blog:“Rudolf Arnheim y el Pensamiento Visual”

该文章最初是在Guindo的博客上以西班牙语撰写的：“ Rudolf Arnheim y el Pensamiento Visual ”

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翻译自: https://uxdesign.cc/rudolf-arnheim-and-visual-thinking-c07f8a0aa0aa