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He begins with the simple: the mouse improved the spatial nature of our computers by letting us move, by the proxy of our pointers, within the screen. The windows metaphor made cyberspace a 3-D space. And while we tend to think about the graphical nature of interfaces, Johnson also explores the textual side and how it has changed the way we work with the written word.
Interface Culture then goes on to show how, with each advance in technology, the interface shapes our perceptions in new ways. Where mice and windows turned the computing world into cyberspace, agents have created a perception of software as personality. On the larger scale, Johnson sees these tools, originally built on non-cyber metaphors, as creating, in their turn, a new set of metaphors for looking at the rest of the world. And while he finds it exciting, he spends considerable time on such shortcomings in our approach to interfacing: what he considers the excessive emphasis on graphics elements at the cost of anything textual. Johnson, who is the editor of the cerebral Feed Web site and whom Newsweek called one of the most influential people in cyberspace, has written an intelligent book about interface design, its relationship to the real world, and how it affects our perception of worlds both cyber and physical. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
He begins with the simple: The mouse improved the spatial nature of our computers by letting us move, by the proxy of our pointers, within the screen. The windows metaphor made cyberspace a 3-D space. And while we tend to think about the graphical nature of interfaces, Johnson also explores the textual side and how it has changed the way we work with the written word.
Interface Culture then goes on to show how, with each advance in technology, the interface shapes our perceptions in new ways. Where mice and windows turned the computing world into cyberspace, agents have created a perception of software as personality. On the larger scale, Johnson sees these tools, originally built on noncyber metaphors, as creating, in their turn, a new set of metaphors for looking at the rest of the world. And while he finds it exciting, he spends considerable time on such shortcomings in our approach to interfacing: what he considers the excessive emphasis on graphics elements at the cost of anything textual. Johnson, who is the editor of the cerebral Feed Web site and whom Newsweek called one of the most influential people in cyberspace, has written an intelligent book about interface design, its relationship to the real world, and how it affects our perception of worlds both cyber and physical. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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Johnson's discussion of links as they relate to the internet and Dicken's favorite phrase "Links of association" allows the reader to understand why we are thrilled with the simplistic idea of linking. Then just as the reader is shaking their head yes, he expands the reader's mind to where the next phase of "linking" could/should go.
Another interesting discussion surrounds the need for more "pull" technology as Johnson feels this is what "...compelling interface design is about" (p.191)
While the book would be on the recommend list. It is important to note that as with many books about design, it sounds good in theory and it's ideas are ones to be sought after on a daily basis. Yet there is little "how to" in this book. In the end many may feel the need for some reality checks with regards to real feasability.
While I agreed, to a certain extent, with his comments on television versus hypertext and the WWW, I feel that he overemphasized a competition between them. Nevertheless, his points regarding the passive receipt of a limited amount of information inherent to watching television and the active engagement with information inherent to the WWW are clear and well-reasoned.
I don't feel that he follows his own advice in his e-zine, FEED. The sheer volume of text seems to replicate the uses hard-copy magazines, and the use of hypertext becomes laborious and confusing. In light of his assessment of the uses of hypertext, and his plea for artists and programmers alike to find ways to break out of fixed or outdated metaphors to fully explore the limits of hypertext, I would like to see him break free from this himself.
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