非人因 - 赫茲故事第二章
clock by Daniel Weil
User-Friendliness
Transparency
(In)human Factors
人被奴役化，嚴格來說，並不是被機器，也不是被建造和擁有機器的人，而是被機器所賦予的概念模型、價值、以及思想系統。
"This enslavement is not, strictly speaking, to machines, nor to the people who build and own them, but to the conceptual models, values, and systems of thought the machines embody." p.21
藉由詩意化人與電子物件間的距離，或許能促進敏銳的懷疑態度，而非不經思考的吸收電子物件所嵌入的價值與概念模型。
"By poeticizing the distance between people and electronic objects, sensitive skepticism might be encourage, rather than unthinking assimilation of the values and conceptual models embedded in electronic objects." p. 22
tv by Marco Zanuso
透過疏遠與異化，詩意化人與電子物件間的距離，將互動性置於透明與不透明之間，寵物與異形之間，散文與詩歌之間。
"This chapter looks at "poeticizing" the distance between people and electronic objects through "estrangement" and alienation," locating interactivity between transparency and opaqueness, the pet and the alien, prose and poetry." p. 22
Robinson 認為 Norman 的取徑產生了沒有混淆、不會令人失望的產品 (這很明顯是不夠的)。...... 吊詭的是，以使用者為中心，不只是要釐清人們如何描繪事物，而是絕對需要認清: 人們所互動的設計物，對我們如何思考，有巨大的影響。"
"Robinson argues that Norman's approach results in products that will not confuse or disappoint (which is clearly not enough). ... Paradoxically, user-centredness is not just figuring out how people map things, it absolutely requires recognising that the artefacts people interact with have enormous impact on how we think." p. 23
在人因的世界中，物件似乎必須被理解，而非被詮釋。......在人因社群中，將人與科技的關係簡化為認知的清晰程度...
"In the human factors world, objects, it seems, must be understood rather than interpreted. ... The reduction of the relationship between people and technology to a level of cognitive clarity by the human factors community..." p. 23
日常語言通常是資訊性的與工具性的; 如果資訊被成功的傳遞，或是行動被成功的挑起，這些字詞可以被視為
"透明的"。伴隨詩意功能而來的是某種不透明，因為作者既不傳遞資訊，也不尋求挑起行動。這可能帶來一種刻意的模糊。
"Everyday language is usually informative and instrumental;...since if a piece of information has been successfully passed or some action successfully instigated, the words by which this has been managed can count as "transparent." With the poetic function comes a certain opacity, for the writer is no longer passing information nor seeking to instigate action. There may also come an intentional ambiguity." p. 35
"The poetic function of language has as its effect that when we read literature we become
more aware of language than we are when we are confronted by language in its other
functions. To introduce another term dear to the formalists, in literature language is
“foregrounded. ... In the everyday use of language it will seldom be practical and may even be found impolite to “foreground” language.”"
根據 Viktor Shlkovsky，詩意藝術的功能，是對抗感知的慣例模式所支持的熟悉化。
"According to Viktor Shklovsky,..., the function of poetic art is to counter-act the familiarization encouraged by routine modes of perception." p. 35
fan heater by Winfried Scheuer
為了提供環境讓使用者反思電子物件的日常生活經驗，我們必須超越"根植於視覺的形的陌異"，進而探索"根植於功能性的使用美學"...
"To provide conditions where users can be provoked to reflect on their everyday experience of electronic objects, it is necessary to go beyond forms of estrangement grounded in the visual and instead explore the aesthetics of us grounded in functionality..." p. 42
radio by Daniel Weil
想法與事物的適當匹配，特別在抽象想法凌駕實用性中，讓設計得以成為一種論述形式，產生詩意的創造，藉由挑戰某些法則（物理的、社會的、或政治的），而非確認這些法則，呈現出一種批判的功能。
"The fit between ideas and things, particularly where an abstract idea dominates practicality, allows design to be a form of discourse, resulting in poetic inventions that, by challenging lows (physical, social, or political) rather than affirming them, take on a critical function." p. 42
然而，我們自身與電子物件環境間的距離，也許可以被詩意化，針對環境所賦予的價值與概念，提倡一種懷疑的敏銳性。
"Instead, the distance between ourselves and the environment of electronic objects might be "poeticized" to encourage skeptical sensitivity to values and ideas this environment embodies." p. 42
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