{"id":7015,"date":"2006-08-20T22:33:16","date_gmt":"2006-08-20T22:33:16","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/08\/20\/johnson-interfa-1\/"},"modified":"2006-08-20T22:33:16","modified_gmt":"2006-08-20T22:33:16","slug":"johnson-interfa-1","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/08\/20\/johnson-interfa-1\/","title":{"rendered":"Johnson, Interface Culture<\/i>"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 4<\/span> mins<\/span><\/span>\n

Johnson,
\n Steve Berlin. Interface Culture: How New Technology Transforms the
\n Way We Communicate<\/i>. San Francisco: Harper Edge, 1997.<\/p>\n

<\/p>\n

Johnson’s Interface Culture is a masterful, easy-to-read mix of history and
\nsimplified interface theory. He leads with an acknowledgement that his project
\nmingles "technical explanations, historical narratives, and cultural analogies"
\n(9). In the introduction, "Bitmapping," Johnson recounts Doug Engelbart’s 1968
\ndemonstration of an interface: a three-dimensional screen on information space.
\nInterfaces ultimately make digital code (sequences of zeros and ones)
\ncomprehensible. Filtering is inevitably part of this process. Furthermore,
\naccording to Johnson, Engelbart’s significant contribution was the notion of
\n"direct manipulation"<\/b> (20). Direct manipulation introduces a degree of
\ncontrol over the information environment. Users are able to modify the
\ninformation using QWERTY keyboards and the mouse (21). Engelbart’s contribution
\nwas to frame as possible the realm of information space, out of which a language
\nemerged for the instruments and processes related to information space:
\n"cyberspace, surfing, navigating, webs, desktops, windows, dragging, dropping,
\npoint-and-clicking" (24). Johnson ends the first chapter by accounting for the
\ndifferent tie between medium and message (the interface’s variation on broadcast
\nmedia). <\/p>\n

Johnson’s middle chapters each account for an aspect of the interface:
\ndesktop<\/b>, windows<\/b>, links<\/b>, text<\/b>, agent<\/b>.<\/p>\n

Desktop (42): follows the logic of the pile<\/b>. Desktop is a metaphor for
\nthe interface. Other attempts failed because the metaphors<\/b> ran too close
\nto simulation<\/b> (metaphor\/simulation are dichotomies in the final chapter).
\nSteven Jobs coined the desktop metaphor and profited mightily. The desktop
\nevolved into an icon-laden scene with some permanent additions: trash can, etc.
\n"Instead of being a medium for shut-ins and introverts, the digital computer
\nturns out to be the first major technology of the twentieth century that brings
\nstrangers closer together, rather than pushing them farther apart" (64). Rem:
\nThe Palace, chess matches, first-person shooters (72).<\/p>\n

Windows: Johnson defines the two epochs in the history of interface design as
\n"pre-windows and post-Windows" (76). The appeal of Windows is the ability it
\noffers the user to switch<\/b> between open apps, particular because there is
\na premium on display space (81). "Of all the basic building-block metaphors in
\nthe rhetoric of interface, the window has evolved the least<\/b> over the past
\ntwenty years" (85). Johnson included an interesting discussion of Darwin’s
\nexaptation<\/b>: "novel, unexpected applications of these new traits" (91),
\ncounterpart to adaptations<\/b>. Frames are exaptations, according to Johnson.
\nEnd: overview of battled for the browser market, with WSJ<\/i> promoting IE.
\n"The browser is a metaform, a mediator, a filter" (102). <\/p>\n

Links: The fourth chapter is an overview of hypertext. Begins with the
\ninsufficiency of the surfing metaphor for web-based activity. It was ported,
\nproblematically, from channel-surfing to describe activity on the web. The
\ndifference, "A Web surfer clicks on a link because she’s interested" (109).
\nJohnson reads hypertext tendencies through Dickens, Vennevar Bush’s Memex with
\n"trails of interest" (116), and the stylized linking practices at Suck, where
\nrather than an "extended reading" set of links, they used links with individual
\nwords to introduce variability and surprise–an excess of word-level paths (emph
\nunits of discourse, rel. page and Trimbur). <\/p>\n

Text: Here, Johnson accounts for the tension between word and image in the
\nGUI. He says the image triumphs, but the word is still vital both for content
\nand command. The word processor, Johnson writes, has changed writing: "But for
\nme, the most intriguing side effect of the word processor lies in the changed
\nrelationship between a sentence in its conceptual form and its physical
\ntranlation onto the page or the screen" (143). He details how he has learned to
\nwrite differently with a computer–a common process that seems to be described
\nin such detail only rarely. In the last half of the chapter, he accounts for Don
\nFoster’s semantic forensics (153) with Shakespeare and the exciting
\npossibilities for a computational-semantic wherewithal in searching and
\nassociative apps (View, V-Twin). <\/p>\n

Agents: Johnson explores the accumulative intelligence of "intelligent
\nagents": digital personalities (human-machine hybrids) that aggregate tendencies
\nand report in return on probable preferences. Intelligent-agent technology has
\ntaken off since Johnson wrote in 1997. His examples range from Ask Jeeves (the
\nknowing butler) to Firefly (196) to Telescript (a remote-programming model). But
\na number of other recent examples–Amazon, Netflix, HSS–extend this set of
\nissues. "We will migrate from the stultifying but stable system of mass media to
\nthemore anarchic realm of cultural feedback loops" (199). With intelligent
\nagents we find increasing "indirect manipulation" (anticipatory intelligences
\nbased upon habit). Johnson also gets at the problem of gaming the database
\n(baiting the agent, we might say). <\/p>\n

Final chapter: "Infinity Imagined." Johnson identifies a series of interface
\ndichotomies: Spatial Depth vs. Psychological Depth (217), Society vs. the
\nIndividual (221), Mainstream vs. the Avant-garde (224), One interface or Many
\n(227), Metaphor vs. Simulation (231), Fragmentation vs. Synthesis (235): "What,
\nthen , are the blind spts of our own age? We have already encountered a few: the
\ntyranny of image over the text, the limitations of the desktop metaphor, the
\npotential chaos of intelligent agents. But there is a more fundamental–and for
\nthat reason more difficult to perceive–blind spot in the high-tech imagination,
\nand it has to do with the general region of experience that the interface is
\nfelt to occupy" (212). (Also, Myst, Sonic the Hedgehog)<\/p>\n

Terms: "memory palaces" (12), symbolic systems (15), "direct manipulation"
\n(20), "platform agnostic" (100), "links of association" (112), "DOS complex"
\n(150), "logophobia" (150), "word inventory" (154), high-information words (162),
\n"semantic interface" (171), "design orthodoxy" (223), "conceptual turbulence"
\n(238)<\/p>\n

"In Englebart’s day, of course, computers weren’t terribly skilled in the art
\nof representation<\/b>: the lingua franca of modern computing had been a
\nbewildering, obscure mix of binary code and abbreviated commands, data loaded in
\nclumsily with punch cards, and output to typewritten pages" (13). <\/p>\n

"But here’s the rub: these new organisms [in the larger cultural ecology]
\ndon’t tell stories<\/b>. They riff, annotate, dismantle, dissect, sample<\/b>"
\n(26). <\/p>\n

"We are fixated with the image not because we have lost faith in reality, but
\nbecause images now have an enormous impact on reality<\/b>, to the extent that
\nthe older image-reality opposition doesn’t really work anymore" (30). ^This is
\nan intriguing claim. When did this happen<\/i>? <\/p>\n

"There’s something thrilling<\/b> about that new open-endedness [of
\nhypertext], but also something profoundly lonely<\/b>" (126). <\/p>\n

"The graphic interface revolution has changed all that: we now intuitively
\nunderstand that visual metaphors–all those blinking icons and desktop patterns
\nand pull-down menus–have an important, and cognitive<\/b> function" (149).\n<\/p>\n

"In these climates, all manner of metaforms appear: condensers, satirists,
\ninterpreters, samplers, translators" (32). <\/p>\n

\n
Related sources:<\/dt>\n
Bush, Vennevar. "As
\n We May Think."<\/a> Atlantic Monthly. 1954. <\/dd>\n
Dolnick, Edward. "The Ghost’s Vocabulary." Atlantic Monthly. Oct. 1991.\n <\/dd>\n
Foster, Donald W. Author Unknown<\/i>. New York: Henry Holt, 2000. <\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 4<\/span> mins<\/span><\/span>Johnson, Steve Berlin. Interface Culture: How New Technology Transforms the Way We Communicate. 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Wysocki and Jaskin argue for an expanded, generous recognition of interfaces as situated and reflexive.\u00a0 Computer interfaces are rhetorical, they contend.\u00a0 In the first half of the essay, they survey Computers and\u2026","rel":"","context":"In "Visuality and New Media"","block_context":{"text":"Visuality and New Media","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/visuality_and_n\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":5986,"url":"https:\/\/www.earthwidemoth.com\/blog\/2004\/01\/07\/one-blog-two-bl\/","url_meta":{"origin":7015,"position":4},"title":"One Blog, Two Blog","author":"Derek Mueller","date":"January 7, 2004","format":false,"excerpt":"[Thinking about the trackback feature.] Got the second blog working. It was, as the interface told me, a permissions error. Once I reset the permissions to the second blog's folder, it all came together swimmingly. 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