macbook狂响曲
今天我终于弄明白我的笔记本怎么噪音那么大了，得出一个让人哭笑不得的答案。
一般我的macbook是放在家里用的，侧面插槽上电源，网线，鼠标，键盘，喇叭，外接屏幕接口，除了一个不知道该插什么的插槽空着，其他的全插满了，问题就出现了，把macbook散热的窟窿全堵上了，自然cpu风扇抓狂了。
侧面插的线太多了，会影响散热。
还好自己有无限鼠标，无限网卡和路由，不插键盘和屏幕，一个都不插就一点都不响。
苹果，你总不能让我把你放在窗台上当花看吧，你那最初易用性的理念不要被颠覆。
May 27, 2008
May 10, 2008
分身不分神！！
看看英语，
做做设计，
投投简历，
玩玩游戏，
再给我多一点时间，
我要再争气一点，
早点儿挣钱，
这种生活已经没了感觉。
[audio:http://202.114.18.26:8000/mp3/chinese/周杰伦/叶惠美/懦夫.mp3]
February 14, 2008
February 7, 2008
December 21, 2007
无题20071221
忍着疼 咬着牙 怒骂 ，挣扎 挣扎 再挣扎 ， 最后趴下。
小点就可以了哈哈
[audio:http://su22.com/mp2/clumsy.mp3]
December 10, 2007
December 5, 2007
November 28, 2007
Experience IS the Product.
以下是毕业设计翻译。
In 1888, an inventor named George Eastman designed, manufactured, and marketed a camera that changed not only photography, but consumer products—forever.Four years earlier, Eastman invented a new kind of film, roll film, that was much easier to handle than fragile photographic plates. Now, had Eastman taken a typical engineering approach to designing a camera that used roll film, he would have copied the typical camera of the time, just on a smaller scale, providing an incremental improvement on his predecessors. Instead, he focused on the experience he wanted to deliver, captured in his advertising slogan, “You press the button, we do the rest.”
“你只需按下按钮，其余的我们办”
1888年，由发明家乔治伊士曼设计制造和销售的的相机不仅改变了摄影，而且永远的改变了整个消费类产品。4年以前，伊士曼发明了一种新型的胶片和胶卷，比起那些脆弱的底片，它非常容易操作。伊士曼尝试模仿和略微的改进当时典型的相机机构，对原有机构做一些增量式改进，来设计一种胶卷相机。另一方面，他专注于想要传达给用户的体验，可以从他的广告语中获释，“你只需按下按钮，其余的我们办。”
Transcendent product design is a matter of philosophy and approach. The reason product development has gone wrong is that people stop at the worst time—when the solutions are most convoluted. What Eastman knew, what Jobs knows, is that you have to go beyond; you have to think about the experience people are having.
卓越的产品设计是一种理念和方法的产物。产品开发者失败的原因是人们在错误的时间停止了努力，即当解决方法变得复杂和难于处理时。伊士曼知道，乔布斯知道，你必须超越；你必须考虑到用户们拥有它们的感受。
Thanks to this new film, the new camera’s functioning was extremely simple. Unlike earlier cameras, the user never needed to open this camera, and there were only three steps to take a picture: Pull the Cord (to prepare the shutter), Turn the Key (to advance the film), and Press the Button (to release the shutter). After 100 exposures were used, you sent the camera (or just the film roll) into Eastman, waited a while, and had your film professionally developed and printed for you.
由于采用了新的胶片，新的相机操作变得及其简单。不像之前的相机，使用者不再需要打开相机内部，而仅仅需要三个步骤就可以拍摄一张照片：拉一下绳子（准备快门），转动扳手（推进胶片），按一下按钮（释放快门）。当进行了100次曝光之后，把相机（或胶卷）交给伊士曼，稍等片刻，你的胶卷会被很专业的冲洗出来。
This level of accessibility began the consumer revolution in photography, and this camera, the Kodak, became one of the first consumer technology brands. By approaching design with the customer in mind, and not simply as a collection of functional requirements, Eastman arrived at a radically different result.
这一水平的可用性设计在摄影界引起了人们的一场革命。这种相机，以及柯达公司成为了最大的消费电子技术品牌之一。通过贴近用户想法的设计出发，而不是简单的拼凑功能，伊士曼获得了截然不同的效果。
Take another look at that phrase—”You press the button, we do the rest.” Eastman marketed the camera based on this promise of experience. But in order to achieve that result, Eastman couldn’t just design a simpler product. That would only address the first half of the phrase.
再考虑一下这句话——“你只需按下按钮，其余的我们办。” 伊士曼在此承诺下销售相机。但是为了获得这个结果，伊士曼不能仅仅是设计一个简单的产品而已，那仅讲明了这句话的前半部分。
On its own, a simple camera is meaningless, because the entire photographic process (loading a camera, exposing the light-sensitive material, removing that material, processing the material, printing images From that material) could not get any simpler. Eastman’s genius was in designing his system so customers could do what mattered most to them—capturing the image (”You press the button”). Eastman located other functions elseWhere in the system (”We do the rest”), allowing the Kodak camera to be remarkably straightforward to use.
只是这样一个简单的相机是没有意义的，因为整个摄影过程（加载镜头，暴露感光材料，去除这层材质，加工材料，从材料上冲洗图案）不能得到任何简化。 伊士曼的可赞之处在于设计了一个系统，只让用户做跟他们最有关系的事——拍照（“你只需按下按钮”）。其他必要的过程交给伊士曼在系统内部精确的完成（“其余的我们办”）。这使柯达相机具有了很好的易用性。
In order to meet his goals for delivering the desired experience, Eastman developed relationships with his customers that ensured they remained satisfied. He couldn’t think of Kodak as a product, but as a service. This necessitated a factory unlike any seen before, one that could handle complex processing and printing capabilities.
Investing in such an operation was an immense risk, but necessary if Eastman were to deliver on his promise to “Do the rest.”
为了达到他想要传达给用户的体验， 伊士曼与客户增进联系确保他们一直感到满意。他不认为柯达是一种产品，而是一种服务。不能像其他的工厂一样，柯达需要具备可以进行复杂的加工以及冲印的能力。投资于这种业务要冒很大的风险，但是对于伊士曼所传达的允诺“其余的我们办”，这是必须的。
For the customer to continue to use the product, she needed to send it in to get the photos processed and printed, and for the new roll to be loaded. Cameras, which were once standalone products, now became points of entry into a service.
对顾客来说，如果他们要继续使用这种产品，就必须把照片拿来加工和冲洗，以及装载新的胶卷。相机，作为一个独立的产品，已经成为了这种服务里的一项业务。
Why can’t we learn?
Why is it that what Eastman figured out over 100 years ago seems forgotten today? Why do so few products seem concerned with how they fit into the lives of their customers? (Been to a consumer electronics event recently?) Why is it that people still approach products as isolated entities, unconnected with the world around them?
为什么我们不效仿？
为什么伊士曼在100多年前就明白的道理在当今似乎被人们忘记了呢？为什么如此少的产品能够融入到顾客的生活之中？（最近参与过关于消费类电子产品的活动吗？）为什么人们仍然把产品作为孤立的个体，而不与他们的社会生活相联系呢？
A comment that sheds light on this comes From Steve Jobs, CEO of Apple:
When you start looking at a problem and it seems really simple, you don’t really understand the complexity of the problem. Then you get into the problem, and you see that it’s really complicated, and you come up with all these convoluted solutions. That’s sort of the middle, and that’s Where most people stop….
But the really great person will keep on going and find the key, the underlying principle of the problem—and come up with an elegant, really beautiful solution that works.
That’s what we wanted to do with Mac.
—From Insanely Great, written by Steven Levy
苹果公司的首席执行官史蒂芬乔布思有评论揭示了这个观点：当你开始看一个问题，觉得它似乎非常的简单，那是你没有真正的了解到问题的复杂。当你深入问题之中，认识到它的复杂之处，当你想要找出这些错综复杂的问题的解决办法，这已经到了认识问题的中等程度，然而大多数人这时就放弃了….
真正睿智的人会一直探索，最终他们找到问题的关键，问题真正的核心部分——摸索出一套致雅，漂亮的解决方案。
这正是我们用Mac想要做的。
——－自Insanely Great ，作者：Steven Levy
Until the last sentence, you might have thought he was taking about the iPod or even the iPhone. But the quote came From 1984, and demonstrates that transcendent product design is a matter of philosophy and approach. The reason product development has gone wrong is that people stop at the worst time—when the solutions are most convoluted. What Eastman knew, what Jobs knows, is that you have to go beyond; you have to think about the experience people are having.
卓越的产品设计是一种理念和方法的产物。产品开发者失败的原因是人们在错误的时间停止了努力，即当解决方法变得复杂和难于处理时。伊士曼知道，乔布斯知道，你必须超越；你必须考虑到用户们拥有它们的感受。
Technology, Features, Experience
Products, necessarily, begin with the technology that makes them possible. And the introduction of a new technology is all that is needed to establish oneself in the market. When VCRs came on the consumer market in the late 70s, all that really mattered is that it did something you could never do before—record television shows so that you could play them back at a time of your choosing. It didn’t matter that it took up a lot of space and didn’t look pretty and wasn’t particularly easy to use. It’s the talking dog syndrome—the dog doesn’t talk well, but all that matters is that it talks at all.
技术，特点，体验
产品，必须要从能够使它工作的技术入手。为了在市场确立位置，需要引入或开发新的技术。录像机在市场上作为消费类产品出现是在70年代末，它体积庞大，看起来不漂亮，而且它极其不容易操作，这些都无所谓了，真正重要的是你可以做以前从来没有做过的事情——录制电视节目，任意的播放或回放你的节目。这里所说的就比如一个病人——他说话不利落了，但重点在于他还能够说话。
Eventually, though, competitors mimic your technology, and features become the important differentiator. You load your offering with more stuff, and it fills the product’s packaging with bullet points. In the 1980s and into the 1990s, VCRs began loading up on functionality, things like VCR Plus, on-screen menus, various playback speeds, child locks, jog wheels, 21-day timers, the ability to record one frame at a time, and more. There’s a reason the blinking 12:00 became the icon of poorly designed consumer electronics, and most folks used the VCR as simply a VCP—video cassette player, viewing whatever they rented.
虽然最后竞争对手模仿了你的技术，但是产品的特色他是模仿不来的，这点很重要。所以当你为自己的产品添加更多有特色的材料时，对手的产品仅仅只有重要的部分。80年代末，90年代初期，录像机加载了一些功能，可以想象成录像机升级版，在屏幕菜单，各种播放速度，儿童锁，滑轮，为期21天的定时器，单帧的保存功能等等。闪烁的12：00成为了消费类电子产品的一种标志，还有一些人把录像机只当作简单的播放录像的播放器，来观看他们租来的录像带。
At some point, product categories require a quantum evolution—beyond technology and features—to the satisfaction of a customer experience. The VCR begat the DVR, and TiVo, the leading DVR brand, is successful because they began with an experience mindset, and developed the product to suit that.
在某种意义上，产品的分类取决于它所侧重的方面，卓越的技术和功能，还是良好的用户体验。录像机推动了硬盘刻录机，电视录像机的发展。像领袖一样的DVR品牌是成功的，因为他们开始有了体验的理念，并且在产品的开发上去迎合这种理念。
In some ways, it’s unfair to compare TiVo with earlier VCRs, because the underlying technology is fundamentally different. But, like George Eastman did with his roll film, TiVo took a new technology (hard drive-based digital video recording) and didn’t simply copy prior models, but applied an experience mindset that lead to a fundamental rethinking of people’s relationship to television.
在某些方面，拿TiVo与早期的VCRs做比较很不公平，因为他们的技术水平相差十分悬殊。但是，像乔治伊士曼做他的胶卷，TiVo运用新技术（基于硬盘记录数码影片）而不是简单的照搬照抄之前的产品，而且基于一种体验的理念导致他们重新从根本上思考这种人机关系。
You Need An Experience Strategy
Now, Kodak, Apple, and Tivo are pretty hoary examples of success in product design. But they keep coming up because so few products work so well. And what unites these three are defining visions to orient their efforts toward.
你需要一种体验策略
很少有产品能够做的这么好，他们一直保持着合作。柯达，苹果，TiVo（美国数字视频公司）在产品设计界是相当成功的典范。努力，以及独特的洞察力使得他们三个在一起合作。
At best, most product organizations have a list of requirements to meet, and, more typically, they simply have a set of features to develop. Designing and developing to requirements and feature lists leads to unsatisfactory experiences, because you’re no longer oriented to the perspective of the user. As you make decisions along the way, your concerns for features, data, and technology trumps serving the customer. This is in large part because you have those requirements and feature lists in front of you, but nothing to represent the experiential point of view.
大多数的产品组织充其量不过会有其产品需要达到的要求，以及通常都会有的各自需要开发的功能。 光靠对产品所要求的设计，开发以及功能不能令您取得成功，因为单是依靠这个产品不能达到用户的期望。当你围绕着某一产品做任何决定的时候，你将会把功能，信息和技术摆在了为客户服务之上。这是你失败最重要的因素，因为你把那些对产品在技术上的要求和功能摆在了最前面，而不是对产品的体验。
This is Where experience strategy comes into play. As my colleague Jesse James Garrett has commented, experience strategy serves as “a star to sail your ship by.” An experience strategy is a clearly articulated touchstone that influences all the decisions made about technology, features, and interfaces. Whether in the initial design process, or as the product is being developed, such a strategy guides the team and ensures that the customer’s perspective is maintained throughout.
这就是体验应该派上用场的时候。因为我的同事杰西詹姆斯加瑞特
曾经把客户体验战略比做对产品的“扬帆起航”。客户体验是密不可分的试金石，它影响着所有的技术上的，功能的以及接触面上的决定。不管是在这个产品设计的过程，还是在产品的开发上。它是整个团队的方向针，同时也保证了客户的期望，在整个过程中得到了保留。
An experience strategy can take many forms. At heart it is a vision, an expression of the experience you hope customers will have. The ur-experience strategy is George Eastman’s slogan for Kodak, “You press the button, we do the rest.” As a description of the desired experience, it’s not particularly soulful or nuanced—nothing poetic about capturing memories. But it oriented Eastman’s delivery for an entire photographic system that supported this simple experiential goal.
一个客户体验战略有很多方式。客户会有什么样的体验，这是可以预见得到的。这个体验战略是乔治伊士曼给柯达设计的口号，“你只需按下按钮，其余的我们办”来描述一段用户渴望得到的体验，它不是强调针对某些难忘的回忆去瞄准或是完全一点不差地记录下来，而是要达到伊士曼对于整个摄影测量系統的客户体验的目标。
Another option is to embody the experience strategy in some kind of prototype. A recent example, quickly becoming a classic, involves Deborah Adler’s Masters Thesis in design school. Looking for a suitable subject, she found out that her grandmother had taken her grandfather’s medication by mistake. She realized such mix-ups were too easy; prescription bottles used haphazard typefaces on labels affixed to curved surfaces that were hard to read. At first glance, all bottles From the same pharmacy look the same. Research showed her that 60% of people taking prescriptions have committed such errors.
另外一种情况是把体验在某种形态上具体化。举个最近典型的例子，涉及到德博拉阿德勒在设计学校硕士生论文。寻找一个合适的科目时，她发现她的祖母由于疏忽给她的祖父服错了药。她认识到，这种混合起来的药瓶太容易弄错了，处方药瓶子弯曲的表面上粘贴着杂乱字体的标签使人难以阅读。乍看之下，所有同一药房的药看起来一模一样。研究表明，60％的人们在服用处方药的时候犯过类似错误。
Her thesis project, named SafeRX, reconceptualized the pharmacy bottle, incorporating modern typefaces, visual hierarchy, color coding, and improved bottle design. Shopping it around after graduation, she found an interested suitor in Target. Working with Klaus Rosburg at Sonic Design.
她的毕业设计名字叫SafeRX，处方药瓶的再设计。整洁的现代化字体，视觉的层次感，颜色的搭配，以及瓶子的外形设计。毕业之后在一次逛街中，她找到了一位能够相伴一生的搭档。他们之后在索尼克设计公司一起工作，他的名字叫做克罗斯罗斯伯格。
You’ve probably heard this story before, but what’s rarely stressed is the importance of the vision embedded in her original SafeRX design. It served as an experience strategy—a guiding light for all those developing the systems that would eventually make the bottle work. When changes needed to be made, it was always with an eye to how to maintain the experience. For instance, Adler’s initial concept involved color-coding the labels, to distinguish the medication of each family member. When color printing proved too costly, the idea was maintained through colored rings affixed to the bottle’s neck.
想必您可能已经对这个故事有所闻， 但是在她那个原始的具有先见之明的saferx设计的重要性却很少会被留意。它是一种体验策略，一盏能够指引所有正在开发的系统，令他们能获得认可的明灯。当他们需要有任何的变动，它会时时提醒着人们记得体验的重要性。比如说，adler 的整个理念包括能够辨别每一个家庭成员的医用色码标签。 当发现彩印的花费太大的时候，多彩回铃服务将会遭遇瓶颈。
Experience strategies also come in the form of mission statements. Mission statements don’t have to be dreadful—it’s just that most are. The photo sharing service Flickr arrived in 2004, at a moment of surprising complexity in the world of digital photography. Sales of digital cameras had surpassed film cameras, hard drives were loading up with images, cameraphones were everywhere, some people wanted prints, others just wanted to email, others wanted to start photo blogs.
体验策略也以任务报告的形式反映出来。任务报告没有必要害怕——多数是这样的。提供照片共享服务的Flickr在2004年成立，瞬间提供了来自世界各地，数量惊人的数码影像。数码相机的销售量已经超过了胶片相机，硬盘里装满了数码照片，使用拍照手机的人无处不在，有些人想要打印图片，有些人只想用电子邮件发送图片，还有一些人想要做图片博客。
Flickr emerged as an interface to this complex system, coordinating components that had been built separately, tying them together in its giant database.
Flickr的出现，作为如此一个复杂的系统的界面，各种协调组件已经单独的加载了，并试着将他们在庞大的数据库中聚合起来。
Flickr’s meteoric rise is now legendary. But, given the potential chaos that surrounds the service, it offers remarkable coherence in its experience. How does it not fracture?
Flickr如此迅速的崛起是当今的一个奇迹。但是，鉴于潜在的混乱包围了服务，Filicker在提供良好的体验方面做出了一致的聚合。还有什么原因令Flicker倒下？
Flickr is driven by explicit experience strategy. Two in fact, written right there on its About Page:
1. We want to help people make their photos available to the people who matter to them.
2. We want to enable new ways of organizing photos.
Flickr在被体验的策略驱动。有两条写在网站的About页面：
1，我们想要帮助人们把照片共享给关心的人。
2，我们想要新的方式来聚合照片。
In support of the first goal is this very telling sentence: “To do this, we want to get photos into and out of the system in as many ways as we can: From the web, From mobile devices, From the users’ home computers and From whatever software they are using to manage their photos.” Flickr understands that you have a collection of tools that you’re using, and has no desire to replicate their functionality—it wants to capitalize on their functionality to offer new opportunities for sharing.
可以证明第一句话的是下面这段话：“要做到这一点，我们想要使照片用尽可能更多的方式出入该系统：从网页中，从移动设备，从用户的家庭电脑，从任何管理图片的软件中”Flickr知道，你有一个正在使用的采集相片的工具，但是不能去改进它的功能——它提供共享照片的机会，并以这种功能为资本。
Actually, Flickr does want to replicate, or rather, surpass, the functionality of one kind of existing tool—photo management software. Flickr recognized that existing management tools are stuck in outmoded ways of considering pictures—rolls and albums. When faced with hundreds or thousands of photos, new means are necessary. And since no one else was stepping up, they did. Their experience strategy drove new offerings, such as tagging, photo sets, groups, and maps.
事实上，Flickr没有想去模仿，或者说，没有想去超越现有工具——照片管理软件。Flickr认识到现有的管理工具只是停留在陈旧的方式来处理图片——把图片制作成滚动的图片集或者相册。当人们面对着数百甚至数千张的图片时，就必须要用新的手段来管理它们了。而且没有人来做这件事，Flickr做了。他们的体验策略是提供新的服务，例如标签，图片集，群组，地图。
Stop Designing Products
When you start with the idea of making a thing, you’re artificially limiting what you can deliver. The reason that many of these exemplar’s forward-thinking product design succeed is explicitly because they don’t design products. Products are realized only as necessary artifacts to address customer needs. What Flickr, Kodak, Apple, and Target all realize is that the experience is the product we deliver, and the only thing that our customers care about.
停止设计产品
当你开始构思制作的时候，你就人为的限制了自己。原因是许多之前的产品设计的成功之处很明确，他们不是在设计产品。产品被认为仅仅是一种满足用户需要的人工制品，但是柯达，苹果，塔吉特（美国全球500强公司）认识到了, 产品的体验才是我们需要传达的，也是用户唯一所关心的。