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ISSN 2227-6017 (ONLINE), ISSN 2303-9868 (PRINT), DOI: 10.18454/IRJ.2227-6017
ПИ № ФС 77 - 51217, 16+


Скачать PDF ( ) Страницы: 153-154 Выпуск: № 05 (59) Часть 1 () Искать в Google Scholar


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Морозова Т. Ф. МЕДИЙНЫЕ ИНТЕРФЕЙСЫ ГОРОДА / Т. Ф. Морозова // Международный научно-исследовательский журнал. — 2017. — № 05 (59) Часть 1. — С. 153—154. — URL: (дата обращения: 03.07.2020. ). doi: 10.23670/IRJ.2017.59.138
Морозова Т. Ф. МЕДИЙНЫЕ ИНТЕРФЕЙСЫ ГОРОДА / Т. Ф. Морозова // Международный научно-исследовательский журнал. — 2017. — № 05 (59) Часть 1. — С. 153—154. doi: 10.23670/IRJ.2017.59.138



Морозова Т.Ф.

Кандидат филологических наук, профессор,

Анапский филиал МГГУ им. М.А.Шолохова



Использование таких понятий как «медийный интерфейс» и «интерфейс-имидж» могут помочь нам преодолеть фрагментарные знания о городе, связать и организовать его медиа пространство, используя новые информационные технологии. Интерфейс-имидж является важным инструментом для создания привлекательного с точки зрения инвестиций и финансирования объекта. При этом интерфейс стоит рассматривать как систему, состоящую как из внешней части, так и из скрытой части. В данном исследовании медийный интерфейс рассматривается как коммуникативная «упаковка», своего рода семантическая оболочка города.

Ключевые слова: коммуникации, городская медиа-среда, медийный имидж, информационная область, знаки, коды, контекст.

Morozova T.A.

PhD in Philology, Professor

The branch of the Moscow state pedagogical university in the city of Anapa



The insertion of the concepts of “media interfaces” and “interface-image” of the city can overcome fragmentary knowledge about the city, connect and organize media space of city, using new information technologies. , interface-image  is an instrument to create an investment-attractive and financially effective object, the interface more properly to consider as a system consisting  both of the external part and of the hidden part. Media interface is regarded as communicative “packaging”, semantic shell of the city.

Keywords: communications, media environment of the city, media image, information area, signs, codes, context.

It is obvious that urban information space nowadays is systemic and complex phenomenon, which includes politics, contemporary art, communication design and industrial design as well as music and cinema. All mentioned is connected with people. That is the reason why city is a so called interface for individual. It responds to one’s needs and emotions, likewise it provides additional functionalities.

City interface breaks up into keys and symbols. Thus, the initial matrix of city environment is no longer the implementation of some force (labor force), but the implementation of some distinction (manipulation of a symbol). The symbols of urban space, in their turn, necessarily require holistic visual expression. Information inhomogeneity of resources consists in the diversity of application contexts [1, P. 346]. Existential interface is endless work. There is an objectivization of subjective experiences in the cultural context and attempt of forced immanentization of message. Logo image of famous brands become iconic (and iconological) simulacra, so noticeable in the modern landscape. Signs are necessarily demanding  visual expression. They are susceptible to visualization, so sign system becomes a visual reality in the process of semiotic and epistemological mutation of the subject-consumer. Therefore it is not individual objects as objects of art that are susceptible to the simulation, but the whole process and the art itself.

When creating graphical interfaces one should:

  • use visual properties to group items and create a clear hierarchy;
  • create a visual structure and pave the logical route on each level of the organization;
  • use holistic consistent and contextually relevant images;
  • integrate consciously and consistently visual style with the functionality;
  • avoid the visual “noise” and confusion.

Creating a clear visual hierarchy is one of the most difficult tasks when it comes to design of visual interface. It demands skills and talent. Users almost do not notice qualitative visual hierarchy, while its absence immediately catches the eye. Like the development of the visual interface, the development of the visual presentation of information has its own principles, and the designer can choose of them in order to achieve the best result. Specialists in the field of information representation claim that a good visual design is a “clear visualized idea” and that it is achieved through understanding of “cognitive task” of an onlooker (or a viewer). There are two important problems about the field of visual presentation of information. Firstly, it is difficult to visualize multidimensional information (information with more than two variables) for a two-dimensional surface. Secondly, technical possibilities are sometimes not enough to output the whole information. Information output on the computer display is particularly difficult, although the computer allows one to add dynamics and interactivity.

While both statements are true, graphical interface designer has one advantage over the designer working with paper, which is interactivity. While paper carrier is to transmit the entire amount of information at once, an electronic display may disclose information gradually – according to the needs of the user. This compensates to limitations related to resolution (at least partially). Despite the differences between printing environment and digital environment there are universal principles for design of information which are independent of language, culture and time, which helps increase the efficiency of displaying information.

One can denote the following principles applicable to interfaces:

  • The principle of visual comparison;
  • Causal link of interface elements;
  • Display of several variables;
  • Combining text, graphics and data in a single image;
  • The principle of quality assurance, relevance and integrity of the data;
  • Grouping of objects in space, but not in time;
  • Representation of numeric data in numeric form.

After creating an associative model or metaphor, it is necessary to analyze and develop a conceptual design carefully. According to Gibson’s theory, one not only watches an environment in passive way, but examines it actively according to one’s motivation. The environment, in return, convey appropriate messages. Another principle of creating an interface may be defined as “the principle of deployment”. That is, the program first performs only a very limited set of the most necessary functions, and then opens up more and more opportunities as user learns the interface. Thus, a person is introduced into a complex interaction environment gradually, avoiding shock conditions.

In the problem of interfaces as mediator in the process of knowledge, problem of being and knowing of reality, not its virtual pair, is fundamental. Deception, that is  thriving in the electronic media ,according to Krysmanski, is a special case of what M. Petau, the author of book “Virtualization of social”  wrote about: “Name “virtual reality” promotes the mistaken belief that despite everything else there is also a true reality; it can be comprehended via the natural equipment of man, while we are talking about that this natural equipment is just the only case of many”.  So the  “real reality” and undeniable for humanitarian knowledge social reality are different. The newest transformation of reality in the computer hyperspace allowed to exceed our body’s ability to localize itself and to structure  immediate surroundings, cognitively determine its position in a measurable external world via perception and cognition. Hyperspace – historical socio-economic reality.

Interfaces, which were previously considered only as the individual user surface, are used in practice of urbanists for creation of virtual social worlds, such as “town centers”, “marketplace”, landscapes and complex multi-dimensional topological spaces [2, P. 137].  Interfaces overcome fragmentary knowledges of the world as it is presented to us via modem and the screen. They also adjust forces brought to life by the information age.  The culture of interface (as all previous cultures) represents and interprets intricate and diversified “endless” reality, and gradually, with the progress of  virtualization, occupies a central position in the intellectual activity.  Interface came into the world under the guise of effectiveness and is now beginning to act – like the cocoon of butterfly – as a form of true art. In relation to the city, branding meant what should be done for the development of the city. Its understanding usually ends up with advertising and publications in newspapers.  Adding the concept “interface-image of the city” we can see layer between the space that surrounds us and people who use this space. Interface is architecture, which reacts. What does this mean? Firstly, a function that allows the city to develop correctly. Secondly, a certain reaction to what is happening outside, so called responsive design. Thirdly, it is interface-image, a way of creating an investment-attractive and financially efficient facility.

Список литературы / References

  1. McLuhan M. Understanding Media: external expansion of rights / M. McLuhan. –  Moscow: Zhukovsky, 2003. – 464 p.
  2. Bruce B. Images of Power. Haw the Image Makers Shape Our Leaders / B. Bruce. – London : Kogan Page, 1992. – 225 p.

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