内部阅读障碍:语境知识和方法的实践为主导的研究,通过排版设计和自我民族志

Isabelle Hutcheson, Fiona Grieve, David Coventon
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引用次数: 0

摘要

在最近的文献中,人们对不流畅效应的兴趣越来越大,这些文献试图将基于功能可读性的排版研究结果置于语境中。最近,一小群排版和易读性研究人员开始呼吁更多的合作,以产生有用和实用的知识(Thiessen, Beier & Keage, 2020)。这篇文章提出了一个实践为主导的设计研究项目,利用迭代绘图和排版安排,通过一种自我民族志的方法,传达个人的经验与阅读障碍。该项目反映了这样一个问题:如何使用迭代绘图和排版构图来图形化地表达一个人的主观阅读障碍学习经历?作为一个特别关注实践的次要问题,是该项目如何有助于为非阅读困难的受众提供见解,帮助他们理解有阅读困难的人所面临的单词理解和排版障碍。研究是通过一系列的语境实践,从业者和文献,进入状态和条件的阅读困难的经验,使用版式改编和Risograph印刷。该项目以实践为导向,创造性的实践和研究是互补的,但又各具特色。该研究基于实践所定义的关注世界,而实践性研究人员则处于研究的中心(Vear, 2022)。为了引出一个阅读困难的视角,该项目采用了自我民族志作为一种策略,通过关键的插图和排版设计过程来收集和解释证据。这项研究有助于当前的话语领域,如与视觉提示和强调的排版原则相关的领域,以及其他更广泛的领域,如我们如何能够确定不流畅的阈值,以及图形干扰对不流畅效应的影响。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Inside dyslexia: the contextual knowledge and methodology of a practice-led research through typographic design and autoethnography
There is increased interest in recent literature on the disfluency effect in an effort to contextualize the outcomes for typography research that is grounded in functional readability. Recently, a small group of typographic and legibility researchers have begun to call for more collaboration to generate knowledge that is useful and practical ( Thiessen, Beier & Keage, 2020). This article presents a practice-led design research project that utilises iterative drawing and typographic arrangements through an autoethnographic approach, to convey personal experience with dyslexia. The project reflects on the question: How can iterative drawing and typographic composition be used to graphically express one’s subjective dyslexic learning experience? As a secondary question that is particularly focused on practice, is how the project can contribute to provide insights to a non-dyslexic audience of the word comprehension and typographic disfluency facing people with dyslexic conditions. The research is informed by a range of contextual practice, practitioners, and literature, into the states and conditions of the dyslexic experience, the use of typographic adaption and Risograph printing. The project is grounded as a practice-led approach, where creative practice and research are complementary but distinctive. The research is based within the world of concern defined by practice while the practitioner researcher is at the centre of the research (Vear, 2022). To elicit a dyslexic perspective, the project employs autoethnography as a strategy for gathering and evidence interpretation through a critical illustration and typographic design process. The research contributes to current discourses to areas such as those related to the typographic principles of visual cuing and emphasis as well as other broader areas such as how we may be able to determine threshold for disfluency, and what impact graphical distractions have on the disfluency effect.
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