极端环境运输设计:方法论探索(参考极地地区)

Svetlana Usenyuk
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引用次数: 0

摘要

极端环境或极端情况是指超出一般情况的限制,对重要活动造成严重困难或使其无法进行的情况的总和。极端环境的主要特征是可选择性的缺乏、张力的绝对最大化、消极因素在合作中的协同作用等。在这种情况下,所有与“有形世界”(“人工世界”,即物质环境)相关的对抗都变得尤为明显。此外,极端条件是一个特定的(也是最客观的)过滤器,它只允许在其功能表现中无可指责的事物通过。这里有一个典型的例子——一场一切都绝对正常的战争:机器、设备,当然还有用户行为。在日常生活中,我们可以在救援人员的工作中发现类似的情况。在技术特征具有决定性重要性的地方,在一个人的生命依赖于计算精度的地方——设计提供的形象的抒情性是否有一席之地?我们真的需要一个特殊的“极端环境设计”吗?答案(同时也是研究的基本前提)是肯定的:毫无疑问,我们需要它,因为正是在极端条件下,图像从审美范畴(可选)转变为功能范畴(强制性)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Transport Design for Extreme Environment: Methodological Exploration (With Reference to Polar Regions)
Extreme environment or extreme case is an aggregate of circumstances which exceed the limits of the common and create serious difficulties for vital activities or render them impossible [12]. The key features of the extreme environment are the lack of alternatives, absolute maximum of tension, synergy in the cooperation of negative factors, etc. In this case, all antagonisms related to the ‘tangible world’ (‘world of artefacts’, i.e. material environment) become especially apparent. Moreover, the extreme conditions are a specific (and the most objective) filter which lets through only things irreproachable in the performance of their functions . Here is a typical example – a war where everything is absolutely functional: machinery, equipment and, of course, user behaviour. In everyday life, we can find a similar situation in the work of rescuers. Where technical characteristics are of decisive importance, where a man’s life depends on computational accuracy – is there a place for the lyricism of the image provided by design? Do we really need a special ‘design for extreme environment’? The answer (and, simultaneously, the basic prerequisite of the research) is affirmative: undoubtedly, we need it because it is exactly in extreme conditions that the image transforms from an aesthetical category (optional) into a functional one (mandatory).
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