The thesis of the article “ What screens want” is a journey of the evolution of screens over the years, drawing
relations between the history and developments of photography and filmmaking. The author further explains that
screens as a medium for interaction and interface that have a fundamental nature of “grain” that is
characterized by the capacity of change, much like wood or plastic, which the author refers to as “flux". The
author further illustrates different levels of flux, from small mutations to immersive interactions, and
emphasizes the significance of managing change in design.
The article also criticizes the current state of the web, highlighting how commercial interests and
inappropriate structures have distorted the true potential. Of the digital landscape. It emphasizes a new vision
of the web, a shift from privatization, power hierarchies and surveillance to extensibility, openness,
communication, community and wildness. Towards the end, the author encourages a shift towards a more
user-centric, intuitive and open designs that align with human values and aspirations.
The article introduces two ideological camps namely flat design and skeuomorphs.
Where the former believers propose the use of 2D visual elements since they justify the inherit flatness of the
screen, hence it should be devoid of 3D elements whereas the latter suggests it should resemble real-world
objects and mimic the materials and textures to create a sense of familiarity with their functions and
performance.
While my personal inclination is towards a blend of both approaches, the ideal choice should be dictated by the
specific requirements of the design rather than personal preference.It essential to consider what the design
requires with feedback from the users and inputs from the client because it depends upon how intuitive it is for
the user and how the design aligns with the values and principles of the company. But then again I would
probably use both flat and skeuomorphs and calibrate the percentage of each according to the user needs and the
organization's vision.
The authors introduces the invention of the device creating the illusion of motion through a series of images.
It was invented by Eadweard Muybridge, a pioneer in motion photography in the late 19th century. His first
attempts to set time in motion were to print the high-speed photographs radially on a glass disc and spin it
while it was lit from behind.It was an important precursor to modern motion picture technology and screens in
itself.
The relevance of zoopraxiscope is related to web design as it represents the early stages of motion graphics and
animation. In the modern web, the use of motion and animation enhances the experience and interactions with the
web providing guidance, feedback and engagement with the web.
A film technique example that has made its way into digital design involves an expressive rendition of 3D
elements. Films use 3D glasses to manipulate layers, and in digital design, this translates to creatively
presenting elements emerging from confined spaces or boxes. Additionally, techniques like slow motion in films
have been adopted to enhance visual storytelling in digital design. Even coding features like the "ease" option
have been integrated to improve the flow and smoothness of digital interfaces.