Let’s go back to Microsoft’s definition of “authentically digital” from the previous post:
“Instead of looking to the real world to inform our design metaphors, this principle embraces the limitless capacity of innovation that is found in a digital landscape. Instead of awkwardly trying to tie digital assets to their real life counterparts, we embrace the power of our medium.”
Finding a definition for “digital” helps us to get a little closer to re-structuring our organizations in a way that enables us to speak this language more natively. However, we also have to understand a little better what authenticity means in the digital domain. It’s a word, much like “digital,” that we think we understand but for which we don’t really have a sound, functional definition.
For the Metro design team, the idea of being “authentically digital” meant to remove those aspects of their interface design that were “fake” or “superfluous.” For them, being authentically digital means removing what they refer to as “skeuomorphic design constructs.” My favorite definition of skeuomorphism comes from Dmitry Fadeyev over at Smashing Magazine:
“[Skeuomorphs are] design elements based on symbols borrowed from the real world, for the sole purpose of making an interface look familiar to the user…they are also relics of another time, relics that tie an interface to static real-life objects that are incompatible with the fluidity and dynamism of digital interfaces.”
Why is skeuomorphism important to us? Because pretty much museums’ entire approach to working in the digital domain has been based on skeuomorphism. Continue reading The museum as skeuomorph