現代人的壓力和焦慮

From my Brooklyn apartment in New York City, I watch Gov. Andrew Cuomo share the daily Covid-19 death toll with the nation. I watch his broadcast every day, around 11 a.m. I dubbed Cuomo America’s #crisisdaddy and have posted so many Instagram Stories of these dispatches that people have begun to send me photos of his potentially pierced nipples. I’m not a #CuomoCrusher▲, but I am fully addicted to the daily broadcasts — they’re a glimmer of hope in otherwise droning and difficult days.

f光盤我布魯克林的公寓在紐約市，我看 州長安德魯·庫莫(Andrew Cuomo)與美國分享每天的Covid-19死亡人數。 我每天都看他的廣播，大約是上午11點，我被稱為Cuomo America的#crisisdaddy ，并發布了許多這樣的Instagram故事，以至于人們開始向我發送他可能被刺穿的乳頭的照片。 我不是#CuomoCrusher ▲，但我完全沉迷于日常播出-在本來干燥而困難的日子里，它們是一線希望。

▲(Required anti-bias reading.)

▲ ( 需要閱讀反偏 。)

Benign thoughts in a crisis.危機中的良性想法。

And with that, I’ve spent the last three weeks wondering why I can’t stop watching these broadcasts: Is it the data dumps? The descent into dadaist strings of fatherly adages that reliably occur at the 25-minute mark? Do I just find his Italian American mean-guy combination of stern chides and emotional outbursts familiarly reassuring? Is it just the ritual of it all?

因此，我花了最后三周的時間來思考為什么我不能停止觀看這些廣播：是數據轉儲嗎？ 在25分鐘標記處可靠地下降到父親教義的達達主義字符串中嗎？ 我只是發現他的意大利美國人卑鄙的家伙，嚴厲的批評和情緒爆發的結合使人安心嗎？ 這僅僅是全部的儀式嗎？

The answer was closest to the latter: the ritual. If I watched the Cuomo-cast (my coinage, not theirs) every day, I was less likely to spend subsequent hours of my day falling into a news vortex. It worked by providing me with the information I needed, in a digestible format, at a set time; somehow permitting me to limit my news time. When I wondered why this felt so novel, the UX designer in me awoke to explain: News, in recent years, had become a deluge. Long dead are the days of the morning newspaper and the nightly news. Information updates have permeated every second and square inch of our lives, shrouding us in more chaos than we ever thought possible.

答案最接近后者：儀式。 如果我每天都觀看Cuomo-cast(我的硬幣，而不是他們的硬幣)，那么我一天以后的幾個小時就不太可能陷入新聞漩渦。 它的工作原理是在設定的時間以可消化的格式為我提供所需的信息； 以某種方式允許我限制新聞時間。 當我想知道為什么這感覺如此新穎時，我中的UX設計師醒了過來解釋：近年來，新聞已成為洪水。 早報和夜間新聞的日子早已一去不復返了。 信息更新已經滲透到我們生活的每一秒和平方英寸，使我們陷入了前所未有的混亂之中。

Pandemics aside, there arguably isn’t more news to report, just more opportunities to do so — 24-hour news networks, mobile push notifications, and the endless window into the world that our phones provide — they all contribute to the deluge and to the anxiety that comes with it.

除了流行病，可以說沒有更多的新聞要報道，只有更多的機會可以報道-24小時新聞網絡，移動推送通知以及我們的手機為世界提供的無盡窗口-它們全都有助于洪水泛濫，隨之而來的焦慮。

信息是戰場，獎品是您的理智 (Information is a battlefield and the prize is your sanity)

In a 2010 New York Times article, author Chuck Klosterman compares the modern digital information flood to a zombie hoard. “When we think critically about monsters, we tend to classify them as personifications of what we fear […] zombie killing is philosophically similar to reading and deleting 400 work emails on a Monday morning, […] following Twitter gossip out of obligation, or performing tedious tasks in which the only true risk is being consumed by the avalanche.”

在2010年《紐約時報》的一篇文章中 ，作者查克·克洛斯特曼(Chuck Klosterman)將現代數字信息泛濫與僵尸ho積進行了比較。 “當我們批判性地思考怪物時，我們傾向于將它們歸類為我們擔心[...]僵尸殺害的擬人化，從哲學上講類似于周一早上閱讀和刪除400封工作電子郵件，[...]在Twitter閑話之后，執行單調乏味的任務，其中雪崩將唯一真正的風險承擔了。”

Shaun of the Dead, 2004. Photo: Rogue Pictures/Courtesy Everett Collection/The New York Times. 死者肖恩(Shaun of the Dead) ，2004年。照片：Rogue Pictures /禮貌埃弗里特(Everett)收藏/ 紐約時報 ( New York Times) 。

That was 10 years ago, and in the interim, the digital deluge has become the status quo. But it doesn’t have to be. This is the perfect time to reflect on all things wrong with our previous “normal” and posit new paradigms.

那是十年前的事，在此期間，數字洪水已成為現狀。 但這不是必須的。 現在正是反思我們先前的“正常”問題并提出新范式的最佳時機。

But how do we remedy modern information overload anxiety? First, we have to understand what information trauma does to our brains. With that knowledge, we can look to psychological treatments that have proven successful at alleviating such trauma. Then we translate those treatments into viable interactions we can apply to future information mediums and digital platforms.

但是，我們如何補救現代信息超載焦慮呢？ 首先，我們必須了解信息創傷會對我們的大腦造成什么影響。 有了這些知識，我們可以尋求在減輕這種創傷方面已被證明成功的心理治療方法。 然后，我們將這些處理方法轉化為可行的互動方式，并將其應用于未來的信息媒體和數字平臺。

The latest user interface on the Oculus from Facebook VR platform. Facebook VR平臺在Oculus上的最新用戶界面。

I’m particularly interested in this attention economy because as an AR/VR designer▲, I build experiences for future platforms — platforms that, by virtue of the fact that they sit on your face, can commandeer your entire visible spectrum. Imagine wearing AR glasses all day and being inundated with updates, ads, and social notifications. This experience is, in my opinion, un-fucking-acceptable.

我對這種關注經濟特別感興趣，因為作為一名AR / VR設計師▲，我為未來的平臺積累了經驗，這些平臺因為它們位于您的臉上而可以控制整個可見光譜。 想象一下整天戴著AR眼鏡，被更新，廣告和社交通知所淹沒。 我認為這種經歷是不可接受的。

▲ (I’m a VR Design Lead on Facebook’s AR/VR Social Experiences Team).

▲(我是Facebook AR / VR社交體驗團隊的VR設計負責人)。

這是你的大腦受到創傷 (This is your brain on trauma)

The body responds to overwhelming stimuli by releasing stress hormones, and, according to Bessel van der Kolk, MD in the book The Body Keeps Score, “in order to return to proper functioning, this persistent emergency response must come to an end.” When the stimulus doesn’t end, the response continues, causing prolonged anxiety and stress.

身體通過釋放壓力荷爾蒙來應對壓倒性的刺激，據《身體保持得分 》一書的醫學博士Bessel van der Kolk 所說 ，“為了恢復正常的功能，這種持續的緊急React必須結束。” 當刺激沒有結束時，React就會繼續，從而導致長時間的焦慮和壓力。

The Body Keeps the Score has quickly become part of my must-read list.身體保持得分已Swift成為我必讀清單的一部分。

Usually, when confronted with a troubling experience, people with nontraumatic histories will experience a spike in stress hormones, followed by a drop when the threat abates. But in stressful events of extended duration — like a pandemic, for example — or for those with a history of trauma, the threat never recedes. That means the stress hormones never receive signals to pull back. Instead, they remain present in full force, causing the body to remain tense and distracted. This is anxiety.

通常，遇到令人不安的經歷時，具有非創傷史的人會經歷壓力荷爾蒙激增，而在威脅消除后會下降。 但是，在持續時間較長的壓力事件中(例如大流行)或對于有創傷史的人來說，威脅永遠不會消退。 這意味著壓力荷爾蒙永遠不會收到回縮的信號。 相反，它們保持全力存在，導致身體保持緊張和分散注意力。 這是憂慮。

When viewed through this lens, it’s easy to see why the modern news firehose is so problematic: A constant influx of traumatizing information never grants us the reprieve needed for our bodies to reset. We live in a digitally induced state of fight or flight, constantly threatened by digital danger.

從這個角度來看，很容易看出為什么現代新聞消防喉管如此成問題：不斷涌入的創傷性信息永遠不會使我們的身體得到緩解。 我們生活在以數字方式引發的戰斗或逃逸狀態，不斷受到數字危險的威脅。

Our phones have permeated our lives in a way that is both magical and terrifying. We can access all the world’s information on demand, but it comes at a cost: The world can whip an unpredictable blast of painful information at you at any time. I worry about this deluge deeply as we near the corner to consumer AR/VR products. I have nightmares made of violent notification swarms splayed across immersive interfaces, physically overwhelming our POV and our sanity.

我們的電話以神奇而恐怖的方式滲透到我們的生活中。 我們可以按需訪問世界上所有的信息，但這需要付出一定的代價：世界可以隨時隨地鞭打著無法預測的痛苦信息。 當我們臨近消費類AR / VR產品時，我深為這種洪災擔憂。 我的噩夢是由沉浸式界面中張開的暴力通知群構成的，這在物理上淹沒了我們的POV和我們的理智。

暴風雨中的平靜 (The calm in the storm)

When people are overwhelmed — as with notifications or trauma — they find calm in rhythm, repetition, and synchrony. Predictable patterns make people feel safe, as though the waters of the world are calm. “Our sense of agency, how much we feel in control, is defined by our relationship with the body and its rhythms: Our waking and sleeping and how we eat, sit, and walk define the contours of our days,” Van Der Kolk says. Historically, we’ve used this to make sense of heavy flows of information — the newspaper that lands on a doorstep at the same time every day brings order and sense to the world’s events. In William H. McNeill’s Keeping Together In Time, he describes collective, rhythmic experiences as the key to instilling greater context in our lives.

當人們不知所措時(例如收到通知或遭受創傷時)，他們會在節奏，重復和同步方面保持冷靜。 可預測的模式使人們感到安全，好像世界上的水域平靜一樣。 范德·科克(Van Der Kolk)表示：“我們的代理意識，即我們對身體的控制程度，是由我們與身體及其節奏的關系決定的：我們的清醒和睡眠以及飲食，坐著和走路的方式決定了我們的生活。 。 從歷史上看，我們一直在用它來解釋大量的信息流-每天同時落在門口的報紙為世界大事帶來了秩序和意義。 在威廉·麥克尼爾(William H. McNeill)的《 與時俱進》中 ，他將集體的有節奏的經歷描述為在我們的生活中注入更多情境的關鍵。

In my “Virtual_ Healing” article, I mention being a survivor of chronic abuse and physical assault. After years of reconciling this trauma and investigating its effects on my day-to-day life, I noticed that my lifelong anxiety was a result of an unpredictable history. There are no reliable rhythms to life for an abused person; assault can come at any moment, without reason. I associated people I loved with explosive risks of betrayal, and therefore, couldn’t feel comfort in my life. My way around this mechanism was to foster rhythm and predictability — and therefore, agency — into my behaviors.

在我的“ Virtual_ Healing ”一文中，我提到自己是長期遭受虐待和人身攻擊的幸存者。 經過多年的調和，并研究了其對我的日常生活的影響，我注意到我終生的焦慮是不可預測的歷史的結果。 受虐待的人沒有可靠的生活節奏； 攻擊可以隨時發生，沒有任何理由。 我將自己所愛的人與背叛的爆炸性風險聯系在一起，因此，我的生活無法感到舒適。 我繞過這種機制的方法是在我的行為中培養節奏感和可預測性，從而提高代理能力。

Specifically, I built a system of control around my stress-drinking. For nearly seven years I have followed the same self-made program: I am never allowed more than seven drinks in a week, no more than three in a day, and no more than two in one sitting. This system was custom-built for my body to prevent me from becoming intoxicated. The strange side effect of it was that it generated a rhythm that brought calm to the former chaos of my stress-drinking. While I once threw endless intoxicants into a sea of overwhelming anxiety, I suddenly had to stop daily to consider whether I would drink, how much I would drink, and how I could mediate the week’s remaining drinks to accommodate.

具體來說，我圍繞壓力減輕建立了一個控制系統。 近七年來，我一直遵循著同樣的自制程序：一周內不允許我喝超過七杯酒，一天喝不超過三杯，一次坐不超過兩杯。 該系統是為我的身體量身定制的，以防止我陶醉。 奇怪的副作用是它產生了一種節奏，使我以前喝酒的混亂變得平靜。 當我曾經將無盡的麻醉劑扔進充滿壓倒性的焦慮之海時，我突然不得不每天停下來考慮我是否會喝酒， 怎么樣 我會喝多少，以及如何調解一周剩余的飲料以適應。

This rhythm allowed not only for pause and reflection but, most importantly (and unexpectedly), it prevented me from thinking about drinking for the rest of the day. Predictable patterns coupled with agency and play empower people to feel in control of the uncontrollable.

這種節奏不僅允許停頓和反思，而且最重要的是(出乎意料的是)它使我無法考慮余下的時間喝酒。 可預測的模式與代理和游戲相結合，使人們能夠控制無法控制的事物。

建立更好的信息傳遞系統 (Building better information delivery systems)

So now we understand how it all works. Stimulus overflow induces anxiety and feelings of helplessness that cannot subside because the input is constant. Introducing rhythm and pattern provides windows for stress to abate, building perceptual agency; and feelings of relief and control allow us to enjoy life in real-time. But how do we apply this understanding to the design of everyday things?

因此，現在我們了解了它是如何工作的。 刺激溢出會引起焦慮和無助感，因為輸入是恒定的，因此無法緩解。 節奏和模式的引入為緩解壓力提供了窗口，建立了知覺的作用； 放松和控制的感覺使我們能夠實時享受生活。 但是，我們如何將這種理解應用于日常用品的設計呢？

Psychiatric therapies for trauma and post-traumatic stress disorder (PTSD) aim to help patients resolve their sustained stress through mindfulness, predictability, repetition, rhythm, and control. Many calming therapies are based on pattern building: yoga, eye movement desensitization and reprocessing (EMDR), meditative breaths, musical therapy, and qigong have all proven successful at managing over-stimulus, according to Van Der Kolk. Familiar cadence keeps us in tune with our circadian rhythms, breath patterns, digestive cycles, and other parts of our biology.

創傷和創傷后應激障礙(PTSD)的精神病療法旨在通過正念，可預測性，重復性，節律和控制來幫助患者緩解持續的壓力。 Van Der Kolk認為，許多鎮靜療法都是基于模式建立的：瑜伽，眼球脫敏和再加工(EMDR)，冥想呼吸，音樂療法和氣功都可以成功地控制過度刺激。 熟悉的節奏使我們與晝夜節律，呼吸模式，消化周期和生物學的其他部分保持一致。

To apply the tenets of mindfulness, predictability, repetition, rhythm, and control to experience design, let’s look at proven psychiatric therapies for each and offer analogous (AR/VR-friendly) design solutions that you can employ.

為了將正念，可預測性，重復性，節奏性和控制性原則應用到體驗設計中，讓我們看一下每種方法的行之有效的精神病治療方法，并提供可以使用的類似(AR / VR友好型)設計解決方案。

正念 (Mindfulness)

The Oxford English Dictionary defines mindfulness as “a mental state achieved by focusing one’s awareness on the present moment, while calmly acknowledging and accepting one’s feelings, thoughts, and bodily sensations, used as a therapeutic technique.” Yoga, meditation, and Qigong have become common ways to treat anxiety and PTSD because they engage in momentary presence by allowing traumatized patients to safely experience their mental and bodily sensations. Neuroimaging studies of the brain done before and after regular yoga practice have proven that areas involving self-awareness are activated by yoga — areas often made frozen by trauma, according to Van Der Kolk.

《牛津英語詞典》將正念定義為“通過將意識集中在當下，而從容地承認和接受個人的感覺，思想和身體感受，從而將其作為一種治療手段來實現的精神狀態。” 瑜伽，冥想和氣功 已經成為治療焦慮癥和PTSD的常見方法，因為它們通過讓受過創傷的患者安全地體驗其心理和身體感覺而參與了短暫的臨場感。 Van Der Kolk認為，在常規瑜伽練習前后進行的大腦神經影像學研究證明，涉及自我意識的區域會被瑜伽激活，而這些區域經常因創傷而凍結。

Yoga allows for presence because of its meditative and cyclical nature. It introduces periods of time to engage with specific sensations, pleasant or otherwise. Ever noticed that good yoga teachers will help you anticipate the end of discomfort by telling you how many breaths a difficult pose will last? By understanding the cycles, we can submit fully to them, allowing time for momentary presence.

瑜伽具有冥想和周期性的特性，因此可以存在。 它引入了一段時間，以使您感到愉悅或其他感受。 有沒有注意到好的瑜伽老師會告訴您一個困難的姿勢會持續多少次呼吸，從而幫助您預計不適的結束？ 通過了解周期，我們可以完全服從周期，從而有時間暫時存在。

We can bring comparable mindfulness to our devices by limiting information flow to facilitate periods of focus. Not all notifications should flow through in real time. Designers should consider grouping, categorization, and timed-release when constructing information flow.

我們可以通過限制信息流以縮短關注時間，使我們的設備具有可比的正念。 并非所有通知都應實時流過。 設計人員在構造信息流時應考慮分組，分類和定時發布。

We’ve all seen these features — in our devices and apps — that allow for notification batching and customization. But, my favorite example of app-driven mindfulness is actually unintentional: When I’m in VR, I can’t receive my usual push notifications at all. If I want to engage with social applications or news updates, I have to open a browser in VR and explicitly choose to do so — or peer at my phone through my nose gap.

我們都已經在設備和應用程序中看到了這些功能，這些功能可用于通知批處理和自定義。 但是，我最喜歡的應用程序驅動的正念示例實際上是無意的：當我進入VR時，我根本無法收到通常的推送通知。 如果我想參與社交應用程序或新聞更新，則必須在VR中打開瀏覽器并明確選擇這樣做-或通過鼻Kong凝視手機。

可預測性 (Predictability)

Exposure to traumatic experiences can build skepticism in life’s structures of safety, predictability, or meaning. Reintroducing longer-term predictable patterns, cycles, and behaviors can help resolve trauma by reinforcing faith in these structures. Alcoholics Anonymous’s (AA) 12 Steps program has exhibited incredible success at helping people traumatized by alcohol addiction to reach long-term emotional healing and alcohol abstinence, according to The Bronfenbrenner Center for Translational Research. AA fosters commitment and trust by adding structure to experience. As psychologist Clifford N. Lazarus writes in Does Alcoholics Anonymous Work Because it’s a Form of Cognitive Behavioral Therapy?, “If we look closely at AA, we see that despite its spiritual underpinnings and focus on working the 12 Steps, it is a very behaviorally oriented process. […] One of the core recommendations [is] to change one’s routines, repertoires, and actions.”

遭受創傷性經歷可能會對生命的安全性，可預測性或意義結構產生懷疑。 重新引入長期可預測的模式，周期和行為可以通過增強對這些結構的信心來幫助解決創傷。 根據布朗芬布倫納轉化研究中心的說法，無酒精飲料匿名者(AA)的12個步驟計劃在幫助遭受酒精成癮困擾的人們取得長期的情緒康復和戒酒方面取得了令人難以置信的成功。 AA通過增加經驗結構來培養承諾和信任。 正如心理學家克利福德·N·拉撒路(Clifford N. Lazarus) 所著 ， 《酗酒者是否從事匿名工作，因為這是認知行為療法的一種形式？ ， “如果我們仔細觀察機管局，我們會發現，盡管機管局具有精神基礎，并專注于12個步驟，但這是一個非常注重行為的過程。 […]核心建議之一是[改變自己的套路，曲目和動作。“

To bring comparably predictable, trust-honing patterns into our interactive designs, we must strive to be transparent and informative when asking for attention from our users. Whether it’s a new-user onboarding experience or a social notification, the more we disclose about the time commitment or steps involved in an interaction, the more agency that person has — and the more able they are to opt out if that interaction doesn’t serve them.

為了將可預測的，相互信任的模式引入我們的交互設計中，在引起用戶關注時，我們必須努力做到透明且信息豐富。 無論是新用戶入職體驗還是社交通知，我們在互動中投入的時間投入或步驟越多，人員擁有的代理機構就越多-如果互動不參與，他們越有能力選擇退出為他們服務。

重復 (Repetition)

Our next tenet of trauma treatment, repetition, sheds light on another commonly used treatment for PTSD: EMDR — a psychotherapy treatment designed to “alleviate the distress associated with traumatic memories,” according to The EMDR Institute. During EMDR, a patient is asked to recall a painful thought while a therapist moves their hand back and forth across the patient’s field of view. When the patient follows the therapist’s repetitive hand, they activate a state comparable to rapid eye movement (REM) sleep. In this state, one can interface with painful thoughts on a safe and primal level, allowing deep associations to be made and troublesome experience loops to be closed. Unlike talk therapy’s reliance on clinical interpretation, EMDR insight is gained from boosted emotional processes.

我們創傷治療的下一個宗旨， EMDR研究所表示 ， 這種重復可以揭示PTSD的另一種常用治療方法：EMDR –一種旨在“減輕與創傷性記憶有關的痛苦”的心理治療方法。 在EMDR期間，當治療師在病人的視野中來回移動時，要求病人回憶起痛苦的想法。 當患者跟隨治療師的重復手部時，他們將激活一種類似于快速眼動(REM)睡眠的狀態。 在這種狀態下，人們可以在安全和原始的水平上與痛苦的思想交往，從而建立深厚的聯系，并關閉麻煩的體驗循環。 與談話療法依賴于臨床解釋不同，EMDR洞察力來自增強的情緒過程。

To translate this sort of pattern awareness into AR/VR experience design, data becomes our best friend. Piles of user behavior data are collected from the tiniest interactions. If we process this data and give users transparent access to their own behavior loops, allowing them awareness and, subsequently, agency over their own activity. Rather than hoarding this data to fortify addictive patterns, we can help users build an ideal experience by empowering them to see and understand their own interactions. Apple’s Screen Time touches on the beginning of what’s possible here: exposing personal patterns and allowing users to modify and limit phone use.

為了將這種模式意識轉化為AR / VR體驗設計，數據成為我們最好的朋友。 從最小的交互中收集了大量的用戶行為數據。 如果我們處理這些數據并 使用戶可以透明地訪問自己的行為循環，從而使他們意識到并隨后對自己的活動進行管理。 與其ho積這些數據來強化成癮模式，不如讓我們能夠使用戶看到并理解自己的互動，從而幫助用戶建立理想的體驗。 蘋果公司的“屏幕時間”觸及了這里可能發生的事情的開始：公開個人圖案并允許用戶修改和限制電話使用。

Apple’s Screen Time on iOS.蘋果在iOS上的屏幕時間。

韻律 (Rhythm)

According to a study by the U.S. Department of Veterans Affairs, rhythm is commonly manifested in PTSD treatment as musical therapy, an option known to address emotion dysregulation stemming from intrusive and triggering thoughts. Musical therapy can include listening to, thinking about, playing, and creating music. It stimulates the brain on a primal level, allowing a person to engage in a rhythmic, communal experience, according to Van Der Kolk. In “Music, Rhythm, and Trauma: A Critical Interpretive Synthesis of Research Literature,” researchers suggest that “rhythm-based activities are beneficial for people who have had adverse experiences because it bypasses higher cognitive functioning and allows connections to form via more primitive, undamaged regions of the brain.” As our content-consumption patterns have become more customized, algorithmic, and user-behavior driven, we’ve lost one of the most satisfying aspects of being human: collective experience. While the always-on aspects of our digital behaviors satisfy immediate needs, they rob us of the benefits of simultaneous, communal experiences — particularly their proven potential to subdue anxious, intrusive thoughts. This is especially important during times of social isolation. Communal experiences, whether they be Zoom raves or live broadcasts, remind us of our place in a broader community of support.

根據美國退伍軍人事務部的一項研究 ，節律通常在創傷后應激障礙治療中表現為音樂療法，這是解決因侵入性和觸發性思想而引起的情緒失調的一種選擇。 音樂療法可以包括聽，思考，播放和創作音樂。 根據Van Der Kolk的說法，它可以在原始水平上刺激大腦，從而使人能夠進行有節奏的公共體驗。 在“ 音樂，節奏和創傷：研究文獻的批判性解釋綜合 ”中，研究人員指出，“基于節奏的活動對經歷不良的人是有益的，因為它繞開了更高的認知功能，并允許通過更原始的方式建立聯系，未受損的大腦區域。” 隨著我們的內容消費模式變得更加個性化，算法化和用戶行為驅動，我們已經失去了人類最滿意的方面之一：集體經驗。 盡管我們數字行為的始終存在的方面滿足了緊急需求，但它們卻剝奪了我們同時進行的公共體驗的好處-尤其是它們被證明具有抑制焦慮，侵入式思想的潛力。 在社會隔離時期，這一點尤其重要。 無論是Zoom Rave還是現場直播，公共經驗都使我們想起了我們在更廣泛的支持社區中的地位。

Designers and platform creators should provide opportunities for communal, synchronous activity to our users. Scheduled collective experiences (like a news broadcast at a specific time), give people opportunities to feel experientially united with telepresent humans, while also allowing them to separate their digital engagement time (via preplanning) from their IRL presence time. Many platforms are exploring opportunities for synchronous experience (Instagram Live, Facebook Live, and Zoom parties come to mind here), but VR offers truly incredible possibilities for embodied, real-time digital presence — and the positive sensation of community that comes along with it. Venues is one of my favorite examples that we’ve created at Oculus: Telepresent users can stand right next to each other in VR to attend live concerts, sporting events, and conferences.

設計師和平臺的創造者應該給我們的用戶社區，同步活動提供了機會。 預定的集體經歷(例如在特定時間播放的新聞)使人們有機會與遠程代表進行體驗式的團結，同時還允許他們將數字參與時間(通過預先計劃)與IRL的存在時間區分開。 許多平臺都在探索同步體驗的機會(在這里可以想到Instagram Live，Facebook Live和Zoom派對)，但是VR提供了真正的令人難以置信的可能性，以實現實時的數字化展示-以及隨之而來的社區的積極感動。 Venues是我們在Oculus上創建的我最喜歡的示例之一：Telepresent用戶可以在VR中彼此并排站立以參加現場音樂會，體育賽事和會議。

控制 (Control)

In PTSD treatment, clinicians may use cognitive behavioral therapy (CBT) to realize and, ultimately, take control of their own actions. CBT, as described by Psychology Today, is a form of talk therapy that focuses on, “modifying dysfunctional emotions, behaviors, and thoughts by interrogating and uprooting negative or irrational beliefs,” with the goal of confronting and changing negative behavior loops. The intent is to reveal problematic patterns, by talking through circumstance and emotions in real time, allowing for correction of one’s missteps and biases in future experiences.

在PTSD治療中，臨床醫生可以使用認知行為療法(CBT)來實現并最終控制自己的行為。 正如《 今日心理學》所描述的那樣，CBT是一種談話療法，其重點是“通過質疑和根除負面或非理性的信念來改變功能失調的情緒，行為和思想，”目的是面對和改變負面行為循環。 目的是通過實時交流環境和情緒來揭示有問題的模式，以便糾正自己在未來經歷中的失誤和偏見。

Rec Room’s Personal Space and Ignore Bubble settings.記錄室的個人空間并忽略氣泡設置。

The designer’s answer to this means of building agency lies within the most oft-neglected zone: settings. If we provide granular settings that allow users to define their ideal experience, we allow them to cut out negative or triggering behaviors. One of my favorite examples of this is VR dialogs that allow people to define how close other users can get to them by setting the parameters of their personal safety bubble. You can learn more about this in “Designing Safe Spaces for Virtual Reality” and “Designing Safer Social VR” by Andrea Zeller and me.

設計師對這種建筑代理方式的回答位于最經常被忽視的區域：設置中。 要是我們 提供細化的設置，允許用戶定義理想的體驗，我們允許他們消除負面或觸發行為。 我最喜歡的示例之一是VR對話框，通過該對話框，人們可以通過設置個人安全氣泡的參數來定義其他用戶與他們之間的距離。 您可以在Andrea Zeller和我的“ 為虛擬現實設計安全的空間 ”和“ 設計更安全的社交VR ”中了解更多信息。

設計與“新常態” (Design and “the new normal”)

My ultimate goal is to inspire more UX designers to reconsider information anxiety through the profound lens of PTSD. As we use this “quarantime” to reprocess all the things that were accepted but harmful about our “old normal,” we should seize this chance to change the way we design as well. We have a responsibility — as the people who imagine our digital interfaces and interactions — to confront the patterns that built our old economy of information and push for newer, better paradigms.

我的最終目標是激發更多UX設計人員通過PTSD的深刻視角來重新考慮信息焦慮。 當我們使用這個“間隔時間”重新處理所有被接受但對我們的“舊常態”有害的事物時，我們應該抓住這次機會來改變我們的設計方式。 作為想象數字接口和交互作用的人們，我們有責任面對建立舊信息經濟的模式，并推動更新更好的范式。

It’s easy to excuse ourselves from building a better future when we’re not on the front lines, but every discipline can offer a mechanism for change.

當我們不在前線時，很容易為自己建立更好的未來辯解，但是每一個學科都可以提供變革的機制。

翻譯自: https://onezero.medium.com/peri-traumatic-information-disorder-in-the-time-of-covid-9f32ddae8d30

現代人的壓力和焦慮

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