Abstract
The article highlights a new alternative to traditional keyboards - a positive keyboard. The positive keyboard sharply reduces the complexity of the keyboard, namely the number of keys from 30 to 9 by increasing the length of a codeword from 1 to 2. This is made possible by graphical support, which is laid out in the geometry of the 9-key layout. One or two of these keys generate a signal, and the rest, as it turns out, can be quite close in their shape to the entered characters. That's why this keyboard is positive: all of its 9 keys are useful at any time, unlike traditional keyboards, which have a performance of 1/30 (approximately 3%). Therefore, a positive keyboard does not require marking, which is also a source of errors. Thanks to this, a positive keyboard frees up the creative abilities of a person.
Highlights
A positive keyboard dramatically reduces the complexity of Othnee koerybtwoaordo.fNtahmeseely,ktehyes nguemnbeerratoef akesyisginsadle, carneadsethdefrroemst3, 0astoit9tbuyrninscoreuats,incganthbeeleqnugittheocflothsee ciondethweoirrd stihfOcmrhaoneapme,reauo1ctnrottleoittrkwhs2eeo.etTnreotahnefidtrseetihtirdiseeo.sdmAnealacllkdhneekaiyenrpsyaeobcfskootseeriaybmrrsslde.osaTbf, yhtswhiatghehtni’epscaohglw,srhihataaipynvvhedteihckitaaeshlyepkbseeuorrypeafbsprotodo,rarmaitrtradtehntuiaucsrtsenepissofoufesolmi1uat/itbt3v,eae0dmn:d(yaaaeyltdpbilmpeionrefoq,tixhuutiseinmtel9giakestkeoeiemmltyyriesalt3adra%ryirtieo)ion.fnuTtasshhelheefakurnepleiyenfaboeottroakeaer,ntdyhaysse,. pwoshiotisveeekffiecyibeonacyrdisd1o/e3s0 n(aopt prreoqxuimiraetemlyar3k%in)g. ,Twhehitcyphinisg aslpseoedaosnouarpcoesoitfiveerrkoerysb.oTarhdaniskasbtooutthtihse, asapmoesiatsivoen keaytbraodairtdiofnraelekseuypbotahred.cHreoawtievveera,bailpitoiseistivoef kaepybeorsaordn.saves the user from unnecessary stress
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Ãðà “2oðîãë3ô” 2oðîãë3ô o ìàòåìàòè÷íî òî÷íîþ ä3àãðàìîþ ä3é êîðèñòóâà÷à ïðè íàáîð3 êîíêðåòíîãî ñëîâà íà Ïîç
Summary
[6] Òîáòî ìàðêóâàííÿ êëàâ3ø “ÉÖÓÊÅÍ” ÷è “QWERTY” ìîæíà ïîð3âíÿòè ç õâîðîáîþ. Âåëèê3 ìîæëèâîñò3 ðàö3îíàëüíî¿ ïîáóäîâè êëàâ3àòóðè Çì3ñò 1) Âàäè òðàäèö3éíèõ àëôàâ3òíèõ êëàâ3àòóð 2) Ïîçèòèâíà àëôàâ3òíà êëàâ3àòóðà 3) Ïàðàëåëüíà àëôàâ3òíà êëàâ3àòóðà 4) Äîäàòêè Ïåðåë3ê ñêîðî÷åíü Òðàä. Çàâåëèêà ê3ëüê3ñòü îá’oêò3â êåðóâàííÿ (êëàâ3ø), ÿêà äóæå ïåðåâèùóo îáñÿã îïåðàòèâíî¿ ïàì’ÿò3 ëþäèíè Äëÿ îð3oíòàö3¿ â âåëèê3é ê3ëüêîñò3 êëàâ3ø Òðàä.
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