关于@的来源

@一个时髦的表情,示意符号
随着网络在中国的迅速发展,@已经不仅仅是个邮件的符号,很多网友在进行聊天,沟通当中,他往往被当成一种表情符号,代表了开心,高兴,也代表了一种心情,一种区别于一般笑的符号的新符号!同时也代表一种表情,大部分认为是大眼睛的标志,所以有时候会打上2个@的符号,以表示自己当时的一种心情和心境.由于该符号的特殊外表,大家还把这个符号的涵义进行了一定了引申,以表达人内心很复杂的一种心理状态和情绪.

@网络时代的代名词
伴随着国际互连网的迅速发展,@已经不仅仅是一个符号,而是一个网络时代的代表符号,比如很多公司,机构称E时代,有些人也称为@时代,@符号的应用已经越来越广泛,也有很多机构和个人把@做为自己的LOGO等等.相信迟早有一天@会完全走进百姓的日常生活空间.
@的现身  
接下来,汤姆林森要完成的工作是如何确保这个邮件抵达正确的电脑。他需要一个标识,以此把个人的名字同他所用的主机分开。@——汤姆林森一眼就选中了这个特殊的字符,这个在人名之中绝对不会出现的符号。“它必须简短,因为简洁是最重要的。它出现了,@是键盘上唯一的前置标识。我只不过看了看它,它就在那里,我甚至没有尝试其他字符。”这样一来,既可以简洁明了地传递某人在某地的信息,又避免了电脑处理大量信息时产生混淆,第一数字地址传递tomlinson@bbntenxa就应运而生了。
于是,就有了我们现在使用的电子信箱的表示形式:人名,代码+@+电脑主机或公司代码+电脑主机所属机构的性质代码+两个字母表示的国家代码。这使得电子邮件得以通过网络准确无误地传送,而且赋予符号@一个现在的全新的含义。

汤姆林森认为,尽管@使他成为传奇人物,但这并没有什么了不起。“给我带来最大快乐的是,我找到了复杂系统中难题的解决办法。问题越是难,我越是喜欢。” 
 @又成了at的替身
在中世纪的欧洲,由于印刷机尚未发明,如果要出版一本书,就需要当时仅有的掌握知识的阶级——僧侣们用手辛苦地刻出来。虽然at这个单词写起来很短,但使用频率却很高。

为了能够减轻手写带来的疲劳,僧侣们想到了作为葡萄酒计量单位的@,于是就用这个符号,后来随着印刷设备的发展,人们不再用@来代替at了,其主要功能变为表示商品的单价,此时的@有了each一词的含义。例如,“Sell@sixdollars”意即以6美元的价格出售。这时,@这个符号的使用频率大大降低了。
MoMA’s Department of Architecture and Design has acquired the @ symbol into its collection. It is a momentous, elating acquisition that makes us all proud. But what does it mean, both in conceptual and in practical terms?
Contemporary art, architecture, and design can take on unexpected manifestations, from digital codes to Internet addresses and sets of instructions that can be transmitted only by the artist. The process by which such unconventional works are selected and acquired for our collection can take surprising turns as well, as can the mode in which they’re eventually appreciated by our audiences. While installations have for decades provided museums with interesting challenges involving acquisition, storage, reproducibility, authorship, maintenance, manufacture, context—even questions about the essence of a work of art in itself—MoMA curators have recently ventured further; a good example is the recent acquisition by the Department of Media and Performance Art of Tino Sehgal’s performance Kiss.
The acquisition of @ takes one more step. It relies on the assumption that physical possession of an object as a requirement for an acquisition is no longer necessary, and therefore it sets curators free to tag the world and acknowledge things that “cannot be had”—because they are too big (buildings, Boeing 747’s, satellites), or because they are in the air and belong to everybody and to no one, like the @—as art objects befitting MoMA’s collection. The same criteria of quality, relevance, and overall excellence shared by all objects in MoMA’s collection also apply to these entities.   
In order to understand why we have chosen to acquire the @ symbol, and how it will exist in our collection, it is necessary to understand where @ comes from, and why it’s become so ubiquitous in our world.
A Little History @  
 
The @ symbol used in a 1536 letter from an Italian merchant
Some linguists believe that @ dates back to the sixth or seventh century, a ligature meant to fuse the Latin preposition ad—meaning “at”, “to,” or “toward”—into a unique pen stroke. The symbol persisted in sixteenth-century Venetian trade, where it was used to mean amphora, a standard-size terracotta vessel employed by merchants, which had become a unit of measure. Interestingly, the current Spanish word for @, arroba, also indicates a unit of measure. #  
   
Arroba sign in document from the 1400s denoting a wheat shipment from CastileThe @ symbol was known as the ‘”commercial ‘a’” when it appeared on the keyboard of the American Underwood typewriter in 1885, and it was defined as such, for the first time, in the American Dictionary of Printing & Bookmaking in 1894. From this point on the symbol itself was standardized both stylistically and in its application, and it appeared in the original 1963 ASCII (American Standard Code for Information Interchange) list of computer codes. At the time @ was explained as an abbreviation for the word “at” or for the phrase “at the rate of,” mainly used in accounting and commercial invoices.
Ray Tomlinson’s @
In 1967, American electrical engineer Ray Tomlinson joined the technology company of Bolt Beranek and Newman (BBN), where he created the world’s first e-mail system a few years later, in 1971, using a Model KSR 33 Teletype device. BBN had a contract from the Advanced Research Projects Agency of the U.S. Department of Defense to help in the development of ARPAnet, an early network from which the Internet later emerged. Working with Douglas Engelbart on the whole program, Tomlinson was in particular responsible for the development of the sub-program that can send messages between computers on this network. It was the first system able to send mail between users on different hosts connected to the ARPAnet, while previously mail could be sent only to hosts that used the same computer.
In January 1971, @ was an underused jargon symbol lingering on the keyboard and marred by a very limited register. By October, Tomlinson had rediscovered and appropriated it, imbuing it with new meaning and elevating it to defining symbol of the computer age. He chose the @ for his first e-mail because of its strong locative sense—an individual, identified by a username, is @ this institution/computer/server, and also because…it was already there, on the keyboard, and nobody ever used it.

Is @ Design?
The appropriation and reuse of a pre-existing, even ancient symbol—a symbol already available on the keyboard yet vastly underutilized, a ligature meant to resolve a functional issue (excessively long and convoluted programming language) brought on by a revolutionary technological innovation (the Internet)—is by all means an act of design of extraordinary elegance and economy. Without any need to redesign keyboards or discard old ones, Tomlinson gave the @ symbol a completely new function that is nonetheless in keeping with its origins, with its penchant for building relationships between entities and establishing links based on objective and measurable rules—a characteristic echoed by the function @ now embodies in computer programming language. Tomlinson then sent an email about the @ sign and how it should be used in the future. He therefore consciously, and from the very start, established new rules and a new meaning for this symbol.
Why @ Is in the Collection of The Museum of Modern Art
Tomlinson performed a powerful act of design that not only forever changed the @ sign’s significance and function, but which also has become an important part of our identity in relationship and communication with others. His (unintended) role as a designer must be acknowledged and celebrated by the one collection—MoMA’s—that has always celebrated elegance, economy, intellectual transparency, and a sense of the possible future directions that are embedded in the arts of our time, the essence of modern.
What Have We Acquired?
Tino Sehgal’s Kiss presents interesting affinities with @ in that it is mutable and open to interpretation (the different typefaces one can use) yet still remains the same in its essence: it does not declare itself a work of design, but rather reveals its design power through use; it is immaterial and synthetic, and therefore does not add unnecessary “weight” to the world.
A big difference between the two pieces is the price, which brings to an extreme the evanescent difference between art and design. Being in the public realm, @ is free. It might be the only truly free—albeit not the only priceless—object in our collection.
We have acquired the design act in itself and as we will feature it in different typefaces, we will note each time the specific typeface as if we were indicating the materials that a physical object is made of. m(QGP\Y a  
A Few More Details About @
The @ symbol is now part of the very fabric of life all over the world. Nowhere is this more vividly demonstrated than in the affectionate names @ has been given by different cultures. Germans, Poles, and South Africans call @ “monkey’s tail” in each different language. Chinese see a little mouse, and Italians and the French, a snail. For the Russians @ symbolizes a dog, while the Finnish know @ as the miukumauku, meaning the “sign of the meow,” and believe that the symbol is inspired by a curled-up sleeping cat. The @ symbol has become so significant that people feel they need to make sense of it; hence it has inspired its own folkloric tradition.

The @ sign is such an extraordinary mediating symbol that recently in the Spanish language it has begun to express gender neutrality; for example, in the typical expression Hola l@s viej@s amig@s y l@s nuev@s amig@s! (Hello old friends and new friends!) Its potential for such succinct negotiations (whether between man and machine, or between traditional gender classifications and the current spectrum) and its range of application continue to expand. It has truly become a way of expressing society’s changing technological and social relationships, expressing new forms of behavior and interaction in a new world.