INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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Of course, the convergence of television and the Web, each with its established set of design guidelines, brings with it a host of new and complex design issues. As Janet Murray writes, “Format and genre conventions are a changing, open-ended system,” and within such systems it will always be problematic to identify guidelines for action: The convergence of multiple forms of representation in the single digital medium means the collision of formats and genres. A web page with a box of digital video pasted into it is both page and screen, displayed upon a larger screen. The page is one kind of format, the screen another. The movie screen is different in aspect ratio from the television screen, and both are different from the computer. The page of a magazine is different from the page of a book or a newspaper… Each of these sets of conventions has their own paradigms, and when all of them are brought together we have an increase of potentially expressive elements but a conflict of conventions (forthcoming). The activity of accessing the Web from a television set is a very different type of interaction from access via a computer. On the other hand, the experience of watching and interacting with video content on a computer monitor is also very different from that of viewing on a television set. A comparison between MSN TV and Microsoft Media Center is an effective way to highlight some of these design challenges. 4.5 CASE STUDY: MSN TV VS. MICROSOFT MEDIA CENTER Microsoft has experimented with both sides of the TV / Web convergence. A number of lessons about incorporating television and Web functionalities into one platform can be gleaned from studying the different ways in which MSN TV and the Media Center PC are successful and the ways in which they are not. 4.5.1 MSN TV Microsoft bought WebTV in 1997 for $425 million and re-branded it MSN TV (http://www.webtv.com/pc). MSN TV’s developer site (http://developer.msntv.com/) includes standards on using HTML, CSS, Javascript, iTV, color, Flash, and streaming 101
media, among others. Figure 4.9 provides examples of iTV applications on the Web TV and MSN TV 2 platforms. (a) (c) (d) (e) Figure 4.9 Examples of Web TV and MSN TV2 (a), (b), (c), (d), (e), and (f) 102 (f) (b)
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INTERACTION DESIGN PRINCIPLES FOR I
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ACKNOWLEDGMENTS This thesis would n
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2.3.3 Constraints 2.4 Electronic /
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4.2 Designing for Television 4.2.1
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Table 1.1 Table 1.2 Table 1.3 Table
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Figure 2.6 Figure 2.7 Figure 2.8 Fi
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Figure 5.4 Figure 5.5 Figure 5.6 Fi
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Figure 5.36 Figure 5.37 Figure 5.38
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SUMMARY Interactive television (iTV
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However, it is clear that televisio
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looking closely at existing designs
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For viewers with analog television
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Figure 1.3 Percent of Households wi
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interact with television shows by u
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New Media usage is dominated by 18
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Figure 1.6 Winky Dink and You The o
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1.4.1 BBC Interactive Figure 1.7 In
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1.4.2 Additional Examples Many othe
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Table 1.6 (continued). Greece Local
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Table 1.6 (continued). New Zealand
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using a combination of visual cultu
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CHAPTER 2 BROAD CATEGORIES OF ITV P
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Table 2.1 Categorization of iTV by
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capable of storing an enormous amou
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(c) Figure 2.2 Examples of Comcast
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(c) (d) Figure 2.3 Examples of Gems
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users to send email, chat, and surf
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2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
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interactive or enhanced content on
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they allow for greater versatility,
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Networks have also used wireless de
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The American Film Institute’s enh
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game consoles with televisions and
Page 67 and 68: Interactivity must be tied to origi
Page 69 and 70: CHAPTER 3 BROAD CATEGORIES OF ITV P
Page 71 and 72: information about the topic at hand
Page 73 and 74: said they would do so again in the
Page 75 and 76: 3.2.1 Representative Example in Spo
Page 77 and 78: (a) (b) Figure 3.3 Test the Nation
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Page 81 and 82: application was also available on t
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Page 87 and 88: 3.7 SHOPPING Shopping, or purchasin
Page 89 and 90: - and as close to the regular exper
Page 91 and 92: CNN Crossfire, broadcast in front o
Page 93 and 94: Dramas may need to operate under a
Page 95 and 96: The participatory aspect of many pr
Page 97 and 98: 4.1.1 Grid-Based Design Grid-based
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Page 103 and 104: Figure 4.3 TV Aspect Ratios Althoug
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Page 107 and 108: 4.2.4 Line Width The image on a tel
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Page 115 and 116: Source: Human Factors International
Page 117: working on a computer is not a soli
Page 121 and 122: MSN TV 2, which Microsoft rolled ou
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Page 125 and 126: Table 4.2 outlines some of the diff
Page 127 and 128: should be designed with the televis
Page 129 and 130: Pages that appear in series, one af
Page 131 and 132: CHAPTER 5 PRINCIPLES OF INTERACTION
Page 133 and 134: through… The computer’s spatial
Page 135 and 136: medium. The current state of this e
Page 137 and 138: through the different elements offe
Page 139 and 140: y the wider context of the program
Page 141 and 142: History IQ focused on keeping the i
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Page 151 and 152: (a) (b) Figure 5.10 TiVo WishList (
Page 153 and 154: e voted off the island. In both cas
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Page 159 and 160: In the first of a series of on-air
Page 161 and 162: Jakob Nielsen notes that users are
Page 163 and 164: (a) (b) Figure 5.22 TV411 Interface
Page 165 and 166: Figure 5.25 Life 360 Competing Elem
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epresentative of the red button tha
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Lamont brings up compelling advanta
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lower right-hand areas are privileg
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5.4 NAVIGATION Navigation pertains
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Figure 5.35 New Americans Orientati
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Figure 5.37 Test the Nation User In
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applications based on the televisio
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esearchers, “In many ways, the pa
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In Robert Miller’s classic user r
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ecycling bin from Windows, that sta
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importance (see chapter three). In
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Figure 5.46 Examples of Mobile Inte
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CHAPTER 6 CONCLUSIONS AND FUTURE DI
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Figure 6.2 Convergence of Entertain
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(a) Figure 6.3 Examples of MTV Hija
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television producers to create show
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user-centered design, incorporates
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Sheri Lamont, who has practiced and
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ecognition of outstanding achieveme
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REFERENCES Adams, M., Anand, P. & F
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Halle, T. (2003). Standards for int
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Norman, D. (2004) Emotional design:
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Thurrott, P. (2004, October 12). Wi
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BROADBAND A network capable of deli
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MEDIA CENTER Media centers, or PC T
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which a television and a personal c
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