INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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useful for iTV designers and producers to fully leverage these attributes when creating new interactive experiences for the viewer. Multiple streams of audio / video – Viewers are able to choose and shift between multiple camera views or audio commentaries. For example, this is frequently utilized by the BBC for major sporting or concert events. Time shifting – Viewers can watch and record video and audio streams, pause live television, record to play back later, and skip through commercials. Navigation within a program – Viewers can jump back and forth to pre- determined spots within a program. Multiple access paths – Information can be accessed in more than one way. Two-way networking – Viewers are able to interface with and send information back to the networks. For example, poll results can be instantaneously tallied and displayed on screen. Networking also allows members of the viewing community itself to be in touch with one another. Nonlinearity – Broadcasts are no longer limited to delivery in a linear manner, as with analog television. Customizability – Viewers have more control than ever over their viewing experience. The affordances outlined here serve as a general framework for thinking about the potentials of the digital medium and how they might be utilized to promote successful iTV programming. 5.1.4 New Conventions Emerge It is clear that new conventions will need to be established for interaction design for interactive television to fully take advantage of the functional affordances of the new 117
medium. The current state of this emergent medium reflects the period of experimentation that each new medium of expressive communication must go through: In 1455, Gutenberg invented the printing press – but not the book as we know it. Books printed before 1501 are called incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that these books are the work of a technology still in its infancy. It took fifty years of experimentation and more to establish such conventions as legible typefaces and proof sheet corrections; page number and paragraphing; and title pages, prefaces, and chapter divisions, which together made the published book a coherent means of communication (Murray, 1997). Similarly, interactive television is still a medium in its infancy. It will take a period of experimentation before we develop conventions familiar to us all. These new conventions will develop to encode the affordances of the digital medium and will make the ways in which we interact with our television programming more meaningful, engaging, and compelling. 5.1.5 Interaction Design for ITV Today, the study of interaction design is emerging from the foundations of human-computer interaction (HCI) and industrial design – with a dedicated focus on user-centered design. Murray specifies that the design process “must simultaneously take into account how the human being is acting, how the computer is acting, and how the actions of one are made readable to the other” (forthcoming). In other words, the actions of the viewer and the machine are closely linked; designers must take into account that components relevant to the interaction process such as content, navigation, and the user’s understanding of his/her actions cannot exist independently of one another. Designing effective interactive television experiences is a challenge for interaction designers. In order to effectively approach the design challenges, I use a combination of visual culture and usability methodologies. The visual culture aspect addresses the experience of watching television as a cultural one, and is primarily 118
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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
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Interactivity must be tied to origi
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CHAPTER 3 BROAD CATEGORIES OF ITV P
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information about the topic at hand
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said they would do so again in the
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3.2.1 Representative Example in Spo
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(a) (b) Figure 3.3 Test the Nation
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interactive TV betting service tota
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application was also available on t
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Page 87 and 88: 3.7 SHOPPING Shopping, or purchasin
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Page 91 and 92: CNN Crossfire, broadcast in front o
Page 93 and 94: Dramas may need to operate under a
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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 113 and 114: pages. Web applications that exceed
Page 115 and 116: Source: Human Factors International
Page 117 and 118: working on a computer is not a soli
Page 119 and 120: media, among others. Figure 4.9 pro
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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
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Page 131 and 132: CHAPTER 5 PRINCIPLES OF INTERACTION
Page 133: through… The computer’s spatial
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Page 141 and 142: History IQ focused on keeping the i
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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
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Page 163 and 164: (a) (b) Figure 5.22 TV411 Interface
Page 165 and 166: Figure 5.25 Life 360 Competing Elem
Page 167 and 168: (a) (b) (c) (d) Figure 5.28 Example
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Page 175 and 176: 5.4 NAVIGATION Navigation pertains
Page 177 and 178: Figure 5.35 New Americans Orientati
Page 179 and 180: Figure 5.37 Test the Nation User In
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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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