INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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centralized server that could generate real-time images of the gaming world. Each week, the game environment and the content of the television program would change dynamically to reflect events that occurred in each respective world (AFI, 2004). Although the prototype was not deployed, the conception of this convergent gaming / viewing model was possible precisely because the Science Channel was willing to discuss how interactivity could be integrated into a new show in order to achieve a completely new programming concept. We will undoubtedly see more experimental cases such as Dinosaur Highway in the future as networks and producers become more willing to produce programs tailored for interactivity. Ideally, in the future, interactive television experiences will be written into programs at their conception. In fact, Gronmark predicts that by 2007 there will be programs that “exist because of interactivity. There will still be linear forms equivalents that can be enjoyed without interactivity, but full enjoyment of the programs will require access to interactive functionality” (quoted in Gawlinski, 2003). Movement into this model of interactivity can encourage innovation and is more likely to maximize the affordances of the medium. Of course, meaningful interaction must be tailored to the particular genre and content of the program in order to deepen the viewing experience for users. Finally, in thinking about how best to integrate the interaction model, keep in mind that the best time is not necessarily during the show itself. During her keynote address at the 2004 AFI eTV Workshop, Emma Somerville advised iTV producers to consider the “golden ten-minute window” immediately after a program airs, when the content is still fresh in the viewer’s mind. According to Somerville, this time frame is similar to how viewers utilize DVDs (e.g, users are more likely to use the interactive 127
features of a DVD immediately after watching it than at any other time). For example, FOX’s American Idol, which millions of people interact with each week, allows viewers to vote for up to one hour after the end of the program. Principle: Give users increased control over their viewing experiences A key human-computer interaction principle is to give users increased control in any system. As we have seen from examples in chapters two and three, viewers greatly enjoy and are beginning to demand increased control over their viewing experiences. DVRs, in particular, allow viewers to watch television at their own convenience instead of waiting for their favorite programs to air according to the network’s schedule. Similarly, EPGs allow viewers to actively search for desired programs by a favorite genre, actor, or director, for example, instead of the traditional passive model of watching and waiting for scrolling programming guides that don’t allow any user control. TiVo is an iTV platform that is exemplary in giving users this sense of control over the system. As we discussed in chapter two, TiVo allows viewer to search for, record, and watch television programs at their leisure. Options such as the season pass allow viewers to record multiple episodes of a program automatically (Figure 5.5 (a)). TiVo also allows viewers to time-shift media, with the ability to pause, rewind, and fast forward through live television (see Figure 5.5 (b)). These powerful single-actions, effective over many instances, leverage the procedural programmability of the processor. In addition to taking advantage of time-shifting capabilities, one of the key functional affordances of the digital medium, TiVo takes advantage of the encyclopedic by storing hundreds of hours of video programming for viewers to watch at their leisure. 128
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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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the ABC telecast throughout the eve
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platforms. The navigation is timeli
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3.7 SHOPPING Shopping, or purchasin
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- and as close to the regular exper
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CNN Crossfire, broadcast in front o
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Page 95 and 96: The participatory aspect of many pr
Page 97 and 98: 4.1.1 Grid-Based Design Grid-based
Page 99 and 100: The Law of Similarity. Elements tha
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Page 103 and 104: Figure 4.3 TV Aspect Ratios Althoug
Page 105 and 106: and graphics-safe areas for designi
Page 107 and 108: 4.2.4 Line Width The image on a tel
Page 109 and 110: shapes, to make similar letters dis
Page 111 and 112: specification. OCAP is intended to
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
Page 121 and 122: MSN TV 2, which Microsoft rolled ou
Page 123 and 124: with a handheld remote control from
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 149 and 150: viewing experiences so that each vi
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
Page 167 and 168: (a) (b) (c) (d) Figure 5.28 Example
Page 169 and 170: epresentative of the red button tha
Page 171 and 172: Lamont brings up compelling advanta
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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
Page 181 and 182: applications based on the televisio
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Page 185 and 186: In Robert Miller’s classic user r
Page 187 and 188: ecycling bin from Windows, that sta
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Page 191 and 192: Figure 5.46 Examples of Mobile Inte
Page 193 and 194: 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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