INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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already seen the power of peer-to-peer networks with file sharing on the Internet. Now, with music sharing, wireless gaming, and mobile telephony, our media devices will expand what we can share and play with our peers. Set-top boxes that are connected to the network will allow users to forward content to one another the way the Internet affords. Other user-generated content might evolve to the point where groups have their own backyard TV channels. Adams, Anand & Fox predict that iTV will evolve into what they call the network model of iTV: “Intelligence and content will be distributed to the network, iTV will become increasingly mobile, and multiple technologies and media will converge on one device or be built into many different single devices. No longer will iTV be device-centric, as it is today, but it will become network-centric and will become an increasingly inseparable part of our lives” (2001). More interestingly, we may be beginning to see that the movement toward Event TV is coinciding with the passing of our need for channels. For example, viewers are increasingly recording and watching programs on DVRs, which allow viewers to select what they want to watch by program, actor, or director, among other parameters. This model of on demand viewing eliminates a viewer’s dependency on channels and network scheduling. 6.4 THE IMPORTANCE OF USER-CENTERED <strong>DESIGN</strong> In this document I proposed interaction design principles for interactive television from the visual culture and usability perspectives. However, a critical component that has been missing so far in the design process has been the importance of user-centered, or viewer-centered, design. The field of usability represents a design approach that puts the user, rather than the system, at the center of the design process: “This philosophy, called 183
user-centered design, incorporates user concerns and advocacy from the beginning of the design process and dictates that the needs of the user should be foremost in any design decisions” (Lamont, 2003b). As it is well known in the human-computer interaction field, the core of philosophy behind interaction design is to “put the user first, keep the user in the center and remember the user at the end” (Dix, Finlay, Abowd, & Beale, 2004). In the realm of interactive television, understanding the users, or the viewing audience, will enable interaction designers to identify reasons why people watch certain television programs. This knowledge, in turn, will help designers to produce the most compelling and interesting interactive content for that particular program and its audience. Unfortunately, during the design of iTV applications, the user-centered approach is rarely practiced. Figure 6.5 outlines the ideal interaction design process as outlined by Dix, Finlay, Abowd, & Beale (2004). Figure 6.5 Interaction Design Process Table 6.1 outlines some established examples of usability research tools and techniques from the field of human-computer interaction that can be effectively applied to testing the effectiveness of iTV prototypes (Gawlinski, 2003). 184
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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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Dramas may need to operate under a
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The participatory aspect of many pr
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4.1.1 Grid-Based Design Grid-based
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The Law of Similarity. Elements tha
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more visually pleasing, but can hel
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Figure 4.3 TV Aspect Ratios Althoug
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and graphics-safe areas for designi
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4.2.4 Line Width The image on a tel
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shapes, to make similar letters dis
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specification. OCAP is intended to
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pages. Web applications that exceed
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Source: Human Factors International
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working on a computer is not a soli
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media, among others. Figure 4.9 pro
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MSN TV 2, which Microsoft rolled ou
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with a handheld remote control from
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Table 4.2 outlines some of the diff
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should be designed with the televis
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Pages that appear in series, one af
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CHAPTER 5 PRINCIPLES OF INTERACTION
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through… The computer’s spatial
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medium. The current state of this e
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through the different elements offe
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y the wider context of the program
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History IQ focused on keeping the i
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een programs that were still in dev
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features of a DVD immediately after
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context where the learner is consci
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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 157 and 158: own content in ways similar to this
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
Page 183 and 184: esearchers, “In many ways, the pa
Page 185 and 186: In Robert Miller’s classic user r
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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
Page 195 and 196: Figure 6.2 Convergence of Entertain
Page 197 and 198: (a) Figure 6.3 Examples of MTV Hija
Page 199: television producers to create show
Page 203 and 204: Sheri Lamont, who has practiced and
Page 205 and 206: ecognition of outstanding achieveme
Page 207 and 208: REFERENCES Adams, M., Anand, P. & F
Page 209 and 210: Halle, T. (2003). Standards for int
Page 211 and 212: Norman, D. (2004) Emotional design:
Page 213 and 214: Thurrott, P. (2004, October 12). Wi
Page 215 and 216: BROADBAND A network capable of deli
Page 217 and 218: MEDIA CENTER Media centers, or PC T
Page 219: which a television and a personal c
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