INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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Our efforts over the last seven years to discover the digital, interactive future of television have extended to some previously unexpected places. As digital media became more prevalent and efficient, we found ourselves developing “TV” properties on cell phones, for game consoles and broadband, and anywhere else the bits and bites would take us. It no longer seems important that we confine ourselves to the traditional definition of television, but rather that we look instead to a future of entertaining and informing viewers wherever and whenever they want it. Hence our name change to the AFI Digital Content Lab (AFI DCL, 2005). Unlike the eTV workshop, which was an annual production process beginning in July and ending in December, the AFI DCL will be in production year-round. In addition, the AFI DCL is more ambitious in its hopes to guide productions from prototype to deployment. It is worthwhile to keep in mind that in the long run, “interaction is governed by our biology, psychology, society and culture… As each new technology matures, customers are no longer happy with the flashy promises of the technology but instead demand understandable and workable designs… Technology may change rapidly, but people change slowly” (Norman, 2002). As these mediums merge technically, it will be some time before the appropriate language and form of iTV develops fully. The former tagline of the AFI’s eTV Workshop read: “Someday we’ll just call it television.” Today, however, perhaps even the emerging vision of interactive television is giving way to a more dramatic transformation of entertainment media as a whole. If this is true, iTV will play a key role in the midst of this transformation. We are witnesses to the advent of a new medium, comparable to the inventions of the book, the photograph, and the moving image. The interaction design community needs to better understand the opportunities afforded by each medium in this equation, and thereby create successful bridges between them in order to give shape to an entirely new expressive medium. 189
REFERENCES Adams, M., Anand, P. & Fox, S. (2001). Interactive television: Coming soon to a television near you. Retrieved March 30, 2005, from http://www.ranjaygulati.com/new/research/INTERACT.pdf American Film Institute. (2004). 2004 participants prototype overview. Retrieved March 1, 2005, from http://www.afi.com/education/etv/2004.aspx American Film Institute. (2003). 2003 participants prototype overview. Retrieved February 12, 2005, from http://www.afi.com/education/etv/2003.aspx Baker, I. (1999). Safe areas for widescreen transmission. Retrieved March 17, 2005, from http://www.ebu.ch/trev_280-baker.pdf Bartlett, M. (2001, August 31). Consumers think interactive TV is too much work. Newsbytes. Retrieved January 25, 2005, from http://www.iproduction.com/ipro-news/news/pubsys/142-1.html Beros, M. (2004). Video-on-demand: A false dawn? Master’s thesis. RMIT University, Melbourne, Australia. Bolter, J. & Grusin, R. (1999). Remediation: Understanding new media. Cambridge, MA: MIT Press. Bretan, I. & Kroon, P. (1996). Concurrent engineering for an interactive TV interface. Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems, April 13-18, (pp. 117-118). New York, NY: ACM Press. British Broadcasting Corporation. (2002). BBCi interactive television style guide, version 2.1. Retrieved January 10, 2005, from www.bbc.co.uk/commissioning/bbci/pdf/styleguide2_1.pdf Bruckman, A. (1995). Cyberspace is not disneyland: The role of the artist in a networked world. The Getty Art History Information Program. Retrieved February 12, 2005, from http://www.cc.gatech.edu/~asb/papers/getty/disneyland.html Buehler, T. (2003). Making computer graphics NTSC compliant. Retrieved March 25, 2005, from http://theory.lcs.mit.edu/~edemaine/SoCG2003_multimedia/graphics.html Carr, D. & Gross, M. J. (2004, October 16). She’s a killer, and her life is in your hands. The New York Times. Retrieved October 19, 2005, from http://www.nytimes.com/2004/10/16/arts/television/16nbc.html?ex=1099220123 &ei=1&en=1b86e1db53b2ee5b 190
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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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viewing experiences so that each vi
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(a) (b) Figure 5.10 TiVo WishList (
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e voted off the island. In both cas
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Page 175 and 176: 5.4 NAVIGATION Navigation pertains
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Page 191 and 192: Figure 5.46 Examples of Mobile Inte
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Page 197 and 198: (a) Figure 6.3 Examples of MTV Hija
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Page 203 and 204: Sheri Lamont, who has practiced and
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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
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Page 217 and 218: MEDIA CENTER Media centers, or PC T
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