INTERACTION DESIGN PRINCIPLES FOR INTERACTIVE ...

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commerce, among whom 27% are willing to pay a monthly fee for the service (Adams, Anand & Fox, 2001). 3.7.1 Representative Example in Shopping: HSN iTV Network: Home Shopping Network Platform: one-screen, Cable / Satellite Figure 3.11 HSN iTV The HSN iTV application, schedule to deploy in the second half of 2005, will allow viewers to use their remote controls to make purchases. As illustrated by Figure 3.11, viewers will be able to purchase the item currently being showcased on HSN’s broadcast, as well as the two items that were showcased immediately before it. In addition, viewers will also be able to purchase HSN’s “Today’s Special” item each day, throughout the day. According to Sean Bunner, HSN’s director of distribution research and ITV project manager, HSN’s chief aim was to ensure that the interactive experience would be as user-friendly as possible: “The thing I'd really stress up front is that we really, really want to keep the front-end simple… While we’ve brainstormed and whiteboarded all sorts of cool things we plan to do in the long run with this application, ITV is still new in the US, so we want our customers to have as simple a user experience 71
– and as close to the regular experience of ordering from our channel – as possible” (quoted in Swedlow, 2005a). 3.8 TALK SHOWS Talk shows, as a genre, have not been widely developed for iTV programming, although there seems to be great potential in this arena. Talk shows in general enjoy a loyal following, and audience participation – particularly in shows that are debate oriented – can be a key entrant into successful interactive programming. Successful iTV programming for talk shows can foster a sense of community among its viewers by allowing them to send questions, comments, and polling data into the TV broadcast. Viewers can also chat with other viewers, purchase featured products, or receive additional information relating to the subject at hand. The Interactive Channel, a new 24/7 cross-media iTV cable channel in Hong Kong, features a talk show called “iTalk.” According to its creator, Robert Chua, iTV- enabled talk shows are “appropriate for any country, because what it does is simply ensure that a talk show is topical and driven by the interests of the audience, whatever those might be” (quoted in Swedlow, 2005b). As illustrated by Figure 3.12, iTalk allows viewers to text in their questions, chat in the chat-room section of the screen, or call in with their videophone or 3G cellular phone and have their picture displayed on the television screen as they interact with the show’s host and guests. Internet users can also text in messages to the chat room and appear on TV using their Webcams. Real-time voting allows the audience and the hosts to know instantly where the votes are going for the discussion subject (Swedlow, 2005b). 72
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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
Page 37 and 38: Table 1.6 (continued). Greece Local
Page 39 and 40: Table 1.6 (continued). New Zealand
Page 41 and 42: using a combination of visual cultu
Page 43 and 44: CHAPTER 2 BROAD CATEGORIES OF ITV P
Page 45 and 46: Table 2.1 Categorization of iTV by
Page 47 and 48: capable of storing an enormous amou
Page 49 and 50: (c) Figure 2.2 Examples of Comcast
Page 51 and 52: (c) (d) Figure 2.3 Examples of Gems
Page 53 and 54: users to send email, chat, and surf
Page 55 and 56: 2.6 WEB-BASED SYNCHRONOUS (TWO-SCRE
Page 57 and 58: interactive or enhanced content on
Page 59 and 60: they allow for greater versatility,
Page 61 and 62: Networks have also used wireless de
Page 63 and 64: The American Film Institute’s enh
Page 65 and 66: 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
Page 79 and 80: interactive TV betting service tota
Page 81 and 82: application was also available on t
Page 83 and 84: the ABC telecast throughout the eve
Page 85 and 86: platforms. The navigation is timeli
Page 87: 3.7 SHOPPING Shopping, or purchasin
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
Page 99 and 100: The Law of Similarity. Elements tha
Page 101 and 102: more visually pleasing, but can hel
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
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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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them so conducive to iTV programmin
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own content in ways similar to this
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In the first of a series of on-air
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Jakob Nielsen notes that users are
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(a) (b) Figure 5.22 TV411 Interface
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Figure 5.25 Life 360 Competing Elem
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(a) (b) (c) (d) Figure 5.28 Example
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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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