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===Chris Crawford=== |
===Chris Crawford=== |
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According to [[Chris Crawford (game designer)]] a highly respected figure in both the interactive and [[Video game development]] field interaction is defined in his words as ''“a cyclic process in which two actors alternatively listen, think, and speak”''. |
According to [[Chris Crawford (game designer)]] a highly respected figure in both the interactive and [[Video game development]] field interaction is defined in his words as ''“a cyclic process in which two actors alternatively listen, think, and speak”''. Chris Crawford went on to say that there is ''“No Trade Off”'' that if one of the three steps is poorly designed the entire thing will collapse even if two of the steps have been designed beautifully.<ref>{{cite book|last=Crawford|first=Chris|title=Art of Interactive Design|year=2003|publisher=William Pollock|pages=387|url=http://books.google.com/books?id=lefh5rSLbVUC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false}}</ref> |
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'''Step one''' (Listening): The Interactive product (computer, game console, web site) will listen to the user by receiving input from the user. |
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'''Step two''' (Thinking): After listening the Interactive product will think and decide what actions to perform that would be appropriate to the input from the user. |
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'''Step three''' (Speaking): When the Interactive product is done thinking they will Speak to the user by showing feedback to confirm the users action has been performed. |
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After the computer has Spoken the user will then ''“Listen”'' to the computer's output and ''“Think”'' about the next action to perform. Once the action has been decided the user will ''“Speak”'' by inputting the desired action creating a cycle between the user and the actor. Chris Crawford went on to say that there is ''“No Trade Off”'' that if one of the three steps is poorly designed the entire thing will collapse even if two of the steps have been designed beautifully. This goes back to the analogy between interaction and conversations he stated where if one person is unable to either think, listen or speak it wouldn't matter how eloquently they spoke, how smart they were or how well they could listen if they lack one of these qualities the conversation would simply not work despite the fact that they are strong in certain steps in the process. <ref>{{cite book|last=Crawford|first=Chris|title=Art of Interactive Design|year=2003|publisher=William Pollock|pages=387|url=http://books.google.com/books?id=lefh5rSLbVUC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false}}</ref> |
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===Lisa Graham=== |
===Lisa Graham=== |
Revision as of 14:49, 30 October 2012
Interactive Design is defined as a user-oriented field of study that focuses on meaningful communication of media through cyclical and collaborative processes between people and technology. Successful interactive designs have simple, clearly defined goals, a strong purpose and intuitive interface.[citation needed]
Interactive Design Compared to Interaction Design
In some cases Interactive Design is equated to Interaction Design, however in the specialized study of Interactive Design there are defined differences. To assist in this distinction, Interaction Design can be thought of as:
- Making devices usable, useful, and fun, focusing on the efficiency and intuitive hardware[1]
- A fusion of product design, computer science, and communication design [1]
- A process of solving specific problems under a specific set of contextual circumstances[1]
- The creation of form for the behavior of products, services, environments, and systems[2]
- Making dialogue between technology and user invisible, i.e. reducing the limitations of communication through and with technology.[3]
- About connecting people through various products and services[4]
Whereas Interactive Design can be thought of as:
- Giving purpose to Interaction Design through meaningful experiences [5]
- Consisting of six main components including User control, Responsiveness, Real-Time Interactions, Connectedness, Personalization, and Playfulness [6]
- Focuses on the use and experience of the software [7]
- Retrieving and processing information through on-demand responsiveness [8]
- Acting upon information to transform it [9]
- The constant changing of information and media, regardless of changes in the device [10]
- Providing interactivity through a focus on the capabilities and constraints of human cognitive processing [11]
While both definitions indicate a strong focus on the user, the difference arises from the purposes of Interactive Design and Interaction Design. In essence Interactive Design involves the creation of meaningful uses of hardware and systems and that Interaction Design is the design of those hardware and systems. Interaction Design without Interactive Design provides only hardware or an interface. Interactive Design without Interaction Design cannot exist for there is no platform for it to be used by the user.
History
Fluxus
Interactive Design is heavily influenced by the Fluxus movement. Fluxus focuses on a “do-it-yourself” aesthetic, anti-commercialism and an anti-art sensibility. Fluxus is different from Dada in its richer set of aspirations. Fluxus is not a modern-art movement or an art style. It is an incompact international art organization which consists of many artists that come from different countries. Their art activities are various. For example taking a train without a ticket and keeping silent. There are 12 core issues that are the basic ideas of Fluxus.[12]
- 1. Globalism – It is central to Fluxus. It means we live on a single world which has no boundaries of nature or culture.
- 2. Unity of Art and Life – Fluxus is to remove the boundaries between art and life.
- 3. Intermedia – It is the appropriate vehicle for Fluxus. If there are no boundaries between art and life, the boundaries of art form will be disappeared. We can use different media to make a new project.
- 4. Experimentalism – It means that trying new things and assessing the results.
- 5. Chance – It is one main field of Fluxus experimentation. Actually, it is an optional or random chance.
- 6. Playfulness – It includes the play of ideas, free experimentation, free association, and the play of paradigm shifting.
- 7. Simplicity – It means that we can express our ideas in an easy way that is the most concentrated possible statement.
- 8. Implicativeness- It means an ideal Fluxus work implies many works.
- 9. Exemplativism – It is the quality of a work exemplifying the theory and meaning of its construction.
- 10. Specificity – It means the artwork should be specific, self-contained. It has distinctive features.
- 11. Presence in time – I think it maybe means an artwork works by the time.
- 12. Musicality – Some Fluxus works are designed as scores, and it can be realized by artists.
Computers and Interactive Design
The birth of the personal computer gave users the ability to become more interactive with what they were able to input into the machine. This was mostly due to the invention of the mouse. With an early prototype created in 1963 Douglas Engelbart, the mouse was conceptualized as a tool to make the computer more interactive. The mouse enabled the user to open programs, move files, create folders, and perform other actions that the user was unable to do previously.[13]
The Internet and Interactive Design
With the tendency of increasing use to the Internet, the advent of interactive media and computing, and eventually the emergence of digital interactive consumer products, the two cultures of design and engineering gravitated towards a common interest in flexible use and user experience. The most important characteristic of the Internet is its openness to the communication between people and people. In other words, everyone can readily communicate and interact what they want on the Internet. Recent century, the notion of interactive design started popularity with Internet environment.Stuart Moulthrop was shown interactive media by using hypertext, and made genre of hypertext fiction on the Internet. Stuart philosophies could be helpful to the hypertext improvements and media revolution with developing of Internet.This is a short history of Hypertext.In 1945, the first concept of Hypertext had originated by Vannevar Bush as he wrote in his article As We May Think. And a computer game called Adventure was invented as responding users’ needs via the first hypertextual narrative in the early 1960’s. And then Douglas Engelbart and Theodor Holm Nelson who made Xanadu collaborated to make a system called FRESS in 1970’s. There efforts brought immense political ramifications. By 1987, Computer Lib and Dream Machine were published by Microsoft Press. And Nelson joined Autodesk, which announced plans to support Xanadu as a commercial. The definition of Xanadu is a project that has declared an improvement over the World Wide Web, with mission statement that today's popular software simulates paper. The World Wide Web trivializes our original hypertext model with one-way ever-breaking links and no management of version or contents. In the late 1980s, Apple computer began giving away Hypercard. Hypercard is relatively cheap and simple to operate. In the early 1990s, the hypertext concept has finally received some attention from humanist academics. We can see the acceptance through Jay David Bolters ‘ Writing Space (1991)’, and George Landow’s Hypertext.[14][15]
Advertising and Interactive Design
Upon the transition from analogue to digital technology, we see a further transition from digital technology to interactive media in advertising agencies. This transition caused many of the agencies to reexamine their business and try to stay ahead of the curve. Although it is a challenging transition, the creative potential of interactive design lies in the fact that it combines almost all forms of media and information delivery: text, images, film, video and sound, and that in turn negates many boundaries for advertising agencies, making it a creative haven.
Hence, with this constant motion forward, agencies such as R/GA have established a routine to keep up. Founded in 1977 by Richard and Robert Greenberg, the company has reconstructed its business model every nine years. Starting from computer-assisted animation camera, it is now an “Agency for the Digital World”. Robert Greenberg explains: “the process of changing models is painful because you have to be ready to move on from the things that you’re good at”. This is one example of how to adapt to such a fast paced industry, and one major conference that stays on top of things is the How Interactive Design Conference, which helps designers make the leap towards the digital age[16].[17][18][19]
Influential Characters in Interactive Design
There are many leading names in the field of Interactive Design. However, two specific successful characters in Interactive Design are Lisa Graham and Chris Crawford. Graham and Crawford both have written industry respected books and are leaders in the field today. Graham explains the brains and layout of how good Interactive Design is achieved, whereas Crawford is the theory behind what Interactive Design actually is.
Chris Crawford
According to Chris Crawford (game designer) a highly respected figure in both the interactive and Video game development field interaction is defined in his words as “a cyclic process in which two actors alternatively listen, think, and speak”. Chris Crawford went on to say that there is “No Trade Off” that if one of the three steps is poorly designed the entire thing will collapse even if two of the steps have been designed beautifully.[20]
Lisa Graham
Lisa Graham is an award-winning visual communicator, author and current associate professor at the University of Texas at Arlington. Her expertise’s are in Graphic Design and Interactivity and she has written many successful and well-respected books. One of her books, Principles of Interactivity, has gained much recognition from the design world. Graham explains in her writing that Interactive Design is a meaningful arrangement of graphics, text, videos, photos, illustrations, sound, animation and 3D imagery. She begins to explain interactivity by giving the reader an example of a simplified version of Interactivity. Her example of simple interactivity is something like an all-text web page with a few links to other webpages navigating to other pages with similar and more in depth information. Her idea of a more complex interactive project is something like a document all or any forms of digital media. In her writing, the Interactive Design Process begins with Problem Definition and follows steps like fact finding, idea finding and project visualization. Graham breaks down successful interactive Design into establishing content, planning, flowcharts, storyboards, creating sample layouts, determining navigation, prototyping, usability testing and mastering. To Graham, understanding the goals of an interactive project is critical to the creation of a good interactive document. Graham has a very different view and idea of Interactive Design from that of Chris Crawford, who believes good Interactive Design, is based on three main ideas: Listening, Thinking and Speaking. Graham has a great understanding of the process for creating Interactive Design whereas Crawford gives us a straight forward understanding of the theory and definition of Interactive Design. [21]
References
- ^ a b c Saffer, Dan (2010). Designing for Interaction. Berkley, California: New Riders. p. 223. ISBN 978-0-321-64339-1. Retrieved 29 October 2012.
- ^ Carnegie Mellon - Interaction Design Program
- ^ Kolko, Jon (2011). Thought on Interaction Design. Burlington, Massachusetts: Morgan Kaufmann. p. 128. ISBN 978-0-12-380930-8. Retrieved 29 October 2012.
- ^ University of Washington - Interaction Design Course Description
- ^ Savannah College of Art and Design - Interactive Design and Game Development Program Description
- ^ Interactivity and Revisits to Websites: A Theoretical Framework
- ^ Interaction Design Institue
- ^ Cognitive Design Solutions - Interactivity Defined
- ^ University of Alberta
- ^ Graham, Palanque, T.C. Nicholas, Philippe (2008). Interactive Systems: Design, Specification, and Verification. Berlin, Germany: Springer-Verlag Berlin Heidelberg. p. 309. ISBN 978-3540705680. Retrieved 29 October 2012.
{{cite book}}
: CS1 maint: multiple names: authors list (link) - ^ Curran, Steve (2003). Convergence Design. Gloucester, MA: Rockport Publishers Inc. p. 160. ISBN 1-56496-904-5. Retrieved 29 October 2012.
- ^ Art and Science of Interaction and Interface Design
- ^ http://www.nasa.gov/vision/earth/technologies/taylor_more.html
- ^ Wardrip-Fruin, ed. by Noah (2003). The new media reader. Cambridge, Mass. [u.a.]: MIT Press. ISBN 9780262232272.
{{cite book}}
:|first=
has generic name (help); Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ Parker, Lauren (2004). Interplay : interactive design. London: V & A Pub. ISBN 1851774335.
- ^ McCaren, Bridgid. "Welcome". Retrieved 28 October 2012.
- ^ O’Brian, Timothy (12 February 2006). "Madison Avenue's 30-Second Spot Remover". New York Times. Retrieved 28 October 2012.
- ^ Pedersen, Martin (1991). Graphis Interactive Design I. New York: Graphis Inc. ISBN 1-888001-63-1.
- ^ Greenberg, Robert. "R/GA Homepage". Retrieved 28 October 2012.
- ^ Crawford, Chris (2003). Art of Interactive Design. William Pollock. p. 387.
- ^ Graham, Lisa (1998). Principles of Interactive Design. Delmar Cengage Learning; 1 edition. p. 240. ISBN 0827385579.
- ^ Graham, Lisa. "The Profile System". University of Texas at Arlington.