| |
| |
| |
| What is interactive multimedia? | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| Multimedia | |
| |
| |
| Modalities | |
| |
| |
| Channels | |
| |
| |
| Medium | |
| |
| |
| So what is multimedia? | |
| |
| |
| |
| Interaction | |
| |
| |
| Action and interaction | |
| |
| |
| Physical interaction | |
| |
| |
| Communicative interaction | |
| |
| |
| Summary | |
| |
| |
| |
| A brief history of computers and multimedia | |
| |
| |
| Tape control devices | |
| |
| |
| Branching systems | |
| |
| |
| Computer presented media | |
| |
| |
| |
| A brief history of computers & interaction | |
| |
| |
| External memory | |
| |
| |
| External algorithms | |
| |
| |
| The first computer | |
| |
| |
| |
| So - what is imm? | |
| |
| |
| |
| Communicative interaction | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| Objects and agents | |
| |
| |
| |
| Channels of communication | |
| |
| |
| |
| Formal languages | |
| |
| |
| |
| ''''Natural'''' communication | |
| |
| |
| |
| Languages of non-interaction | |
| |
| |
| |
| Meta-languages? | |
| |
| |
| |
| Components of imm | |
| |
| |
| |
| Knowledge | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| Why does knowledge matter? | |
| |
| |
| |
| The basic idea of knowledge | |
| |
| |
| |
| Information, knowledge and belief | |
| |
| |
| |
| Organisation of knowledge | |
| |
| |
| |
| A working definition | |
| |
| |
| |
| Techniques of knowledge representation | |
| |
| |
| |
| Declarative knowledge | |
| |
| |
| |
| Procedural knowledge | |
| |
| |
| |
| When do procedures become declarative? | |
| |
| |
| |
| Techniques of knowledge elicitation | |
| |
| |
| |
| Understanding users | |
| |
| |
| Why are users important? | |
| |
| |
| Things you might know about a user | |
| |
| |
| |
| Task models | |
| |
| |
| |
| What is a user? | |
| |
| |
| |
| Organising user knowledge | |
| |
| |
| Background and foreground knowledge | |
| |
| |
| Cognitive, conative and affective components | |
| |
| |
| Cognitive | |
| |
| |
| Conative | |
| |
| |
| Affective | |
| |
| |
| |
| How to apply user knowledge | |
| |
| |
| |
| What can be adjusted? | |
| |
| |
| |
| User centred design | |
| |
| |
| |
| Adapted (customised) Systems | |
| |
| |
| |
| Adaptive systems | |
| |
| |
| |
| How to acquire user knowledge | |
| |
| |
| Research - background - demographics | |
| |
| |
| Pretesting | |
| |
| |
| Asking | |
| |
| |
| Testing during interaction | |
| |
| |
| Inference | |
| |
| |
| |
| Techniques: user profiling | |
| |
| |
| |
| Techniques: user modelling | |
| |
| |
| |
| Subset modelling | |
| |
| |
| |
| Perturbation modelling | |
| |
| |
| |
| Extending the user models | |
| |
| |
| |
| Summary and conclusions | |
| |
| |
| |
| Interaction and HCI | |
| |
| |
| |
| What is interaction in practice? | |
| |
| |
| |
| The idea of ''''interface'''' | |
| |
| |
| |
| Iconography | |
| |
| |
| |
| Devices (i/o) | |
| |
| |
| |
| Ergonomics | |
| |
| |
| |
| HCI | |
| |
| |
| |
| Formal models of the interface | |
| |
| |
| |
| Prove before build | |
| |
| |
| |
| Mental models of the interface | |
| |
| |
| |
| accessibility and usability | |
| |
| |
| |
| Communicative interaction and the interface | |
| |
| |
| |
| If and dialogue | |
| |
| |
| |
| If and channels | |
| |
| |
| |
| If and multimedia | |
| |
| |
| |
| Guidelines and rules | |
| |
| |
| |
| Low-level stuff | |
| |
| |
| |
| Dialogue model interfaces | |
| |
| |
| |
| Natural language interfaces | |
| |
| |
| |
| Semiotics | |
| |
| |
| |
| Multimedia content | |
| |
| |
| |
| What is semiotics? | |
| |
| |
| |
| The idea of sign | |
| |
| |
| Terminology | |
| |
| |
| Signifier, signified and referent | |
| |
| |
| Symbolic, iconic and indexical | |
| |
| |
| Language, utterance and code | |
| |
| |
| Construction of signs | |
| |
| |
| Context and culture | |
| |
| |
| |
| More complex signs | |
| |
| |
| |
| Introducing myth | |
| |
| |
| |
| Semiotics and media | |
| |
| |
| |
| Text as a medium | |
| |
| |
| |
| Images on a page | |
| |
| |
| When does an image become a letter? | |
| |
| |
| When does a letter become a word? | |
| |
| |
| Pictograms, fonts and font families | |
| |
| |
| The alphabet as a visual concept | |
| |
| |
| |
| A (short) History of writing and painting | |
| |
| |
| |
| The sound of text | |
| |
| |
| Structure | |
| |
| |
| Intonation | |
| |
| |
| Emphasis | |
| |
| |
| |
| The concept of readability | |
| |
| |
| Psychology of reading | |
| |
| |
| Standard measures | |
| |
| |
| |
| Layout and readability | |
| |
| |
| |
| Document styles | |
| |
| |
| Narrative | |
| |
| |
| Prose | |
| |
| |
| Manuals | |
| |
| |
| References | |
| |
| |
| Tutorials | |
| |
| |
| |
| Metalanguages | |
| |
| |
| Metalanguage and style | |
| |
| |
| Power of metalanguage | |
| |
| |
| |
| Text and the screen | |
| |
| |
| |
| Sound | |
| |
| |
| |
| The spoken word | |
| |
| |
| Verite recording | |
| |
| |
| Talking live and for tape | |
| |
| |
| A history of recording media | |
| |
| |
| Aspects of speaking | |
| |
| |
| |
| Scripting for speaking | |
| |
| |
| |
| Editing | |
| |
| |
| |
| Sound effects | |
| |
| |
| |
| Non-natural | |
| |
| |
| |
| Natural (etc.) | |
| |
| |
| |
| Music | |
| |
| |
| |
| One note | |
| |
| |
| |
| Scale | |
| |
| |
| |
| What is rhythm? | |
| |
| |
| |
| Musical genre and interpretation | |
| |
| |
| |
| Sound in a digital age | |
| |
| |
| |
| Still pictures | |
| |
| |
| |
| Cartoons | |
| |
| |
| |
| Abstraction and minimalism | |
| |
| |
| |
| Political cartoons | |
| |
| |
| |
| Painting | |
| |
| |
| |
| Visual grammars | |
| |
| |
| |
| Still photographs | |
| |
| |
| |
| History of the camera (pre-film) | |
| |
| |
| |
| Film and reality | |
| |
| |
| |
| Communicating with image | |
| |
| |
| |
| Authenticity and image | |
| |
| |
| |
| Beyond the human eye | |
| |
| |
| |
| Sequences of still images | |
| |
| |
| |
| Magic lantern | |
| |
| |
| |
| Temporal and spatial context | |
| |
| |
| |
| Cartoon strips | |
| |
| |
| |
| Slide projection | |
| |
| |
| |
| Moving images | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| Animation | |
| |
| |
| |
| "live" action | |
| |
| |
| |
| Origins - fixed point ''''documentary'''' | |
| |
| |
| |
| Links to theatre? | |
| |
| |
| |
| Film as reality or toy? Does ''''art'''' matter? | |
| |
| |
| |
| A language of reality? | |
| |
| |
| |
| The studio | |
| |
| |
| |
| The shot | |
| |
| |
| |
| Closer to reality? | |
| |
| |
| |
| Scripts and drama | |
| |
| |
| |
| Filming emotion | |
| |
| |
| |
| The idea of ''''ultimate'''' cinema | |
| |
| |
| |
| Film is not video | |
| |
| |
| |
| Imitating film language with video | |
| |
| |
| |
| Technical differences and their effects | |
| |
| |
| |
| Live editing | |
| |
| |
| |
| Language of errors | |
| |
| |
| |
| Technology effects | |
| |
| |
| |
| The digital world | |
| |
| |
| |
| Complex visual channels | |
| |
| |
| |
| Created ''''real'''' images | |
| |
| |
| |
| Virtual reality, immersion and control | |
| |
| |
| |
| Stakeholders and teamworking | |
| |
| |
| |
| Importance of teamwork | |
| |
| |
| |
| Players and roles | |
| |
| |
| |
| Communication problems and processes | |
| |
| |
| |
| Documentation for the team | |
| |
| |
| |
| Product design processes | |
| |
| |
| |
| Standard design processes | |
| |
| |
| |
| Issues for multimedia | |
| |
| |
| |
| Categories of multimedia systems | |
| |
| |
| |
| Flow-based | |
| |
| |
| |
| Hyper-based | |
| |
| |
| |
| Object based | |
| |
| |
| |
| Agent based | |
| |
| |
| |
| An integrated design process for interactive multimedia | |
| |
| |
| |
| Evaluation and testing | |
| |
| |
| |
| Product documentation | |
| |
| |
| |
| Project design and management | |
| |
| |
| |
| Project design | |
| |
| |
| |
| Special issues for multimedia | |
| |
| |
| |
| Project management | |
| |
| |
| |
| Documentation | |
| |
| |
| |
| Deployment of systems | |
| |
| |
| |
| Future trends | |
| |
| |
| |
| Conceptual changes | |
| |
| |
| |
| Cultural evolution | |
| |
| |
| |
| Technological models | |
| |
| |
| |
| Hot topics for the immediate future | |