Day: August 18, 2016

Articles

  • Arnau Gifreu Castells. Moments of convergence and innovation between documentary film and interactive media: Decade 1970-1980. MIT Open Documentary Lab.
  • Greenemeier, Larry. “Remembering the Day the World Wide Web Was Born.” Scientific American. N.p., 12 Mar. 2009. Web. 13 Sept. 2016.
  • Archival Science 2: 1–19, 2002.
    © 2002 Kluwer Academic Publishers. Printed in the Netherlands.

    JOAN M. SCHWARTZa and TERRY COOKb
    aNational Archives of Canada/Queen’s University, 87 Cameron Avenue, Ottawa ON K1S 0W8, Canada (E-mail: GeoPhoto@sympatico.ca); bUniversity of Manitoba/Clio Consulting, 2138 Hubbard Crescent, Ottawa ON K1J 6L2, Canada (E-mail: tcook3957@rogers.com)

    https://www.nyu.edu/classes/bkg/methods/schwartz.pdf

    http://www.emeraldinsight.com/doi/full/10.1108/10650750710831466

  • http://www.trans-techresearch.net/wp-content/uploads/2015/03/LRQ-1.01.pdf#page=42
  • http://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/

Books

  • Treske, Andreas. Video Theory : Online Video Aesthetics Or The Afterlife Of Video. n.p.: Bielefeld : Transcript Verlag, 2015., 2015.
  • Laurel, Brenda. Computers As Theatre. n.p.: Reading, Mass.: Addison-Wesley, 1993., 1993.
  • Murray, Janet Horowitz. Hamlet On The Holodeck : The Future Of Narrative In Cyberspace. n.p.: Cambridge, Mass. : MIT Press, 1998., 1998.
  • Miller, Carolyn Handler. Digital Storytelling : A Creator’s Guide To Interactive Entertainment. n.p.: Amsterdam : Focal Press, c2004., 2004.
  • Swink, Steve. Game Feel : A Game Designer’s Guide To Virtual Sensation. n.p.: Amsterdam ; Boston : Morgan Kaufmann Publishers/Elsevier, c2009., 2009.
  • Moggridge, Bill. Designing Interactions. n.p.: Cambridge, Mass. : MIT Press, c2007., 2007.
  • Nichols, Bill. Representing Reality : Issues And Concepts In Documentary. n.p.: Bloomington : India University Press , 1991., 1991.
  • Manovich, Lev. The Language Of New Media. n.p.: Cambridge, Mass. : MIT Press, 2001., 2001.

  • Cubitt, Sean, Daniel Palmer, and Nathaniel Tkacz. Digital Light. N.p.: n.p., n.d. Openhumanitiespress. 2015. Web.

  • Ernst, Wolfgang, and Jussi Parikka. Digital Memory And The Archive. n.p.: Minneapolis : University of Minnesota Press, c2013., 2013.
  • Parikka, Jussi. What Is Media Archaeology?. n.p.: Cambridge, UK ; Malden, MA : Polity Press, 2012., 2012. BILKENT UNIVERSITY’s Catalog. Web. 9 Nov. 2016.
  • Blom, Ina. Memory in Motion. Archives, Technology and the Social. Ed. Trund Lundemo and Eivind Rossaak. Amsterdam: Amsterdam UP, 2016. Print.
  • Saunders, Dave. Routledge Film Gıidebooks: Documentary. Routledge, 2010.
  • Simanowski, Roberto. Digital Art And Meaning : Reading Kinetic Poetry, Text Machines, Mapping Art, And Interactive Installations. n.p.: Minneapolis, MN : University of Minnesota Press, 2011., 2011. BILKENT UNIVERSITY’s Catalog. Web. 4 Jan. 2017.
  • Campanelli, Vito. Web Aesthetics: How Digital Meida Affect Culture and Society. Rotterdam, NAi Publishers, 2010.
  • L. Manovich, Software Takes Command (version: 20 November 2008), 175. Web: hettp://softwarestudies.com/softbook/manovich_softbook_II_20_2008.doc.
  • Lister, Martin. New Media : A Critical Introduction. n.p.: London ; New York : Routledge, 2007., 2007.

Concept of Game

“Play is a core human value; even a core mammalian value.” Bing Gordon.

Dutch philosopher and historian Huizinga explores the relationship between games, play, and culture and he  discusses the importance of the play element of culture and society. According to Huizinga  play is primary to and a necessary condition of the generation of culture and it exists in every culture.

Again according to Huizinga “The five most common experiences of game feel are:

1- The aesthetic sensation of control “with the right relationships between input and response, controlling something in a game can archive a kind of lyric beauty.”

2- The pleasure of learning, practising and mastering a skill

3- Extension of the senses

4- Extension of identity

5- Interaction with a unique physical reality within the game”

 

 

When player is given well defined task that makes player experience the game as a narrative game creates an impression in the player’s mind.

 

Types of Interactivity according to Miller

Six basic type of interactivity can be found in the all interactive entertainments according to Miller.

1- Stimulus – response exchange: The user inputs a stimulus and the program produces a response. This stimulus can be something as simple as clicking on an image and seeing a little animated sequence or hearing a funny sound Or the user might click on a button and receive a few paragraphs of text information.

2- Navigation:  The user can choose what to do in the extend of offering. this might be the vas 3D environment exploration or a menu offering for the several actions.

3- The user can control virtual objects. While it is widespread usage of interactivity it is not  fund in all projects.

4- The user can communicate with other characters, including bots and other human players. It’s common but not obligatory.

5- The user can send information.

– 6- The user can receive or acquire things.  The nature of the material can range from virtual to concrete, and the methods of acquiring it can range greatly as well.

Modes of Documentary

Bill Nichols, who is an American film critic and theoretician best known for his pioneering work as founder of the contemporary study of documentary film, describes four main modes of representation in his writing called Representing Reality (1991)  that  then upgrades to six in his later book named Introduction to Documentary (2001).

  • Expository mode: Expository mode is associated with a ‘factual’ documentation of reality. It can be argued that the expository mode arose from these inaccuracies that the poetic mode was susceptible in presenting, as well as the “distracting qualities” of fiction films. (Nichols, 1991) The mode’s goal is to educate people. Logical, chronological reality presentation came to the frontal place.
  • Observational mode
  • Participatory mode
  • Poetic mode: Poetic mode depicts a transformation of historical material into a more abstract, lyrical form. The poetic mode was introduced into documentaries in the 1920’s.Camera angles, slow motion editing, sound effects are designed to amplify the dramatic affect on spectator. After all, the poetic mode doesn’t give an accurate representation to the audience. Subjectivity of the documentarian is on the front place.   Leni Riefenstahl’s Olympia (1938) is a classic example of documentary with poetic mode. Chris Marker’s Sans Soleil (1982) is another well known example.
  • Reflexive mode
  • Performative mode

Modes of Interactive Documentary

Human-Computer Interaction

interaction

It is beyond doubt that computers stand by for human participation. Much like the window that helps to see the world. Who  wants to see the metaphorically other worlds  need to accept the looking thought the screen. (+Alice, +Matrix)

 

IAP43345.png

 

Human-computer interface comes to act as a new form through which all older forms of cultural production are being mediated. (Manovich)

 

When the telematics and virtual intelligence has met, the machine becomes a partner. The interactivity of materials has taken its place in our daily lives. In fact, human Computer interaction isn’t a field with 100 years of history. Yet, when the electronics started to take place of the mechanics our way of interaction with everything has changed.

“As computers begin to shape everyday life, we’re interested not only in what this technology can do for us, but also in what owning it means for us. When we buy something  for our home, a toaster for instance, we choose it because it toast bread, certainly, but maybe also because how it looks, feels, sounds.”(Moggridge, 2007)

Human computer interaction is constrained not only by the computing problem but also includes media of representation. Human computer activity requires multisensory representation.

Interaction Design

“Just as a person needs clothing, a computer needs a case to protect its insides and to allow us to enter and manipulate information in a convenient way (that is, a human-computer interface, typically a keyboard and a screen). Text needs to be displayed in ways suitable for us to be able to read it, be it on a screen, paper, or e- paper. Therefore, although the word “information” contains the world “form” inside it, in reality it is the other way around: in order to be useful to us, information always has to be wrapped up in some external form.” (Manovich, 2008)

 

Bill Verplank, who worked as a design consultant from 1986 to 1922 for bringing graphical user interfaces into the product design world, recapitulate interaction design by three questions about how you act, how you feel, and how you understand.

If we go though the some key concepts that delineate the interaction design, these are;

  • Functionality
  • Navigability
  • Consistency
  • Reassuring Feedback; by a well design system we are aware of what we have done when we have done it.

The field of human computer interaction is really an amalgam of other fields, including computer science, sociology, psychology, communication, human factors engineering, industrial engineering, rehabilitation engineering, and many others.” (Johanattan Lazar, Research Methods)

Research methods in HCI are always changing and improving. Interaction researches have a broad scope from desktop computers to laptops, potable devices, smart phones, tangible and wearable computing, audio, touch and tactile computing. They are about what people can do with computers, how they perceive the environment, how they communicated and what kind of tools are becoming out of their interaction and needs.

 

 


Favourite Films about HCI Movies:

  • The Matrix
  • Artificial Intelligence
  • Brazil
  • Her
  • Minority Report
  • The Hitchhiker’s Guide to the Galaxy