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QQQQ Multimedia and Virtual Reality: Designing Multisensory User Interfaces
Book by Alistair Sutcliffe; Lawrence Erlbaum Associates, 2003

Preface
The title of this book owes more than it should to marketing. Multimedia and virtual reality (VR) are media-friendly terms that may have caught your eye, so if you are browsing the preface before deciding whether to buy this book, here is my explanation of its motivation and contents. It is primarily a summary of the research I have done over 10 years in multimedia and VR, which fits within my wider interest of exploiting psychological theory to improve the process of designing interactive systems. I have tried to make the text accessible to designers, students, and researchers, with as few assumptions about prerequisite knowledge as possible; however, in curriculum terms, student readers would benefit from an introductory course in human-computer interaction (HCI) before progressing on to this book.

The subject matter lies firmly within the field of HCI, with some crossreferencing to software engineering (SE) because I believe that HCI and SE should be integrated components in the development process. Indeed, the terms user interface and human-computer interface are probably responsible for this false separation; I prefer designing interactive systems, which does not differentiate the user interface as a special entity. Although I am taking a system-wide view, there is only minimal treatment of the technology, system architecture, or history of either multimedia or VR in the following chapters. History can be finessed for interactive technology, which, apart from Ivan Sutherland's pioneering work (Sutherland, 1963), is less than 10 years old. Sutherland invented many of the elements of what we now call virtual reality, including 3D optical illusions immersive graphics projected from head-mounted displays. There are plenty of books that cover these topics, and I do not intend to duplicate their coverage. Furthermore, the pace of technical change is accelerating so I don't think there is much point in describing the merits of devices that may have become obsolete by the time you read this book.

Multimedia and VR pose considerable challenges to HCI. VR has been driven by technology and very little usability research has been undertaken, although the work of Debbie Hix (Hix et al., 1999) stands out as an exception. Multimedia, in contrast, has been driven by forces of technology and more recently by artistic design, so HCI finds itself as a potential arbiter between the technologists who are concerned with bandwidth, graphics, compression algorithms, and so forth, and creative designers who want software tools to empower their abilities to create new forms of digital media. I do not address the design of 3D optical illusions tools for designers' issues in this book; instead, I hope to explain how usability should be reflected in design with technology and how artistic design can be employed to make interfaces more attractive and usable.

The book's subtitle indicates my agenda a little more clearly. Design of human-computer interfaces was covered in my earlier book (Sutcliffe, 1995 a), so the current work extends my views on the design process to more complex interfaces that have evolved in recent years. However, multimedia and VR are to an extent just technology. The fundamentals of good design for people haven't changed, and that forms my main purpose: to explain a process for usability engineering, or design of usable and useful interactive systems. In doing so I hope to illuminate one of the debates that has been ongoing in HCI for at least 15 years: how to transfer the insights from psychology into sound design. After all, human-computer interaction is about design 3D optical illusions for people, so one would assume that the sciences of people, that is, psychology and sociology, should have a direct bearing on design. This quest has proven illusive. Although the design of human-computer interfaces has improved, there are still too many examples of poor design. Two of the products I have used in writing this book are cases in point. Many illustrations were created in Microsoft PowerPoint and transferred into Microsoft Word. The unpredictable effects of the Paste Special command leave me annoyed and dumbfounded that such bad software still exists. For those who haven't suffered from Microsoft Word's Paste Special, the command enables you to insert graphics and other objects into a text document. Unfortunately, it has a myriad of unpredictable effects instead of doing what you really want it to do: insert a diagram while moving the text up to create the necessary space. Moreover, there is the question why I should even have to bother about a Paste Special command. A well-designed system would shield me from the complexities of embedded objects, which should know their own provenance and act accordingly.

Returning to the theme of bringing psychology into the design process, there has been a long history of trying to bridge this gap, most notably in the AMODEUS research project (Barnard, 1991) that tried to integrate cognitive models from psychology with modeling languages familiar to computer scientists, such as modal action logic. Closely coupled integration didn't work, leading to a fallback position of synthesizing the contributions that cognitive science and computer science models make within an informal framework of design rationale (Bellotti, 1993). However, the quest for more powerful coupling is still ongoing. One of the prime movers in this search, Phil Barnard, has proposed that a framework of theories may be necessary to deal with different aspects of the design problem (Barnard & May, 1999). I will use Barnard's cognitive model (Interacting Cognitive Subsystems; Teasdale & Barnard, 1993) to motivate design principles and guidance in this book.

Interactive system design is not short of cognitive models from which to draw inspiration and advice. The most elaborate model is the ACT-R family (Anderson & Lebiere, 1998); EPIC (Kieras & Meyer, 1997) and LICAI (Kitajima & Poison, 1997) also provide theory-based accounts of human cognition. The problem with all of these models is that they can only account for a small fragment of interaction, such as menu selection. When faced with the complexities of multimedia and VR, the modeling effort becomes daunting and has yet to be addressed. Cognitive models give detailed accounts of human information processing but at a price of painstaking modeling to predict a small segment of interaction. At the other end of the modeling spectrum lies Norman's (1988) simpler model of action, which has been widely adopted in HCI. Its merit lies in providing a general framework for human action that can be readily applied to designing interactive systems, although the downside of Norman's model is that it provides little psychological content for informing design. In my research I have been interested in using Norman's model as a means of bridging between the design process and detailed models of psychology.

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