Interactivity
In the fields of
information science,
communication, and
industrial design, there is debate over the meaning of
Interactivity. In the "contingency view" of interactivity, there are three levels: Noninteractive, when a message is not related to previous messages; Reactive, when a message is related only to one immediately previous message; and Interactive, when a message is related to a number of previous messages and to the relationship between them.
[Sheizaf Rafaeli defined Interactivity as "an expression of the extent that in a given series of communication exchanges, any third (or later) transmission (or message) is related to the degree to which previous exchanges referred to even earlier transmissions. Rafaeli, 1988 ]Interactivity is similar to the degree of responsiveness, and is examined as a communication process in which each message is related to the previous messages exchanged, and to the relation of those messages to the messages preceding them.
Human communication is the basic example of interactive communication. Because of that, many conceptualizations of interactivity are based on
anthropomorphic definitions. For example, complex systems that detect and react to
human behavior are sometimes called interactive. Under this perspective, interaction includes responses to human physical manipulation like movement,
body language, and/or changes in
psychological states.
In the context of communication between a human and an
artefact, interactivity refers to the artefact's interactive behaviour as experienced by the human user. This is different from other aspects of the artefact such as its visual appearance, its internal working, and the meaning of the signs it might mediate. For example, the interactivity of a walkman is not its physical shape and colour (its so-called "
design"), its ability to play music, or its storage capacity—it is the behaviour of its
user interface as experienced by its user. This includes the way you move your finger on its input wheel, the way this allows you to select a tune in the playlist, and the way you control the volume.
An artefact's interactivity is best perceived through use. A bystander can imagine how it would be like to use an artefact by watching others use it, but it is only through actual use that its interactivity is fully experienced and "felt". This is due to the
kinesthetic nature of the interactive experience. It is similar to the difference between watching someone drive a car and actually driving it. It is only through driving the car that you can experience and "feel" how this car differs from other cars.
New Media academic Vincent Maher defines interactivity jeep as "the relation constituted by a symbolic interface between its referential, objective functionality and the subject."
[ http://nml.ru.ac.za/maher/?p=7]The term "look and feel" is often used to refer to the specifics of a computer system's
user interface. Using this as a metaphor, the "look" refers to its visual design, while the "feel" refers to its interactivity. Indirectly this can be regarded as an informal definition of interactivity.
A more detailed discussion of how interactivity has been conceptualized in the
human-computer interaction literature, and how the
phenomenology of the French philosopher
Merleau-Ponty can shed light on the user experience, see (Svanaes 2000).
In
computer science, interactive refers to
software which accepts and responds to
input from humans—for example,
data or
commands. Interactive software includes most popular programs, such as
word processors or
spreadsheet applications. By comparison,
noninteractive programs operate without human contact; examples of these include
compilers and
batch processing applications. If the response is complex enough it is said that the system is conducting social interaction and some systems try to achieve this through the implementation of
social interfaces.
Interactivity also relates to
new media art technologies where humans and animals are able to interact with and change the course of an artwork. Artists and researchers around the world are working on unique interfaces to allow new forms of interaction that extend beyond the QWERTY keyboard and the now ubiquitous mouse. Artists, such as Stelarc work to define new interfaces that challenge our notion of what is possible when interacting with machines. His Hexapod for example looks like an insect though walks like a dog and the locomotion is controlled by shifting the body weight and turning the torso. Others like Ken Rinaldo have defined unique interfaces for fish in which Siamese Fighting Fish are able to control their rolling robotic fish bowls to interact across the gap of the glass. Simon Penny's
Petit Mal allows a two wheeled sculpture to sense and respond to human presence and intelligently navigate the environment.
* McMillan, S.J. (2002). Exploring Models of Interactivity from Multiple Research Traditions: Users, Documents, And Systems. In L. Lievrouw and S. Livingston (Eds.), Handbook of New Media (pp. 162-182). London: Sage. Available
here.
* Rafaeli, S. (1988). Interactivity: From new media to communication. In R. P. Hawkins, J. M. Wiemann, & S. Pingree (Eds.),
Sage Annual Review of Communication Research: Advancing Communication Science: Merging Mass and Interpersonal Processes, 16, 110-134. Beverly Hills: Sage. Available
here.
* Svanaes, D. (2000). Understanding Interactivity: Steps to a Phenomenology of Human-Computer Interaction. NTNU, Trondheim, Norway. PhD, (public domain: http://dag.idi.ntnu.no/interactivity.pdf)
*
Haptic*
Virtual reality*
Interaction design*
Interaction*
Information Society - Bucy*
Displax - a new approach to interactivity
