Designing Interactive Hypermedia Systems

Everardo Reyes-Garcia, Associate Professors at Université Paris 8, France.Nasreddine Bouhaï, Associate Professors at Université Paris 8, France.

• Introduction xiEverado REYES-GARCIAChapter 1 From Controversies to Decision-making: Between Argumentation and Digital Writing 1Orélie DESFRICHES-DORIA1.1 Introduction 11.2 Hypertexts and hypermedia 21.3 From decision-making to the study of controversies 31.3.1 Definition of the concept of controversy 31.3.2 Shifts from one situation to another 41.3.3 Controversy representation 51.3.4 Some controversy visualization and processing tools and methods 71.4 Detailed presentation of Vesta Cosy 91.5 What is the content of argument representations? 141.5.1 Interactions between the two fields 141.5.2 Theoretical approaches to argumentation 161.5.3 Hypermedia structure in the process of decision-making map construction with Vesta Cosy 191.6 Application of Vesta Cosy to controversy analysis 221.6.1 Characterization of the nature of a controversy 221.6.2 Methodological principles of controversy analysis 241.7 New digital writings with hypermedia 291.7.1 Extension of reasoning and paradigm shift 291.7.2 Hyperlinked content according to diversified details 301.7.3 Disorientation, hypernarrativity and interactions 321.8 Conclusion 331.9 Bibliography 33Chapter 2 Training in Digital Writing Through the Prism of Tropisms: Case Studies and Propositions 37Stéphane CROZAT2.1 Abstract 372.2 Introduction 372.3 Issue: theoretical approach to digital technology 382.3.1 The possibility of mechanizing intellectual labor 382.3.2 Digitization of content 392.3.3 “It has been manipulated”: manipulation as a source of digital content 402.3.4 “And it will be again”: manipulation as the future of digital content 412.4 Proposition: tropisms of digital content 422.4.1 The concept of tropism 422.4.2 Modeling of functional tendencies of digital objects 442.5 Detailed description of tropisms 442.5.1 Abstraction: it has been coded and will be recoded 442.5.2 Addressing: it has been found and will be found again 452.5.3 Connection: it has been transmitted and will be retransmitted 462.5.4 Duplication: it has been copied and will be recopied 462.5.5 Transformation: it has been changed and will be changed again 472.5.6 Universality: it has been integrated and will be reintegrated 482.6 Application: training in digital technology with tropisms 482.6.1 Training in ordinary digital writing at the University of Technology of Compiègne (UTC) 482.6.2 BABA strings (abstraction and polymorphism) 492.6.3 SolSys string (staging, hypertextualization) 512.6.4 BD string (transclusion, interactivity) 532.7 Case study: training in digital writing at IFCAM 532.7.1 Introduction to training 532.7.2 Training scenario 542.7.3 An experience to increase awareness using Etherpad 542.7.4 Understanding the properties of digital technology and theoretical content 562.7.5 Assignment 1: analysis of practices 572.7.6 Part two: reading and writing, second assignment (critical observation) 572.8 Perspective: a MOOC “digital literacy” project 572.8.1 Defining information literacy 582.8.2 Defining digital technology 592.8.3 Issue: teaching information literacy 602.8.4 Components of teaching information literacy 612.8.5 Format: challenges of MOOCs 622.8.6 Proposition: content and scenario for an information literacy MOOC 642.9 Conclusion and perspectives 652.10 Acknowledgments 662.11 Further reading 662.12 Bibliography 67Chapter 3 Assessing the Design of Hypermedia Interfaces: Differing Perspectives 69María Inés LAITANO3.1 Man–machine interaction 703.1.1 Fundamental principles of usability 703.1.2 Cognitive engineering 723.2 Mediated human activity 743.2.1 The Danish school 763.2.2 Instrumental psychology 783.3 Meaningful systems 803.3.1 Semiotic engineering 803.3.2 The sociocognitive model 843.3.3 Semiotic scenario 863.4 Three mediations: three ways of evaluating a design? 883.5 Bibliography 93Chapter 4 Experience Design: Explanation and Best Practices 97Leslie MATTÉ GANET4.1 Several problems identified with interface creation 994.1.1 Users have difficulty too often 994.1.2 An awkward practice of Experience Design 994.1.3 A difficult beginning for Experience Design in France 1004.1.4 Ill-defined jobs 1014.1.5 Manufacturers at various XD maturity levels 1024.2 What is good Experience Design? 1044.3 How does Experience Design work? 1064.3.1 A method, more than a result 1064.3.2 Focused on humans 1064.3.3 A transformed project management 1064.3.4 New professions 1084.3.5 Tools in DX 1124.4 A powerful approach 1144.4.1 XD protects from rejection 1144.4.2 XD allows for an important gain in time 1154.4.3 The XD facilitator 1164.5 Example of XD contribution to an industrial project 1164.5.1 Creating the Website with classic project management 1174.5.2 Revising the Website with XD project management 1214.6 How can we improve the quality of Experience Design in the ICT industries? 1244.6.1 A team with an open mind and empathy 1244.6.2 Co-design, creativity, ideation and respiration 1244.6.3 Good skills for appropriate responsibilities 1254.6.4 The systematic presence of the user and going into the field 1264.6.5 No longer using the term UX 1264.7 Conclusion 1274.8 Bibliography 128Chapter 5 Designing Authoring Software Environments for the Interactive Arts: An Overview of Mobilizing.js 131Dominique CUNIN5.1 Research context: artistic practices of interactivity 1315.1.1 Art and technique in the face of the digital 1315.1.2 An idea: an authoring software environment 1345.2 Computer graphics, game engine, art engine? 1385.2.1 Reusability 1385.2.2 Game engine: when the metaphor and the objective design the tool 1405.2.3 Programming for the interactive arts: toward complexity 1425.2.4 Art engine, an authoring environment possibility? 1495.3 Mobilizing.js: an attempt at a multi-paradigmatic authoring software environment 1515.3.1 Artistic technical conduct and critical technical practice 1535.3.2 An engine with many speeds 1575.4 Structure and results of Mobilizing.js 1635.4.1 Overview of a technical sequence 1635.4.2 Constructing interactivities 1705.4.3 Interactive, immersive and collaborative system 1755.5 Conclusion 1815.6 Bibliography 182Chapter 6 Clues Anomalies Understanding Detecting Underlying Assumptions and Expected Practices in the Digital Humanities through the AIME Project 185Donato RICCI, Robin DE MOURAT, Christophe LECLERCQ and Bruno LATOUR6.1 Abstract 1856.2 Introduction 1866.3 AIME and its digital humanities set-up 1886.4 Methodology: multiplying listening devices 1936.5 Anomaly family #1: displacements in acknowledging on-and-offline practices ecosystem 1976.6 Anomaly family #2: interface-driven methodology and its encounters with scholarly publics 1996.7 Anomaly family #3: the shock of collaboration’s ethoses 2046.8 Qualifying anomalies for a better understanding of Digital Humanities projects 2076.9 Bibliography 209List of Authors 213Index 215