Information Technology Reference
In-Depth Information
3
Part II: Orchestrating Action
what is possible in a given representational “world”? In drama—on the
stage, in fi lm, or even on television—discovering what is possible is a two-
fold source of pleasure for audiences. First is the stimulation of imagina-
tion and emotion that is created by carefully crafted uncertainty. Second
is the satisfaction provided by closure when the action is complete, if the
plot has been successfully constructed. When representational “worlds” are
interactive, whether they be avant-garde theatre productions or virtual of-
fi ces, how people fi nd the edges of the universe—discovering the limits of
what is possible—is a central issue in design. This chapter deals with how
plots—representational actions—are constructed so that they provide emo-
tional and intellectual satisfaction and how these dramatic principles can
inform the design of human-computer interaction.
The notion of beginning, middle, and end presents an interesting riddle
when one is using a computer with a multitasking operating system, or
even launching and re-launching various applications in a sequential fash-
ion. I may have several “activities” going on at once, leaping from one to
another in midstream. I am using my word processor to work on an article,
sending and receiving email, editing photographs, and playing a game.
Where is the whole?
One answer is, to misquote the famous turtle, “it's actions all the way
up”—that is, several whole actions are being braided into an even larger
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