ABSTRACT
Definitions and Terminology . . . . . . . . . . . . . . . . . . . . . 66
Cognitive Background . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Perception and Comprehension . . . . . . . . . . . . . . . . . . . . 67
Selective Attention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Emotion and Arousal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Learning and Memorization . . . . . . . . . . . . . . . . . . . . . . . . 68
Design Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Users, Requirements, and Domains . . . . . . . . . . . . . . . . . . 70
Information Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Media Selection and Combination . . . . . . . . . . . . . . . . . . . 72
Media selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Engagement and attractiveness . . . . . . . . . . . . . . . . . . 75
Aesthetic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Image and identity . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Affective effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Interaction and Navigation . . . . . . . . . . . . . . . . . . . . . . . . 77
Metaphors and interaction design . . . . . . . . . . . . . . . 77
Navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Design for Attention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Still image media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Moving image media . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Linguistic media (text and speech) . . . . . . . . . . . . . . . 81
Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Design of multimedia interfaces currently leaves a lot to be desired. As with many emerging technologies, it is the fascination with new devices, functions, and forms of interaction that has motivated design rather than ease of use, or even utility of practical applications. Poor usability limits the effectiveness of multimedia products that might look good, but do not deliver effective use (Scaife, Rogers, Aldrich, & Davies, 1997). The multimedia market has progressed beyond the initial hype, and customers are looking for well-designed, effective, and mature products.
