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Which clippings match 'Fictional Account' keyword pg.1 of 1
13 OCTOBER 2011

An interactive system defines a virtual space

"An interactive system defines a virtual space, whether the system's interface provides access to the inhospitable planet of Stroggos or the Microsoft Windows desktop. Users of both these systems interact with a place, one created by a computer and in which users and computational agents carry out their individual and collective activities. The intuitive and often–discussed benefit of a well–designed interface metaphor is that it allows users to carry over conventions from their 'real' experience when performing tasks within the interface world.

Another key and often unarticulated value of an interface arises from the interface's mimetic quality. While mimesis is often discussed by narrative theorists as a contrast to diegesis, distinguishing the concepts of showing versus telling (Aristotle), my emphasis here is to distinguish between an artifact that is intended to be an imitation of something, but is not really that thing and an artifact that is intended to be mistaken as that thing. An example of the former case would be a film of a fictional account of the D–Day landing on the beaches of Normandy. An example of the later might be a virtual reality system displaying photo–realistic graphical images of a physical space. D–Days stories like The Longest Day and Saving Private Ryan are, in some ways, imitations, and so are more mimetic than VR systems whose design is intended to '...produce synthetic images visually and measurably indistinguishable from real world images.' (Greenberg 1999)(pg. 45)."

(R. Michael Young, 1999)

Greenberg, D. P. 1999. 'A framework for realistic image synthesis'. Communications of the ACM 42(8):45–53.

1). R. Michael Young (1999). 'Notes on the Use of Plan Structures in the Creation of Interactive Plot', Papers from the 1999 Fall Association for the Advancement of Artificial Intelligence Symposium

TAGS

1999 • AAAI • AristotleAssociation for the Advancement of Artificial Intelligence • computational agents • conventionsD-Day landingdesktop metaphordiegesis • Donald P. Greenberg • fictional account • graphical images • image synthesis • imitation of something • imitations • interact with a place • interactive narrative • interactive system • interface metaphor • interface world • intuitiveMicrosoft Windowsmimesis • mimetic quality • mistaken as that thing • narrative theory • Normandy • performing tasks • photo-realistic • physical space • real experience • real world images • realism • Saving Private Ryan • showing • stories • Stroggos • synthetic images • telling • The Longest Day • usersvirtual heritagevirtual realityvirtual reality systemvirtual space • VR systems • WWII

CONTRIBUTOR

Simon Perkins
27 APRIL 2011

User-Centred Design: Personas

"Personas are 'hypothetical archetypes' of actual users. They are not real people, but they represent real people during the design process. A persona is a fictional characterization of a user.

The purpose of personas is to make the users seem more real, to help designers keep realistic ideas of users throughout the design process. Personas have proper names (that are often catchy and related to their user group name, for example, Hanna Reed–Smith, Human Resources Specialist) and are represented with pictures. Designers and evaluators refer to personas when considering design specifics; for example, 'Would Hanna know to click on that button to add a new employee?' Personas put a name, face, and characteristics on users to keep the users in the forefront of design decisions."

(Shawn Lawton Henry)

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TAGS

accessibility • analysis phase • archetypal charactersarchetype • brand loyalty • catchy names • characteristicsdemographics • design hypotheticals • design methoddesign processdesign techniquedisability • experience levels • fictional account • fictional characterisation • fictional scenarioshuman factorshuman-centred design • hypothetical archetypes • market segmentation • marketing personas • marketing teammotivational needs • personal details • personas (UCD)product developmenttarget audiencethinking tooluser analysisuser attitudesuser behavioursuser demographics • user goals • user group name • user groupsuser motivationsuser perspective • user profile • User-Centred Design (UCD)

CONTRIBUTOR

Simon Perkins
28 OCTOBER 2004

The Terminal: a Hollywood treatment for Merhan Karimi Nasseri

"Viktor Navorski (Tom Hanks) is a visitor to America from a small fictional eastern European country called Krakozhia. He's detained at JFK airport, New York, informed that a coup has occurred in his homeland and that as Krakozhia is no longer recognised by the US, his passport is invalid and he cannot enter the States. His nation no longer exists, so he can't go back, so he takes up residence in the airport terminal, scratching out a living and making friends with the people who work there. He even falls in love with strangely available airline hostess Amelia (Catherine Zeta–Jones), but all the while Navorski is being watched by a paper–shuffling airport security fascist Frank Dixon (Stanley Tucci).The film is, in fact, based on a real–life incident, namely that of Merhan Karimi Nasseri, the Iranian–born traveller who, having lost his documents, has been living on a red plastic bench at Charles de Gaulle Airport since 1988. DreamWorks, it seems, paid Nasseri for the rights to his story, but rather than have a character of Middle Eastern origin (the investors wouldn't like that), this gutless production opts instead for a fictional country."

(Brendan Walls, 2004)

Walls, Brendan (2004) Brisbane News, Brisbane, AUSTRALIA: Brisbane News.

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TAGS

2004 • airline hostess • Brendan Walls • Catherine Zeta-Jones • Charles de Gaulle Airportcitizenship • coup • DreamWorksfictional account • fictional country • fictionalisationfilm • Frank Dixon • Iran • JFK Airport • Krakozhia • Marham Karimi NasseriMiddle Eastpassport • Stanley Tucci • Tom Hanks • Viktor Navorski
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