Interactive Design : Tunnel or Spiral
Interactivity pounds at the doors of all broadcast media. Newspapers publish daily reports about cyberspace, then invite readers to subscribe to their online news services. Television programs encourage on-air feedback via email. Movies and popular television shows maintain viewer newsgroups and offer World Wide Web sites with click-on audio and video. As the era of one-way messages fades, the tone of unilateral broadcasting sinks to the trashy low-end of media culture. Quality switches from the TV remote controls to the computer console. Programming ceases to be unilateral when interactivity arrives. Digital switching is, of course, under the hood of interactivity. The computer establishes a reciprocal relationship between sender and receiver, viewer and producer. Because computers handle high-speed transmission to-and-fro, the separating line between sender and receiver, viewer and producer, begins to blur. The digital switch converts text, sounds, and video to transmissible bits. And bits produce incoherent fragments that are hardly distinguishable from cultural noise. The blast of information shatters what remains of cultural coherence in the wobbling worlds of print and film distribution. The digital era splatters attention spans till the shared sensibility dribbles into fragmentary, disintegrative de-construction. Interactivity signals a process of reconstruction. The digital Humpty-Dumpty needs mending. Reconstruction is a process of designing wholes, virtual worlds, that are both received and actively assembled —full, rich experiential places fit for human habitation. From the bits of the digital era arises the holism of virtual design. Virtual design means building worlds from digital fragments, engineering usable software environments from disparate information sources. Worlds are not simply re-packaged fragments. Nor do virtual worlds re-present the primary physical world. What emerges are new functional wholes, habitats that emulate the engagement of real worlds. Software engineering and software architecture support these virtual worlds, but artists with traditional skills must play a pivotal role in their construction. Virtual architecture must go well beyond wire-frame models set in clean Cartesian coordinates. Polygons in Renaissance perspective are only the first steps of interactive design. Worlds require mood-tuned scenarios that draw on traditional artistic insights.