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Purple Moon
beeps in an empty room
Does anyone hear it?
A study of
www.purple-moon.com
written for Graduate Design Seminar Concepts and Methods of Interaction Design
table of contents
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I ran all the way home from school because I just finished my final science test for the second quarter. I'm now officially halfway through eighth grade...almost in high school! Oh yeah, my name's Darlene, or Jandals if you're a Purple Moon member. I'm 13 and a half years old. Anyway. I can't wait to rub this in to my friends. They're only in seventh gradepractically babies.
Darlene bursts through the front door of her house,
past her mom in the kitchen, past the TV room, past her older
brother talking on the phone, to the computer. She logs on to Purple
Moon. From a list at the bottom of the screen, she sees that
Jasmin98, MyKittens, and KornFreak656 are already logged in.
She clicks on Share Central from among her
optionsWhat's New,
Friendship Adventures, Share Central, The Purple Moon Store, and
Goodies and Games. Darlene sends each of her cyber-friends a
postcard (with a treasure attached because she's in a good mood).
Guess who's almost in high school? she types onto each of the
postcards.
By sharing postcards and treasures
interactively, Darlene is taking advantage of a form of interaction
available on the Purple Moon website. Although the medium of the
exchange looks different, the fundamental action Darlene is taking
is a familiar one. And this concept is not new. Substitute digital design for oratory in Plato's Phaedrus, and we can apply Plato's theory of the art of rhetoric to the design of Share Central: "The perfection of oratory is, or rather must be, like the perfection of all things, partly given by nature; but this is assisted by art, and if you have the natural power you will be famous as a rhetorician, if you only add knowledge and practice, and in either you may fall short." Similarly, the success of Share Central depends on the contribution of the three componentswithout one, there would be no interaction. With Share Central, the designers began the creation of an environment, an environment that Darlene continues to create by writing to her friends and collecting and trading treasures. But where does one role end and another begin? Brenda Laurel says that "representation and reality stand in a particular and necessary relationship to one another." But I disagree. Relationship, as Laurel describes it, seems to imply that the two are disconnected. There is no relationship per se, rather, representation and reality are inextricable from one another. The intersection of the two is where the interaction takes place.First, however, there must be a believable synthesis of representation and reality at this intersection. Digital designers have to create "imaginary worlds that have a special relationship to reality¾worlds in which we can extend, amplify, and enrich out own capabilities to think, feel, and act." No longer can interfaces be simply informative, or simply functional, or even just pretty; they must build experiences, create enjoyment, induce participation. Purple Moon has taken a unique approach to representing a real-life action through Share Central.
A website for imitation's sakeFor those who have grown up with video games and the Internet, it may seem unusual to talk about interactivity. Yet designers, in former times, paid little attention to interactivity specifically. The emerging importance of interaction design has caused the morphing of former guidelines and definitions for design. "Visual communication of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and the useful."By identifying the communicative form and function for pre-teen girls, Purple Moon's designers show evidence that they have captured this embodiment. In this case, the form is the postcards and treasures that Darlene sends and collects; the function, her need and desire to communicate with girls her own age. Share Central has imitated an action that already comes naturally to Darlene. While the designers of Share Central may not have been in my sixth grade class, they must have heard about the trend at my grade schoolsticker albums. We carried the bulky books stuffed with stickers to and from school because on the playground, we all got to trade. But if you forgot your album, you couldn't stand around and tell people about all the great stickers you had. Nor was it fun to stare at your sticker album at home alone in your room. Until all were presentsticker album, sticker-album owner, and friendsit was not a true sticker-collecting experience. By imitating and representing this action, Share Central has captured the reality I remember as a girl. But it is not necessarily creating new behaviors, Share Central is merely imitating behaviors already proven popular with the intended community of users by giving them a new arena in which to play. In Poetics, Aristotle attributes part of the success of a tragedy to its "imitation of an action that is serious and also, as having magnitude, complete within itself....it is primarily an imitation of action, and that it is mainly for the sake of the actions that it imitates the personal agents." Share Central, too, has found success in its ingenious imitation.There is no part without the wholeWhile Share Central is a well-planned imitation of teenage girls' actions, this part of the Purple Moon site itself would not function without a human participant. In Phaedrus, Plato's Socrates asks, "you will allow that every discourse ought to be a living creature, having its own body and head and feet, there ought to be a middle, beginning, and end, which are in a manner agreeable to one another and to the whole?" The designers have given Share Central its body, the computer Darlene uses provides its feet, and Darlene herself is the head. Without all three, there could be no postcards sent or treasures traded. Together, the parts breathe life into Purple Moon.ReferencesRichard A. Lanham, "The Electronic Word: Literary Study and the Digital Revolution," in The Electronic Word (Chicago: The University of Chicago Press, 1993), 3. Plato, "Phaedrus," in Symposium and Phaedrus. Translated by B[enjamin] Jowett ed. Candace Ward (New York: Dover Publications, Inc. 1993) 83. Brenda Laurel, "The Nature of the Beast," in Computers as Theater. (New York: Addison-Wesley Publishing Company, 1993) 31. Brenda Laurel, "The Nature of the Beast," in Computers as Theater. (New York: Addison-Wesley Publishing Company, 1993) 33. Paul Rand, "Art for Art’s Sake" in A Designer’s Art. 3. Aristotle, "The Poetics," in Introduction to Aristotle, ed. Richard McKeon (New York: Random House, 1947) 672. Plato, "Phaedrus," in Symposium and Phaedrus. ed. Candace Ward (New York: Dover Publications, Inc. 1993) 78. |
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