Ann Blandford

Paul Curzon

Nick Bryan-Kinns

Laurence Nigay

Reading has arguably the longest and richest history of any domain for scientifically considering the impact of technology on the user. From the 1920s to the 1950s, Miles Tinker [1963] and other researchers ran hundreds of user tests that examined the effects of different fonts and text layout variables, such as the amount of vertical space between each line of text (called leading). Their research focused on user performance, and reading speed was the favoured measure. They charted the effect of the manipulated variables on reading speed, looking for the point at which their participants could read the fastest. Their assumption was that faster reading speeds created a more optimal experience. Printers and publishers eagerly consumed this research. In recent years, some of these variables have been reexamined as the technology and capabilities evolve with the advent of computers and computer screens. Dillon [1992] examined how to design textual information for an electronic environment. Boyarski et al. [1998] examined the effect of fonts that were designed for computer screens. Dyson & Kipping [1998] examined the effect of line length on computer screens. Larson et al. [2000] examined the effect of 3-D rotation on reading. Gugerty et al. [2004] demonstrated a reading performance advantage with the Microsoft ClearType display technology.

Proceedings of HCI 2006

People and Computers XX - Engage

David England

Thecla Schiphorst

This book combines work from curators, digital artists, human computer interaction researchers and computer scientists to examine the mutual benefits and challenges posed when working together to support digital art works in their many forms. In Curating the Digital we explore how we can work together to make space for art and interaction. We look at the various challenges such as the dynamic nature of our media, the problems posed in preserving digital art works and the thorny problems of how we assess and measure audience’s reactions to interactive digital work. Curating the Digital is an outcome of a multi-disciplinary workshop that took place at SICHI2014 in Toronto. The participants from the workshop reflected on the theme of Curating the Digital via a series of presentations and rapid prototyping exercises to develop a catalogue for the future digital art gallery. The results produce a variety of insights both around the theory and philosophy of curating digital works, and also around the practical and technical possibilities and challenges. We present these complimentary chapters so that other researchers and practitioners in related fields will find motivation and imagination for their own work.

Space for Art and Interaction

Curating the Digital

Nick Bryan-Kinns

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