Number of co-authors:37
Number of publications with 3 favourite co-authors:Timothy White:Evan Barba:Iulian Radu:
Jay David Bolter's 3 most productive colleagues in number of publications:Elizabeth D. Mynat..:71Doug A. Bowman:68Rebecca E. Grinter:57
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Publications by Jay David Bolter (bibliography)
Fantauzzacoffin, Jill, Rogers, Juan D. and Bolter, Jay David (2012): Articulating creative practice: teleological and stochastic strategies in a case study of an artist and an engineering team developing similar technologies. In: Proceedings of the 6th International Conference on Tangible and Embedded Interaction 2012. pp. 153-160. http://dx.doi.org/10.1145/2148131.2148165
Fantauzzacoffin, Jill, Rogers, Juan D. and Bolter, Jay David (2011): Creative strategies in artists' and engineers' approaches to technology development: first results of a case study. In: Proceedings of the 2011 Conference on Creativity and Cognition 2011. pp. 333-334. http://dx.doi.org/10.1145/2069618.2069683
In this paper we present early findings from our comparative case study of the work practices of artists and engineers independently developing similar technologies. We describe two patterns of creative strategies: teleological and stochastic. We also draw a connection between these creative strategies and our subjects' negotiation of the uncertainty inherent in the creative process.
© All rights reserved Fantauzzacoffin et al. and/or ACM Press
Grimes, Andrea, Bednar, Martin, Bolter, Jay David and Grinter, Rebecca E. (2008): EatWell: sharing nutrition-related memories in a low-income community. In: Proceedings of ACM CSCW08 Conference on Computer-Supported Cooperative Work 2008. pp. 87-96. http://doi.acm.org/10.1145/1460563.1460579
Low-income African American communities face a disproportionate amount of diet-related health problems in the United States. To address this issue, we developed EatWell, a system that allows people to use their cell phones to create voice memories describing how they have tried to eat healthfully in their neighborhoods (e.g., at local restaurants) and listen to the memories that others have created. In this paper, we describe the results of our field trial of EatWell, specifically characterizing how our participants were able to craft stories that were both emotive and culturally-relevant, the challenges that arose in creating these memories and finally how sharing these stories facilitated a sense of community empowerment. We conclude by presenting implications for the design of future applications that facilitate the sharing of health-related experiences.
© All rights reserved Grimes et al. and/or ACM Press
Xu, Yan, Gandy, Maribeth, Deen, Sami, Schrank, Brian, Spreen, Kim, Gorbsky, Michael, White, Timothy, Barba, Evan, Radu, Iulian, Bolter, Jay David and MacIntyre, Blair (2008): BragFish: exploring physical and social interaction in co-located handheld augmented reality games. In: Inakage, Masa and Cheok, Adrian David (eds.) Proceedings of the International Conference on Advances in Computer Entertainment Technology - ACE 2008 December 3-5, 2008, Yokohama, Japan. pp. 276-283. http://doi.acm.org/10.1145/1501750.1501816
Dow, Steven, Lee, Jaemin, Oezbek, Christopher, MacIntyre, Blair, Bolter, Jay David and Gandy, Maribeth (2005): Wizard of Oz interfaces for mixed reality applications. In: Proceedings of ACM CHI 2005 Conference on Human Factors in Computing Systems 2005. pp. 1339-1342. http://doi.acm.org/10.1145/1056808.1056911
One important tool for developing complex interactive applications is "Wizard of Oz "(WOz)simulation. WOz simulation allows design concepts,content and partially completed applications to be tested on users without the need to first create a completely working system. In this paper we discuss the integration of wizard interface tools into a Mixed Reality (MR)design environment and show how easier creation and evolution of wizard interfaces can lead to an expanded role for WOz-based testing during the design evolution of MR experiences. We share our experiences designing an audio experience in an historic site,and illustrate the evolution of the wizard interfaces alongside the user experience
© All rights reserved Dow et al. and/or ACM Press
Gandy, Maribeth, MacIntyre, Blair, Presti, Peter, Dow, Steven, Bolter, Jay David, Yarbrough, Brandon and O'Rear, Nigel (2005): AR Karaoke: Acting in Your Favorite Scenes. In: Fourth IEEE and ACM International Symposium on Mixed and Augmented Reality ISMAR 2005 5-8 October, 2005, Vienna, Austria. pp. 114-117. http://doi.ieeecomputersociety.org/10.1109/ISMAR.2005.11
Dow, Steven, Lee, Jaemin, Oezbek, Christopher, MacIntyre, Blair, Bolter, Jay David and Gandy, Maribeth (2005): Exploring spatial narratives and mixed reality experiences in Oakland Cemetery. In: Lee, Newton (ed.) Proceedings of the International Conference on Advances in Computer Entertainment Technology - ACE 2005 June 15-15, 2005, Valencia, Spain. pp. 51-60. http://doi.acm.org/10.1145/1178477.1178484
Dow, Steven, MacIntyre, Blair, Lee, Jaemin, Oezbek, Christopher, Bolter, Jay David and Gandy, Maribeth (2005): Wizard of Oz support throughout an iterative design process. In IEEE Pervasive Computing, 4 (4) pp. 18-26. http://dx.doi.org/10.1109/MPRV.2005.93
MacIntyre, Blair, Gandy, Maribeth, Dow, Steven and Bolter, Jay David (2004): DART: a toolkit for rapid design exploration of augmented reality experiences. In: Proceedings of the 2004 ACM Symposium on User Interface Software and Technology 2004. pp. 197-206. http://doi.acm.org/10.1145/1029632.1029669
In this paper, we describe The Designer\'s Augmented Reality Toolkit (DART). DART is built on top of Macromedia Director, a widely used multimedia development environment. We summarize the most significant problems faced by designers working with AR in the real world, and discuss how DART addresses them. Most of DART is implemented in an interpreted scripting language, and can be modified by designers to suit their needs. Our work focuses on supporting early design activities, especially a rapid transition from story-boards to working experience, so that the experiential part of a design can be tested early and often. DART allows designers to specify complex relationships between the physical and virtual worlds, and supports 3D animatic actors (informal, sketch-based content) in addition to more polished content. Designers can capture and replay synchronized video and sensor data, allowing them to work off-site and to test specific parts of their experience more effectively.
© All rights reserved MacIntyre et al. and/or ACM Press
MacIntyre, Blair, Gandy, Maribeth, Bolter, Jay David, Dow, Steven and Hannigan, Brendan (2003): DART: The Designer's Augmented Reality Toolkit. In: 2003 IEEE and ACM International Symposium on Mixed and Augmented Reality ISMAR 2003 7-10 October, 2003, Tokyo, Japan. pp. 329-330. http://csdl.computer.org/comp/proceedings/ismar/2003/2006/00/20060329abs.htm
MacIntyre, Blair and Bolter, Jay David (2003): Single-narrative, multiple point-of-view dramatic experiences in augmented reality. In Virtual Reality, 7 (1) pp. 10-16. http://dx.doi.org/10.1007/s10055-003-0110-0
MacIntyre, Blair, Lohse, Marco, Bolter, Jay David and Moreno, Emmanuel (2002): Integrating 2-D Video Actors into 3-D Augmented-Reality Systems. In Presence: Teleoperators and Virtual Environments, 11 (2) pp. 189-202.
MacIntyre, Blair, Bolter, Jay David, Moreno, Emmanuel and Hannigan, Brendan (2001): Augmented Reality as a New Media Experience. In: 4th International Symposium on Augmented Reality ISAR 2001 29-30 October, 2001, New York, NY, USA. pp. 197-206. http://csdl.computer.org/comp/proceedings/isar/2001/1375/00/13750197abs.htm
MacIntyre, Blair and Bolter, Jay David (2000): A multi-disciplinary course on augmented reality design. In: Designing Augmented Reality Environments 2000 2000. p. 144. http://doi.acm.org/10.1145/354666.354684
Bolter, Jay David and Grusin, Richard (2000): Remediation: Understanding New Media. The MIT Press
Media critics remain captivated by the modernist myth of the new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and cultural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio.
© All rights reserved Bolter and Grusin and/or The MIT Press
Bowman, Doug A., Hodges, Larry F. and Bolter, Jay David (1998): The Virtual Venue: User-Computer Interaction in Information-Rich Virtual Environments. In Presence: Teleoperators and Virtual Environments, 7 (5) pp. 478-493.
Russell, Daniel M., Landow, George P., Streitz, Norbert A., Moulthrop, Stuart and Bolter, Jay David (1993): Designing and Building Structure. In: Stotts, P. David and Furuta, Richard (eds.) Proceedings of ACM Hypertext 93 Conference November 14-18, 1993, Seattle, Washington. .
Does a priori structure lead to well designed hypertexts? Or merely dull hypertexts? Moderator Daniel Russell begins with a comparative technical briefing, exploring structure-building in Storyspace, IDE, and MacWeb. A free-wheeling panel discussion follows, exploring shifting opinion on this vital issue.
© All rights reserved Russell et al. and/or ACM Press
Bolter, Jay David (1993): Writing on the World: The Role of Symbolic Communication in Graphic Computer Environments. In: ACM Eleventh International Conference on Systems Documentation 1993. pp. 1-9. http://www.acm.org/pubs/articles/proceedings/doc/166025/p1-bolter/p1-bolter.pdf
The digital computer is often characterized as a "symbol manipulator." This definition, which emerged early in the history of computing, applies well to the most important uses of the machine from its invention in the 1940s into the 1980s. At first the symbols that the computer manipulated were numbers. But as early as the 1950s, business and government began to use the machine to store and retrieve names, dates addresses, and so on. In the 1950s, too, the artificial intelligence (AI) movement began, and, although the movement did not achieve its stated goals, it did make an effective case for the paradigm of symbol manipulation. AI investigators (Simon, McCarthy, Minsky, and others) insisted that all important knowledge could be represented and generated through a calculus of discrete symbols. By writing programs to solve problems, prove theorems, and process natural language, they broadened our understanding of what computers can do. The great popularization of this technology came of course in the 1980s with the personal computer, the word processor, and the electronic spreadsheet. Word processing in particular is trivial symbol manipulation, yet it has been perhaps the single most influential application. Word processing has made the computer indispensable for any organization and for most individuals who write. Furthermore, word processing is now combining with textual databases, communication networks, and hypertext to create a more challenging symbolic environment.
© All rights reserved Bolter and/or ACM Press
Hodges, Larry F., Bolter, Jay David, Mynatt, Elizabeth D., Ribarsky, William and Teylingen, Ron van (1993): Virtual Environments Research at the Georgia Tech GVU Center. In Presence: Teleoperators and Virtual Environments, 2 (3) pp. 234-243.
Bolter, Jay David (1992): Virtual Reality and the Future of Hypertext. In: Lucarella, D., Nanard, Jocelyne, Nanard, Marc and Paolini, P. (eds.) Proceedings of ECHT 92 the Fourth ACM Conference on Hypertext November 30 - December 04, 1992, Milano, Italy. p. 2. http://www.acm.org/pubs/articles/proceedings/hypertext/168466/p2-bolter/p2-bolter.pdf
Virtual Reality has been largely conceived in terms of the visual. Other senses, sound and touch, although given roles, are clearly quite secondary. What VR presents to the user is images, not texts. What role might text play in Virtual Reality? This is particularly important for exponents of hypertext, because VR threatens to become the hot new topic, and perhaps to diminish interest and research in hypertext. One could convincingly argue there is no real direct competition: VR and hypertext can evolve side by side for different purposes. VR is useful for simulation and training, for medical imaging, for telepresence, and so on. Hypertext serves for databases of text materials, pedagogy, and interactive fiction and nonfiction. But even if VR and hypertext continue to evolve side by side, it remains interesting to consider how the two might merge. Virtual Reality and hypertext are products of two different communication technologies. Virtual Reality has its closest affinity to television, which is a perceptual medium. Hypertext comes out of the tradition of writing. Both VR and hypertext claim to be new ways of expressing information, although with different emphases. In VR, one sees and touches a perceptual space; in hypertext one reads and writes in a textual space. Can the two be combined? In particular, can the space of virtual reality be hypertextualized? One way to introduce text into virtual reality would be to write upon the surfaces in the virtual space. This would give us a virtual book, whose structure is expressed architecturally in three dimensions. The book becomes a space that the reader enters and explores, a space in which the relationships among the surfaces define relationships among the verbal ideas in the text. A more radical possibility would be to turn the entire virtual space into a symbolic structure. Several hypertext systems are already moving in this direction: the concept maps in hypertext systems are examples of symbolic spaces in two dimensions. A third dimension would expand the possibilities of representation. Such a hypertextualized virtual space might allow the creation of texts unlike any that have ever been written.
© All rights reserved Bolter and/or ACM Press
Bernstein, Mark, Bolter, Jay David, Joyce, Michael and Mylonas, Elli (1991): Architectures for Volatile Hypertext. In: Walker, Jan (ed.) Proceedings of ACM Hypertext 91 Conference December 15-18, 1991, San Antonio, Texas. pp. 243-260. http://www.acm.org/pubs/articles/proceedings/hypertext/122974/p243-bernstein/p243-bernstein.pdf
Bolter, Jay David and Joyce, Michael (1987): Hypertext and Creative Writing. In: Weiss, Stephen and Schwartz, Mayer (eds.) Proceedings of ACM Hypertext 87 Conference November 13-15, 1987, Chapel Hill, North Carolina. pp. 41-50.
Among its many uses, hypertext can serve as a medium for a new kind of flexible, interactive fiction. Storyspace is a hypertext system we have created for authoring and reading such fiction. Interactive fiction in the computer medium is a continuation of the modern "tradition" of experimental literature in print. However, the computer frees both author and reader from restrictions imposed by the printed medium and therefore allows new experiments in literary structure.
© All rights reserved Bolter and Joyce and/or ACM Press
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