| 1. |
- Bardzell, Jeffrey, et al.
(författare)
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Interaction criticism : Three readings of an interaction design, and what they get us
- 2010
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Ingår i: interactions. - : ACM Digital Library. - 1072-5520 .- 1558-3449. ; xvii:2, s. 32-37
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Criticism is an integral part of the ongoing knowledge construction that is embraced in the more mature design disciplines—architecture, industrial design—and in the arts. Critics interpret, contextualize, interrelate, abstract, and question the artifacts of design to clarify opportunities for designs to improve everyday life and to explore the ways in which designs deliver on this promise. In doing so, they feed an ongoing dialogue between design and criticism, through which knowledge grows for the benefit of practitioners, scholars, and the general public. Interaction design, in general, does not really accommodate criticism and the role of the critic, with some exceptions in new media [1, 2], HCI [3, 4], and video-game studies. As HCI's interdisciplinary expansion continues to incorporate design, criticism's day is coming. As our work becomes increasingly culturally and socially complex, we will need both the "expert readings" of erudite critics and everyday design "crits" from practitioners to provide the knowledge we need to design. We expect interaction criticism to emerge as a skilled practice, closely tied to interaction design. Our intention here is to fuel this development by providing an example of what interaction criticism could offer members of the interaction design community.
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| 2. |
- Bolter, Jay David, et al.
(författare)
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Media studies, mobile augmented reality, and interaction design
- 2013
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Ingår i: interactions. - : ACM. - 1072-5520 .- 1558-3449. ; 20:1, s. 36-45
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- You are walking in the Sweetwater Creek State Park near Atlanta and using the Augmented Reality (AR) Trail Guide, a mobile application designed by Isaac Kulka for the Argon Browser (Figure 1). The application offers two views: a now familiar Google-style map, with points of interest marked on its surface, and an AR view, which shows these points located in space. You see the map view when you hold the screen parallel to the ground; when you turn the phone up to look at the world, you get the AR view with the points of interest floating in space in front of you. This simple gesture of raising the phone changes your relationship to the information. You pass from a fully symbolic form of representation to a form of perceiving symbolic information as part of your visual environment. The AR Trail Guide, developed in the Augmented Environments Lab at Georgia Tech [1], illustrates a new realm in AR design that goes beyond current commercial applications. In this article, we discuss some of these new areas, such as designing for experiences in cultural heritage, personal expression, and entertainment. At the same time, we want to address a larger issue. ACM interactions has often been a place for exploring new paradigms and the relevance for interaction design of unusual approaches from other disciplines. In that spirit, we pose the question: Can the humanistic discipline of media studies play a useful role in interaction design? Media studies looks at the history of media and their relationship to culture, and we will focus here on digital media and their relationship to other media, both present and past. Looking at digital media in a historical context is relevant because of the dynamic relationship between "traditional" media (film, television, radio, print) and their digital remediations. How can media studies be made to contribute to the productive work of interaction design? We believe one answer lies in using the historical understanding gained through media studies to develop a kind of media aesthetics that can guide designers as they explore new forms of digital media such as the mobile augmented reality application described above.
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| 3. |
- Bolter, Jay David, 1951-, et al.
(författare)
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Reality Media : Augmented and Virtual Reality
- 2021. - 1
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Bok (refereegranskat)abstract
- How augmented reality and virtual reality are taking their places in contemporary media culture alongside film and television.This book positions augmented reality (AR) and virtual reality (VR) firmly in contemporary media culture. The authors view AR and VR not as the latest hyped technologies but as media—the latest in a series of what they term “reality media,” taking their place alongside film and television. Reality media inserts a layer of media between us and our perception of the world; AR and VR do not replace reality but refashion a reality for us. Each reality medium mediates and remediates; each offers a new representation that we implicitly compare to our experience of the world in itself but also through other media.The authors show that as forms of reality media emerge, they not only chart a future path for media culture, but also redefine media past. With AR and VR in mind, then, we can recognize their precursors in eighteenth-century panoramas and the Broadway lights of the 1930s. A digital version of Reality Media, available through the book's website, invites readers to visit a series of virtual rooms featuring interactivity, 3-D models, videos, images, and texts that explore the themes of the book.
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| 4. |
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| 5. |
- Bolter, Jay
(författare)
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"Imediace, hypermediace, remediace."
- 2005
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Ingår i: Teorie vedy / Theory of Science XIV. ; XXVII:3, s. 5-40
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Bolter, Jay
(författare)
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New Media and the Permanent Crisis of Aura
- 2006
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Ingår i: Convergence. The International Journal of Research into New Media Technologies. - Luton : Sage. - 1354-8565 .- 1748-7382. ; 12:1, s. 21-39
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Tidskriftsartikel (refereegranskat)abstract
- Walter Benjamin is best known for his essay ‘The Work of Art in the Age of Mechanical Reproduction’, (Benjamin, 1968b) in which he argues that film and other mechanical technologies are destroying the aura that had belonged to traditional art. In this article we apply Benjamin’s concept of aura to new (digital) media, and in particular to ‘mixed reality’, a group of technologies that blend computer-generated visual, aural, and textual information into the user’s physical environment. We argue that mixed reality increases the options for designer-artists and apparently allows the invocation of aura in new ways. Our culture’s pursuit of auratic experience remains problematic in mixed reality as it was for Benjamin in the case of film. New media maintain aura in a permanent state of oscillation or crisis, and this crisis is a key to understanding new media.
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| 7. |
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| 8. |
- Bolter, Jay
(författare)
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The Desire for Transparency in an Era of Hybridity
- 2006
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Ingår i: Leonardo. - Cambridge, MA : MIT Press. - 0024-094X .- 1530-9282. ; 39:2, s. 109-111
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Tidskriftsartikel (refereegranskat)abstract
- Our culture has come to appreciate hybrid representational practices not only in digital media but also in traditional forms such as television and film. Nevertheless, our culture's fascination with a contrary representational practice—its "desire for immediacy"—remains strong. The desire for immediacy manifests itself not only in popular entertainment forms, but also (with unfortunate results) in the popular understanding of forms of scientific representation.
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| 9. |
- Bolter, Jay
(författare)
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Transference and Transparency : Digital Technology and the Remediation of Cinema.
- 2006
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Ingår i: Intermédialités. - : the Center for Research on Intermediality (CRI) of the Université de Montréal. - 1705-8546. ; 6, s. 13-26
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Tidskriftsartikel (refereegranskat)abstract
- New digital forms, particularly computer and video games, pose a challenge to the cultural status that film has enjoyed for decades. This challenge provoked an anxiety about new media reflected in a series of films in the 1990s, including eXistenZ and The Matrix. Hollywood filmmakers have responded to the challenge with a twofold strategy: they have adopted computer-graphic special effects, while maintaining a commitment to linear narrative and transparent representation. Recently, the DVD has led the film industry to explore hybrid forms of representation and even interactivity.
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| 10. |
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