Player identification in American McGee’s Alice : a comparative perspective

In this paper I analyse personal identification in three incarnations of Alice in Wonderland: the original novels, the 1950s Disney animation film and the computer game American McGee’s Alice. After presenting the research corpus, I lay out the analytical framework derived from Kendall Walton’s theory of representational artefacts as props for evoking imagining in games of make-believe. From this perspective, the Alice heritage relies on spectacle rather than plot to entertain. This spectacle differs across media as each medium’s strengths are played out: language-play in the novels, colour/motion/sound in the film and challenges in the game. There are two types of imagining involved: objective, whereby a person imagines a scene outside of himself, and subjective, in which case the imagining revolves around a version of himself. Both the novels and the film primarily evoke objective imagining whereas the game invites the player to be introjected into the Alice character evoking subjective imagining. The picture is not unambiguous, however, as the novels and the film stage a broad array of subjectifying techniques and the game objectifying ones. This gives us some indication as to the nature of representation which, to be of interest, presents a tension between here and there, between the self and an other

Draw like a builder, build like a writer. And the crack is in the detail

As the inevitable building by numbers ensues, London’s Thames Gateway becomes one of many playgrounds for bar charting enthusiasts. Houses measured by the thousands and little clues as to where it is, that ghost in the machine, what they are, the structures of everyday contemporary life, and who's life it is anyway. Fernand Braudel, Georges Perec, Jorge Luis Borges, amongst others, are employed to examine just how Wittgensteins radiators find their ways into Barratts South East catalogue. They supply the container for Dickensian content with Sinclairesque detail, while late Jan Turnovski's epic lunacy will help to once and for all allay widespread popular fears that Wittgenstein 1 and 2 may add up to one-and-a-half, simple as that. Never has the ideal of treating technology involved with building as an intellectual discipline been further removed from any notion of genius, loci or otherwise; housing policy housing, building policy building. Against the backdrop of mass housing and landmark buildings with little space or time for anything in between, five years of studio work with diploma students at the University of Greenwich, Vienna University of Technology and University Innsbruck, concerned themselves with the structural narrative of the Thames Gateway. This paper, as well as the projects presented through it, is a premature attempt at anchoring buildings on the words they are built on, technology on the sentence structure of its description, assembly instructions written in the most specific of dialects. It describes techniques, suggesting an architecture read backwards, sideways, horizontal and in parallel, free associative sequence, thus discussing issues of site, context, detail and conceptual adhesion. It also poses questions: concerning locality, history, ritual, conceptualisation and intellectual detachment. Above all, in view of the sheer relentlessness of commercially driven urban expansion, questions of soul and character, of design sustainability in terms of creating space to accommodate viable structures social, cultural, narrative. Allowing history to continue, creating place worth telling tales about

From Personalization to Adaptivity: Creating Immersive Visits through Interactive Digital Storytelling at the Acropolis Museum

Storytelling has recently become a popular way to guide museum visitors, replacing traditional exhibit-centric descriptions by story-centric cohesive narrations with references to the exhibits and multimedia content. This work presents the fundamental elements of the CHESS project approach, the goal of which is to provide adaptive, personalized, interactive storytelling for museum visits. We shortly present the CHESS project and its background, we detail the proposed storytelling and user models, we describe the provided functionality and we outline the main tools and mechanisms employed. Finally, we present the preliminary results of a recent evaluation study that are informing several directions for future work

AI Researchers, Video Games Are Your Friends!

If you are an artificial intelligence researcher, you should look to video games as ideal testbeds for the work you do. If you are a video game developer, you should look to AI for the technology that makes completely new types of games possible. This chapter lays out the case for both of these propositions. It asks the question "what can video games do for AI", and discusses how in particular general video game playing is the ideal testbed for artificial general intelligence research. It then asks the question "what can AI do for video games", and lays out a vision for what video games might look like if we had significantly more advanced AI at our disposal. The chapter is based on my keynote at IJCCI 2015, and is written in an attempt to be accessible to a broad audience.Comment: in Studies in Computational Intelligence Studies in Computational Intelligence, Volume 669 2017. Springe

Fact, Fiction and Virtual Worlds

This paper considers the medium of videogames from a goodmanian standpoint. After some preliminary clarifications and definitions, I examine the ontological status of videogames. Against several existing accounts, I hold that what grounds their identity qua work types is code. The rest of the paper is dedicated to the epistemology of videogaming. Drawing on Nelson Goodman and Catherine Elgin's works, I suggest that the best model to defend videogame cognitivism appeals to the notion of understanding

Conflicted Flows: 21st Century Pacific Narratives Across Media.

Ph.D. Thesis. University of Hawaiʻi at Mānoa 2018

Tabletop Roleplaying Games as Procedural Content Generators

Tabletop roleplaying games (TTRPGs) and procedural content generators can both be understood as systems of rules for producing content. In this paper, we argue that TTRPG design can usefully be viewed as procedural content generator design. We present several case studies linking key concepts from PCG research -- including possibility spaces, expressive range analysis, and generative pipelines -- to key concepts in TTRPG design. We then discuss the implications of these relationships and suggest directions for future work uniting research in TTRPGs and PCG.Comment: 9 pages, 2 figures, FDG Workshop on Procedural Content Generation 202

The Beacon, September 3, 2015

Vol. 27, Issue 12, 8 pageshttps://digitalcommons.fiu.edu/student_newspaper/1816/thumbnail.jp

Why Engage in the Discipline of Theology

Lecture presented at Lutheran Theological Seminary, Saskatoon, Fall 1995