Towards a crowdsourced solution for the authoring bottleneck in interactive narratives

Interactive Storytelling research has produced a wealth of technologies that can be employed to create personalised narrative experiences, in which the audience takes a participating rather than observing role. But so far this technology has not led to the production of large scale playable interactive story experiences that realise the ambitions of the field. One main reason for this state of affairs is the difficulty of authoring interactive stories, a task that requires describing a huge amount of story building blocks in a machine friendly fashion. This is not only technically and conceptually more challenging than traditional narrative authoring but also a scalability problem. This thesis examines the authoring bottleneck through a case study and a literature survey and advocates a solution based on crowdsourcing. Prior work has already shown that combining a large number of example stories collected from crowd workers with a system that merges these contributions into a single interactive story can be an effective way to reduce the authorial burden. As a refinement of such an approach, this thesis introduces the novel concept of Crowd Task Adaptation. It argues that in order to maximise the usefulness of the collected stories, a system should dynamically and intelligently analyse the corpus of collected stories and based on this analysis modify the tasks handed out to crowd workers. Two authoring systems, ENIGMA and CROSCAT, which show two radically different approaches of using the Crowd Task Adaptation paradigm have been implemented and are described in this thesis. While ENIGMA adapts tasks through a realtime dialog between crowd workers and the system that is based on what has been learned from previously collected stories, CROSCAT modifies the backstory given to crowd workers in order to optimise the distribution of branching points in the tree structure that combines all collected stories. Two experimental studies of crowdsourced authoring are also presented. They lead to guidelines on how to employ crowdsourced authoring effectively, but more importantly the results of one of the studies demonstrate the effectiveness of the Crowd Task Adaptation approach

Social shaping of digital publishing: exploring the interplay between culture and technology

The processes and forms of electronic publishing have been changing since the advent of the Web. In recent years, the open access movement has been a major driver of scholarly communication, and change is also evident in other fields such as e-government and e-learning. Whilst many changes are driven by technological advances, an altered social reality is also pushing the boundaries of digital publishing. With 23 articles and 10 posters, Elpub 2012 focuses on the social shaping of digital publishing and explores the interplay between culture and technology. This book contains the proceedings of the conference, consisting of 11 accepted full articles and 12 articles accepted as extended abstracts. The articles are presented in groups, and cover the topics: digital scholarship and publishing; special archives; libraries and repositories; digital texts and readings; and future solutions and innovations. Offering an overview of the current situation and exploring the trends of the future, this book will be of interest to all those whose work involves digital publishing

The Hitchhiker’s Guide to the Metaverse

Non peer reviewe

Proceedings of the 1st International Conference on Live Coding

Open Access peer reviewed papers on live coding published at the 1st International Conference on Live Coding (ICLC) in Leeds

Supporting virtuosity and flow in computer music

As we begin to realise the sonic and expressive potential of the computer, HCI researchers face the challenge of designing rewarding and accessible user experiences that enable individuals to explore complex creative domains such as music. In performance-based music systems such as sequencers, a disjunction exists between the musician’s specialist skill with performance hardware and the generic usability techniques applied in the design of the software. The creative process is not only fragmented across multiple physical (and virtual) devices, but divided across creativity and productivity phases separated by the act of recording. Integrating psychologies of expertise and intrinsic motivation, this thesis proposes a design shift from usability to virtuosity, using theories of “flow” (Csikszentmihalyi, 1996) and feedback “liveness” (Tanimoto, 1990) to identify factors that facilitate learning and creativity in digital notations and interfaces, leading to a set of design heuristics to support virtuosity in notation use. Using the cognitive dimensions of notations framework (Green, 1996), models of the creative user experience are developed, working towards a theoretical framework for HCI in music systems, and specifically computer-aided composition. Extensive analytical methods are used to look at corollaries of virtuosity and flow in real-world computer music interaction, notably in soundtracking, a software-based composing environment offering a rapid edit-audition feedback cycle, enabled by the user’s skill in manipulating the text-based notation (and program) through the computer keyboard. The interaction and development of more than 1,000 sequencer and tracker users was recorded over a period of 2 years, to investigate the nature and development of skill and technique, look for evidence of flow experiences, and establish the use and role of both visual and musical feedback in music software. Quantitative analyses of interaction data are supplemented with a detailed video study of a professional tracker composer, and a user survey that draws on psychometric methods to evaluate flow experiences in the use of digital music notations, such as sequencers and trackers. Empirical findings broadly support the proposed design heuristics, and enable the development of further models of liveness and flow in notation use. Implications for UI design are discussed in the context of existing music systems, and supporting digitally-mediated creativity in other domains based on notation use

Facilitating the development of location-based experiences

Location-based experiences depend on the availability and reliability of wireless infrastructures such as GPS, Wi-Fi, or mobile phone networks; but these technologies are not universally available everywhere and anytime. Studies of deployed experiences have shown that the characteristics of wireless infrastructures, especially their limited coverage and accuracy, have a major impact on the performance of an experience. It is in the designers’ interest to be aware of technological restrictions to their work. Current state of the art authoring tools for location-based experiences implement one common overarching model: the idea of taking a map of the physical area in which the experience is to take place and then somehow placing virtual trigger zones on top of it. This model leaves no space for technological shortcomings and assumes a perfect registration between the real and the virtual. In order to increase the designers’ awareness of the technology, this thesis suggests revealing the wireless infrastructures at authoring time through appropriate tools and workflows. This is thought to aid the designers in better understanding the characteristics of the underlying technology and thereby enable them to deal with potential problems before their work is deployed to the public. This approach was studied in practice by working with two groups of professional artists who built two commercially commissioned location-based experiences, and evaluated using qualitative research methods. The first experience is a pervasive game for mobile phones called ‘Love City’ that relies on cellular positioning. The second experience is a pervasive game for cyclists called ‘Rider Spoke’ that relies on Wi-Fi positioning. The evaluation of these two experiences revealed the importance of an integrated suite of tools that spans indoors and outdoors, and which supports the designers in better understanding the location mechanism that they decided to work with. It was found that designers can successfully create their experiences to deal with patchy, coarse grained, and varying wireless networks as long as they are made aware of the characteristics

Investigations of collaborative design environments: A framework for real-time collaborative 3D CAD

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This research investigates computer-based collaborative design environments, in particular issues of real-time collaborative 3D CAD. The thesis first presents a broad perspective of collaborative design environments with a preliminary case study of team design activities in a conventional and a computer mediated setting. This study identifies the impact and the feasibility of computer support for collaborative design and suggests four kinds of essential technologies for a successful collaborative design environment: information-sharing systems, synchronous and asynchronous co- working tools, project management systems, and communication systems. A new conceptual framework for a real-time collaborative 3D design tool, Shared Stage, is proposed based upon the preliminary study. The Shared Stage is defined as a shared 3D design workspace aiming to smoothly incorporate shared 3D workspaces into existing individual 3D workspaces. The addition of a Shared Stage allows collaborating designers to interact in real-time and to have a dynamic and interactive exchange of intermediate 3D design data. The acceptability of collaborative features is maximised by maintaining consistency of the user interface between 3D CAD systems. The framework is subsequently implemented as a software prototype using a new software development environment, customised by integrating related real-time and 3D graphic software development tools. Two main components of the Shared Stage module in the prototype, the Synchronised Stage View (SSV) and the Data Structure Diagram (DSD), provide essential collaborative features for real-time collaborative 3D CAD. These features include synchronised shared 3D representation, dynamic data exchange and awareness support in 3D workspaces. The software prototype is subsequently evaluated to examine the usefulness and usability. A range of quantitative and qualitative methods is used to evaluate the impact of the Shared Stage. The results, including the analysis of collaborative interactions and user perception, illustrate that the Shared Stage is a feasible and valuable addition for real-time collaborative 3D CAD. This research identifies the issues to be addressed for collaborative design environments and also provides a new framework and development strategy of a novel real-time collaborative 3D CAD system. The framework is successfully demonstrated through prototype implementation and an analytical usability evaluation.Financial support from the Department and from the UK government through the Overseas Research Studentship Awards