Agents for educational games and simulations

This book consists mainly of revised papers that were presented at the Agents for Educational Games and Simulation (AEGS) workshop held on May 2, 2011, as part of the Autonomous Agents and MultiAgent Systems (AAMAS) conference in Taipei, Taiwan. The 12 full papers presented were carefully reviewed and selected from various submissions. The papers are organized topical sections on middleware applications, dialogues and learning, adaption and convergence, and agent applications

Simulating emotional reactions in medical dramas

Presenting information on emotionally charged topics is a delicate task: if bare facts alone are conveyed, there is a risk of boring the audience, or coming across as cold and unfeeling; on the other hand, emotional presentation can be appropriate when carefully handled, but when overdone or mishandled risks being perceived as patronising or in poor taste. When Natural Language Generation (NLG) systems present emotionally charged information linguistically, by generating scripts for embodied agents, emotional/affective aspects cannot be ignored. It is important to ensure that viewers consider the presentation appropriate and sympathetic. We are investigating the role of affect in communicating medical information in the context of an NLG system that generates short medical dramas enacted by embodied agents. The dramas have both an informational and an educational purpose in that they help patients review their medical histories whilst receiving explanations of less familiar medical terms and demonstrations of their usage. The dramas are also personalised since they are generated from the patients' own medical records. We view generation of natural/appropriate emotional language as a way to engage and maintain the viewers' attention. For our medical setting, we hypothesize that viewers will consider dialogues more natural when they have an enthusiastic and sympathetic emotional tone. Our second hypothesis proposes that such dialogues are also better for engaging the viewers' attention. As well as describing our NLG system for generating natural emotional language in medical dialogue, we present a pilot study with which we investigate our two hypotheses. Our results were not quite as unequivocal as we had hoped. Firstly, our participants did notice whether a character sympathised with the patient and was enthusiastic. This did not, however, lead them to judge such a character as behaving more naturally or the dialogue as being more engaging. However, when pooling data from our two conditions, dialogues with versus dialogues without emotionally appropriate language use, we discovered, somewhat surprisingly, that participants did consider a dialogue more engaging if they believed that the characters showed sympathy towards the patient, were not cold and unfeeling, and were natural (true for the female agent only)

Improvising Linguistic Style: Social and Affective Bases for Agent Personality

This paper introduces Linguistic Style Improvisation, a theory and set of algorithms for improvisation of spoken utterances by artificial agents, with applications to interactive story and dialogue systems. We argue that linguistic style is a key aspect of character, and show how speech act representations common in AI can provide abstract representations from which computer characters can improvise. We show that the mechanisms proposed introduce the possibility of socially oriented agents, meet the requirements that lifelike characters be believable, and satisfy particular criteria for improvisation proposed by Hayes-Roth.Comment: 10 pages, uses aaai.sty, lingmacros.sty, psfig.st

Software agents in music and sound art research/creative work: Current state and a possible direction

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

Narrative Generation in Entertainment: Using Artificial Intelligence Planning

From the field of artificial intelligence (AI) there is a growing stream of technology capable of being embedded in software that will reshape the way we interact with our environment in our everyday lives. This ‘AI software’ is often used to tackle more mundane tasks that are otherwise dangerous or meticulous for a human to accomplish. One particular area, explored in this paper, is for AI software to assist in supporting the enjoyable aspects of the lives of humans. Entertainment is one of these aspects, and often includes storytelling in some form no matter what the type of media, including television, films, video games, etc. This paper aims to explore the ability of AI software to automate the story-creation and story-telling process. This is part of the field of Automatic Narrative Generator (ANG), which aims to produce intuitive interfaces to support people (without any previous programming experience) to use tools to generate stories, based on their ideas of the kind of characters, intentions, events and spaces they want to be in the story. The paper includes details of such AI software created by the author that can be downloaded and used by the reader for this purpose. Applications of this kind of technology include the automatic generation of story lines for ‘soap operas’

Wreading, Performing, and Reflecting: The Application of Narrative Hypertext and Virtual World Experiences to Social Work Education

In this dissertation I propose the use of a new media composition of narrative hypertext, performances in a virtual world, and a dialogic process of writing to provide a continuum of learning opportunities in social work education. I suggest that the structure of the hypertext narrative, embedded with hypermedia, mirrors the dissociative aspects of traumatic memory. I argue that work with the multivocality and multisequentiality of narrative hypertext emulates the process of discovery in the clinical interview. The immersive component of work in a virtual world deepens the realism and affective impact of simulations and creates opportunities to practice and demonstrate engagement, assessment, and intervention skills. The writing component of the new media composition actively engages students in a dialogic process that hones the development of self-reflexive practice and a professional social work identity. In developing the project, I enlisted the input of two groups of key informants. Content experts provided background that informed the narrative and scripts. A second group of faculty, students, and practitioners provided input on project design and identified potential barriers to success and anticipated outcomes. Informants suggest that the continuum of media engages students with a variety of learning styles, offers safe ways to practice skills as a precursor to interviews with actual clients, and allows for exploration of diverse identities as an avatar. Potential barriers include the time and resources required to learn new technologies and the potential for students to be triggered by trauma content. Informants offered recommendations to address the barriers. Three changes were immediately incorporated into the structure and content of the project to address these concerns

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion