Digital Ecosystems: Ecosystem-Oriented Architectures

We view Digital Ecosystems to be the digital counterparts of biological ecosystems. Here, we are concerned with the creation of these Digital Ecosystems, exploiting the self-organising properties of biological ecosystems to evolve high-level software applications. Therefore, we created the Digital Ecosystem, a novel optimisation technique inspired by biological ecosystems, where the optimisation works at two levels: a first optimisation, migration of agents which are distributed in a decentralised peer-to-peer network, operating continuously in time; this process feeds a second optimisation based on evolutionary computing that operates locally on single peers and is aimed at finding solutions to satisfy locally relevant constraints. The Digital Ecosystem was then measured experimentally through simulations, with measures originating from theoretical ecology, evaluating its likeness to biological ecosystems. This included its responsiveness to requests for applications from the user base, as a measure of the ecological succession (ecosystem maturity). Overall, we have advanced the understanding of Digital Ecosystems, creating Ecosystem-Oriented Architectures where the word ecosystem is more than just a metaphor.Comment: 39 pages, 26 figures, journa

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

Repositioning Neuroaesthetics Through Contemporary Art

Neuroaesthetics has tended to privilege neuroscientific understandings of art, eliding centuries of art historical research on perception and culture. Instead, this dissertation extends neuroaesthetic research to examine the specific social, sensorial and perceptual processes occurring as artworks are encountered in exhibition contexts. How does neuroaesthetic perception operate in contemporary artworks? What modes of cognitive address are involved? How can neuroaesthetic engagement facilitate embodied knowledges? This dissertation first inquires into the neuroaesthetic literature in order to establish its neuroscientific foundations, and then advances a perceptual standpoint stemming from art and art history. Drawing from feminist theories of embodiment, I reposition neuroaesthetics to incorporate art historical inquiries into body and mind through direct engagement with art. I argue that such a revised neuroaesthic perception must take into account post-humanist troublings of nature/culture dichotomies. I also suggest that the paradigm for embodied perception that has emerged from both cognitive neuroscience and affect theory can expand neuroaesthetic understanding. My investigation has led me to first-hand experience as a research subject of neuroscience experiments, which show that current fMRI contexts in fact delimit the perception of art and inhibit possible neuroaesthetic significance. Instead, I undertake neuroaesthetic research in exhibition contexts where self-reflexive awareness facilitates insights into perception and cognition that are inaccessible within the epistemological conditions of neuroscience labs. The first case study examines how an installation by the FASTWÜRMS collective reveals cognitive processes of abduction by inviting navigation through an infinitely complex web of objects and images. Turning from association to visual cognition, I consider how Olafur Eliasson’s immersive light installations manipulate colour perception thereby facilitating critical awareness of techno-mediated environments. Third, my analysis of a conceptual work by Kristin Lucas explores how the performance of digital and legal technology invites embodied transformations. Finally, I examine how the affective tensions produced in a video by Omer Fast activate an awareness of intersubjective communication that corresponds with recent neuroscientific developments in mirror-neuron theory. By taking contemporary artworks as its focus, the dissertation extends neuroaesthetic inquiry to demonstrate contextual understandings of how the cognitive processes of art constitute physiological engagements between body, brain and world

Understanding computer game culture: the cultural shaping of a new medium

In the past few decades, video games have developed from a marginal technological experiment into a mainstream medium. During this period they have gone through several transformations, from arcade machines offering a few minutes of solitary fun for a quarter to monthly subscription-based online MMOs in which thousands of players spend hundreds or even thousands of hours and lead a significant part of their social life as a fantasy character. But what is it that has driven video games? development? Is it technology? Indeed, with every new generation of hardware, game designers were given a broader set of tools for evoking exhilarating experiences. But is not culture at least as important? What would games look like if Tolkien never had written Lord of the Rings, or if Nintendo had not brought Japanese manga drawing styles to the new medium? This book looks at the theoretical challenges and foundations on which to base a cultural shaping approach towards the evolution of video games and proposes a set of concepts for analyzing and describing this process

Non-photorealistic rendering: a critical examination and proposed system.

In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to articulate meaning in images; solutions to this problem are given. A further argument claims that NPR, while being similar to traditional "natural media" techniques in certain aspects, is fundamentally different in other ways. This similarity has lead NPR to be sometimes proposed as "painting simulation" — something it can never be. Methods for avoiding this position are proposed. The similarities and differences to painting and drawing are presented and NPR's relationship to its other counterpart, Photorealistic Rendering (PR), is then delineated. It is shown that NPR is paradigmatically different to other forms of representation — i.e. it is not an "effect", but rather something basically different. The benefits of NPR in its mature form are discussed in the context of Architectural Representation and Design in general. This is done in conjunction with consultations with designers and architects. From this consultation a "wish-list" of capabilities is compiled by way of a requirements capture for a proposed system. A series of computer-based experiments resulting in the systems "Expressive Marks" and 'Magic Painter" are carried out; these practical experiments add further understanding to the problems of NPR. The exploration concludes with a prototype system "Piranesi" which is submitted as a good overall solution to the problem of NPR. In support of this written thesis are : - • The Expressive Marks system • Magic Painter system • The Piranesi system (which includes the EPixel and Sketcher systems) • A large portfolio of images generated throughout the exploration

Tasks Makyth Models: Machine Learning Assisted Surrogates for Tipping Points

We present a machine learning (ML)-assisted framework bridging manifold learning, neural networks, Gaussian processes, and Equation-Free multiscale modeling, for (a) detecting tipping points in the emergent behavior of complex systems, and (b) characterizing probabilities of rare events (here, catastrophic shifts) near them. Our illustrative example is an event-driven, stochastic agent-based model (ABM) describing the mimetic behavior of traders in a simple financial market. Given high-dimensional spatiotemporal data -- generated by the stochastic ABM -- we construct reduced-order models for the emergent dynamics at different scales: (a) mesoscopic Integro-Partial Differential Equations (IPDEs); and (b) mean-field-type Stochastic Differential Equations (SDEs) embedded in a low-dimensional latent space, targeted to the neighborhood of the tipping point. We contrast the uses of the different models and the effort involved in learning them.Comment: 29 pages, 8 figures, 6 table

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

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity

Mental Imagery in the Experience of Literary Narrative: Views from Embodied Cognition

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation