Emergence of Self-Organized Symbol-Based Communication \ud in Artificial Creatures

In this paper, we describe a digital scenario where we simulated the emergence of self-organized symbol-based communication among artificial creatures inhabiting a \ud virtual world of unpredictable predatory events. In our experiment, creatures are autonomous agents that learn symbolic relations in an unsupervised manner, with no explicit feedback, and are able to engage in dynamical and autonomous communicative interactions with other creatures, even simultaneously. In order to synthesize a behavioral ecology and infer the minimum organizational constraints for the design of our creatures, \ud we examined the well-studied case of communication in vervet monkeys. Our results show that the creatures, assuming the role of sign users and learners, behave collectively as a complex adaptive system, where self-organized communicative interactions play a \ud major role in the emergence of symbol-based communication. We also strive in this paper for a careful use of the theoretical concepts involved, including the concepts of symbol and emergence, and we make use of a multi-level model for explaining the emergence of symbols in semiotic systems as a basis for the interpretation of inter-level relationships in the semiotic processes we are studying

Fictionalism of Anticipation

A promising recent approach for understanding complex phenomena is recognition of anticipatory behavior of living organisms and social organizations. The anticipatory, predictive action permits learning, novelty seeking, rich experiential existence. I argue that the established frameworks of anticipation, adaptation or learning imply overly passive roles of anticipatory agents, and that a fictionalist standpoint reflects the core of anticipatory behavior better than representational or future references. Cognizing beings enact not just their models of the world, but own make-believe existential agendas as well. Anticipators embody plausible scripts of living, and effectively assume neo-Kantian or pragmatist perspectives of cognition and action. It is instructive to see that anticipatory behavior is not without mundane or loathsome deficiencies. Appreciation of ferally fictionalist anticipation suggests an equivalence of semiosis and anticipation

Semiotic dynamics for embodied agents

Artificial intelligence explores the many different aspects of intelligence like a meandering stream carving out rivers, lakes, and deltas in an endless magnificent landscape. Each time new vistas on intelligence open up, we build new technologies to explore them and find new types of applications. In this article, the author briefly illustrate the current study of semiotic dynamics, the resulting technologies, and the field's impact on current and future intelligent systems applications.The ECAgents project—funded by the Future and Emerging Technologies program (IST-FET) of the European Commission under EU RD contract IST-1940—partly supported this research, conducted at the Sony Computer Science Laboratory Paris.Peer Reviewe

Proceedings ICPW'07: 2nd International Conference on the Pragmatic Web, 22-23 Oct. 2007, Tilburg: NL

Proceedings ICPW'07: 2nd International Conference on the Pragmatic Web, 22-23 Oct. 2007, Tilburg: N

Dynamics of cultural memory: mediation of the Ayotzinapa case

http://www.ester.ee/record=b4698559*es

The Contribution of Branded Games for the LEGO Ninjago Brand Narrative

This study will examine how branded games in the LEGO Ninjagofranchise communicate the brand narrative through theirmechanical, semiotic and referential design. Digital games ascommunicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketingcommunication plans. The LEGO brand creates highly successfulgames that communicate the brand effectively. To explore thepossibilities and counteract the simplistic use of branded games,this study introduces an innovative framework to formally analyzebranded games and their communication of a brand narrativethrough mechanical, semiotic and referential layers. Thisframework introduces formal game design to advertising studies,while dragging game studies into branded ecosystems. Using theframework, we analyze LEGO Ninjago the Movie – TheVideogame, to identify how this paid digital game expands theNinjago universe and fulfills specific marketing purposes orientedto LEGO toy sets. Our analysis shows that on a mechanical andsemiotic layer, the game presents a standalone experience cateringto the universe of the Ninjago movie and the values of the Ninjagobrand narrative. However, by framing the whole game as LEGO– in its materiality and interactable objects – the LEGO brandnarrative of creative construction informs the act of play. Thereferential design in these games makes use of playful disruptionof rules to instill additive comprehension in the player related topurchasable sets and content

The Contribution of Branded Games for the LEGO Ninjago Brand Narrative

This study will examine how branded games in the LEGO Ninjagofranchise communicate the brand narrative through theirmechanical, semiotic and referential design. Digital games ascommunicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketingcommunication plans. The LEGO brand creates highly successfulgames that communicate the brand effectively. To explore thepossibilities and counteract the simplistic use of branded games,this study introduces an innovative framework to formally analyzebranded games and their communication of a brand narrativethrough mechanical, semiotic and referential layers. Thisframework introduces formal game design to advertising studies,while dragging game studies into branded ecosystems. Using theframework, we analyze LEGO Ninjago the Movie – TheVideogame, to identify how this paid digital game expands theNinjago universe and fulfills specific marketing purposes orientedto LEGO toy sets. Our analysis shows that on a mechanical andsemiotic layer, the game presents a standalone experience cateringto the universe of the Ninjago movie and the values of the Ninjagobrand narrative. However, by framing the whole game as LEGO– in its materiality and interactable objects – the LEGO brandnarrative of creative construction informs the act of play. Thereferential design in these games makes use of playful disruptionof rules to instill additive comprehension in the player related topurchasable sets and content