Affective interactions between expressive characters

When people meet in virtual worlds they are represented by computer animated characters that lack a variety of expression and can seem stiff and robotic. By comparison human bodies are highly expressive; a casual observation of a group of people mil reveals a large diversity of behavior, different postures, gestures and complex patterns of eye gaze. In order to make computer mediated communication between people more like real face-to-face communication, it is necessary to add an affective dimension. This paper presents Demeanour, an affective semi-autonomous system for the generation of realistic body language in avatars. Users control their avatars that in turn interact autonomously with other avatars to produce expressive behaviour. This allows people to have affectively rich interactions via their avatars

A Pedagogy for Original Synners

Part of the Volume on Digital Young, Innovation, and the UnexpectedThis essay begins by speculating about the learning environment of the class of 2020. It takes place entirely in a virtual world, populated by simulated avatars, managed through the pedagogy of gaming. Based on this projected version of a future-now-in-formation, the authors consider the implications of the current paradigm shift that is happening at the edges of institutions of higher education. From the development of programs in multimedia literacy to the focus on the creation of hybrid learning spaces (that combine the use of virtual worlds, social networking applications, and classroom activities), the scene of learning as well as the subjects of education are changing. The figure of the Original Synner is a projection of the student-of-the-future whose foundational literacy is grounded in their ability to synthesize information from multiple information streams

A First Amendment for Second Life: What Virtual Worlds Mean for the Law of Video Games

In the first decade of the twenty-first century, video games have finally taken their place alongside movies, comic books, and drawings as a form of protected First Amendment speech. Since the Seventh Circuit\u27s 2001 decision in American Amusement Machine Association v. Kendrick, court after court has struck down ordinances and statutes aimed at restricting violent video games--on the grounds that such violate game designers\u27 and players\u27 First Amendment speech rights. This series of rulings marks a stark change from courts\u27 previous stance on video games, which consigned them to the same realm of unprotected non-speech conduct as games like tennis, chess, or checkers. Video games were able to escape from this unprotected realm--and become First Amendment expression--largely because advances in computer graphics and design made them more and more like interactive movies and television shows, and less and less like digitized board games and pinball machines. But instead of simply forging ahead in this jurisprudential evolution, as video games evolve from personal forms of recreation to virtual worlds, this Article suggests that virtual worlds should make us rethink the First Amendment theory that got us to this point. This is because, while video games may have become First Amendment speech by becoming intricate movie-like stories, many virtual worlds are decidedly not scripted stories. They are rather stages for a multitude of expressive activity, some of which is an electronic analogue of the chess-playing, tennis-playing, car racing, or aimless lounging and wandering, that the courts excluded from the realm of First Amendment speech in an earlier era. This Article argues that this exclusion was a mistake. Virtual worlds are realms of First Amendment expression not because of the stories and role play they make possible, but rather because they provide a setting for giving form to imagination in sounds and imagery, a setting that can be walled off from the business of civil government and thus reserved for more unconstrained exercises of individual freedom. Stories and messages are an optional part of this setting and are not a necessary ingredient of First Amendment speech. This is not to say that government has no role to play in regulating virtual worlds: where individuals bring harm-threatening activity into virtual worlds involving acts that abuse others\u27 money or reputation, for example, government might have to regulate such worlds. But such regulation must take place alongside of, and not simply displace, the First Amendment\u27s application to virtual worlds

Writing In and Around Video Games

This undergraduate course uses video games as a lens through which to explore the infinitely broader topic of digital rhetoric. Students encounter games in several different ways: as texts to analyze, raw material for video compositions, systems to create and explore. Key topics include genre conventions and constraints, audience, procedural rhetoric, interface design, and convergence culture

A brief review: assistive technology and autism, a proposal for virtual tools for improved communication and emotional recognition

Autism is a condition that affects over one percent of the population, and is a condition that has varying degrees of severity. There currently exist various therapies to help people with autism communicate effectively. As a result some researchers and schools have expanded this provision by creating virtual tools to assist the communication process and allow a greater level of independence and generalization. Therefore, this brief paper aims to present a review of literature surrounding assistive technology, augmentative and alternative communication and autism, and how these fields of knowledge can be better understood to help develop virtual tools – more specifically a virtual world

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation