The IRIS Network of Excellence:: Integrating Research in Interactive Storytelling

Abstract. Interactive Storytelling is a major endeavour to develop new media which could offer a radically new user experience, with a potential to revolutionise digital entertainment. European research in Interactive Storytelling has played a leading role in the development of the field, and this creates a unique opportunity to strengthen its position even further by structuring collaboration between some of its main actors. IRIS (Integrating Research in Interactive Storytelling) aims at creating a virtual centre of excellence that will be able to progress the understanding of fundamental aspects of Interactive Storytelling and the development of corresponding technologies

A dual-modal CT/US kidney phantom model for image-guided percutaneous renal access

Percutaneous renal access (PRA) is a crucial step in some minimally invasive kidney interventions. During this step, the surgeon inserts a needle through the skin until the kidney target site using fluoroscopy and ultrasound imaging. Recently, new concepts of enhanced image-guided interventions have been introduced in these interventions. However, their validation remains a challenging task. Phantom models have been presented to solve such challenge, using realistic anatomies in a controlled environment. In this work, we evaluate the accuracy of a porcine kidney phantom for validation of novel dual-modal computed tomography (CT)/ultrasound (US) image-guided strategies for PRA. A porcine kidney was combined with a tissue mimicking material (TMM) and implanted fiducial markers (FM). While the TMM mimics the surrounding tissues, the FM are used to accurately assess the registration errors between the US and CT images, providing a valid ground-truth. US and CT image acquisitions of the phantom model were performed and the FM were manually selected on both images. A rigid alignment was performed between the selected FM, presenting a root-mean-square error of 1.1 mm. Moreover, the kidney was manually segmented, presenting volumes of 203 ml and 238 ml for CT and US, respectively. The initial results are promising on achieving a realistic kidney phantom model to develop new strategies for PRA, but further work to improve the manufacturing process and to introduce motion and anatomical artifacts in the phantom is still required.This work has been funded by FEDER funds, through the Competitiveness Factors Operational Programme (COMPETE), and by National funds, through the Foundation for Science and Technology (FCT), under the scope of the project NORTE-01-0145-FEDER-000013, supported by the NORTE 2020, under the Portugal 2020 Partnership Agreement, through the European Regional Development Fund (FEDER). J. Gomes-Fonseca, A. Miranda, P. Morais, and S. Queirós were funded by FCT under the Ph.D. grants PD/BDE/113597/2015, SFRH/BD/52059/ 2012, SFRH/BD/95438/2013, and SFRH/BD/93443/2013, respectively.info:eu-repo/semantics/publishedVersio

Interactive co-construction to study dynamical collaborative situations.

International audienceThe purpose of this paper is to present the principle of our framework CoPeFoot dedicated to the study of dynamic and collaborative situations. This research work aims to instate learning by the co-construction of such situations. The article starts by recalling constraints induced by such situations. Next, it introduces interactive co-construction assumption and their implementation in CoPeFoot. In fact, this implementation is based on two steps in CoPeFoot: firstly, machine learning for behavior modeling, using imitation of real users and secondly, refining this behavior by using interaction between the user and the simulation, enhanced by additional information called augmented virtuality. In order to do that, CoPeFoot lies on context base reasoning which is presented. The article ends by a first evaluation of this work

eCute: Difference is good

This paper provides an overview of ongoing research on cultural and emotional learning, thereby utilizing engaging roleplay with synthetic characters. The paper explains the underlying learning objectives and provides an overview of how we intend to achieve them. This includes a technical framework integrating affective AI characters and innovative interaction technologies. The framework will be used to realize a virtual learning environment hosting the synthetic characters. Finally a brief description of an evaluation approach for the anticipated learning objectives is given

Cinematic virtual reality: Towards the spatialized screenplay

© 2018 Intellect Ltd Article. This article considers how screenwriting might operate in the newly established medium of cinematic virtual reality (CVR). In Part One, we take a wide view of ways to consider screenwriting and development for CVR. Our approach theorizes CVR in the tradition of picture-making (or image-making) practices that can be traced within a broader history of the visual arts -from painting, to photography and contemporary art. In this way, we lay open the possibility for CVR to find diverse paths as it responds to narrative concerns rather than suggest it should merely repeat the consolidation of narrative that occurred with the transition of exploratory early cinema to the dominant Classical Hollywood system. In Part Two, our case study approach considers co-author, Miriam Ross’, CVR practice-based research to allow a discussion of the format that can be used for delivery of the CVR screenplay. Our aims are to connect a historically based spatialization of the image with the question of the spatialization of the screenplay for CVR 360-degrees media. The agenda is to expand the conversation around CVR to reflect upon, and inspire, new ways of thinking (and seeing) the potential for the development of screen ideas in this medium

Designing Interactive and Immersive Multimodal Installations for People with Disability

We developed an end-to-end co-creative methodology for designing interactive and immersive multisensory virtual reality experiences with a particular focus on people with disability. Our method draws on what is called “design thinking” to provide a backbone to our approach. This embraces three stages, an empathic first stage, followed by an ideation phase, during which the thematic context is elaborated, and then an iterative exploration phase during which the initial concept is refined and the implementation is achieved. Furthermore, the “cognitive design” methodology developed by one of us led us to an approach incorporating all sensory modalities, not just the audio and visual modalities (that is, it includes odor, tactile, taste and proprioceptive stimuli), in order to deliver an experience that fully enhances the user’s sense of embodiment, and also led us to place the user’s experience at the heart of the installation. Users participate in the design process through co-design protocols. We showcase the application of this methodology in a detailed way for the construction of an interactive and immersive VR installation for people with disabilities

‘IMPLICIT CREATION’ – NON-PROGRAMMER CONCEPTUAL MODELS FOR AUTHORING IN INTERACTIVE DIGITAL STORYTELLING

Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work

La inseguridad percibida en la intermodal de transporte de Atotxa (Donostia-San Sebastián): un análisis cuantitativo entre los usuarios del lugar

La percepción de inseguridad es un fenómeno que tiene un gran impacto entre los ciudadanos de las sociedades contemporáneas. En este trabajo se expone una revisión de la literatura relacionada con el miedo al delito desde su perspectiva más sociológica, y se presenta un caso particular: el estudio de la inseguridad percibida en la intermodal urbana de Atotxa en Donostia-San Sebastián, a través de los datos obtenidos durante las prácticas en la Guardia Municipal de la ciudad, así como de encuestas realizadas a los usuarios de la zona. Este análisis permite elaborar una comparación entre los datos objetivos y subjetivos de la seguridad ciudadana en el lugar.Gizarte garaikideenko herritarren artean, segurtasun ezaren pertzepzioa eragin handia duen fenomeno da. Lan honetan, ikuspuntu soziologiko batetik, delituarekiko beldurrarekin lotutako literaturen berrikusketa azaltzen da, eta kasu zehatz bat aurkezten da: Donostiako Atotxako hiri-intermodalean hautematen den segurtasun ezaren azterketa, Donostiako Udaltzaingoan egindako praktiketan jasotako datuen bidez, baita inguruko auzokideei egindako inkesten bidez. Azterketa honi esker, herritarren segurutasunaren datu objektiboen eta subjektiboen arteko lotura ahalbidetzen da.The perception of insecurity is a phenomenon that has a great impact on citizens of contemporary societies. This work offers a review of the literature related to people’s fear of crime from a sociological perspective. One case in particular is presented: the study of received insecurity in the urban intermodal station of Atotxa in Saint Sebastian (Spain), based on data collected during an internship at the Municipal Guard of the city and the surveys done by people in this area. This analysis allows to make a comparison between objective and subjective data about citizen’s safety at this place.Le sentiment d'insécurité est un phénomène impactant lourdement nos sociétés contemporaines, et leurs habitants. Depuis la perspective sociologique, est présenté tout au long de ce travail une relecture de la littérature en relation avec la crainte du délit. De plus, sera exposé un cas précis : étude de la perception d'insécurité au sein de la gare routière de L'Atotxa à Saint-Sébastien, Espagne. Faisant usage des résultats d'une enquête réalisée durant un stage au sein de la Garde Municipale RT ceci auprès des habitants locaux. Cette analyse, a permit la comparaison de données objectives et subjectives quant à la sécurité sur un espace déterminé

‘Virtual Reconnections’: Using VR storytelling to reconnect to Indigenous cultural Artefacts

The emergence of computer-generated technologies and their increasing affordability has been welcomed with enthusiasm and it is now reaching maturity across different sectors, from the scientific and technological field to educational and recreational contexts. With an eye on its criticalities, this paper reflects on the ways in which VR can be used to engage with Indigenous artefacts and knowledges. Primarily, this work looks at VR as a symbolic and concrete space for the reconfiguration of Indigenous storytelling and the mapping of new cartographies. It does so by reflecting on the possibilities and limitations of a collaborative project that investigates the potential of VR to tell stories through objects (through the mobilisation of strong affective responses), transmit knowledge and educate. The project is a collaborative venture between the author, an Italian scholar based in London, a Greek scholar and VR artist based in London, a London-based Sierra Leonian artist and a Torres Strait Islander artist who resides in Australia. The identities of the people involved in the project are key to understanding VR as a space for dialogue, and a place to think about the situated and subjective practices which are embodied and embedded in the narrative and structure of the VR experience itself. Therefore, we have embraced Linda Tuhiwai Smith’s approach to decolonising methodologies, together with community-based participatory research as key frameworks to understanding intercultural collaboration, the handling of Indigenous knowledges, intellectual property, data sovereignty, and the digitisation of tangible and intangible Indigenous cultural heritage. Investigations into the uses of VR in maintaining cultural heritage and Indigenous cultural artefacts have been undertaken by some scholars (see Newell, for instance), but more research needs to be done to shed light on the complexities of working with these technologies in terms of access, sustainability and effective change. This paper thus looks at VR as a platform for Indigenous communities across cultures to think about sustainable futures as old and new challenges intervene in cultural maintenance, transmission and revitalisation. Within this context, spatial elements and trajectories of Indigenous artefacts that have been removed from their original place of use to travel to the heart of the Empire have been considered. Yet, while here we are not directly engaging with the role of museums and demands of repatriation, we nevertheless argue that ‘digital/virtual reconnections’ could be the first step towards encouraging the younger generations to engage and/or re-engage with aspects of culture that may feel distant. Moving beyond the concept of digital repatriation, the term ‘reconnections’ captures the possibilities of VR in terms of agency, maintenance, revival and reintegration of important cultural objects/knowledges. The Bondo Mask in Sierra Leone and the Turtle Shell mask in the Torres Strait Islands carry with them deep transcultural and cross-cultural meanings, practices and traditions that VR technologies and environments can help revive. Thus, this work sets out to further investigate if and how immersive virtual approaches to Indigenous cultures can strengthen a sense of community and pride in cultural identity while healing transgenerational fractures and reviving deep-seated traditions so as to move confidently towards the future. Through a series of critical ethnographic methods, two of the researchers have and will continue to carry out investigations and fieldwork within their communities of origin in an effort to gather direct testimonies and guidelines from Elders and community members to shape the project in ways that are meaningful and contextual