A Mimetic Strategy to Engage Voluntary Physical Activity In Interactive Entertainment

We describe the design and implementation of a vision based interactive entertainment system that makes use of both involuntary and voluntary control paradigms. Unintentional input to the system from a potential viewer is used to drive attention-getting output and encourage the transition to voluntary interactive behaviour. The iMime system consists of a character animation engine based on the interaction metaphor of a mime performer that simulates non-verbal communication strategies, without spoken dialogue, to capture and hold the attention of a viewer. The system was developed in the context of a project studying care of dementia sufferers. Care for a dementia sufferer can place unreasonable demands on the time and attentional resources of their caregivers or family members. Our study contributes to the eventual development of a system aimed at providing relief to dementia caregivers, while at the same time serving as a source of pleasant interactive entertainment for viewers. The work reported here is also aimed at a more general study of the design of interactive entertainment systems involving a mixture of voluntary and involuntary control.Comment: 6 pages, 7 figures, ECAG08 worksho

(MU-CTL-01-12) Towards Model Driven Game Engineering in SimSYS: Requirements for the Agile Software Development Process Game

Software Engineering (SE) and Systems Engineering (Sys) are knowledge intensive, specialized, rapidly changing disciplines; their educational infrastructure faces significant challenges including the need to rapidly, widely, and cost effectively introduce new or revised course material; encourage the broad participation of students; address changing student motivations and attitudes; support undergraduate, graduate and lifelong learning; and incorporate the skills needed by industry. Games have a reputation for being fun and engaging; more importantly immersive, requiring deep thinking and complex problem solving. We believe educational games are essential in the next generation of e-learning tools. An extensible, freely available, engaging, problem-based game platform that provides students with an interactive simulated experience closely resembling the activities performed in a (real) industry development project would transform the SE/Sys education infrastructure. Our goal is to extend the state-of-the-art research in SE/Sys education by investigating a game development platform (GDP) from an interdisciplinary perspective (education, game research, and software/systems engineering). A meta-model has been proposed to provide a rigourous foundation that integrates the three disciplines. The GDP is intended to support the semi-automated development of collections of scripted games and their execution, where each game embodies a specific set of learning objectives. The games are scripted using a template based approach. The templates integrate three approaches: use cases; storyboards; and state machines (timed, concurrent, hierarchical state machines). The specification templates capture the structure of the game (Game, Acts, Scenes, Screens, Challenges), storyline, characters (player, non-player, external), graphics, music/sound effects, rules, and so on. The instantiated templates are (manually) transformed into XML game scripts that can be loaded into the SimSYS Game Play Engine. As a game is played, the game play events are logged; they are analyzed to automatically assess a player’s accomplishments and automatically adapt the game play script. Currently, we are manually defining a collection of games. The games are being used to ensure the GDP is flexible and reliable (i.e., the prototype can load and correctly run a variety of game scripts), the ontology is comprehensive, and the templates assist in defining well-organized, modular game scripts. In this report, we present the initial part of an Agile Software Development Process game (Act I, Scenes 1 and 2) that embodies learning objectives related to SE fundamentals (requirements, architecture, testing, process); planning with Gantt charts; working with budgets; and selecting a team for an agile development project. A student player is rewarded in the game by getting hired, scoring points, or getting promoted to lead a project. The game has a variety of settings including a classroom, job fair, and a work environment with meeting rooms, cubicles, and a water cooler station. The main non-player characters include a teacher, boss, and an evil peer. In the future, semi-automated support for creating new game scripts will be explored using a wizard interface. The templates will be formally defined, supporting automated transformation into XML game scripts that can be loaded into the SimSYS Game Engine. We also plan to explore transforming the requirements into a notation that can be imported into a commercial tool that supports Statechart simulation

Getting the message across : ten principles for web animation

The growing use of animation in Web pages testifies to the increasing ease with which such multimedia components can be created. This trend indicates a commitment to animation that is often unmatched by the skill of the implementers. The present paper details a set of ten commandments for web animation, intending to sensitise budding animators to key aspects that may impair the communicational effectiveness of their animation. These guidelines are drawn from an extensive literature survey coloured by personal experience of using Web animation packages. Our ten principles are further elucidated by a Web-based on-line tutorial

Reviews

Successful Instructional Diagrams by Ric Lowe, London, Kogan Page, 1993. ISBN: 0–7494–0711–5

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

A conceptual framework for interactive virtual storytelling

This paper presents a framework of an interactive storytelling system. It can integrate five components: management centre, evaluation centre, intelligent virtual agent, intelligent virtual environment, and users, making possible interactive solutions where the communication among these components is conducted in a rational and intelligent way. Environment plays an important role in providing heuristic information for agents through communicating with the management centre. The main idea is based on the principle of heuristic guiding of the behaviour of intelligent agents for guaranteeing the unexpectedness and consistent themes

A motion system for social and animated robots

This paper presents an innovative motion system that is used to control the motions and animations of a social robot. The social robot Probo is used to study Human-Robot Interactions (HRI), with a special focus on Robot Assisted Therapy (RAT). When used for therapy it is important that a social robot is able to create an "illusion of life" so as to become a believable character that can communicate with humans. The design of the motion system in this paper is based on insights from the animation industry. It combines operator-controlled animations with low-level autonomous reactions such as attention and emotional state. The motion system has a Combination Engine, which combines motion commands that are triggered by a human operator with motions that originate from different units of the cognitive control architecture of the robot. This results in an interactive robot that seems alive and has a certain degree of "likeability". The Godspeed Questionnaire Series is used to evaluate the animacy and likeability of the robot in China, Romania and Belgium