Linear logic for non-linear storytelling

Abstract. Whilst narrative representations have played a prominent role in AI research, there has been a renewed interest in the topic with the development of interactive narratives. A typical approach aims at generating narratives from baseline action representations, most often using planning techniques. However, this research has developed empirically, often as an application of planning. In this paper, we explore a more rigorous formalisation of narrative concepts, both at the action level and at the plot level. Our aim is to investigate how to bridge the gap between action descriptions and narrative concepts, by considering the latter from the perspective of resource consumption and causality. We propose to use Linear Logic, often introduced as a logic of resources, for it provides, through linear implication, a better description of causality than in Classical and Intuitionistic Logic. Besides advances in the fundamental principles of narrative formalisation, this approach can support the formal validation of scenario description as a preliminary step to their implementation via other computational formalisms.

From the Poetry of Late Socialism to the Dogmatism of Democracy: The Cinema of the Former Eastern Bloc before and after the Collapse of Communism

Using the examples of two films from the late socialist era, Roman Balayan’s Flights in Dream and Reality (1982) and Mircea Daneliuc’s Glissando (1982) and following Alexei Yurchak’s description of vnye as “deterritorialized milieus,” I plan to show how the entirety of the cultural space of late socialism amounted to what Foucault would term a heterotopic place featuring both simultaneity and juxtaposition. Finally, by further comparing this space to that created in the nonlinear postmodern era by Sergey Loznitsa in his documentary film Donbass, I will attempt to show that this cultural space, and by extension, the affective space of socialism right down to the everyday lives of the “masses,” unlike the totalitarian universe it is nowadays made out to appear, presented the early features of the very intermediality, non-linearity, and non-topicality we are celebrating in post-meta-narrative art cinema of the early 2000s. A home-bred version of magic realism, this Eastern European postmodern space should serve, due to its cohesive yet disparate nature, as a model of sorts for reconceptualizing contemporary views of post-narrative, transnational and, to employ Foucault’s powerful term, heterotopic media

From Linearity to Circulation. How TV Flow Is Changing in Networked Media Space

This article discusses the evolution of the concept of flow from the producer-controlled phase to the user-controlled phase, thus proposing the concept of circulation as a new framework for understanding the new TV ecosystem. The multiplication of screens (from the traditional TV set to handheld mobile devices) has made TV content accessible anytime and anywhere and, furthermore, has provided an interactive space where the digital life of content is managed by the audiences on social media. Such multiplication of screens has created forms of TV consumption that lead to the deconstruction and subsequent reformulation of the concepts of space, time and medium. This article examines this ongoing process, beginning with observations of audience consumption practices that are analysed using Osservatorio Social TV 2015, an Italian research project

A Generative Model of Group Conversation

Conversations with non-player characters (NPCs) in games are typically confined to dialogue between a human player and a virtual agent, where the conversation is initiated and controlled by the player. To create richer, more believable environments for players, we need conversational behavior to reflect initiative on the part of the NPCs, including conversations that include multiple NPCs who interact with one another as well as the player. We describe a generative computational model of group conversation between agents, an abstract simulation of discussion in a small group setting. We define conversational interactions in terms of rules for turn taking and interruption, as well as belief change, sentiment change, and emotional response, all of which are dependent on agent personality, context, and relationships. We evaluate our model using a parameterized expressive range analysis, observing correlations between simulation parameters and features of the resulting conversations. This analysis confirms, for example, that character personalities will predict how often they speak, and that heterogeneous groups of characters will generate more belief change.Comment: Accepted submission for the Workshop on Non-Player Characters and Social Believability in Games at FDG 201

Reconfiguring the twenty first-century reader : an analysis of interpretation and performance

This article discusses how contemporary technological trends and new media have reconfigured the reader into a multiplicity of roles, suggesting that a number of dualisms formerly associated with the act of reading are no longer valid. Notions of writing and reading, creation and interpretation have been adapted to new convergence models of textual production and reception, and whilst 'story' remains translatable across media, in the process of multiplatforming, various narrative techniques are used to create different levels of engagement with the text at each stage. The promise of the reader's much-celebrated creative authority at the turn of the century is problematised here through a discussion of distributed aesthetics and tele-theories of representation. Taking the fantasy genre as a case study, the contemporary influence of cultish trends, together with the effect of cybernetic communication dynamics on traditional genre stylistics and the fulfilment of narrative meaning, will be analysed as essential considerations in establishing which aspects of the traditional reader are translatable to a future that seems increasingly dependent on connectivity, interactivity and speed. The article will argue that, in a number of instances, the contemporary cultural scenario suggests that fulfilment of meaning is often successfully executed through strategies previously associated with the performative rather than the literary text, and will conclude that specific technological developments are responsible for this adaptation.peer-reviewe

On the writing, reading and publishing of digital stories

Purpose – The purpose of this paper is to describe a study set up to investigate and map the landscape of digital writing today. A holistic perspective has been adopted involving writers, readers and publishers alike. Design/methodology/approach – The research uses a qualitative approach and combines interviews and direct observations. In in-depth interviews 13 participants (four writers, four publishers, three readers and two on-line readers) were questioned for their opinions on issues related to writing, publishing and reading digital fiction. The three readers were also observed while interacting, for the first time, with three digital stories. Findings – Results show that the area is still unsettled though much excitement surrounds experimentations and freedom of publishing online. Readers seem uneasy with the role of co-creators that writers want to assign them and prefer linear stories to more deconstructed ones. Writers like to experiment and combine multiple media and readers like to interact with multimedia stories; this seems to open interesting perspectives over interactive narrative. Publishers are not yet involved in digital writing and this is seen simultaneously as a blessing (unfiltering of innovative ideas) and a curse (lack of economical support, lack of quality selection). Despite disagreement and ambiguity all interviewees agree that digital fiction will come, likely prompted by new reading technology. Originality/value – This paper is the first attempt to understand the phenomena of digital writing taking into consideration the perspectives of writers, readers and publishers simultaneously and comparing their different views

The IRIS network of excellence: future directions in interactive storytelling

The IRIS Network of Excellence (NoE) started its work in January 2009. In this paper we highlight some new research directions developing within the network: one is revisiting narrative formalisation through the use of Linear Logic and the other is challenging the conventional framework of basing Interactive Storytelling on computer graphics to explore the content-based recombination of video sequences

Understanding Complexity

{Excerpt} In development agencies, paradigms of linear causality condition much thinking and practice. They encourage command-and-control hierarchies, centralize decision making, and dampen creativity and innovation. Globalization demands that organizations see our turbulent world as a collection of evolving ecosystems. To survive and flourish they must then be adaptable and fleet footed. Notions of complexity offer a wealth of insights and guidance to 21st century organizations that strive to do so

Making meaning in muddy waters: representing complexity through community based storytelling

Internationally, storytelling has been used with many diverse communities. This paper compares the use of storytelling as a participatory art form within a community development project and a community and healthy living centre in the United Kingdom. Both the project and the centre regard storytelling activities as ‘inclusionary’ forms of intervention. However, the discourse of social inclusion rarely acknowledges the subtle psychosocial processes that are involved in participatory storytelling. This paper discusses such processes and examines some methodological implications of researching storytelling. It asks what contribution storytelling can make towards authentic representation of individual and community voices