Can computers foster human users' creativity? Theory and praxis of mixed-initiative co-creativity

This article discusses the impact of artificially intelligent computers to the process of design, play and educational activities. A computational process which has the necessary intelligence and creativity to take a proactive role in such activities can not only support human creativity but also foster it and prompt lateral thinking. The argument is made both from the perspective of human creativity, where the computational input is treated as an external stimulus which triggers re-framing of humans’ routines and mental associations, but also from the perspective of computational creativity where human input and initiative constrains the search space of the algorithm, enabling it to focus on specific possible solutions to a problem rather than globally search for the optimal. The article reviews four mixed-initiative tools (for design and educational play) based on how they contribute to human-machine co-creativity. These paradigms serve different purposes, afford different human interaction methods and incorporate different computationally creative processes. Assessing how co-creativity is facilitated on a per-paradigm basis strengthens the theoretical argument and provides an initial seed for future work in the burgeoning domain of mixed-initiative interaction.peer-reviewe

Can computers foster human users' creativity? Theory and praxis of mixed-initiative co-creativity

This article discusses the impact of artificially intelligent computers to the process of design, play and educational activities. A computational process which has the necessary intelligence and creativity to take a proactive role in such activities can not only support human creativity but also foster it and prompt lateral thinking. The argument is made both from the perspective of human creativity, where the computational input is treated as an external stimulus which triggers re-framing of humans’ routines and mental associations, but also from the perspective of computational creativity where human input and initiative constrains the search space of the algorithm, enabling it to focus on specific possible solutions to a problem rather than globally search for the optimal. The article reviews four mixed-initiative tools (for design and educational play) based on how they contribute to human-machine co-creativity. These paradigms serve different purposes, afford different human interaction methods and incorporate different computationally creative processes. Assessing how co-creativity is facilitated on a per-paradigm basis strengthens the theoretical argument and provides an initial seed for future work in the burgeoning domain of mixed-initiative interaction.peer-reviewe

Rulemaking as Play: A Transdisciplinary Inquiry about Virtual Worldmaking

In the age of computing, we rely on software to manage our days, from the moment we wake up until we go to sleep. Software predicts the future based on actualized data from the past. It produces procedures instead of experiences and solutions instead of care. Software systems tend to perpetuate a normalized state of equilibrium. Their application in social media, predictive policing, and social profiling is increasingly erasing diversity in culture and identity. Our immediate reality is narrowing towards cultural conventions shared among the powerful few, whose voices directly influence contemporary digital culture. On the other hand, computational collective intelligence can sometimes generate emergent forces to counter this tendency and force software systems to open up. Historically, artists from different artistic moments have adopted collaborative making to redefine the boundary of creative expression. Video Gaming, especially open-world simulation games, is rapidly being adopted as an emerging form of communication, expression, and self-organization. How can gaming conventions such as Narrative Emergence, Hacking, and Modding help us understand collective play as countering forces against the systematic tendency of normalization? How can people from diverse backgrounds come together to contemplate, make, and simulate rules and conditions for an alternative virtual world? What does it mean to design and virtually inhabit a world where rules are rewritten continuously by everyone, and no one is in control

Architectonics of Game Spaces

What consequences does the design of the virtual yield for architecture and to what extent can the nature of architecture be used productively to turn game-worlds into sustainable places - over here, in »reality«? This pioneering collection gives an overview of contemporary developments in designing video games and of the relationships such practices have established with the design of architecture. Due to their often simulatory nature, games reveal constructions of reality while positively impacting spatial ability and allowing for alternative avenues to complex topics and processes of negotiation. Granting insight into the merging of the design of real and virtual environments, this volume offers an invaluable platform for further debate

Architectonics of Game Spaces: The Spatial Logic of the Virtual and Its Meaning for the Real

What consequences does the design of the virtual yield for architecture and to what extent can the nature of architecture be used productively to turn game-worlds into sustainable places - over here, in "reality"? This pioneering collection gives an overview of contemporary developments in designing video games and of the relationships such practices have established with the design of architecture. Due to their often simulatory nature, games reveal constructions of reality while positively impacting spatial ability and allowing for alternative avenues to complex topics and processes of negotiation. Granting insight into the merging of the design of real and virtual environments, this volume offers an invaluable platform for further debate

Press Play: Video Games and the Ludic Quality of Aesthetic Experiences across Media

This dissertation examines and disrupts the way key scholarly, technical, and cultural discourses distinguish video games as a medium from film by shifting critical attention to how these media are experienced during reception. This premise of this intervention is that a medium-specific outlook of video games suppresses significant dissimilarities among video games, and also overlooks video games’ lineage in relation to how other media are experienced as aesthetic expressions. This has also meant that the vast critical resources within film and media studies remains extensively underutilized within video game scholarship. Beyond noting crucial formal resonances between certain video games and films, this project enhances our understanding of both forms by critiquing the specific presumptions used to define video games in significant by powerful cultural gatekeepers including the United States Supreme Court and the Museum of Modern Art. The premises challenged include the notion that video games are all principally games, that video games have a computational materiality that warrants a distinct critical approach compared to film, that video games are designed to be interactive in way that other aesthetic forms are not, that video games provide a way of inhabiting fictional worlds that films cannot, and that video games lack a capacity to reflect our historical world back to us in manner comparable to film’s documentary capacity. The point is not to suppress distinctions between film and video games, but to understand overlooked facets common to the forms as experienced, thus better situating video games in relation to film studies

Gaze-directed gameplay in first person computer games

The use of eye tracking systems in computer games is still at an early stage. Commercial eye trackers and researches have been focusing in gaze-oriented gameplay as an alternative to traditional input devices. This dissertation proposes to investigate the advantages and disadvantages of the use of these systems in computer games. For it, instead of using eye tracking as a simple direct control input, it is proposed to use it in order to control the attention of the player’s avatar (e.g., if the player notices an obstacle in the way, the avatar will notice it too and avoid it) and the game’s procedural content generation (e.g., spawn obstacles in the opposite side of the screen to where the player’s attention is focused). To demonstrate the value of this proposal, it was developed and is herein presented the first-person shooter "Zombie Runner". Tests showed that the implementation meets the stipulated technical requirements and that, although it still needs improvements in terms of precision and robustness, eye tracking technology can be successfully used to to make the player experience more immersive and challenging.A utilização de sistemas de rastreamento ocular em jogos de computador ainda se encontra numa fase embrionária. Aparelhos de rastreamento ocular comerciais e pesquisas na área têm-se focado em jogabilidade à base da atenção visual como uma alternativa a métodos de entrada tradicionais. Esta dissertação propõe-se a investigar as vantages e desvantagens do uso destes sistemas em jogos de computador. Para isso, invés de se usar rastreamento ocular apenas como um método directo de entrada, é proposto usá-lo para controlar a atenção do personagem do jogo (e.g., se o jogador reparar num obstáculo, a personagem também repara e desvia-se do mesmo) assim como afectar a geração procedimental do jogo (e.g., gerar obstáculos no lado oposto ao qual o jogador tem a sua atenção focada). Para demonstrar o valor desta proposta, foi desenvolvido e aqui apresentado o jogo de tiros em primeira pessoa "Zombie Runner". Os testes demonstraram que a implementação cumpre os requisitos técnicos estipulados e que, apesar de ainda carecer de melhorias em termos de precisão e robustez, a tecnologia para rastreamento ocular pode ser utilizada com sucesso para tornar a experiência do jogador mais imersiva e desafiante

A panorama of artificial and computational intelligence in games

This paper attempts to give a high-level overview of the field of artificial and computational intelligence (AI/CI) in games, with particular reference to how the different core research areas within this field inform and interact with each other, both actually and potentially. We identify ten main research areas within this field: NPC behavior learning, search and planning, player modeling, games as AI benchmarks, procedural content generation, computational narrative, believable agents, AI-assisted game design, general game artificial intelligence and AI in commercial games. We view and analyze the areas from three key perspectives: (1) the dominant AI method(s) used under each area; (2) the relation of each area with respect to the end (human) user; and (3) the placement of each area within a human-computer (player-game) interaction perspective. In addition, for each of these areas we consider how it could inform or interact with each of the other areas; in those cases where we find that meaningful interaction either exists or is possible, we describe the character of that interaction and provide references to published studies, if any. We believe that this paper improves understanding of the current nature of the game AI/CI research field and the interdependences between its core areas by providing a unifying overview. We also believe that the discussion of potential interactions between research areas provides a pointer to many interesting future research projects and unexplored subfields.peer-reviewe

Putting the Video Back in Video Games: Opportunities and Challenges for Visual Studies Approaches to Video Game Analysis

I argue for the application of visual studies in video game analysis. This approach presents opportunities for the intersectional analysis of video game visuals as games are brought into dialogue with other visual media like film and painting. This approach also presents challenges due to ontological distinctions between different media as well as due to academic divisions regarding the study of different art and media objects. Despite the challenges presented, a visual studies approach is particularly useful as a critical window into contemporary visual culture at large. I outline the fields of game studies and visual studies, marking their distinctions as well as the areas in which they overlap. I provide examples of visual studies approaches to video game analysis through an emphasis on the visual characteristics of video games. As visual studies is generally considered an interdisciplinary endeavor, I contextualize my analyses through comparisons with other visual media, in particular finding intersections with art history and film studies. Specifically, I argue that perspective is an integral visual trait of many video games, relating the use of linear perspective and isometric perspective, used in some genres of games, with the development of perspective in painting. I examine various cinematic techniques used in video games and discuss their ideological potency. I also cover ways in which video games subvert conventional norms, such as through self-reflexivity, to open up novel avenues for visual expression