Towards automated generation of scripted dialogue: some time-honoured strategies

The main aim of this paper is to introduce automated generation of scripted dialogue as a worthwhile topic of investigation. In particular the fact that scripted dialogue involves two layers of communication, i.e., uni-directional communication between the author and the audience of a scripted dialogue and bi-directional pretended communication between the characters featuring in the dialogue, is argued to raise some interesting issues. Our hope is that the combined study of the two layers will forge links between research in text generation and dialogue processing. The paper presents a first attempt at creating such links by studying three types of strategies for the automated generation of scripted dialogue. The strategies are derived from examples of human-authored and naturally occurring dialogue

Generation of multi-modal dialogue for a net environment

In this paper an architecture and special purpose markup language for simulated affective face-to-face communication is presented. In systems based on this architecture, users will be able to watch embodied conversational agents interact with each other in virtual locations on the internet. The markup language, or Rich Representation Language (RRL), has been designed to provide an integrated representation of speech, gesture, posture and facial animation

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

Mobilizing the Vietnamese Body: Dance Theory, Critical Refugee Studies, and the Aftermaths of War in Andrew X. Pham’s Catfish and Mandala

Mobilizing the Vietnamese Body: Dance Theory, Critical Refugee Studies, and the Aftermaths of War in Andrew X. Pham’s Catfish and Mandala Through analysis of Andrew X. Pham’s Catfish and Mandala: A Two-Wheeled Voyage through the Landscape and Memory of Vietnam, this collaboration between a literary scholar and dance scholar joins methodologies from their respective fields to explore the politicized dimensions of the Vietnamese body-in-motion. Published in 1999, Pham\u27s memoir documents his journey, as a Vietnamese refugee living in the U.S., as he travels throughout Vietnam on a bicycle. We argue that through the literal and theoretical mobilization of his body, Catfish and Mandala constitutes a choreographic text that animates the Vietnamese body as making meaning within and beyond post-Vietnam war geopolitical formations. As such the text productively critiques the dyad of resistance and accommodation that have long structured and haunted critical inquiries into power

Introduction: Crying over Little Nell

Do you ever find yourself coming over all sentimental? And if you do, do you like it, or do you feel embarrassed by your sentimental proclivities? Is sentimentality a pleasurable indulgence, a minor vice, or a lapse of aesthetic and moral taste? That Victorian culture is steeped in sentimentality is axiomatic. Its cast of pathetic children, fallen women, faithful animals, lachrymose deathbeds, hopeless sunsets and false dawns, fated quests, angelic mothers and innocents betrayed – to name only the most obvious topoi of literary and visual sentimentality – is familiar to the point of parody. (Or perhaps, thinking of Wilde's witticism on the death of Little Nell, it is beyond parody already.) The taste for Victorian culture's sentimentality, like the taste for Victorian culture more generally, has waxed and waned, yet whereas a fascination for kitsch or a delight in melodrama's excesses can sit happily with serious scholarly interests, it has rarely been respectable to stand up for sentimentality. Sentimentality is excessive feeling evoked by unworthy objects; it is falsely idealising; it simplifies and sanitises; it is vulgar; it leads to cynicism; it is feeling on the cheap; it's predictable; it's meretricious. In short, it's an emotional and aesthetic blot on the landscape

'A hatred so intense…' 'We need to talk about Kevin', postfeminism and women’s cinema

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