Emergent narrative - towards a narrative theory of virtual reality

The recent improvements and developments on Intelligent Agents (IA), Artificial Intelligence (AI) and 3D visualisation, coupled with an increasing desire to integrate interactivity within virtual spaces bring concerns in regard to the articulation of narratives in such environments

The threshold of the real: A site for participatory resistance in Blast Theory's Uncle Roy all around you (2003)

This article examines the collision of virtual and real spaces through simultaneous live and online play in Uncle Roy All Around You, and how this disruption of immersion is used to expose the habitual engagements associated with the digital interface. The nature of the participants' immersion and the subsequent reintegration into the real will be explored, before attempting to articulate what defines this piece as politically resistant, through discussion of a self reflexive participation, which undermines what Baudrillard terms the 'simulated response' (Baudrillard 1985/1988 p.216

More than buttons on controllers: engaging social interactions in narrative VR games through social attitudes detection

People can understand how human interaction unfolds and can pinpoint social attitudes such as showing interest or social engagement with a conversational partner. However, summarising this with a set of rules is difficult, as our judgement is sometimes subtle and subconscious. Hence, it is challenging to program agents or non-player characters (NPCs) to react towards social signals appropriately, which is important for immersive narrative games in Virtual Reality (VR). We present a collaborative work between two game studios (Maze Theory and Dream Reality Interactive) and academia to develop an immersive machine learning (ML) pipeline for detecting social engagement. Here we introduce the motivation and the methodology of the immersive ML pipeline, then we cover the motivation for the industry-academia collaboration, how it progressed, the implications of joined work on the industry and reflective insights on the collaboration. Overall, we highlight the industry-academia collaborative work on an immersive ML pipeline for detecting social engagement. We demonstrate how creatives could use ML and VR to expand their ability to design more engaging commercial games

Philosophy of Blockchain Technology - Ontologies

About the necessity and usefulness of developing a philosophy specific to the blockchain technology, emphasizing on the ontological aspects. After an Introduction that highlights the main philosophical directions for this emerging technology, in Blockchain Technology I explain the way the blockchain works, discussing ontological development directions of this technology in Designing and Modeling. The next section is dedicated to the main application of blockchain technology, Bitcoin, with the social implications of this cryptocurrency. There follows a section of Philosophy in which I identify the blockchain technology with the concept of heterotopia developed by Michel Foucault and I interpret it in the light of the notational technology developed by Nelson Goodman as a notational system. In the Ontology section, I present two developmental paths that I consider important: Narrative Ontology, based on the idea of order and structure of history transmitted through Paul Ricoeur's narrative history, and the Enterprise Ontology system based on concepts and models of an enterprise, specific to the semantic web, and which I consider to be the most well developed and which will probably become the formal ontological system, at least in terms of the economic and legal aspects of blockchain technology. In Conclusions I am talking about the future directions of developing the blockchain technology philosophy in general as an explanatory and robust theory from a phenomenologically consistent point of view, which allows testability and ontologies in particular, arguing for the need of a global adoption of an ontological system for develop cross-cutting solutions and to make this technology profitable. CONTENTS: Abstract Introducere Tehnologia blockchain - Proiectare - Modele Bitcoin Filosofia Ontologii - Ontologii narative - Ontologii de intreprindere Concluzii Note Bibliografie DOI: 10.13140/RG.2.2.24510.3360

Sonic memory material as 'pathetic trigger'

Memory, according to Henri Bergson, is gleaned from the present and realises the present perception from its sensory-motor elements through movements towards that which it perceives. The purpose of this article is to propose and debate the deliberate use of such ‘present memory’ in the sonic artwork. The suggestion is that sonic memory material – sounds that are plundered from old recordings – can be collaged into complex sonic works to produce, not a nostalgic experience in the sense of a recognition of the past, but a current production of sonic material in a continually present perception. Such a production strategy employs the affective quality of memory to ‘trigger’ a sensorial engagement in the sense of a ‘pathetic’ engagement understood as an emotional and sentimental involvement with the work. The understanding is that such an emotional engagement involves the listener centrally in the production of the artwork and challenges modernist (visual) art discourses, which evaluate the work from a distance

Narrative approaches to design multi-screen augmented reality experiences

This paper explores how traditional narrative language used in film and theatre can be adapted to create interactivity and a greater sense of presence in the virtual heritage environment. It focuses on the fundamental principles of narrative required to create immersion and presence and investigates methods of embedding intangible social histories into these environments. These issues are explored in a case study of Greens Mill in the 1830’s, interweaving the story of the reform bill riots in Nottingham with the life of George Green, mathematician and proprietor of the Mill

Towards 3-D Sound: Spatial Presence and the Space Vacuum

This chapter demonstrates the evolution of relationships between sound design and music in cinematic representations of the interstellar space vacuum. Mera provides a framework for understanding how audiences believe they are physically present in the represented environment and argues that, in the late 2000s, we move towards three-dimensional (3-D) sound, an aesthetic and technical extension of the superfield and the ultrafield as defined by Chion and Kerins, respectively. 3-D Sound’s primary characteristic is the emancipation of music from a fixed sound-stage spatialization, resulting in greater fluidity between sound design and music. This chapter examines the relationship between two types of spatial presence, articulating both the audience’s suspension of disbelief within a film’s narrative world and the spatial presence of sound and music within a multichannel cinema environme

Death masks and professional masks: community, values and ethics in legal education

This article is a case-study of simulation as a way of learning values and ethics, an approach implemented curriculum-wide within a postgraduate, professional legal educational programme, the Diploma in Professional Legal Practice, in Scotland. It involves learning face-to-face using conventional print resources, and also involves online digital resources. While the use of the web to simulate a professional environment is nothing new in itself, the implementation of it (first in the Glasgow Graduate School of Law and then Strathclyde Law School) and on this scale is fairly unique. The article explores the genesis of this approach, its interdisciplinary bases, and its use in various law schools, its effects in building learning communities and facilitating ethical self-revelation

Avatars Going Mainstream: Typology of Tropes in Avatar-Based Storytelling Practices

Due to the growing popularity of video games, gaming itself has become a shared experience among media audiences worldwide. The phenomenon of avatar-based games has led to the emergence of new storytelling practices. The paper proposes a typology of tropes in these avatar-based narratives focusing on non-game case studies. Suggested tropes are also confronted with the latest research on avatars in the area of game studies and current knowledge of the issues concerning the player-avatar relationship. Some of the most popular misconceptions regarding the gameplay experience and its representation in non-game media are exposed as a result of this analysis. The research confirms that popular culture perceives gaming experience as closely related to the player identity, as the latter inspires new genres of non-game narratives