Suggesting new plot elements for an interactive story

We present a system that uses evolutionary optimization to suggest new story-world events that, if added to an existing interactive story, would most improve the average interactive experience, according to author-supplied criteria. In doing so, we aim to apply some of the ideas from drama-managed storytelling, such as authorial aesthetic control, in an unguided setting more akin to emergent storytelling: rather than guiding or directing a player towards an experience in line with an author’s aesthetic goals, the storyworld is augmented with new content in a way that will tend to align with an author’s goals, even if the player is not guided. In this paper, we present an offline system, and demonstrate its robustness to a number of variations in authorial criteria and player-model assumptions. This is intended to lay the groundwork for a future system that would generate new content online, allowing for interactive stories larger than those explicitly written by the author.peer-reviewe

Digital sculpture : technical and aesthetic considerations applicable to current input and output modes of additive fabricated sculpture

Published ArticleThis article examines the synergy between aesthetic and technical issues surrounding current input and output modes applicable to digital sculpture built by means of additive fabrication technologies. The scope is limited to select sculptural aspects that either transcend, question or fall short when measured against traditional manufacturing and aesthetic modes. Presented are a range of technical as well as aesthetic aspects that have impacted on this ''new form'' of sculpture delivery. It is indicated that irrespective of current strengths and weaknesses, for the evolving sculptor, an interactive creative partnership between technologies equally positions this ''new form'' of sculpture delivery as a leading role player towards defining a new digital aesthetic

The South Sydney project: interaction and archive aesthetics

This practice-based thesis questions how interactive media artworks affect the way audiences engage with the past. It considers contemporary art’s ‘impulse’ towards archives within the context of the age of Big Data. At a time when society is generating more information than ever before, this thesis explores how artists working with interactive databases can contribute novel systems and aesthetic experiences in order to carve new ways into and through archives. This thesis brings into dialogue practical and theoretical discoveries made along the journey of reimagining an oral history archive through the system of an immersive responsive installation. It argues that interactive artworks can allow for an embodied, exploratory and generative engagement with archival material. Further, it suggests that such processual and emergent accounts of the past are appropriate ways of modelling the world and its archived traces in a digital era characterised by swathes of stored data and fluctuating information flows. As critically interdisciplinary work across the fields of new media art and history, this research also suggests the value of such experimental methodologies for rethinking traditional approaches to archives with a view to generating aesthetic and affective, rather than factual and textual, engagements with the past

Self-reflexive videogames: observations and corollaries on virtual worlds as philosophical artifacts

Self-reflexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social objects. This essay focuses on the use of virtual worlds as mediators, and in particular on the use of videogames to guide and encourage reflections on technical, interactive, and thematic conventions in videogame design and development. Structurally, it is composed of two interconnected parts: 1) In the first part of this essay, I will discuss NECESSARY EVIL (Gualeni et al., 2013), an experimental videogame that I designed as a self-reflexive virtual artifact. With the objective of clarifying the philosophical aspirations of self-reflexive videogames – and in order to understand how those aspirations can be practically pursued – I will dissect and examine the design decisions that contributed to the qualities of NECESSARY EVIL as an example of “playable philosophy”. 2) Taking off from the perspectives on self-reflexive videogames offered in the first part of the essay, the second half will focus on virtual worlds as viable mediators of philosophical thought more in general. In this section, I will argue that, both through the practice of game design and through the interactive experiences of virtual worlds, twenty-first century philosophers have the possibility to challenge the often-unquestioned understanding of written discourse as the only context in which philosophical thought can emerge and be developed

The aesthetic zone of interaction. How are aesthetic design qualities experienced?

The aim of the present position paper is to raise issues concerning aesthetic experience in relation to an ongoing work of designing an artefact encouraging video reporting of personal experiences. The work serves as an example of a design experiment where aesthetic qualities are emphasized, but where the resulting interactions have not yet been analyzed in relation to these qualities. Our position is that the aesthetics of an interactive artefact evolves in the interactive zone between people who use it and the artefact itself. The aesthetic qualities are, thus, crystallized in the use of the artefact – whether it ranks high on a usability scale or not. Just as usability qualities, the aesthetic qualities contain contextual factors of its users, such as their pre-comprehension of the artefact, their cultural background and their emotional states. Furthermore, they include the context of the artefact, such as its physical design and the environment of its use. Our standpoint is consistent with Shusterman’s pragmatist approach to aesthetics, as related by Petersen et al. [2]. This approach promotes aesthetics of use rather than aesthetics of appearance. The experience of aesthetics lies in the interaction with the artefact rather than merely in the visual perception of it

Exploring Research through Design in Animal-Computer Interaction

This paper explores Research through Design (RtD) as a potential methodology for developing new interactive experiences for animals. We present an example study from an on-going project and examine whether RtD offers an appropriate framework for developing knowledge in the context of Animal-Computer Interaction, as well as considering how best to document such work. We discuss the design journey we undertook to develop interactive systems for captive elephants and the extent to which RtD has enabled us to explore concept development and documentation of research. As a result of our explorations, we propose that particular aspects of RtD can help ACI researchers gain fresh perspectives on the design of technology-enabled devices for non-human animals. We argue that these methods of working can support the investigation of particular and complex situations where no idiomatic interactions yet exist, where collaborative practice is desirable and where the designed objects themselves offer a conceptual window for future research and development

PIWeCS: enhancing human/machine agency in an interactive composition system

This paper focuses on the infrastructure and aesthetic approach used in PIWeCS: a Public Space Interactive Web-based Composition System. The concern was to increase the sense of dialogue between human and machine agency in an interactive work by adapting Paine's (2002) notion of a conversational model of interaction as a ‘complex system’. The machine implementation of PIWeCS is achieved through integrating intelligent agent programming with MAX/MSP. Human input is through a web infrastructure. The conversation is initiated and continued by participants through arrangements and composition based on short performed samples of traditional New Zealand Maori instruments. The system allows the extension of a composition through the electroacoustic manipulation of the source material

Aesthetic labour, emotional labour and masculinity

This special issue of the journal focuses on the topic of service work and gender. The theme for this special issue arose out of a stream on service work and gender at the 2005 Gender Work and Organization conference. In many respects this special edition can be considered as complementary to an earlier special edition on gender and service work that came out in 2005. In the editorial for the 2005 special edition Kerfoot and Korczynski raised a number of issues, questions and points for debate. It is worth briefly reprising some of these here as in many respects they provide a point of departure for a number of the concerns of this particular special edition