A Mimetic Strategy to Engage Voluntary Physical Activity In Interactive Entertainment

We describe the design and implementation of a vision based interactive entertainment system that makes use of both involuntary and voluntary control paradigms. Unintentional input to the system from a potential viewer is used to drive attention-getting output and encourage the transition to voluntary interactive behaviour. The iMime system consists of a character animation engine based on the interaction metaphor of a mime performer that simulates non-verbal communication strategies, without spoken dialogue, to capture and hold the attention of a viewer. The system was developed in the context of a project studying care of dementia sufferers. Care for a dementia sufferer can place unreasonable demands on the time and attentional resources of their caregivers or family members. Our study contributes to the eventual development of a system aimed at providing relief to dementia caregivers, while at the same time serving as a source of pleasant interactive entertainment for viewers. The work reported here is also aimed at a more general study of the design of interactive entertainment systems involving a mixture of voluntary and involuntary control.Comment: 6 pages, 7 figures, ECAG08 worksho

Cognitive modeling of social behaviors

To understand both individual cognition and collective activity, perhaps the greatest opportunity today is to integrate the cognitive modeling approach (which stresses how beliefs are formed and drive behavior) with social studies (which stress how relationships and informal practices drive behavior). The crucial insight is that norms are conceptualized in the individual mind as ways of carrying out activities. This requires for the psychologist a shift from only modeling goals and tasks —why people do what they do—to modeling behavioral patterns—what people do—as they are engaged in purposeful activities. Instead of a model that exclusively deduces actions from goals, behaviors are also, if not primarily, driven by broader patterns of chronological and located activities (akin to scripts). To illustrate these ideas, this article presents an extract from a Brahms simulation of the Flashline Mars Arctic Research Station (FMARS), in which a crew of six people are living and working for a week, physically simulating a Mars surface mission. The example focuses on the simulation of a planning meeting, showing how physiological constraints (e.g., hunger, fatigue), facilities (e.g., the habitat’s layout) and group decision making interact. Methods are described for constructing such a model of practice, from video and first-hand observation, and how this modeling approach changes how one relates goals, knowledge, and cognitive architecture. The resulting simulation model is a powerful complement to task analysis and knowledge-based simulations of reasoning, with many practical applications for work system design, operations management, and training

Agents for educational games and simulations

This book consists mainly of revised papers that were presented at the Agents for Educational Games and Simulation (AEGS) workshop held on May 2, 2011, as part of the Autonomous Agents and MultiAgent Systems (AAMAS) conference in Taipei, Taiwan. The 12 full papers presented were carefully reviewed and selected from various submissions. The papers are organized topical sections on middleware applications, dialogues and learning, adaption and convergence, and agent applications

Real Time Animation of Virtual Humans: A Trade-off Between Naturalness and Control

Virtual humans are employed in many interactive applications using 3D virtual environments, including (serious) games. The motion of such virtual humans should look realistic (or ‘natural’) and allow interaction with the surroundings and other (virtual) humans. Current animation techniques differ in the trade-off they offer between motion naturalness and the control that can be exerted over the motion. We show mechanisms to parametrize, combine (on different body parts) and concatenate motions generated by different animation techniques. We discuss several aspects of motion naturalness and show how it can be evaluated. We conclude by showing the promise of combinations of different animation paradigms to enhance both naturalness and control

Online backchannel synthesis evaluation with the switching Wizard of Oz

In this paper, we evaluate a backchannel synthesis algorithm in an online conversation between a human speaker and a virtual listener. We adopt the Switching Wizard of Oz (SWOZ) approach to assess behavior synthesis algorithms online. A human speaker watches a virtual listener that is either controlled by a human listener or by an algorithm. The source switches at random intervals. Speakers indicate when they feel they are no longer talking to a human listener. Analysis of these responses reveals patterns of inappropriate behavior in terms of quantity and timing of backchannels

Virtual Meeting Rooms: From Observation to Simulation

Virtual meeting rooms are used for simulation of real meeting behavior and can show how people behave, how they gesture, move their heads, bodies, their gaze behavior during conversations. They are used for visualising models of meeting behavior, and they can be used for the evaluation of these models. They are also used to show the effects of controlling certain parameters on the behavior and in experiments to see what the effect is on communication when various channels of information - speech, gaze, gesture, posture - are switched off or manipulated in other ways. The paper presents the various stages in the development of a virtual meeting room as well and illustrates its uses by presenting some results of experiments to see whether human judges can induce conversational roles in a virtual meeting situation when they only see the head movements of participants in the meeting

Muscleless Motor synergies and actions without movements : From Motor neuroscience to cognitive robotics

Emerging trends in neurosciences are providing converging evidence that cortical networks in predominantly motor areas are activated in several contexts related to ‘action’ that do not cause any overt movement. Indeed for any complex body, human or embodied robot inhabiting unstructured environments, the dual processes of shaping motor output during action execution and providing the self with information related to feasibility, consequence and understanding of potential actions (of oneself/others) must seamlessly alternate during goal-oriented behaviors, social interactions. While prominent approaches like Optimal Control, Active Inference converge on the role of forward models, they diverge on the underlying computational basis. In this context, revisiting older ideas from motor control like the Equilibrium Point Hypothesis and synergy formation, this article offers an alternative perspective emphasizing the functional role of a ‘plastic, configurable’ internal representation of the body (body-schema) as a critical link enabling the seamless continuum between motor control and imagery. With the central proposition that both “real and imagined” actions are consequences of an internal simulation process achieved though passive goal-oriented animation of the body schema, the computational/neural basis of muscleless motor synergies (and ensuing simulated actions without movements) is explored. The rationale behind this perspective is articulated in the context of several interdisciplinary studies in motor neurosciences (for example, intracranial depth recordings from the parietal cortex, FMRI studies highlighting a shared cortical basis for action ‘execution, imagination and understanding’), animal cognition (in particular, tool-use and neuro-rehabilitation experiments, revealing how coordinated tools are incorporated as an extension to the body schema) and pertinent challenges towards building cognitive robots that can seamlessly “act, interact, anticipate and understand” in unstructured natural living spaces

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment