Computers that smile: Humor in the interface

It is certainly not the case that wen we consider research on the role of human characteristics in the user interface of computers that no attention has been paid to the role of humor. However, when we compare efforts in this area with efforts and experiments that attempt to demonstrate the positive role of general emotion modelling in the user interface, then we must conclude that this attention is still low. As we all know, sometimes the computer is a source of frustration rather than a source of enjoyment. And indeed we see research projects that aim at recognizing a user’s frustration, rather than his enjoyment. However, rather than detecting frustration, and maybe reacting on it in a humorous way, we would like to prevent frustration by making interaction with a computer more natural and more enjoyable. For that reason we are working on multimodal interaction and embodied conversational agents. In the interaction with embodied conversational agents verbal and nonverbal communication are equally important. Multimodal emotion display and detection are among our advanced research issues, and investigations in the role of humor in human-computer interaction is one of them

Beyond cute: exploring user types and design opportunities of virtual reality pet games

Virtual pet games, such as handheld games like Tamagotchi or video games like Petz, provide players with artificial pet companions or entertaining pet-raising simulations. Prior research has found that virtual pets have the potential to promote learning, collaboration, and empathy among users. While virtual reality (VR) has become an increasingly popular game medium, litle is known about users' expectations regarding game avatars, gameplay, and environments for VR-enabled pet games. We surveyed 780 respondents in an online survey and interviewed 30 participants to understand users' motivation, preferences, and game behavior in pet games played on various medium, and their expectations for VR pet games. Based on our findings, we generated three user types that reflect users' preferences and gameplay styles in VR pet games. We use these types to highlight key design opportunities and recommendations for VR pet games

Mediating Performance Through Virtual Agents

This paper presents the process of creation of virtual agents used in a virtual reality performance. The performance aimed to investigate how drama and performance could inform the creation of virtual agents and also how virtual reality could raise questions for drama and performance. The virtual agents were based on the performance of 2 actors. This paper describes the process of preparing the actors, capturing their performances and transferring them to the virtual agents. A second set of agents was created using non-professional 'naive performers' rather than actors

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

Selecting Agents for Narrative Roles

We present ongoing work on a system that accommodates player agency in a digital narrative with an external plot. We focus on key events that should occur in that storyline for dramatic effect, but do not explicitly specify the characters that should fill the roles needed for those events. Instead, we define them abstractly, with characteristics that the selected characters should have (including previous events they should have completed for eligibility), and rely on a Director construct to populate those roles from agents in the selection pool that fit those criteria. Agents begin as largely homogeneous, primordial entities that accumulate data and narrative value from the events in which they participate. This creates an environment that differentiates characters by the actions they perform, conferring worth onto characters that become important to the player based on their direct involvement in the plot. The focus, then, is on defining a priori the what of the narrative, while leaving it to the Director construct to decide at runtime exactly who among a distributed pool of agents carries it out

Interactive drama in real and virtual worlds.

How do we resolve the paradox of computer-supported interactive drama - that the human participant requires the very freedom to interact that the authored narrative structure denies them? This paper reports work around the concept of Emergent Narrative - the development of narrative structure through interaction itself. We cover both systems using a virtual world and those using a virtually-augmented real world, exploring how far reworking narrative structure as a loop between the causal (plot) and affective (character) can produce engaging experiences for participants. We discuss the key role of a cognitive-affective architecture for charac-ters and the process of cognitive appraisal as an engine for both in-character and in-role dramatic action

Interactive drama in real and virtual worlds.

How do we resolve the paradox of computer-supported interactive drama - that the human participant requires the very freedom to interact that the authored narrative structure denies them? This paper reports work around the concept of Emergent Narrative - the development of narrative structure through interaction itself. We cover both systems using a virtual world and those using a virtually-augmented real world, exploring how far reworking narrative structure as a loop between the causal (plot) and affective (character) can produce engaging experiences for participants. We discuss the key role of a cognitive-affective architecture for charac-ters and the process of cognitive appraisal as an engine for both in-character and in-role dramatic action

Animation and adults: between the virtual and social reality

In our modern societies, the reality that we live is continuously transformed by technology, different ways of communication and multiple information, creating a (new) virtual reality. How is our social world linked to the virtual world? Animated films may help us to discover and understand this interface, in which their boundaries may not be clear. What we call human reality approaches fantasy realms in the virtual worlds. The aim of this study is to explore what animated films transmit to an adult population - what they feel and what they value in animated films, trying to understand the importance of animated films in adults' lives. It is also intended to explore which technologies are most used to consult information about animated films, and which are the most important reasons for choosing an animated film, instead of other styles of movies. Our study consists in the development of two focus groups, with adult participants, between 25 and 35 years. This study is part of a master's thesis that is under development. Through the focus group we aim to obtain data and gather knowledge about our research topic. The results will help us to verify the most relevant factors and indicating the items to include in a questionnaire that will be used in a next study.info:eu-repo/semantics/acceptedVersio

Facial actions as visual cues for personality

What visual cues do human viewers use to assign personality characteristics to animated characters? While most facial animation systems associate facial actions to limited emotional states or speech content, the present paper explores the above question by relating the perception of personality to a wide variety of facial actions (e.g., head tilting/turning, and eyebrow raising) and emotional expressions (e.g., smiles and frowns). Animated characters exhibiting these actions and expressions were presented to human viewers in brief videos. Human viewers rated the personalities of these characters using a well-standardized adjective rating system borrowed from the psychological literature. These personality descriptors are organized in a multidimensional space that is based on the orthogonal dimensions of Desire for Affiliation and Displays of Social Dominance. The main result of the personality rating data was that human viewers associated individual facial actions and emotional expressions with specific personality characteristics very reliably. In particular, dynamic facial actions such as head tilting and gaze aversion tended to spread ratings along the Dominance dimension, whereas facial expressions of contempt and smiling tended to spread ratings along the Affiliation dimension. Furthermore, increasing the frequency and intensity of the head actions increased the perceived Social Dominance of the characters. We interpret these results as pointing to a reliable link between animated facial actions/expressions and the personality attributions they evoke in human viewers. The paper shows how these findings are used in our facial animation system to create perceptually valid personality profiles based on Dominance and Affiliation as two parameters that control the facial actions of autonomous animated characters