The IRIS Network of Excellence:: Integrating Research in Interactive Storytelling

Abstract. Interactive Storytelling is a major endeavour to develop new media which could offer a radically new user experience, with a potential to revolutionise digital entertainment. European research in Interactive Storytelling has played a leading role in the development of the field, and this creates a unique opportunity to strengthen its position even further by structuring collaboration between some of its main actors. IRIS (Integrating Research in Interactive Storytelling) aims at creating a virtual centre of excellence that will be able to progress the understanding of fundamental aspects of Interactive Storytelling and the development of corresponding technologies

The IRIS Network of Excellence: Future Directions in Interactive Storytelling

International audienceThe IRIS Network of Excellence started its work in January 2009. In this paper we highlight some new research directions developing within the network: one is revisiting narrative formalisation through the use of Linear Logic and the other is challenging the conventional framework of basing Interactive Storytelling on computer graphics to explore the content-based recombination of video sequences

Stepping into the Interactive Drama

Interactive Drama is the ultimate challenge of digital entertainment. In this paper, from our seven year experience in Interactive Drama, we try to shape the history of the field and envision what will be (or should be) the future of this history. Two main directions in particular are stressed, because we feel that the success of Interactive Drama lies in these two directions. The first one concerns the architecture of systems and how it would manage both narrative constraints and character's intelligence, believability and roundness. The second one focuses on project management by sketching a methodology of co-design fo

Hemp fines - an agricultural by-product for biocomposites? a holistic approach

The technical, environmental and economic potential of hemp fines as a natural filler in bioplastics to produce biocomposites is the subject of this study – giving a holistic overview. Hemp fines are an agricultural by-product of the hemp fibres and shives production. Shives and fibres are for example used in the paper, animal bedding or composite area. About 15 to 20 wt.-% per kg hemp straw results in hemp fines after processing. In 2010 about 11,439 metric tons of hemp fines were produced in Europe. Hemp fines are an inhomogeneous material which includes hemp dust, shives and fibre. For these examinations the hemp fines are sieved in a further step with a tumbler sieving machine to obtain more specified fractions. The untreated hemp fines (ex work) as well as the sieved fractions are combined with a polylactide polymer (PLA) using a co-rotating twin screw extruder to produce biocomposites with different hemp fine content. By using an injection moulding machine standard test bars are produced to conduct several material tests. The Young’s modulus is increased and the impact strength reduced by hemp fines. With a content of above 15 wt.-% hemp fines are also improving the environmental (global warming potential) and economic performance in comparison to pure PLA

Właściwości mechaniczne i środowiskowe recyklatów z tworzyw sztucznych na bazie surowców odnawialnych

Recycling of plastics has become one of the most important issues with respect to the conservation of energy and material resources. With the rise of Circular Economy, the aim of reducing the wastes and re-utilizing them have been stressed not only in the fossil-based plastics but also in the bio-based plastics. Bio-based plastics, which are derived partly or completely from the renewable resources, have their own share of challenges when they come to recycling and other end–of-life strategies. Taking into account factors like recycling rate and cost, influencing the recycling of bio-based plastics, this study analyses the material and environmental properties of using the recyclates of bio-based plastics as a secondary raw material by taking a reference product as a case study.Recykling tworzyw sztucznych stał się jedną z najważniejszych kwestii w zakresie ochrony zasobów energetycznych i materiałowych. Wraz z rozwojem gospodarki o obiegu zamkniętym, cel ograniczenia ilości odpadów i ich ponownego wykorzystania zyskał szczególnego znaczenia nie tylko w przemyśle tworzyw sztucznych opartych na paliwach kopalnych, ale również w tworzywach pochodzących z surowców odnawialnych. Tworzywa sztuczne, które pochodzą częściowo lub całkowicie z odnawialnych źródeł, stawiają specyficzne wyzwania, jeśli chodzi o recykling i inne strategie wycofywania z eksploatacji poużytkowych odpadów. Biorąc pod uwagę takie czynniki, jak współczynnik recyklingu i koszty, wpływające na recykling tworzyw sztucznych opartych na surowcach naturalnych, niniejsze praca analizuje właściwości materiałowe i środowiskowe stosowania recyklatów tworzyw sztucznych na bazie surowców odnawialnych jako surowca wtórnego, przyjmując produkt referencyjny jako studium przypadku

Authoring Issues beyond Tools

Abstract. Authoring is still considered a bottleneck in successful Interactive Storytelling and Drama. The claim for intuitive authoring tools is high, especially for tools that allow storytellers and artists to define dynamic content that can be run with an AI-based story engine. We explored two concrete authoring processes in depth, using various Interactive Storytelling prototypes, and have provided feedback from the practical steps. The result is a presentation of general issues in authoring Interactive Storytelling, rather than of particular problems with a specific system that could be overcome by ‘simply ’ designing the right interface. Priorities for future developments are also outlined

Structural Writing, a Design Principle for Interactive Drama

Computer-based highly interactive drama involves different authoring approaches, compared to linear media. Underlying design principles needs to be understood in order to guide the authoring process, to teach authors and to design better systems. This paper identifies a fundamental design principle termed Structural Writing that underlies some of the most generative approaches in interactive drama. A theoretical description of this principle is proposed, which leads to a general architecture for interactive drama that may help authors and researchers to design systems that better exploit the principle of structural writing