An architecture for action, emotion, and social behavior

Bates, Joseph; Loyall, A. Bryan; Reilly, W. Scott Neal

doi:10.1007/3-540-58266-5_4

Cited by 119 publications

(97 citation statements)

References 11 publications

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“…Researchers within the Artificial Intelligence field, for example, have actively been seeking the development of new algorithms and systems that enable narrative adaptation and evolution as a function of users" interaction. The Oz project presented an early work in this area, where researchers concentrated on developing an interactive drama architecture composed of believable agents [1] with emotional responses [6,11], and a drama manager that guides the drama as it unfolds [2]. Following their work, Mateas and Stern developed ABL (A Behavior Language), which allows designers to author character behaviors with joint goals.…”

Section: Previous Researchmentioning

confidence: 99%

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Looking at the Interactive Narrative Experience through the Eyes of the Participants

Milam

El-Nasr

Wakkary

2006

Interactive Storytelling

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Abstract. The topic of interactive narrative has been under research for many years. While there has been much research exploring the development of new algorithms that enable and enhance interactive narratives, there has been little research focusing on the question of how players understand and internalize their interactive narrative experiences. This paper addresses this problem through conducting a phenomenological study on participants playing Façade; we specifically chose a phenomenological methodology due to its emphasis on the participants" lived experience from the participants" viewpoint. We chose Façade, because it is the only accessible example of an experience that revolves around social relationships, conflict, and drama as its core mechanics. In this paper, we discuss sixteen themes that resulted from the analysis of the data gathered through the study. In addition, we reflect on these themes discussing their relationship to participants" backgrounds, and project implications on the design of future interactive narratives.

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Section: Previous Researchmentioning

confidence: 99%

“…Many researchers have explored the design of interactive narratives integrating believable agents [1], drama managers [2], user modeling [3,4,5], and planning systems [6]. In our view, the design of a good interactive narrative requires the understanding of the participants and their experience.…”

Section: Introductionmentioning

confidence: 99%

Looking at the Interactive Narrative Experience through the Eyes of the Participants

Milam

El-Nasr

Wakkary

2006

Interactive Storytelling

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“…The rational attributes model the character's knowledge, subdivided into ontological, actional, social and normative, and her/his motivation, or desires (the agent's long-term goals and preferences), that will translate into the intentions pursued by the agent at the actional level. 1 The emotional component is structured along the lines provided by the Ortony-Clore-Collins (OCC) cognitive model of emotions [10], widely employed in interactive drama systems [18,19,8]. In this model, emotions basically derive from the appraisal of events, action, and objects in terms, respectively, of their desirability for the agent's goals, their praiseworthiness according to the agent's moral standards, and their appealing according to the agent's dispositional attitudes.…”

Section: Drama Analysismentioning

confidence: 99%

Formal Encoding of Drama Ontology

Damiano¹,

Lombardo²,

Pizzo³

2005

Lecture Notes in Computer Science

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Abstract. The goal of this research is to lay the foundations for a formal theory of drama, that abstracts from the procedural and interactive aspects involved in the generation of dramatic content. Based on the structural accounts provided from traditional drama analysis, the theory proposed in this paper exploits an agent-based perspective on characters to provide a goal-based characterization of dramatic qualities. MotivationsSince the advent of digital media, character-based, narrative forms of communication have become commonplace in human-computer interaction, including user interfaces, entertainment, and education [1,2,3,4,5]. The need for autonomous behavior required by these applications has led scholars to adopt the agent techniques developed in artificial intelligence research to define and implement the virtual characters [6]. As applications have evolved into multi-character, interactive systems, the need for a centralized management of the plot execution has been realized by AI techniques for multi-agent coordination and cooperation [7,8].While the main effort of system developers has addressed the use of AI techniques in the production of interactive storytelling applications, designers have relied upon the widely acknowledged corpus of drama studies -from Aristotle's investigations to structuralist approaches -to characterize the dramatic qualities of virtual narratives. However, there is still lack for computational theory that exploits the conceptual tools of AI to characterize the principles of drama. The aim of this paper is to lay the foundations of a formal theory that systematizes the basic aspects of drama in a direct and explicit model, with an immediate integration with agent-based theories. The theory, called Drammar, abstracts from the procedural aspects of drama generation, and is intended as the starting point for specifying, implementing and evaluating practical storytelling systems in a principled way.Drammar is structured into two levels (see Figure 1). The actional level models the intentional behaviour of the characters in a plot by enforcing a BDI perspective on characters as intelligent, goal-directed agents: following Bratman's theory of practical reasoning [9], belief-desire-intention (BDI) agents form goals to pursue their desires, and, given their beliefs about the world, devise plans to achieve them. This level is augmented with a representation of emotions as provided by the OCC model [10]. The directional level accounts for the realization of a direction through the plot, by abstracting from the intentionality of the characters through the use of attributes that model the effect of plot incidents onto the characters' (i.e. agents') mental and emotional state.

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“…Por ejemplo, es común que en los sistemas de inteligencia artificial se caracterice a un agente utilizando nociones como el conocimiento, las creencias, las intenciones y las obligaciones (Shoham, 1993). Otros investigadores del área han ido más allá y han definido a los "agentes" como entidades emocionales (Bates et al, 1992;Bates, 1994).…”

Section: Los Agentesunclassified

Propuesta De Una Arquitectura Para El Soporte De La Planificación De La Producción Colaborativa en Cadenas De Suministro De Tipo Árbol

Hormazábal¹,

Esteban²

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An architecture for action, emotion, and social behavior

Cited by 119 publications

References 11 publications

Looking at the Interactive Narrative Experience through the Eyes of the Participants

Looking at the Interactive Narrative Experience through the Eyes of the Participants

Formal Encoding of Drama Ontology

Propuesta De Una Arquitectura Para El Soporte De La Planificación De La Producción Colaborativa en Cadenas De Suministro De Tipo Árbol

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