Story-marking with improvisational puppets

Hayes-Roth, Barbara; Gent, R. H. van

doi:10.1145/267658.267660

Cited by 65 publications

(37 citation statements)

References 4 publications

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“…Likewise, previous work on improvisational theatre [9] uses reactive planning to assemble and combine pre-scripted activities. However, research into creative computer systems that will generalize requires investigation of creativity from the perspective of the cognitive processes that are utilized by human practitioners.…”

Section: Related Work Creativity Researchmentioning

confidence: 99%

An empirical study of cognition and theatrical improvisation

Magerko

Manzoul

Riedl

et al. 2009

Proceedings of the Seventh ACM Conference on Creativity and Cognition

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This paper presents preliminary findings from our empirical study of the cognition employed by performers in improvisational theatre. Our study has been conducted in a laboratory setting with local improvisers. Participants performed predesigned improv "games", which were videotaped and shown to each individual participant for a retrospective protocol collection. The participants were then shown the video again as a group to elicit data on group dynamics, misunderstandings, etc. This paper presents our initial findings that we have built based on our initial analysis of the data and highlights details of interest.

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Section: Related Work Creativity Researchmentioning

confidence: 99%

An empirical study of cognition and theatrical improvisation

Magerko

Manzoul

Riedl

et al. 2009

Proceedings of the Seventh ACM Conference on Creativity and Cognition

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“…These emotional intelligence skills are important for us with respect to the early learning goals: "social role decentring" and theory of mind. Our approach is similar to [10] which allows children to direct a puppet's mood, actions and utterances in interactive story-making and to [12] where children may induce some changes in their characters emotional state besides selecting a characters actions.…”

Section: The Role Of Affect In Puppetmentioning

confidence: 99%

“…A body control interface which gives full control over the movement of the selected character and a mind control interface which allows to change the character's emotional state thus biasing the behaviour in some direction without specifying the actual motion pattern. Similar to the system described by [10] we separate the high-level behaviour planning and affective reasoning (the "mind") from the animation planning and control modules (the "body"). The first is done by the agent architecture as described in the next section and the latter lies within the responsibility of the 3D virtual environment.…”

Section: Application Domainmentioning

confidence: 99%

Integrating Models of Personality and Emotions into Lifelike Characters

André

Klesen

Gebhard

et al. 2000

Affective Interactions

124

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Abstract.A growing number of research projects in academia and industry have recently started to develop lifelike agents as a new metaphor for highly personalised human-machine communication. A strong argument in favour of using such characters in the interface is the fact that they make humancomputer interaction more enjoyable and allow for communication styles common in human-human dialogue. Our earlier work in this area has concentrated on the development of animated presenters that show, explain, and verbally comment textual and graphical output on a window-based interface. Even though first empirical studies have been very encouraging and revealed a strong affective impact of our Personas [23], they also suggest that simply embodying an interface agent is insufficient. To come across as believable, an agent needs to incorporate a deeper model of personality and emotions, and in particular directly connect these two concepts.

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“…For example, rather than learning algebra through abstract symbol manipulation, learners could design a space station, requiring them to formulate and solve equations. Role-based immersivity: Recent years have seen a growing interest in story-telling software that enables users to design stories, create storytellers, and actively participate in plots, perhaps taking on the role of one or more of the characters [4,16]. A hallmark of situated learning is that the learner takes on an active role in a virtual world that simulates the system being studied.…”

Section: Situated Problem Solvingmentioning

confidence: 99%

Habitable 3D Learning Environments for Situated Learning

Bares

Zettlemoyer

Lester

1998

Intelligent Tutoring Systems

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Abstract. The growing emphasis on learner-centered education focuses on intrinsically motivated learning via engaging problem-solving activities. Habitable 3D learning environments, in which learners guide avatars through virtual worlds for role-based problem solving, hold great promise for situated learning. We have been investigating habitable learning environments by iteratively designing, implementing, and evaluating them. In the Situated Avatar-Based Immersive Learning (SAIL) framework for habitable 3D learning environments, learners navigate avatars through virtual worlds as they solve problems by manipulating artifacts. The SAIL framework has been used to implement CPU CITY, a 3D learning environment testbed for the domain of computer architecture. A visually compelling virtual cityscape of computer components, CPU CITY presents learners with goal advertisements that focus their attention on salient problem-solving sub-tasks. The CPU CITY testbed has produced prototypes that have been evaluated. Pilot studies suggest that habitable learning environments offer a promising new paradigm for educational applications.

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Story-marking with improvisational puppets

Cited by 65 publications

References 4 publications

An empirical study of cognition and theatrical improvisation

An empirical study of cognition and theatrical improvisation

Integrating Models of Personality and Emotions into Lifelike Characters

Habitable 3D Learning Environments for Situated Learning

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