In this paper we present a control architecture in which the approximate models represent the complex relationships among the objects in the world, allowing the vision routines to be situation or context specific. Moreover, because of their reduced accuracy requirements, approximate world models can employ qualitative information such as those provided by linguistic descriptions of the scene.
Unfortunately, there is no consensus on the definition of a personality or on its components. Personality theories differ in their degree of emphasis on the past and the present, the conscious and the unconscious, the directly observable and the relatively unobservable. Most of the definitions of a personality emphasize the unique or distinctive qualities of individuals. According to some psychologists, these qualities correspond to stable psychological traits that can be perceived through an individual's behavior and emotions. Such qualities motivate an individual to interact with others very often or rarely, to be autonomous or dependant, friendly or hostile, emotional or phlegmatic, etc. Personality is also important in any domain fictive characters evolve in.
Jacob, Mikhail (Georgia Institute of Technology) | Coisne, Gaëtan (Georgia Institute of Technology) | Gupta, Akshay (Georgia Institute of Technology) | Sysoev, Ivan (Georgia Institute of Technology) | Verma, Gaurav Gav (Georgia Institute of Technology) | Magerko, Brian (Georgia Institute of Technology)
This article describes a technical approach to movement-based interactions between a human interactor and an intelligent agent based on the theatrical Viewpoints movement framework. The Viewpoints AI system features procedural gesture interpretation using shallow semantics and deep aesthetics analysis from the Viewpoints framework. The installation creates a liminal virtual / real space for the human and AI to interact by the use of digital projection for the AI visualization and shadow play to represent the human. Observations from a recent public demonstration of the system and future directions of work are also discussed.
An emergent approach to story generation by computer is characterized by a lack of predetermined plot and a focus on character interaction forming the material for stories. A potential problem is that no interesting story emerges. However, improvisational theater shows that - at least for human actors - a predetermined plot is not necessary for creating a compelling story. There are some principles that make a successful piece of improvisational theater more than a random interaction, and these principles may inform the type of computational processes that an emergent narrative architecture draws from. We therefore discuss some of these principles, and show how these are explicitly or implicitly used in story generation and interactive storytelling research. Finally we draw lessons from these principles and ask attention for two techniques that have been little investigated: believably incorporating directives, and late commitment.