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Interactive drama is more than just a new breed of entertainment software. As different research projects have shown, these systems can also be used for pedagogical and therapeutic purposes. The goal of these systems is to teach sophisticated problem solving skills by allowing the user to interact with compelling stories that have didactic purpose.One of the main attractions of narratives, independent of the medium in which they are presented, is that they elicit emotional response in their audiences. They have an affective impact and only engineers and authors who understand how the emotion system works can create an engaging story world. This work proposes that an interactive drama based on a model of the user’s affective state should be able to provide a truly immersive user experience.It becomes evident that research on interactive drama technology, especially with emphasis on affective modelling, is a highly interdisciplinary endeavour that draws - and has to draw - from many different disciplines.
The book is a compendium of thinking on virtuality and its relationship to reality from the perspective of a variety of philosophical and applied fields of study. Topics covered include presence, immersion, emotion, ethics, utopias and dystopias, image, sound, literature, AI, law, economics, medical and military applications, religion, and sex.
Rethinking textuality, mimesis, and the cognitive processing of texts in light of new modes of artistic world construction. Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies from the Modern Language Association of America Is there a significant difference between engagement with a game and engagement with a movie or novel? Can interactivity contribute to immersion, or is there a trade-off between the immersive “world” aspect of texts and their interactive “game” dimension? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality 2, the questions raised by the new interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Approaching the idea of virtual reality as a metaphor for total art, Ryan applies the concepts of immersion and interactivity to develop a phenomenology of narrative experience that encompasses reading, watching, and playing. The book weighs traditional literary narratives against the new textual genres made possible by the electronic revolution of the past thirty years, including hypertext, electronic poetry, interactive drama, digital installation art, computer games, and multi-user online worlds like Second Life and World of Warcraft. In this completely revised edition, Ryan reflects on the developments that have taken place over the past fifteen years in terms of both theory and practice and focuses on the increase of narrativity in video games and its corresponding loss in experimental digital literature. Following the cognitive approaches that have rehabilitated immersion as the product of fundamental processes of world-construction and mental simulation, she details the many forms that interactivity has taken—or hopes to take—in digital texts, from determining the presentation of signs to affecting the level of story.
The 1st International Conference on Virtual Storytelling took place on September 27–28, 2001, in Avignon (France) in the prestigious Popes’ Palace. Despite the tragic events of September 11 that led to some last-minute cancellations, nearly 100 people from 14 different countries attended the 4 invited lectures given by international experts, the 13 scientific talks and the 6 scientific demonstrations. Virtual Storytelling 2003 was held on November 20–21, 2003, in Toulouse (France) in the Modern and Contemporary Art Museum “Les Abattoirs.” One hundred people from 17 different countries attended the conference composed of 3 invited lectures, 16 scientific talks and 11 posters/demonstrations. Since autumn 2003, there has been strong collaboration between the two major virtual/digital storytelling conference series in Europe: Virtual Storytelling and TIDSE (Technologies for Interactive Digital Storytelling and Entertainment). Thus the conference chairs of TIDSE and Virtual Storytelling decided to establish a 2 year turnover for both conferences and to join the respective organizers in the committees. For the third edition of Virtual Storytelling, the Organization Committee chose to extend the conference to 3 days so that more research work and applications could be be presented, to renew the Scientific and Application Board, to open the conference to new research or artistic communities, and to call for the submission of full papers and no longer only abstracts so as to make a higher-level selection.
Technology has had direct impact on education in increasing the way that society continues to learn. Applications of immersive environments, virtual worlds, and augmented reality have significant implications for how teaching and learning are achieved in contemporary education. Immersive Environments, Augmented Realities and Virtual Worlds: Assessing Future Trends in Education brings together current research and performance in trends in education. While examining cyber behavior and the use of virtual worlds, immersive technologies and augmented realities aim to improve teaching and enhancing learning.
This book constitutes the refereed proceedings of the first International Conference on Virtual Storytelling, ICVS 2001, held in Avignon, France, in September 2001. The 20 revised full papers presented together with four invited papers were carefully reviewed and selected for inclusion in the proceedings. The book offers topical sections on new techniques, authoring tools, a new form of narration, virtual characters, and applications.
Many people throughout the world "inhabit" imaginary worlds communally and persistently, parsing Harry Potter and exploring online universes. These activities might seem irresponsibly escapist, but history tells another story. Beginning in the late nineteenth century, when Sherlock Holmes became the world's first "virtual reality" character, readers began to colonize imaginary worlds, debating serious issues and viewing reality in provisional, "as if" terms rather than through essentialist, "just so" perspectives. From Lovecraft's Cthulhu Mythos and Tolkien's Middle-earth to the World of Warcraft and Second Life, As If provides a cultural history that reveals how we can remain enchanted but not deluded in an age where fantasy and reality increasingly intertwine.
This book constitutes the refereed proceedings of the First Joint International Conference on Interactive Digital Storytelling, ICIDS 2008, held in Erfurt, Germany, in November 2008. The 19 revised full papers, 5 revised short papers, and 5 poster papers presented together with 3 invited lectures and 8 demo papers were carefully reviewed and selected from 62 submission. The papers are organized in topical sections on future perspectives on interactive digital storytelling, interactive storytelling applications, virtual characters and agents, user experience and dramatic immersion, architectures for story generation, models for drama management and interacting with stories, as well as authoring and creation of interactive narrative.
Intelligent Multimodal Information Presentation relates to the ability of a computer system to automatically produce interactive information presentations, taking into account the specifics about the user, such as needs, interests and knowledge, and engaging in a collaborative interaction that helps the retrieval of relevant information and its understanding on the part of the user. The volume includes descriptions of some of the most representative recent works on Intelligent Information Presentation and a view of the challenges ahead.