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As has been pointed out by several industrial game AI developers the lack of behavioral modularity across games and in-game tasks is detrimental for the development of high quality AI [605, 171]. An increasingly popular method for ad-hoc behavior authoring that eliminates the modularity limitations of FSMs and BTs is the utility-based AI approach which can be used for the design of control and decision making systems in games [425, 557]. Following this approach, instances in the game get assigned a particular utility function that gives a value for the importance of the particular instance [10, 169]. For instance, the importance of an enemy being present at a particular distance or the importance of an agent’s health being low in this particular context. Given the set of all utilities available to an agent and all the options it has, utility-based AI decides which is the most important option it should consider at this moment [426]. The utility-based approach is grounded in the utility theory of economics and is based on utility function design. The approach is similar to the design of membership functions in a fuzzy set. A utility can measure anything from observable objective data (e.g., enemy health) to subjective notions such as emotions, mood and threat. The various utilities about possible actions or decisions can be aggregated into linear or non-linear formulas and guide the agent to take decisions based on the aggregated utility. The utility values can be checked every n frames of the game. So while FSMs and BTs would examine one decision at a time, utility-based AI architectures
This book draws on aesthetic theory, including ideas from the history of painting, music and dance, to offer a fresh perspective on the video game as a popular cultural form. It argues that games like Grand Theft Auto and Elektroplankton are aesthetic objects that appeal to players because they offer an experience of form, as this idea was understood by philosophers like Immanuel Kant and Theodor Adorno. Video games are awkward objects that have defied efforts to categorize them within established academic disciplines and intellectual frameworks. Yet no one can deny their importance in re-configuring contemporary culture and their influence can be seen in contemporary film, television, literature, music, dance and advertising. This book argues that their very awkwardness should form the starting point for a proper analysis of what games are and the reasons for their popularity. This book will appeal to anyone with a serious interest in the increasingly playful character of contemporary capitalist culture.
This is the first textbook dedicated to explaining how artificial intelligence (AI) techniques can be used in and for games. After introductory chapters that explain the background and key techniques in AI and games, the authors explain how to use AI to play games, to generate content for games and to model players. The book will be suitable for undergraduate and graduate courses in games, artificial intelligence, design, human-computer interaction, and computational intelligence, and also for self-study by industrial game developers and practitioners. The authors have developed a website (http://www.gameaibook.org) that complements the material covered in the book with up-to-date exercises, lecture slides and reading.
Longtime leader in the luxury goods sector and former Chairman of LVMH Moët Hennessy Louis Vuitton North America reinvents the art and science of brand-building under the rubric of Aesthetic Intelligence. In a world in which people have cheap and easy access to most goods and services, yet crave richer and more meaningful experiences, aesthetics has become a key differentiator for most companies and a critical factor of their success and even their survival. In this groundbreaking book, Pauline Brown, a former leader of the world’s top luxury goods company and a pioneer in identifying the role of aesthetics in business, shows executives, entrepreneurs, and other professionals how to harness the power of the senses to create products, services, and experiences that stand out, resonate with their customers, and create long-term value for their businesses. The power is rooted in Aesthetic Intelligence—or “the other AI,” as Brown refers to it. Aesthetic Intelligence can be learned. Indeed, people are born with far more capacity than they use, but even those that are naturally gifted must continue to refine their skills, lest their aesthetic advantage atrophy. Through a combination of storytelling and practical advice, the author shows how aesthetic intelligence creates business value and how executives, entrepreneurs and others can boost their own AI and successfully apply it to business. Brown offers research, strategies and practical exercises focused on four essential AI skills. Aesthetic Intelligence provides a crucial roadmap to help business leaders build their businesses in their own authentic and distinctive way. Aesthetic Intelligence is about creating delight, lifting the human spirit, and rousing the imagination through sensorial experiences.
What is artificial intelligence? How is artificial intelligence used in game development? Game development lives in its own technical world. It has its own idioms, skills, and challenges. That’s one of the reasons games are so much fun to work on. Each game has its own rules, its own aesthetic, and its own trade-offs, and the hardware it will run on keeps changing. AI for Games is designed to help you understand one element of game development: artificial intelligence (AI).
Winner of a first-place award for a first time author and second-place in popular presentation of the faith from the Catholic Media Association. During the past five decades, the Second Vatican Council has been alternately celebrated or maligned for its supposed break with tradition and embrace of the modern world. But what if we’ve gotten it all wrong? Have Catholics—both those who embrace the spirit of Vatican II and those who regard it with suspicion—misunderstood what the council was really about? Fr. Blake Britton discovered the truth and beauty of the council while he was in seminary and he has witnessed firsthand the power of its teachings in the life of his own parish. In Reclaiming Vatican II—a partnership between Ave Maria Press and Word on Fire Catholic Ministries—Britton presses beyond the political narrative foisted upon the post-conciliar Church and contends that Vatican II was neither conservative nor liberal, but something much more beautiful and challenging. Britton clears up misconceptions about the council and reveals how—when properly understood and applied—it fosters a richer experience of being in the Church. Britton says Vatican II promotes a radical return to the Church Fathers and the Scriptures, holding both a commitment to tradition and the need for constant renewal in life-giving balance, recenters the Church on sacred liturgy and encourages both active participation and genuine encounter with transcendence, and charts a clear path for the Church’s renewal and empowers it for evangelism and transformative engagement with the world. Britton invites all Catholics to step beyond the polarization and embrace Vatican II as one of our greatest resources for being in the Church in a way that is faithful, engaged, and effective if we answer its radical call to worship and renewal.
An exploration of the relationship between games and art that examines the ways that both gamemakers and artists create game-based artworks. Games and art have intersected at least since the early twentieth century, as can be seen in the Surrealists' use of Exquisite Corpse and other games, Duchamp's obsession with Chess, and Fluxus event scores and boxes—to name just a few examples. Over the past fifteen years, the synthesis of art and games has clouded for both artists and gamemakers. Contemporary art has drawn on the tool set of videogames, but has not considered them a cultural form with its own conceptual, formal, and experiential affordances. For their part, game developers and players focus on the innate properties of games and the experiences they provide, giving little attention to what it means to create and evaluate fine art. In Works of Game, John Sharp bridges this gap, offering a formal aesthetics of games that encompasses the commonalities and the differences between games and art. Sharp describes three communities of practice and offers case studies for each. “Game Art,” which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. “Artgames,” created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, “Artists' Games”—with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman—represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities.
The book presents some of the most relevant results from academia in the area of Artificial Intelligence for games. It emphasizes well theoretically supported work supported by developed prototypes, which should lead into integration of academic AI techniques into current electronic entertainment games. The book elaborates on the main results produced in Academia within the last 10 years regarding all aspects of Artificial Intelligence for games, including pathfinding, decision making, and learning. A general theme of the book is the coverage of techniques for facilitating the construction of flexible not prescripted AI for agents in games. Regarding pathfinding, the book includes new techniques for implementing real-time search methods that improve the results obtained through AI, as well as techniques for learning pathfinding behavior by observing actual players. Regarding decision making, the book describes new techniques for authoring tools that facilitate the construction by game designers (typically nonprogrammers) of behavior controlling software, by reusing patterns or actual cases of past behavior. Additionally, the book will cover a number of approaches proposed for extending the essentially pre-scripted nature of current commercial videogames AI into a more interactive form of narrative, where the story emerges from the interaction with the player. Some of those approaches rely on a layered architecture for the character AI, including beliefs, intentions and emotions, taking ideas from research on agent systems. The book also includes chapters on techniques for automatically or semiautomatically learning complex behavior from recorded traces of human or automatic players using different combinations of reinforcement learning, case-based reasoning, neural networks and genetic algorithms.
This book is perhaps one of the most misunderstood works of Catholic theology of our time. Critics contend that von Balthasar espouses universalism, the idea that all men will certainly be saved. Yet, as von Balthasar insists, damnation is a real possibility for anyone. Indeed, he explores the nature of damnation with sobering clarity. At the same time, he contends that a deep understanding of God’s merciful love and human freedom, and a careful reading of the Catholic tradition, point to the possibility—not the certainty—that, in the end, all men will accept the salvation Christ won for all. For this all-embracing salvation, von Balthasar says, we may dare hope, we must pray and with God’s help we must work. The Catholic Church’s teaching on hell has been generally neglected by theologians, with the notable exception of von Balthasar. He grounds his reflections clearly in Sacred Scripture and Catholic teaching. While the Church asserts that certain individuals are in heaven (the saints), she never declares a specific individual to be in hell. In fact, the Church hopes that in their final moments of life, even the greatest sinners would have repented of their terrible sins, and be saved. Sacred Scripture states, “God ... desires all men to be saved and to come to the knowledge of the truth. For there is one God, and there is one mediator between God and man, the man Christ Jesus, who gave himself as a ransom for all” (1 Tim 2:4–5).
This book constitutes the refereed proceedings of the 10th European Conference on Artificial Intelligence in Music, Sound, Art and Design, EvoMUSART 2022, held as part of Evo* 2022, in April 2022, co-located with the Evo* 2022 events, EvoCOP, EvoApplications, and EuroGP. The 20 full papers and 6 short papers presented in this book were carefully reviewed and selected from 66 submissions. They cover a wide range of topics and application areas, including generative approaches to music and visual art, deep learning, and architecture.