2009-11-16T09:55:05Z tag:,2009:: USC Interactive Media Division 2009-11-16T09:55:05Z 2009-11-16T09:39:25Z tag:,2009-11-16:interactive.usc.edu/members/abalsamo:67 2009-11-16T09:39:25Z

abalsamo http://interactive.usc.edu/members/abalsamo

Speaker: Tamiko Thiel, Artist

Time: Wednesday, November 18, 6-8 pm
Location: Goethe-Institut Los Angeles
5750 Wilshire Boulevard, Suite 100
Los Angeles, CA 90036

NOTE: The off-campus location for this seminar. If you a an IMD student who needs a ride to the Goethe-Institut, contact Professor Anne Balsamo.

Tamiko Thiel will discuss the creation of Virtuelle Mauer/ReConstructing the Wall that she created with collaborator Teresa Reuter. This interactive 3D virtual reality art work investigates the impact of the Berlin Wall, which divided West and East Berlin during the Cold War from August 13, 1961 to November 9, 1989. A digital reconstruction of a segment of the dismantled Berlin Wall and its surrounding neighborhoods creates a place of rememberance that users can explore in order to to experience and reflect on this historical time.

To commemorate the 20th anniversary of the Fall of the Berlin Wall, the Goethe-Institut in Los Angeles is staging the installation from November 20-December 3, 2009.

Official Opening: Thursday November 19, 6-9pm
Exhibit: November 20 - December 3, 2009

Goethe-Institut Los Angeles
5750 Wilshire Boulevard, Suite 100
Los Angeles, CA 90036, USA
http://www.goethe.de/ins/us/los/kue/en4872732v.htm

For images from this interactive 3D installation on the Berlin Wall see:
http://www.virtuelle-mauer-berlin.de/english/devFiles/screenshots.htm

]]> 2009-11-12T04:06:04Z 2009-11-12T04:03:28Z tag:,2009-11-12:interactive.usc.edu/members/msennott:276 2009-11-12T04:03:28Z

msennott http://interactive.usc.edu/members/msennott 11/11/2009 18:20:32 ‹Seminar› http://topologicalmedia.ab.net/joomla/main/index.php
11/11/2009 18:21:22 ‹Mike› http://topologicalmedialab.net/joomla/main/index.php
11/11/2009 18:21:50 ‹Seminar› http://topologicalmedialab.net/joomla/main/index.php
11/11/2009 18:23:08 ‹Mike› http://www.getty.edu/art/exhibitions/viola/
11/11/2009 18:24:39 ‹Jade› observe the homo sapiens rex as it devours its prey. The chimp raptors will have to wait their turn.
11/11/2009 18:25:26 ‹ndef› What is the motivation for designing systems as non-humans or for non-humans?
11/11/2009 18:26:14 ‹caravaggio› i don't think its possible to design from a non human POV
11/11/2009 18:26:24 ‹caravaggio› unless you ask a non human to make choices
11/11/2009 18:28:10 ‹caravaggio› don't all turing complete languages have the same capabilities?
11/11/2009 18:29:14 ‹ndef› Yeah, but they lend themselves to different things. I think it's less a matter of possibilities and more a matter of how you tend to work in concert with the tool.
11/11/2009 18:29:46 ‹caravaggio› i hear that lisp is designed for non humans
11/11/2009 18:30:07 ‹KylaG› Lisp was designed for clams and clam-shaped beings.
11/11/2009 18:31:40 ‹Seminar› http://en.wikipedia.org/wiki/Thick_description
11/11/2009 18:33:19 ‹MAnnetta› Much like Game Hats!
11/11/2009 18:33:28 ‹Mike› http://f0.am/tgarden/
11/11/2009 18:38:28 ‹ndef› Were those theatrical spaces designed for humans or not?
11/11/2009 18:38:38 ‹ndef› I don't think I have a sense of what that term means.
11/11/2009 18:38:52 ‹caravaggio› i think the idea was to make humans feel like something other than human
11/11/2009 18:40:27 ‹Seminar› http://cjournal.concordia.ca/archives/20090212/labcoats_and_beakers_try_lights_and _speakers.php
11/11/2009 18:40:53 ‹Seminar› http://cjournal.concordia.ca/archives/20090212/labcoats_and_beakers_try_lights_and_speakers.php
11/11/2009 18:44:06 ‹KylaG› I feel like these projects would be good to look at when considering the relationship between immersion and fun.
11/11/2009 18:44:47 ‹ndef› What do you think we gain when we strip away models of user intention and user state?
11/11/2009 18:46:13 ‹caravaggio› can you do that? users will always intend something, the system may be able to change the possibility space of those intentions
11/11/2009 18:46:59 ‹KylaG› Is exploration an intention?
11/11/2009 18:47:19 ‹Mike› http://www.topologicalmedialab.net/joomla/main/content/blogcategory/4/19/lang,en/
11/11/2009 18:47:21 ‹Seminar› http://en.wikipedia.org/wiki/Navier-Stokes_equations
11/11/2009 18:47:34 ‹caravaggio› any concious motivation for action is intention isn't it?
11/11/2009 18:47:54 ‹ndef› I think he's talking about "non-syntactic" systems that map input to output in a continuous way, rather than privilaging some behaviors.
11/11/2009 18:48:05 ‹ndef› Is that what he's talking about?
11/11/2009 18:48:35 ‹caravaggio› if it is possible for the user to understand the relationship between their behavior and the systems response they can express intention
11/11/2009 18:48:38 ‹KylaG› I feel like "intention" gives the impression that you're trying to do something in particular, whereas exploration is just trying things to see what the response is.
11/11/2009 18:48:51 ‹KylaG› But that's a fairly subjective definition, I suppose.
11/11/2009 18:49:54 ‹KylaG› So what he's talking about, then, is the transition in the human mind between exploration and intention.
11/11/2009 18:49:59 ‹KylaG› ?
11/11/2009 18:50:17 ‹caravaggio› isn't exploration predicated on the desire to know what something is like?
11/11/2009 18:51:04 ‹ndef› Upon encountering an unfamiliar system, the natural response (human response?) is to explore, in order to build a cognitive model of the system. Yes?
11/11/2009 18:51:30 ‹caravaggio› yes, but all of our behavior is 'natural'
11/11/2009 18:52:11 ‹ndef› Yeah. I'm trying to relate this back to his idea of non-humanity, which I still don't totally understand.
11/11/2009 18:52:16 ‹MAnnetta› But isn't the human response to buld that cognitive model off of older, established models?
11/11/2009 18:52:41 ‹ndef› Yeah, probably.
11/11/2009 18:53:06 ‹caravaggio› i guess the question is can we be something other than what we are?
11/11/2009 18:53:16 ‹caravaggio› and then are we ourselves?
11/11/2009 18:53:41 ‹MAnnetta› It goes back to the definition of "what we are" so we can see "what we are not"
11/11/2009 18:54:01 ‹caravaggio› right
11/11/2009 18:54:14 ‹caravaggio› it goes without saying that we can't be anything that is outside of what human is
11/11/2009 18:54:18 ‹caravaggio› because we are human
11/11/2009 18:54:34 ‹caravaggio› unless we cease to be human in a substantial way
11/11/2009 18:54:46 ‹KylaG› I was thinking maybe it was the difference between working with something humans understand cognitively, versus working with things we feel intuitively?
11/11/2009 18:54:47 ‹caravaggio› at which point we would be something that used to be human that may remember that POV
11/11/2009 18:55:08 ‹KylaG› "Human" vs. "The World" in the sense of "cognitive" vs. "emotive"?
11/11/2009 18:55:32 ‹KylaG› But I could also be completely wrong.
11/11/2009 18:55:39 ‹caravaggio› that sounds like different aspects of human existance
11/11/2009 18:55:40 ‹ndef› Based on the theatrical stuff that we're seeing, however, this work seems to be all about building cognitive models.
11/11/2009 18:56:21 ‹caravaggio› if we can build a model of any sort of process or system in our head, its functioning is a part of our cognition
11/11/2009 18:56:53 ‹caravaggio› i think what he's talking about neccessarily involves building systems that are beyond our understanding
11/11/2009 18:57:23 ‹ndef› What does that get us, as designers?
11/11/2009 19:01:04 ‹KylaG› Well, it gives us an interesting understanding of human cognition.
11/11/2009 19:01:20 ‹KylaG› That lets us understand how people will experience and learn about our games and systems.
11/11/2009 19:01:23 ‹ndef› 1. Live, face to face experience; 2. Eliminate language; 3. Blur the line between actor and spectator.
11/11/2009 19:02:21 ‹ndef› What exactly is the difference between rich and complicated?
11/11/2009 19:02:49 ‹caravaggio› rich indicates quality and complicated indicates complexity
11/11/2009 19:03:04 ‹ndef› Quality according to what measure?
11/11/2009 19:03:17 ‹KylaG› So it sounds like the "non-human" aspect here is the reactive environment.
11/11/2009 19:03:19 ‹caravaggio› that is not indicated
11/11/2009 19:03:41 ‹caravaggio› people still designed the reactive environment
11/11/2009 19:04:04 ‹caravaggio› doesn't that make it human?
11/11/2009 19:04:37 ‹ndef› And design it specifically so that it will be properly reactive to humans, even if it isn't deliberately model-based.
11/11/2009 19:05:23 ‹KylaG› No, you just design it so it will be reactive in general.
11/11/2009 19:05:33 ‹KylaG› It would be just as reactive if a bird flew through it, say.
11/11/2009 19:05:45 ‹ndef› I don't think it would.
11/11/2009 19:05:59 ‹caravaggio› all of these are designed for humans to use them though
11/11/2009 19:06:02 ‹KylaG› Well, certain aspects. I'm thinking in terms of his "water" example.
11/11/2009 19:06:13 ‹KylaG› Not necessarily the stuff of his that he's shown.
11/11/2009 19:06:26 ‹KylaG› It may be one of those theoretical asymptotes that we can't actually reach.
11/11/2009 19:06:32 ‹ndef› Hm.
11/11/2009 19:21:44 ‹Mike› http://en.wikipedia.org/wiki/Christopher_Alexander
11/11/2009 19:21:45 ‹Seminar› http://en.wikipedia.org/wiki/Christopher_Alexander
11/11/2009 19:28:41 ‹ndef› "What is geometric performance?"
11/11/2009 19:37:10 ‹ndef› (That question was based on bad parsing... "the performance of computational geometry" was intended.)
11/11/2009 19:41:44 ‹ndef› Shallow semantics.
11/11/2009 19:41:54 ‹Bill› Can anyone whip up a retrospective reading list for this seminar?
11/11/2009 19:42:51 ‹Bill› I feel like my brain is leaking tasty concepts.
11/11/2009 19:45:00 ‹Bill› "User" as an abstraction.
11/11/2009 19:47:09 ‹Bill› Quasi-physics and playing against expectations.
11/11/2009 19:50:08 ‹Seminar› http://alcor.concoria.ca/~davimorr
11/11/2009 19:50:38 ‹Seminar› +http://alcor.concordia.ca/~davimorr/
11/11/2009 19:50:49 ‹Seminar› http://alcor.concordia.ca/~davimorr/
11/11/2009 20:02:01 ‹Bill› It's not like training dolphins.
11/11/2009 20:03:24 ‹KylaG› If it's rewarding play, then it's like training dolphins. ]]> 2009-11-09T15:33:47Z 2009-11-09T15:16:41Z tag:,2009-11-09:interactive.usc.edu/members/abalsamo:67 2009-11-09T15:16:41Z

abalsamo http://interactive.usc.edu/members/abalsamo


Speaker: Sha Xin Wei, Topological Media Lab, Concordia University

Time: Wednesday, November 11, 6-8 pm
Location: USC's Robert Zemeckis Center for Digital Arts (RZC)
Room 201 Zemeckis Media Lab (ZML)

Professor Sha Xin Wei holds a Canadian Research Chair in Media Arts and Sciences; He is also an Associate Professor of Fine Arts and Computer Science At Concordia University in Montreal. The Topological Media Lab (TML) is a studio-laboratory for the study of gesture and materiality from computational and phenomenological perspectives. His talk will present examples of research/art projects that have been developed at the TML over the past decade. These projects include the TGarden responsive environment, Hubbub speech-sensitive urban surfaces, Membrane calligraphic video, and softwear gestural sound instruments.


]]> 2009-11-02T13:28:35Z 2009-11-02T13:15:24Z tag:,2009-11-02:interactive.usc.edu/members/abalsamo:67 2009-11-02T13:15:24Z

abalsamo http://interactive.usc.edu/members/abalsamo


Speaker: Mark Bolas, Associate Professor, Interactive Media Division, SCA

Time: Wednesday, November 4, 6-8 pm
Location: USC's Robert Zemeckis Center for Digital Arts (RZC)
Room 201 Zemeckis Media Lab (ZML)

Please join us at the IMD seminar this week for a presentation by IMD Professor Mark Bolas. He also serves as the director of Graphics Lab at USC's Institute for Creative Technologies (ICT). Professor Bolas' research explores perception, agency, and intelligence; he creates virtual environments that are designed to engage one’s perception and cognition to create a visceral memory of the experience. His work has been exhibited in many venues including six Emerging Technology exhibits at Siggraph. In 1988, Bolas co-founded Fakespace Inc. with Ian McDowall and Eric Lorimer to build instrumentation for research labs to explore virtual reality.
]]> 2009-10-26T20:43:57Z 2009-10-26T20:38:45Z tag:,2009-10-26:interactive.usc.edu/members/sfisher:14 2009-10-26T20:38:45Z

sfisher http://interactive.usc.edu/members/sfisher , CTIN 511




Speaker: Gonzalo Frasca, Co-Founder and CCO, Powerful Robot Games
Time: Wednesday, October 28, 6-8 pm
Location: USC's Robert Zemeckis Center for Digital Arts (RZC)
Room 201 Zemeckis Media Lab (ZML)


Title: Play like you mean it! Videogames & Rhetoric

Please join us for a talk by Gonzalo Frasca, who is the co-founder and Chief Creative Officer of Powerful Robot Games. His talk will describe a framework for understanding how play and games convey ideas through the use of rhetoric rather than rules.

Gonzalo Frasca is a game developer, researcher and entrepreneur, who lives in Montevideo, Uruguay. He co-founded the studio, Powerful Robot Games, in 2002 to build both commercial and experimental games. Their game for Cartoon Network reached over 13 million player accounts. They described it as "our biggest gaming success in our history".

One of their most popular indie projects is Newsgaming.com, a project mixing journalism with videogames. It received the Knight Foundation News Games Lifetime Achievement Award at the Games for Change 2009 conference.]]> 2009-10-26T18:34:36Z 2009-10-19T20:47:02Z tag:,2009-10-19:interactive.usc.edu/members/abalsamo:67 2009-10-19T20:47:02Z

abalsamo http://interactive.usc.edu/members/abalsamo



Speakers: Lulu Cao, Ala' Diab, Bryan Jaycox, Cynthia Nie, Taiyoung Ryu, Nahil Sharkasi, Peter Van Dyke, and Brandi Wilcox,

Time: Wednesday, October 21, 6-8 pm
Location: The IMD Co-Design Lab (aka Flower Street Lab)
School of Cinematic Arts
Digital Collaboratory Annex
501 29th Street

Please join us at the IMD seminar this week for presentations and demonstrations by the IMD 3rd year Thesis students. The students will present for the 1st hour, and then run simultaneous demos during the second hour. Professor Mark Bolas will serve as facilitator for the evening.
]]> 2009-10-14T20:11:54Z 2009-10-14T20:10:14Z tag:,2009-10-14:interactive.usc.edu/members/gnishikawa:272 2009-10-14T20:10:14Z

gnishikawa http://interactive.usc.edu/members/gnishikawa 2009-10-14T21:18:25Z 2009-10-11T17:25:54Z tag:,2009-10-11:interactive.usc.edu/members/sfisher:14 2009-10-11T17:25:54Z

sfisher http://interactive.usc.edu/members/sfisher , CTIN 511

Speaker: Christopher Janney, PhenomenArts, Inc.
Time: Wednesday, October 14, 6-8 pm
Location: USC's Robert Zemeckis Center for Digital Arts (RZC)
Room 201 Zemeckis Media Lab (ZML)


Title: "Architecture of the Air: From Urban Musical Instruments to Physical Music"

Trained as an architect and a jazz musician, Christopher Janney has combined these two disciplines in a number of projects. Sometimes he has tried to make architecture more like music as in his "Urban Musical Instruments" series. These include a number of large-scale interactive sound/light installations. Projects completed include "Harmonic Runway", a 200 ft. long interactive light/sound corridor in the Miami International Airport; "Chromatic Oasis", a 30 ft. diameter colored glass and steel mobile, at the Sacramento International Airport; "Touch My Building, an interactive light/sound piece for the entire facade of a new nine-story Bank of America building in Charlotte, NC; “Rainbow Cove,” two nine-story colored glass pedestrian towers at Logan International Airport; “Whistle Grove: The National Steamboat Monument”, a 2500 square foot interactive light, sound, steam environment on the banks of the Ohio River; and “Turn Up the Heat” a 30-ft. diameter interactive scoreboard for the American Airlines Arena in Miami, FL. At other times, Janney has tried to make music more like architecture- more physical, more visual. Projects in this vein include his "HeartBeat," a dance/performance piece where the performer wears a modified heartbeat monitor and moves to the sounds of his/her own heartbeat while other musicians perform in counterpoint.

Backchannel log of the presentation after the jump: ]]> 2009-10-08T04:11:55Z 2009-10-08T04:06:18Z tag:,2009-10-08:interactive.usc.edu/members/kgorman:269 2009-10-08T04:06:18Z

kgorman http://interactive.usc.edu/members/kgorman

]]> 2009-10-06T16:25:21Z 2009-10-06T13:55:18Z tag:,2009-10-06:interactive.usc.edu/members/mannetta:265 2009-10-06T13:55:18Z

mannetta http://interactive.usc.edu/members/mannetta ‹dread› http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11757
‹Little› http://en.wikipedia.org/wiki/Dungeons_&_Dragons
‹bo1v› http://books.google.com/books?id=M9dshxV-T0cC&dq=little+wars&printsec=frontcover&source=bl&ots=3amJOMNcZr&sig=AsrMk20hWmMPQFmLCNlM_B_HGFk&hl=en&ei=U8m6Ssu1EpH8sgOuwYHlCA&sa=X&oi=book_result&ct=result&resnum=5#v=onepage&q=&f=false
‹Sam› Love that game. Bioware rules.
‹Little› One of the best games ever.
‹dread› Noah et al's Grand Text Auto blog: http://grandtextauto.org/
‹ryan› I remember that scene... but I think when I did it everyone died
‹Little› if you did it and chose to follow the Dark Side you probably helped kill everybody
‹david m.› maybe he has short term memory problems
‹Little› I think I had this problem too
‹ryan› bioware's portfolio:
‹ryan› http://www.bioware.com/games/
‹david m.› is that a metal book?
‹Mannetta› metal-ish
‹Little› you mean "metallic"?
‹david m.› no, made of metal
‹Little› well
‹Little› "metal-ish" isn't really a word
‹Little› maybe it is. looks weird to me, too
‹Mannetta› my sarcasm is lost on you, Little one.
‹bobo› isn't it made of paper?
‹david m.› a lesser book would be
‹david m.› there's no straightforward way for a designer to test the incontinuities of multiple intersecting narrative branches
‹Little› that's a big "break" in the story. I played that game a few times through and had to remember not to screw it up the same way the second time around.
‹Little› maybe a little more playtesting on that could have helped
‹david m.› right but there's no assurance. casus being dead or not as something that breaks the other plot branches is something that does not neccessarily stick out in design
‹david m.› its only looking back that the problem is revealed
‹Little› yeah I agree it's difficult and probably still impossible to fix everything... but that was a large break and it was disappointing when I did it the first time through. I had a few big problems the first itme through.
‹ironman28› http://www.nous.org.uk/oulipo.html
‹david m.› eliza?
‹ironman28› http://www.chayden.net/eliza/Eliza.html
‹david m.› i had a text to speech version of a therapist chatbot on an old dos computer
‹david m.› it was frustrating and hilarious
‹david m.› is this where the chinese box argument comes from?
‹craab› Do you feel strongly about discussing such things ?
‹Sam› Do you feel strongly about feeling strongly about things?
‹craab› Oh, I feel strongly about feeling strongly about things ?
‹david m.› http://en.wikipedia.org/wiki/Chinese_room
‹Sam› Eliza's kind of creepy.
‹craab› 'm not sure I understand you fully.
‹Ed.› chinese box? is that the linguistic thingy?
‹david m.› its an AI question, if something apears to be intelligent, is it really?
‹Ed.› yup... i remember that
‹david m.› i confused box with room
‹Ed.› is the argument whether a computer really know the language or not... something like that...
‹ironman28› Mr. Mind: an inversion of the Turing test: http://www.mrmind.com/mrmind3
‹ndef› Eliza breaks down when the player becomes sophisticated... but what about suspension of disbelief?
‹ndef› Can people deliberately act in an unsophisticated manner, and does it prevent the experience from breaking down?
‹Ed.› i think there is a really strong argument saying that eventhough the computer might be able to produce the syntax, it does not KNOW the language in the chiniese box scenero
‹Sam› I'm not sure if people can force themselves to take Eliza seriously when her simple nature is revealed
‹Sam› it's human nature to want to test the boundaries of a system.
‹david m.› i think the most germaine thing to designers is, it shouldn't matter
‹david m.› if the player is fooled i'm happy
‹craab› @Sam - I'm not sure of that.
‹david m.› to advocates of civil liberties for artificial beings, there might be some application
‹Ed.› yea cog sci :)
‹craab› Some humans try to test boundaries, others not.
‹Little› I don't know if humans bother testing all systems. I do think we probably test boundaries to systems we don't like, but I'm not sure it's human nature
‹ndef› @craab Or in some cases, and not others.
‹Sam› In conversation with a human-type intelligence, wouldn't we try to see if we can fool it? I know that's my first reaction.
‹ironman28› that's also what the computer does with you!
‹ndef› Depends on the presentation of the intelligence. Depends on the context.
‹ndef› Depends on what I hope to get out of the experience.
‹david m.› we can't rely on the altruism of players
‹Little› usually anything resembling "human" even in a loose way... I generally want to see if it can be blown up, shot at, turned into a zombie, or if it can have *** on screen for me. so... I dont' try to break the game right from the start.
‹david m.› even a well meaning player will break a faulty system
‹Little› I agree with David.
‹Little› hey there's a censor in this room. -.-
‹ndef› When we design an experience, do we have to design it for everyone?
‹david m.› tout le monde?
‹Mannetta› narrative as string theory?
‹ndef› Can we design it for people who are willing to play along?
‹david m.› digital games generally don't work well with player adjudication
‹Sam› Well, players of D&D have to play along in order for it to work
‹Sam› but if the DM sounded like Eliza, they probably wouldn't want to play for very long
‹ndef› Sure. I'm not arguing that Eliza, specifically, works.
‹ndef› I'm arguing that the Eliza effect may have value.
‹david m.› thats a fair argument
‹david m.› its not good enough for researchers, but for games maybe
‹bo1v› I like the idea of Eliza systems that reveal the nature of their users. Try online dating sites for example and you will find Eliza Style systems in action. In fact, “Eliza” is a great name for a fraudulent online dating profile –
‹david m.› but how do you alter the game state by talking to a chatbot
‹david m.› without having keywords
‹bo1v› yes, I have a fraudulent online girlfriend… and yes she is basically an online game.
‹bo1v› I haven’t sent her any money – yet…
‹bo1v› Ah, Eliza… she cut’s and pastes all the right thing’s l(by hand of course) iike “Really?”, “Oh, cool” , “tell me about what you do for a living” (again), “a little girl I’m taking care of is sick”, “I need money for a plane ticket”, and the rest of the story is generated by me. I think this should be the future of online dating.
‹Little› I think you've just destroyed the good parts about meeting anyone through the internet.
‹ironman28› I don't see any difference between that and real dating
‹ndef› "The rest of the story is generated by me." That's the key phrase.
‹bo1v› It's nice to meet you.
‹Sam› "You (insert subject name here) must be the pride of (insert subject hometown here).
‹ndef› Can't we work with that?
‹Little› and also, somewhere in there I think you hit on why guys on the internet thing there are no females using it as well
‹david m.› definitely maybe
‹bo1v› maybe the females are males - but they only like to date one person online at a time .... so they are very genuine
‹Little› what??
‹Little› they are genuine because they are unavailable?
‹bo1v› yes
‹Little› that really seems like bizarre circular logic. I don't get it at all.
‹Mannetta› http://www.cosplayamerica.com/lebowitz/universe.html
‹bo1v› love
‹Mannetta› http://www.terminaltime.com/
‹Little› it seems like when you give up control over the narrative - like in a neverending universe situation - which maybe relates to having a bunch of authors write a long series - seems like you lose control over the constraints on story... and leave a lot of room for things to get weird.
‹Little› so isn't it expected that we haven't found a particularly "perfect" model yet?
‹david m.› could you make the idealogue a religious materialist?
‹ironman28› Terminal Time was all about playing with the algorithms that defined each ideological position
‹ironman28› they encouraged you to adopt multiple and contradictory subject positions
‹ndef› @Little Is it possible to define the constraints on the story ahead of time, in such a way that they will be observed even when you don't have direct narrative control?
‹dread› Noah is the author of the lead writer/designer of The Impermanence Agent, which tells a story, monitors the user' s web browsing, and uses browsed materials to customize its story out of existence.
‹dread› http://www.noahwf.com/agent/index.html
‹Little› I'm saying that since we haven't figured out how to do that just in writing or telling a story... it makes sense that we haven't figured out ways to make computers do it for us.
‹Little› although in the Star Wars universe, for example, there are a few things that stay the same. But any writer can still decide who lives, who dies, and whatever ridiculous plot twist they please goes where in the universe
‹ironman28› http://eis.soe.ucsc.edu/
‹Little› http://www.amazon.com/Expressive-Processing-Fictions-Computer-Software/dp/0262013436
‹david m.› http://en.wikipedia.org/wiki/The_Dmitri_Project
‹david m.› sounds like an uncanny valley issue
‹Sam› I was just about to say that lol
‹dread› http://kotaku.com/5275204/testing-molyneuxs-milo-a-virtual-boy-with-yes-a-dog
‹ndef› Scott McCloud talks about iconic imagery as something that the reader projects themselves into.
‹ndef› Seems related to that.
‹david m.› does anyone have a link to this thing he's talking about?
‹david m.› i can't figure out how to spell it
‹Little› what he was talking about on how to -at this moment - improve an RPG like KOTOR? or something else?
‹Little› whoever archives the backchannel should get links to some of the things he was talking about before they archive it and add it
‹dread› Noah's immersive text: http://www.noahwf.com/screen/index.html
‹dread› play shade
‹Mannetta› http://en.wikipedia.org/wiki/Shade_%28interactive_fiction%29
‹KylaG› This one? http://www.kongregate.com/games/cgjordan/shades
‹KylaG› What is "Shade"?
‹Mannetta› http://www.eblong.com/zarf/if.html#shade
‹KylaG› Thank you.
‹Mannetta› de nada
‹david m.› http://aliceandkev.wordpress.com/
‹craab› http://www.scottmccloud.com/2-print/1-uc/index.html]]>