2. Interac(ve
Storytelling
is
a
form
of
digital
entertainment
in
which
users
create
or
where
users
can
influence
a
drama(c
storyline
through
ac(ons,
either
by
issuing
commands
to
the
story's
protagonist,
or
ac(ng
as
a
general
director
of
events
in
the
narra(ve.
Interac(ve
storytelling
is
a
medium
where
the
narra(ve,
and
its
evolu(on,
can
be
influenced
in
real-‐(me
by
a
user.
4. Drivers
and
influencers
— New
technologies
— Design
skills
/
approaches
— Social
change
— Hybridiza(on
and
convergence
— Cogni(ve
and
the
behavioral
sciences
— User
interfaces
The
user
is
the
story
5. From
gaming
to
interac(ve
narra(ve
spaces
— Non-‐linear
–
post-‐structuralist
— Abstract
–
nomadic
— Remix
lifestyles
— Transmedia
— Mixed
reality
— Collabora(ve
interplay
and
improvisa(on
— Extension
of
how
narratology
and
ludology
intersect
6. From
programmable
movies
to
simulated
reali(es
— Interference
and
guidance
— Alterna(ve
plots
and
storylines
— Spa(al
transforma(on
— Programmable
environments
— Dialog
management
— Cogni(ve
feedback
and
explora(on
The
user
designer
7. The
IS
designer
— Narra(ve
genera(on
engine/system
(including
inbuilt
constraint
selector
and
poten(al
for
different
POV)
—
Authoring
tools
— 3D
Computer
graphic
soXware/
3D
modelers
/
anima(on
— camera
— visual
rendering
system
—
interac(on
mechanism
between
mul(ple
agents,
etc
—
interac(ve
authoring
interface
/
hap(cs
—
representa(on
soXware/script
language
— iden(fica(on
and
“registra(on”
system,
The
never-‐ending
— A.I.planner,
etc.
list
8. AI
and
machine
learning
— Human
computer
interac(on:
pro-‐ac(ve
and
responsive
ac(ons
— Convergence
of
skills,
performance,
analysis
and
adjustment
–
improving
the
user
experience
— Pathfinding
and
planning
(incl.
non
player
characters)
— Natural
behavioral
language
for
story-‐based
believable
agents
— Interac(ve
actors
— Affec(ve
compu(ng
— Social
engineering
of
characters
— Reinforcement
learning
— Resource
gathering
11. LA
Noir:
adding
emo(on
• Facial
emo(on
• Real-‐world
actors
on
the
digital
stage
• Morality
systems
• Good
conversa(ons
12. The
Watchman
_
synthe(c
characters
— CG
moves
into
the
future
— Digitally-‐replicated
actors
who'll
go
on
performing
long
aAer
the
actor
is
gone
— Rewri3ng
the
story
— Bringing
back
deceased
actors
13. Avatar
–
super
imposing
actors
— Crea(ng
an
en(re
world
with
computer
graphics
and
then
directly
integra(ng
ac(ng
performances
— Japanese
Telexistence
surrogate
Antropomorphic
— Head
gear,
gloves
,
vests
with
control
gear
17. Touchable
holograms
— An
array
of
computer-‐controlled
ultrasonic
wave
emiaers
with
fine
points
that
emit
pulses
of
air
that
feel
like
pressure
on
your
hand.
— System
knows
where
your
hand
is
–
behavioral
feedback.
— The
sensa(on
of
weight
and
texture.
20.
Next-‐Genera3on
Synthe3c
Performers
— Introducing
levels
of
autonomy
into
the
synthe(c
performer
(such
as
eye
contact,
facial
and
gestural
movement,
and
lip
sync),
— enabling
more
flexible,
engaging,
and
directable
robot-‐
mediated
performance
on
the
set.
— Second
Skin
is
a
project
to
build
a
wearable
fabric
that
supports
millimeter-‐accurate
loca(on
and
bio-‐parameter
tracking
at
thousands
of
points
on
the
body.
— Such
a
fabric
can
compute
and
predict
3-‐D
representa(ons
of
human
ac(vity
and
use
the
informa(on
to
augment
human
performance.
21. Remote
interac(on
with
a
robot
— Robo(c
avatars
will
allow
humans
to
fully
experience
the
environment
of
other
worlds.
—
Through
the
eyes
of
robo(c
avatars
we
will
watch
the
sunrise
over
the
rusty,
red
crater
rims
without
having
to
"experience
suffoca(on,
the
icy
death
of
-‐200
degrees
C
on
their
skin
or
the
s(ng
of
microscopic
dust
in
their
eyes.”
22. Learning
the
character’s
soul
Revisi(ng
“Creatures”
and
Black
and
White”
–
the
interac(ve
storytelling
learning
versions.
Game
characters
that
can
predict
the
behavior
of
players
25. Interac(ve
Storytelling
in
music
videos
— Moonbot
Studios
and
The
Polyphonic
Spree
together
have
created
an
interac(ve,
character-‐
based
narra(ve
music
video.
Features:
-‐
Seamless
world
of
interac(on
-‐
Touch
clouds,
plants
and
animals
to
life
-‐
Evolving
visuals
that
change
with
the
music
-‐
Follow
and
interact
with
a
creature
named
You-‐Me
-‐
Tilt
your
device
to
sway
You-‐Me
as
he
falls
-‐
Choose
between
the
Studio
or
Acous(c
song
tracks
27. Heavy
Rain
— Interac(ve
narra(ve
if
the
choices
we
can
make
are
merely
altering
specific
events
rather
than
the
actual
context.
Surely
the
whole
point
of
having
the
story
play
out
differently
depending
on
player
choices
is
to
add
replay
value.
28. Programmable
movies
— Movies
that
change
with
context
(observer,
emo(ons,
place,
or
(me).
— Long-‐
Distance
Barcodes
work
to
make
both
cameras
and
the
world
more
intelligent,
by
allowing
users
to
piece
together
and
merge
separate
images
using
metadata
encoded
into
the
image.
— This
work
will
allow
for
the
merging
of
mul(ple
viewpoints
to
create
richer
stories
from
varied
storytellers.
29. Sensing
Spaces
§
Interac(ve
reconfigurable
spaces
§
Integrated
visual,
virtual,
real
spaces
§
Use
of
robo(c
and
AI
s(mula(on
and
simula(on
§
Sensor
clusters
and
networks
to
drive
performance
cues
and
audio-‐visual
interfaces
30. Sensing
Spaces
§ Gravity
to
create
performance
effects
§
Wearable
compu(ng
to
create
performance
and
effects
synchronicity
§
Narra(ve-‐changing
sensors
using
audience
feedback
§
Use
of
avatars
as
performer
interfaces
31. Dynamic spatial interfaces
Interac(ve
installa(on
uses
dynamic
spa3al
interfaces
and
a
human-‐scale
display
system
to
allow
visitors
to
explore
the
photographic
work
of
ar(st
Ta(ana
Parcero
on
mul(ple
levels
of
their
own
choosing.
32. Interac(ve
storytelling
in
annotated
environments
— iRiS
(Immediate
Remote
Interac(on
System
— User
can
“paint”,
create
a
game
like
a
jigsaw
puzzle,
an
interac(ve
story
with
one
or
more
par(cipants
on
a
façade
from
a
mobile
device.
— ANW
(ar(culated
Naturality
Web
and
computer
vision
33.
34. Interac(ve
human
body
museum
• Tac(le
interac(ve
museum
experience
that
takes
visitors
through
the
spaces
inside
their
own
bodies.
• At
the
museum
you
can
experience
hay
fever
from
inside
the
nose,
replete
with
a
rollicking
sneeze.
• You
can
don
3D
glasses
and
watch
as
cartoon
sperm
fer(lize
an
egg.
You
can
bounce
your
way
across
a
rubber
tongue
as
you
navigate
taste
buds
and
hear
burps
welling
up
in
the
deep.
35. Adding
affect
and
atmosphere
— Programmable
surfaces
and
addi(onal
displays
— New
hap(cs,
with
gesture,
smell,
vibra(on
and
temperature
amplifica(on
— Immersive
and
responsive
/
Reac(ve
video
and
portraits
— Socially
aware
systems,
ambient
and
interac(on
enhancers
such
as:
causal
mappings
between
past
and
future
events
or
between
an
ac(on
and
its
reac(on
— Programmed
atmospheres
and
aesthe(c
visual
effects
36.
Situa(on
awareness
and
Behavioral
iden((es
— Ambient
detec(on
-‐
tools
to
share
habits
— Annotated
environments
and
Distributed
Interac3ve
Video
Arrays
for
Event
Capture
and
Enhanced
Situa3onal
and
Interac3ve
Awareness
— Human
dynamics
and
emo(on
modeling
-‐
affec(ve
and
cogni(ve
percep(on,
feedback
and
awareness
-‐
modeling
social
interfacing
and
feedback
-‐crea(ng
behavioral
iden((es
37. You are the performance
-‐ SpherAleas
device
–
mobile
device
with
sensors
that
create
sonorous
shapes
-‐ The
Theater
of
the
Senses
-‐
"Echo
of
the
Shadow,”
Audience
par(cipa(on
in
a
labyrinth
of
performances
-‐
Hidden
Worlds
of
Noise
and
Voice
(voice
to
vision)
38. Projec(ng
yourself
into
the
game
— Being
There
— This
projector-‐based
approach
provides
a
way
to
visualize
re-‐crea(ons
of
real
and
imaginary
sites
that
are
both
visually
and
spa(ally
realis(c.
—
Users
have
a
strong
sense
of
immersion
and
natural
interac(on
as
they
walk
around
a
virtual
site.
39. Cameras
— Computa(onal
Cinematography
and
Display:
—
-‐
future
cameras
for
able
to
share
visual
content,
and
crea(ng
4-‐D
and
6-‐D
displays
for
richer
collec(on
and
presenta(on
of
informa(on.
— Video
of
the
future
(video
manipula(on,
video
coding,
3D,
and
perceptual
studies),
computa(onal
cinematography,
human
and
facial
anima(on,
and
capture
technologies.
—
Addi(onal
strengths
include
wireless
networking
and
computa(onal
materials
40. Sensor
robots
— Capturing
3D
models
of
environments,
outdoor
and
indoor,
and
capturing
ac(vity
that
is
happening
in
environments,
using
cameras
mounted
on
mobile
robots.
A
new
mode
of
deploying
computer
vision
is
now
appearing
as
autonomous
robots
41. Displays
— Interac(ve
/
HolographicTV
— No
border
screens
— Roll
out
portable
OLED
screens
42. Morphable
movie
studios
— This
technology
allows
one
physical
space
to
represent
a
variety
of
things.
— Projects
involve
techniques
to
augment
and
programmatically
change
the
appearance
of
physical
objects.
— The
physical
object
is
illuminated
with
a
data
(or
video
or
slide)
projector.
— The
images
to
be
projected
are
computed
with
a
3-‐D
graphics-‐rendering
program.
This
allows
you
to
change
the
appearance
of
real
objects,
adding
special
effects
to
the
world
around
you.
43. Mobile
projec(on:
Electric
Poetry
A
web
interface
for
construc(ng
poems
to
be
broadcast
in
real-‐(me
on
the
walls
of
London's
underground
sta(ons,
for
London
Transport's
Plalorm
for
Art
Similar
to
the
popular
f
ridge
game,
people
assemble
words
into
poems
which
then
appear
in
public
or
commercial
spaces
around
the
city
44. Storyteller
— Storyteller:
Tools
and
technologies
developed
into
toolkits
for
children
to
empower
them
craX
their
own
compelling
stories
and
characters
to
foster
crea(vity
and
learning
goals.
— Researchers
will
also
leverage
synthe(c
performer
technologies
to
create
compelling
robo(c
or
virtual
characters
that
serve
as
learning
companions
for
children
47. Interac(ve
storytelling
infancy
— Interac(ve
Storytelling
technologies
in
terms
of
performance
and
scalability
— To
make
the
next
genera(on
of
Interac(ve
Storytelling
technologies
more
accessible
— To
develop
a
more
integrated
approach
to
interac(ve
storytelling
technologies
— Methodologies
to
evaluate
interac(ve
storytelling
systems
as
well
as
the
media
experience
of
interac(ve
narra(ve
48. Going
forward
— Performance
and
scalability
— Adap(ng
to
new
IS
and
user
desires
— Adap(ng
new
hybrids
of
converged
mix
media
and
technologies
— Pumng
the
human
in
the
landscape.
— There
are
roles
of
the
integra(on
of
IS
in
so
many
different
areas
–
think
beyond
gaming
and
film
Past
–
Present
-‐
Future
