Future Affective Technology Experiences:Uncanny Experiences and Interactive Narratives
UNCANNY
EXPERIENCES
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Uncanny experiences occur when a virtual character simulation approximates a real person enough to create the expectation of human behaviour but exhibits characteristics that are agt odds with the expectations. These mismatches can make a virtual agent or avatar seem unpleasant, bizarre, strange or repulsive. Uncanny computer generated characters will make poor training tools, result in lower engagement when embedded in user interfaces and produce aversive experiences which detract from the functionality of the system developed, reducing enjoyment in pleasure based technology such as games and entertainment. |
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ANOTHER VIEW OF
THE UNCANNY VALLEY
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A workshop on “Views of the Uncanny Valley” (2005) was organised in Tsukuba, Japan by Karl MacDorman, Christian Keysers and Professor Frank Pollick. The workshop discussed whether the uncanny valley could be accounted for by psychological theories, and if in turn any theory could be applied in robotics and animation. Professor Pollick will discuss the psychological explanation and review recent findings in the fields of psychology and neuroscience that have explored the perception of uncanny characters. The results might yet fall short of precisely specifying exact design criteria for synthetic characters but they are leading to a better understanding of the conditions under which uncanny experiences occur. |
Talks will be presented for approximately
two-thirds of the day and in the afternoon the conference delegates will
break into two groups focussing on uncanny characters and interactive
narratives. Each group will generate an outline grant application and this
will be circulated by e-mail after the meeting. |
INTERACTIVE
NARRATIVES
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Increasing computing power has enabled the embedding of AI and other scripting techniques into games and entertainment which dramatically increase the narrative flexibility of the user experience. Currently the user experience of such narratives and the rules that govern successful narrative development are poorly understood. The principles for managing and developing such interactive narratives are the focus of the second workshop. It seems clear that cognitive, emotional and personal aspects of the interactive narrative make such narratives suitable for therapeutic as well as entertainment purposes. If this is true then the are serious ethical implications of such devices. |
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ANIMATION, AGENCY
& AESTHETICS
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A significant proportion of the research on animated interactive characters has concerned artificial intelligence, computer animation, interactive storytelling, and assessment of human perception, animation is a visual art form. The performance of animated characters in film reveals much about the depth of the characters; their personalities, emotions, contexts, and thought processes. A carefully animated character performance can embody a story and captivate an audience. In the uncanny world there have been spectacular failures. However, there has been little research into how we might evaluate the aesthetic qualities of animated characters within interactive media. In this talk, criteria for evaluating the animated performance of game characters shall be discussed, with reference both the underlying technical procedures as well as the relationship between the audience-user and the animated character. |
It is hoped that a web location will be
maintained for conference topics for six months after the event, to further
stimulate interest, exchange of ideas and the development of industry
sponsorship of projects within the Universities involved. |
