hola Barcelona colonics
sounds like you're officially better
your ID via anyway I'll be talking to
you about authoring interactive
fictional stories in object based media
reporting research carried out in
digital creativity labs at York between
2016 and 2018
I am also I lead the research in object
based media in the labs Debbie Smith was
the researcher in charge of this project
shana Concannon of user experience
evaluation John Gray software
development and Jonathan hook a key
member of the object based media
research the aim of my presentation is
to contextualize the paper not to
summarize it although I'll provide some
summary of results right at the end of
the presentation or take off on
interactive fictional narratives they
are video driven and they are authored
and the overriding research question
that drives our work is whether video
driven stories could be altered in such
a way as to allow for more personalized
or customized narrative experiences
either through direct interaction from
the viewer or through considering the
viewer data there are other perspectives
for example in in game development there
is the question whether interactive
stories or other stories can be
automatically generated in game worlds
that's not our approach really looking
at authored stories with video content
despite more than 30 years of research
in this area there has been very little
impact upon creative practice so
therefore we need first to consider the
question why should we still carry on
with this research or should we just
stop it and accept it there's a no-go er
well here are some
he reasons that I have learned through
the research I've been carrying out over
the past 20 years in this area this form
can only be developed through
experimentation and experimentation is
expensive think of production costs for
films we have to produce films they have
to be interactive therefore even more
content they have to be sustained
experiences therefore of a particular
significant length
thus research is very much scarce and
and because of a lack of funding
significant funding or is done in small
increments which aren't able to push
creative practice forward another main
reason is that the logics the recipes
the structures the narrative structures
that are used in existing successful
examples are very much buried in
low-level computer code therefore
analysing critiquing exchanging
experiences is significantly constrained
almost impossible there's no language
that that allows communication of ideas
another key reason for for the lack of
persuasive examples and and creative
practicing in this area is that
dedicated software support is limited
and dedicated software support is
essential for authoring complex
nonlinear narrative spaces otherwise it
is almost impossible to call such a
narrative world's in the author's head
so this led to creative processes being
severely constrained and they often
result in simplistic or forced examples
which extend traditional forms with
unnecessary interactivity another key
reason for the current in success of the
form is that there is no dedicated
technology that can support the
deployment of such production
- productions to large audiences
therefore experimental prototypes which
could be successful cannot reach larger
audiences and inform so all-in-all
although that because the form is
essentially new from the mentally knew
and because there are very few
meaningful examples there is no direct
demand from audiences no from the
industry and this makes research
motivation even harder a rather bleak
outlook so should we stop now if we if
we look at it closer we see that all
these causes appear to be strongly
rooted in technology so the question
becomes whether the digital technology
will ever become sufficiently mature to
enable the development of this form
there is renewed enthusiasm at the
moment and here is behind the research
in this era has gone through peaks and
troughs interest is normally reignited
each time a significant advancement is
making underlying technology but only
until deployment of the results uncovers
new insurmountable technological
limitations and then we go stagnant
again until there is some new
significant advancement well we are now
on a peak html5 streaming TV 5g are our
technological innovations that have
reinforced our confidence in this area
so and the key driver for the research
in interactive storytelling with video
in my opinion is object based media we
believe that the work reported in this
paper makes a significant contribution
to OBM and therefore to interactive
storytelling with video in general going
back to the drawbacks highlighted
earlier the aims which drove our
research have been one to delay to
develop a set of abstract
Asians for representing interactive
narrative logics these would provide the
tools the the the the concepts that
would allow creatives to think about the
exchange experiences to critique
existing formats and until we have
terminology conceptual framework for for
for discussing and designing such such
such experiences I think the field will
not forward too quickly and the other
end is to develop an authoring tool with
more powerful representation support and
connecting it to my previous point we
are doing this by developing
computational counterparts for the
abstractions that we developed in the
conceptual framework we will validate
these developments as a method through
productions evaluated in the wild but
these productions themselves become an
object of research and research outcomes
as they would inform the potential of
the form of interactive storytelling
before presenting the Sun without
research I'd like to define object based
media and I will take the traditional
film workflows as a reference films are
made to a linear workflow going from
idea through writing design production
post-production in reaching the final
cut of film that is linear and mutable
and then this is distributed to various
channels including television the film
is watched by many by millions but all
experience the same
in object-based media stories films are
automatically assembled during viewing
to provide customized narrations each of
you it can experience the different
content but in slightly different
content could be more significantly
different it depends on how creatives
define their face then storytelling
their special story their narrative
worlds and I'd like to emphasize here
that we are focusing on on automatic
processes that are applied during
viewing and not just at the beginning to
customize energy based media stories
journalists are made from similar
ingredients to traditional film video
and audio clips other media content such
as text graphics they're not called
objects but they have to respond to an
additional purpose and that is dynamic
reconfiguration in our approach we take
post production as a starting point of
intervention and innovation and propose
automatic editing obviously this has
implications to pull from the whole
workflow that receipts
post production but necessarily requires
new means of distribution we can still
apply the traditional workflow
afterbuzz production it was intended for
distribution want to be fundamentally
different and here is how it all works
but there is an authoring process first
when the interactive narrative
experiences is fully crafted immediately
in mediated content and only when this
is completed it is followed by
subsequent process of distribution when
audiences engage with a content in
authoring creatives produce media as
little objects and very importantly
story logics rather than fix things
which then at the very time are
interpreted by narrative engines to
the customized narrations it's a
foundation for this architecture we
developed a conceptual model which
consists of three basic information
structures conditional for selection
group in conditional and structure each
accompanied by dedicated representation
features they provide the richness of
the model for example a various
synchronization mechanisms the power of
expression of our conceptual model
resides in its ability to recursively
combine these structures it's
hypothetical structure for example the
selection group that is highlighted here
could contain a number of other objects
a and o and O stands for atomic
narrative object a media clips but its
content also has a layered structure and
two other selection groups now if we
select the layer structures the layer
structure this in turn could have more
complex objects on each other here in
this case you has three layers top layer
a folk structure middle layer an atomic
narrative object and bottom layer yet
another layered structure no taking
further a selection group on the top
layer this in turn can consist of other
objects and so on so forth so you see
that this nesting this recursive
application of the structure could lead
to very very complex and powerful and
expressive structures and in turn these
generate significant and big challenges
computational challenges in order to
provide your experience of Ewing
continuous experiences of the Tarpeian
as well as to test the validity of the
models
and to find potential we have provided
operational support for these structures
in our authoring tool cutting room and
this is another distinctive feature of
our work as conceptual models developed
in the framework that we propose are
directly translatable into interactive
films and cutting room is is not here
but near inverted commas logic authoring
tool there is support for ingestion of
content for definition of objects for
inspection of objects annotation preview
and testing so therefore it is fully
fledged environment we have reported in
the paper the validation of cutting
group via the production what is love
which is a 20 minute film exhibited as
an installation at the heat November
2010 European festival
what is love recounts the story of a
long-distance relationship between media
that's Jack a software developer as
facilitated by the AI platform go see
what is very important is that the
interaction adopted moments available in
social media and this departed a
production from the standard yes the
prog choice to gradually pushed the
state of the art forward when it came to
interaction models and booths
I hope to be able to give you two minute
clip from what is not for another
channel as my production workflow failed
me at this end and the deadline is
really breathing at the back of my neck
so I have to get this video finished but
I hope to be able to give you a taster
what his love was experienced by over
900 people
viviana and more than 92,000 our survey
the results are presented in the paper
there's overall success but
interactivity was the lowest evaluated
aspect aspect of the experience
nevertheless positive positive which
which in a way provides far more room
for improvement wanted but it makes us
optimistic one thing to carry on with
this work I hope this presentation was
sufficient to whet your appetite to read
the paper if you have not already done
so that is read the paper not fire on
questions now if the format allows or
later on but before allow me to present
knowledge events for the work that's
been by