Viewpoints AI

The Viewpoints AI installation attempts to create an interactive movement-based art experience that has minimal predefined instantial content. As opposed to focusing on designer-created content that reflects their specific view of an interactive experience, we have instead created a movement-based play space where interactors can freely dance with a virtual AI-based character named VAI, teaching it as they interact. VAI analyses interactor movements through procedural representations of the Viewpoints movement theory (from theatre and dance) and improvises responses as an equal collaborator from its past experience with people. VAI uses this procedurally and experientially realized content to present an engaging movement-based experience that any audience member can walk up to and immediately begin dancing with. The Viewpoints AI installation uses shadow theatre as inspiration for creating a liminal space for the projected AI character and an interactor's shadow to co-exist within a real / virtual space. Interactors step in front of a spotlight that projects their shadow onto a large muslin screen. VAI is also projected onto that same space. Viewpoints AI, thus builds on ancient and new media forms, creating an experience that is a playful - but coherent - expression between both the interactor and VAI.

[1]  Edward Fredkin,et al.  Trie memory , 1960, Commun. ACM.

[2]  Thecla Schiphorst,et al.  EMVIZ: the poetics of movement quality visualization , 2011, CAe '11.

[3]  Simon Colton,et al.  Creativity Versus the Perception of Creativity in Computational Systems , 2008, AAAI Spring Symposium: Creative Intelligent Systems.

[4]  P. McCorduck Aaron's Code , 1990 .

[5]  Brian Magerko,et al.  Full-Body Gesture Interaction with Improvisational Narrative Agents , 2012, IVA.

[6]  Noah Wardrip-Fruin,et al.  Expressive Processing: Digital Fictions, Computer Games, and Software Studies , 2009 .

[7]  Andrea Lockerd Thomaz,et al.  Turn Taking for Human-Robot Interaction , 2010, AAAI Fall Symposium: Dialog with Robots.

[8]  Ken Perlin,et al.  Improv: a system for scripting interactive actors in virtual worlds , 1996, SIGGRAPH.

[9]  Rudolf von Laban,et al.  Laban's principles of dance and movement notation , 1975 .

[10]  Anne Bogart,et al.  The viewpoints book : a practical guide to viewpoints and composition , 2005 .

[11]  Terri Gullickson The Creative Mind: Myths and Mechanisms. , 1995 .

[12]  Stavros Christodoulakis,et al.  EShadow: A Tool for Digital Storytelling Based on Traditional Greek Shadow Theatre , 2013 .

[13]  Brian Magerko,et al.  An empirical study of cognition and theatrical improvisation , 2009, C&C '09.

[14]  Brian Magerko,et al.  Viewpoints AI: Procedurally Representing and Reasoning about Gestures , 2013, DiGRA Conference.

[15]  Andrew Stern,et al.  Façade: An Experiment in Building a Fully-Realized Interactive Drama , 2003 .

[16]  Claudio S. Pinhanez,et al.  It/I: A Theater Play Featuring an Autonomous Computer Character , 2002, Presence: Teleoperators & Virtual Environments.

[17]  Vadim Bulitko,et al.  Interactive Narrative: An Intelligent Systems Approach , 2012, AI Mag..

[18]  John E. Laird,et al.  The Soar Cognitive Architecture , 2012 .

[19]  Chris Hecker,et al.  Real-time motion retargeting to highly varied user-created morphologies , 2008, SIGGRAPH 2008.

[20]  Brian Magerko,et al.  A Formal Architecture of Shared Mental Models for Computational Improvisational Agents , 2012, IVA.

[21]  Bradford Clark Chinese Shadow Theatre: History, Popular Religion and Women Warriors (review) , 2008 .

[22]  David C. Wilson,et al.  Temporal integration of interactive technology in dance: creative process impacts , 2011, C&C '11.

[23]  Magy Seif El-Nasr,et al.  Interaction, Narrative, and Drama Creating an Adaptive Interactive Narrative using Performance Arts Theories , 2007 .

[24]  James Everett Young,et al.  Communicating affect via flight path Exploring use of the Laban Effort System for designing affective locomotion paths , 2013, 2013 8th ACM/IEEE International Conference on Human-Robot Interaction (HRI).

[25]  Brian O'Neill,et al.  A Knowledge-Based Framework for the Collaborative Improvisation of Scene Introductions , 2011, ICIDS.

[26]  Thecla Schiphorst,et al.  Composition of multiple figure sequences for dance and animation , 1991, The Visual Computer.