Skip to main content

2001 | Buch

Virtual Storytelling Using Virtual Reality Technologies for Storytelling

International Conference ICVS 2001 Avignon, France, September 27–28, 2001 Proceedings

herausgegeben von: Olivier Balet, Gérard Subsol, Patrice Torguet

Verlag: Springer Berlin Heidelberg

Buchreihe : Lecture Notes in Computer Science

insite
SUCHEN

Über dieses Buch

The story is the richest heritage of human civilizations. One can imagine the ?rst stories being told, several thousand centuries ago, by wise old men huddled around camp?res. Since this time, the narrative process has been considerably developed and enriched: sounds and music have been added to complement the speech, while scenery and theatrical sets have been created to enhance the story environment. Actors, dancers, and technicians have replaced the lone storyteller. The story is no longer the sole preserve of oral narrative but can be realized in book, theatrical, dance, or movie form. Even the audience can extend up to several million individuals. And yet in its many forms the story lies at the heart of one of the world’s most important industries. The advent of the digital era has enhanced and accelerated this evolution: image synthesis, digital special e?ects, new Human-Computer interfaces, and the Internet allow one not only to realize more sophisticated narrative forms but also to create new concepts such as video gaming and virtual environments. The art of storytelling is becoming evermore complex. Virtual reality o?ers new tools to capture, and to interactively modify the imaginary environment, in ever more intuitive ways, coupled with a maximum sensory feedback. In fact, virtual reality technologies o?er enhanced and exciting production possibilities for the creation and non-linear manipulation in real time, of almost any story form. This has lead to the new concept of Virtual Storytelling.

Inhaltsverzeichnis

Frontmatter

New Techniques

Under Construction in Europe: Virtual and Mixed Reality for a Rich Media Experience
Abstract
As part of the 5th Framework Programme, the European Commission supports research and development activities in the field of Virtual and Mixed Reality (VR&MR), in particular within the Information Society Technologies (IST) specific Programme. This paper gives an overview of VR&MR and related projects already launched. Finally, some very preliminary orientations for future research are given.
Eric Badiqué
Generation of True 3D Films
Abstract
We define a true 3D film as a film that can be viewed from any point in space. In order to generate true 3D films, the 3D-MATIC Research Laboratory of the University of Glasgow has been developing a capture 3D studio based on photogrammetry technology. The idea is simply to generate 25 photo-realistic 3D models of a scene per second of film. After the presentation of the state of the art in the domain, the core technology of our dynamic 3D scanner is detailed. Finally first results, based on a 12 camera system, are shown and the potential applications of this new technology for virtual storytelling are investigated.
Jean-Christophe Nebel
Spatial Sound Enhancing Virtual Story Telling
Abstract
Spatial sound information/cues may enhance the sense of immersiveness in virtual story telling. However, their role within complex, loosely-structured narratives is little understood. This paper describes a virtual heritage project that aims to convey a factual story using interactive virtual environments. Sound was added to the existing project in an effort to enhance the virtual experience. The use of sound is assessed through a user-study in order to assess its effectiveness and suggest methods of improvement.
David Murphy, Ian Pitt
The VISIONS Project
Abstract
This paper presents VISIONS, an innovative software product using the latest Virtual Reality technologies for the virtual prototyping and authoring of various forms of stories. VISIONS is developed in the frame of an IST project funded jointly by the European Commission Fifth Framework RTD Programme and the VISIONS consortium.
Olivier Balet, Paul Kafno, Fred Jordan, Tony Polichroniadis
Programming Agent with Purposes: Application to Autonomous Shooting in Virtual Environment
Abstract
This paper proposes an architecture for defining and executing agents’ behaviour from purposes. This architecture is used for the definition of an autonomous camera which makes automatic shooting of a virtual reality scene in real time. The user or others agents program the camera in a declarative and qualitative way. Multiples purposes can be specified. In case of contradictory purposes, the camera finds a compromise or, if not possible, leave some purposes. Multiple agents programmed by purposes generate complex and credible animations.
Pierre-Alexandre Favier, Pierre De Loor, Jacques Tisseau
Interactive Immersive Transfiction
Abstract
The word “transfiction” has been coined to refer to an interactive narrative system where users can naturally interact with narrative machines (devices with computing power and containing databases of meaningful information). By entering the space of some camera, users are extracted out of their context: through image analysis, the visual representation of people is automatically extracted and then integrated within a pre-existing story in order to deliver in real-time scenes that mix synthetic and natural images. Such scenes are displayed on large screens placed in front of the user where she/he sees herself/himself like in a virtual mirror. She/he can then visually communicate/interact with entertaining/cultural content.
Alok Nandi, Xavier Marichal

Authoring Tools

Interactive Storytelling: People, Stories, and Games
Abstract
Storytelling, people, computers, and digital communications are becoming increasingly interwoven. The idea of using procedural techniques to involve people in stories is enormously attractive, yet actually finding a way to create interactive fiction that achieves both artistic and commercial success remains elusive.
In this short paper I will briefly discuss a few of the relevant issues for designing interactive fiction. I discuss the need for story structure, and the difficulties of asking people not trained in acting to become improvisational actors. I then present an idea called the story contract that describes some important traits of successful fictive experiences. Finally, I discuss some of the inherently contradictory needs of stories and games.
Andrew Glassner
An Authoring Tool for Intelligent Educational Games
Abstract
In this paper, we describe a frame-based production rules system that works as the Artificial Intelligence Engine of an educational computer game. We discuss the need of an authoring environment clearly separated by the game in order to allow a technical staff without any skill in either AI or Computer Science to encode the “intelligence” of the game. Finally, we briefly introduce two graphical interfaces for authoring and testing frame hierarchies and production rules. The production rule systems and the authoring tools have been developed in the context of a project funded by the European Community to develop a prototypical educational computer game.
Massimo Zancanaro, Alessandro Cappelletti, Claudio Signorini, Carlo Strapparava
Generation and Implementation of Mixed-Reality, Narrative Performances Involving Robotic Actors
Abstract
Recent advances in robotics and multimedia technologies have created new possibilities for staging narrative performances involving robotic actors. However, the implementation of these types of events is complicated by the lack of appropriate direction and execution environments that can deal with the complexity of these productions. This paper seeks to address this problem by describing CHOROS, a Java-based environment for authoring, direction and control of narrative performances. In particular, CHOROS allows the story author to annotate the performance script with stage directions. Furthermore, the environment offers to the performance director an augmented reality interface for planning the behavior of the actors. Finally, the system uses vision-based tracking methods and behavior-based control for adjusting the behavior of the robotic actors according to the director instructions during the performance.
Nikitas M. Sgouros, Sophia Kousidou

A New Form of Narration

Film and the Development of Interactive Narrative
Abstract
This paper explores narration in film and in videogames/virtual environments/interactive narratives. Particular attention is given to their use of the continuity of time, space and action and this is used as a means of classifying different types of work. The authors argue that the the creators of these videogames etc. need to have more authorial presence and that this can only be done through abandonning their traditional reliance on the continuity of time, space and action.
Andy Clarke, Grethe Mitchell
Virtual Storytelling as Narrative Potential: Towards an Ecology of Narrative
Abstract
In this paper virtual storytelling is considered as narrative potential - the integration of agency and narrative. To facilitate this, an aesthetics of VEs is introduced as the context for the analysis of a popular computer role playing game. The game is analysed in terms of Perceptual Opportunities - a content model for virtual environments. From this analysis some inferences are drawn concerning the way in which agency and narrative may be successfully integrated to facilitate virtual storytelling.
Clive Fencott
Adaptive Narrative: How Autonomous Agents, Hollywood, and Multiprocessing Operating Systems Can Live Happily Ever After
Abstract
Creating dramatic narratives for real-time virtual reality environments is complicated by the lack of temporal distance between the occurrence of an event and its telling in the narrative. This paper describes the application of a multiprocessing operating system architecture to the creation of adaptive narratives, narratives that use autonomous actors or agents to create real-time dramatic experiences for human interactors. We also introduce the notion of dramatic acts and dramatic functions and indicate their use in constructing this real-time drama.
Jay Douglas, Jonathan Gratch

Virtual Characters

Learning in Character: Building Autonomous Animated Characters That Learn What They Ought to Learn
Abstract
We suggest that the ability to learn from experience and alter its observable behavior accordingly is a fundamental capability of compelling autonomous animated characters. We highlight important lessons from animal learning and training, machine learning, and from the incorporation of learning into digital pets such as AIBO and Dogz. We then briefly present our approach, informed by the lessons above, toward building characters that learn. Finally, we discuss a number of installations we have built that feature characters that learn what they ought to learn.
Bruce M. Blumberg
Real Characters in Virtual Stories
Promoting Interactive Story-Creation Activities
Abstract
Interactive experience in a virtual world. We take the line that children need to be both engaged in the action through role play and given the opportunity to reflect on the significance of their actions to understand something of their significance in terms of both the narrative and its ethical significance. This requires a system that incorporates the children’s actions into the unfolding plot. We introduce the Support And Guidance Architecture (SAGA), a plug-in architecture for guiding and supporting children’s interactive story creation activities. This is illustrated with reference to Teatrix, a collaborative virtual environment for story creation, which provides the children with the means for collaboratively creating their story on a virtual stage.
Isabel Machado, Ana Paiva, Paul Brna
Real-Time Character Animation Using Multi-layered Scripts and Spacetime Optimization
Abstract
We introduce a new animation system dedicated to real-time character animation. A multi-layered script system is used to control the motion from the higher semantic level (used to produce scenarios using high level orders) to the geometrical aspect (required to control the movement in a precise way). Two low-level animation subsystems are proposed, depending on the requirements of the final user. One uses a blending layer to mix the tasks generated by the script system, whereas the other performs on-the-fly spacetime optimization to compute the resulting motion. Two applications are described, each one using one of these two systems, putting in evidence their respective advantages and drawbacks.
Eric Menou, Vincent Bonnafous, Jean-Pierre Jessel, René Caubet
Characters in Search of an Author: AI-Based Virtual Storytelling
Abstract
In this paper, we present the first results obtained with an interactive storytelling prototype. Our main objective is to develop flexible character-based systems, which nevertheless rely on narrative formalisms and representations. Characters’ behaviours are generated from plan-based representations, whose content is derived from narrative formalisms. We suggest that search based planning can satisfy the real-time requirements of interactive storytelling, while still being compatible with the narrative formalisation we are pursuing. We then describe into greater detail a short episode generated by the system, which illustrates both high-level results and technical aspects, such as re-planning and user intervention. Further work will be dedicated to developing more complex narrative representations and investigating the relations between natural language semantics and narrative structures in the context of interactive storytelling.
Marc Cavazza, Fred Charles, Steven J. Mead
Virtual Agents’ Self-Perception in Story Telling
Abstract
The goal of this work is self-perception modeling of autonomous agents in virtual story telling. It’s inspired from work of psychologists and neuro-physiologists. From psychology, we use fuzzy cognitive maps (FCM) to model and implement believable agents’ behaviours. These cognitive maps allow us to give not only sensation but also perception, in the sense that our agents perceive environment in function of their inner states or emotions. From neuro-physiology, we implement the idea that movement is simulated in the cortex before it is performed in real world. Virtual agent’s self-perception is the ability to simulate different behaviours in its own imaginary space before acting in “real” world. This self-perception implemented by “simulation in the simulation” is one of the keys for the autonomy of virtual entities’ decision.
Eric Maffre, Jacques Tisseau, Marc Parenthoёn

Applications

Reflections from a Hobby Horse
Abstract
This paper examines ideas that may shape a new approach to storytelling. It considers innovations from antiquity to the present, with examples from the Ad Herrenium, and work by Laurence Sterne, Raymond Roussel, Bernini, Rodin and Picasso and considers their relevance to virtual story creation.
Paul Kafno
DocToon© — A Mediator in the Hospital of the XXIst Century
Abstract
The project DocToon© is an animation and rendering 3D system intended for paediatric wards to humanise the stay of hospitalised children and to help them to cope with the psychosocial problems they face. The principle of the technology is to animate, in real time, a little character, who can talk with the children in hospital, appearing to them via the television set in their room. An animator, in a room situated a little way from the children rooms, brings the character to life and speaks on his behalf, while seeing, via a two-way video the child with whom he is engaged in talking.
Benoît Labaye, Nadia Guérin, Sébastien Dohogne
The Interplay between Form, Story, and History: The Use of Narrative in Cultural and Educational Virtual Reality
Abstract
This paper attempts to review examples of the use of storytelling and narrative in immersive virtual reality worlds. Particular attention is given to the way narrative is incorporated in artistic, cultural, and educational applications through the development of specific sensory and perceptual experiences that are based on characteristics inherent to virtual reality, such as immersion, interactivity, representation, and illusion. Narrative development is considered on three axes: form (visual representation), story (emotional involvement), and history (authenticated cultural content) and how these can come together.
Maria Roussou
Virtual Storytelling of Cooperative Activities in a Theatre of Work
Abstract
DocuDrama offers the generation of interactive narratives which are based on activities in a collaborative virtual environment. DocuDrama develops a model for the creation and enactment of narratives derived from the history of documents and interactions between people. It investigates how a narrative can be constructed from this information in a way appropriate for both the intended audience and the message to be conveyed. DocuDrama offers a choice of replay options which depend on the user’s situation and preferences. We apply this approach within TOWER, a Theatre of Work, which allows project members to be aware of project relevant activities as well as to establish social relationships to intensify team coherence.
Leonie Schäfer, Wolfgang Prinz, Amanda Oldroyd, Lesley Gavin
Virtual Storytelling for Training: An Application to Fire Fighting in Industrial Environment
Abstract
The goal of this project is to build a virtual reality platform to educate fire fighters officers. Virtual reality allows to immerse users (teacher and learners) in a universe where the physical environment and human actors behavior are simulated. We propose an architecture where everything is an agent: reactive agents (natural phenomena), cognitive agents (firemen) and avatars (users). The two last types of agents coordinate their actions: they play a role in an organization to execute pre-established missions in team.
Ronan Querrec, Pierre Chevaillier
Computer Animation and Virtual Reality for Live Art Performance
Abstract
We present a virtual puppet performance including an animation system for real-time character animation based on motion capture. This performance may mix puppets, dance, comedy, and achieves interactivity between the manipulators and the other participants (real/virtual) on the stage. Most often, the show is aimed to children, but more complex or elaborated stories or concepts can be proposed to an older audience. The objective is to explore these new possibilities with low-end hardware and devices. For the future, including new concepts such as behavioral simulation would lead to animate directly main characters whereas the other ones would be autonomous.
Jean-Pierre Jessel, Céline Jaspart, Jean-Jacques Flores
Virtual House of European Culture: e-AGORA
(Electronic Arts for Geographically Open Real Audience)
Abstract
This co-operative project links up important European centres of art and culture and creates an open network with an innovative application of the new information technologies: the creation of an unconventional and highly efficient communication base founded on an interactive, multimedia and transdisciplinary approach to the production and presentation of contemporary forms of performing arts. The main channel of this project is the revolutionary communication and navigation system e-AGORA, which enables visitors to move intuitively in a virtual 3D environment on the Internet. In the VIRTUAL HOUSE OF EUROPEAN CULTURE a broad spectrum of the public can investigate contemporary Euro-regional artistic programs in real time and communicate interactively. At the same time, it is an instrument of individual and collective artwork in the domain of contemporary performing arts as it opens up a new horizon for a multidisciplinary form of artistic expression and presentation of artworks. The implementation of the project VIRTUAL HOUSE OF EUROPEAN CULTURE also has important theoretical and educational dimensions: a series of practical workshops, an international academic conference, thematic exhibitions, the production of the e-AGORA CD-ROM and a printed publication.
Jaroslav Adamec, Jiri Cizek, Michal Masa, Pascal Silondi, Pavel Smetana, Jiri Zara
Backmatter
Metadaten
Titel
Virtual Storytelling Using Virtual Reality Technologies for Storytelling
herausgegeben von
Olivier Balet
Gérard Subsol
Patrice Torguet
Copyright-Jahr
2001
Verlag
Springer Berlin Heidelberg
Electronic ISBN
978-3-540-45420-5
Print ISBN
978-3-540-42611-0
DOI
https://doi.org/10.1007/3-540-45420-9