Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2013.106
Pablo Gervás
The semi-formal analysis of Russian folk tales carried out by Vladimir Propp has often been used as theoretical background for the automated generation of stories. Its rigour and its exhaustive description of the constituent elements of Russian folk tales, and the enumeration of the patterns they follow, have acted as inspiration for several story generation systems, both sequential and interactive. Yet most of these efforts have attempted to generalize Propp’s account to types of stories beyond the corpus that it arose from. In the process, a number of the valuable intuitions present in the original work are lost. The present paper revisits Propp’s morphology to build a system that generates instances of Russian folk tales. Propp’s view of the folk tale as a rigid sequence of character functions is employed as a plot driver. Unification is used to incrementally build a conceptual representation of discourse by adding to an ongoing draft story actions that instantiate the character functions. Story actions are defined by pre and post conditions on the state of the plot to account for the causal relations crucial to narrative. The potential of the resulting system for providing a generic story generation system is discussed and possible lines of future work are discussed.
{"title":"Propp's Morphology of the Folk Tale as a Grammar for Generation","authors":"Pablo Gervás","doi":"10.4230/OASIcs.CMN.2013.106","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2013.106","url":null,"abstract":"The semi-formal analysis of Russian folk tales carried out by Vladimir Propp has often been used as theoretical background for the automated generation of stories. Its rigour and its exhaustive description of the constituent elements of Russian folk tales, and the enumeration of the patterns they follow, have acted as inspiration for several story generation systems, both sequential and interactive. Yet most of these efforts have attempted to generalize Propp’s account to types of stories beyond the corpus that it arose from. In the process, a number of the valuable intuitions present in the original work are lost. The present paper revisits Propp’s morphology to build a system that generates instances of Russian folk tales. Propp’s view of the folk tale as a rigid sequence of character functions is employed as a plot driver. Unification is used to incrementally build a conceptual representation of discourse by adding to an ongoing draft story actions that instantiate the character functions. Story actions are defined by pre and post conditions on the state of the plot to account for the causal relations crucial to narrative. The potential of the resulting system for providing a generic story generation system is discussed and possible lines of future work are discussed.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126102025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2016.2
Jason Sherwin, C. Brenner, John S. Johnson
The effects of social issue documentaries are diverse. In particular, monetary donations and advocacy on social media are behavioral effects with public consequences. Conversely, information-seeking about an issue is potentially done in private. We designed a combined free-viewing and rapid perceptual decision-making experiment to simulate a real scenario confronted by otherwise uninformed movie-viewers, i.e., to determine what degree of support they will lend to a film based on its trailer. For a cohort of subjects with active video-streaming (e.g., Netflix) and social media accounts (e.g., Facebook), we recorded electroencephalography (EEG) and behavioral responses to trailers of social issue documentaries. We examined EEG using reliable component analysis (RCA), finding reliability within subjects across multiple viewings and across subjects within a given viewing of the same trailer. We found this reliability both over EEG captured from whole-movie viewing, as well as over 5-second movie segments. Behavioral responses following trailer viewing were not consistent from first to second viewings. Rather, support choices both tended towards extremes of support/non-support and were made faster upon second viewing. We hypothesized a relationship between reliability behavioral metrics, finding credible evidence for it in this dataset. Finally, we found that we could suitably train a naive classifier to categorize production value and narrative voice ratings given to the viewed movies from RCA-based metrics alone. In sum, our results show that EEG components during free-viewing of social issue documentary trailers can provide a useful tool to investigate viewers' neural responses during viewing, when coupled with a post hoc behavioral decision-making paradigm. The possibility of this tool being used by producers and filmmakers is also discussed.
{"title":"Trailer Brain: Neural and Behavioral Analysis of Social Issue Documentary Viewing with Low-Density EEG","authors":"Jason Sherwin, C. Brenner, John S. Johnson","doi":"10.4230/OASIcs.CMN.2016.2","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2016.2","url":null,"abstract":"The effects of social issue documentaries are diverse. In particular, monetary donations and advocacy on social media are behavioral effects with public consequences. Conversely, information-seeking about an issue is potentially done in private. We designed a combined free-viewing and rapid perceptual decision-making experiment to simulate a real scenario confronted by otherwise uninformed movie-viewers, i.e., to determine what degree of support they will lend to a film based on its trailer. For a cohort of subjects with active video-streaming (e.g., Netflix) and social media accounts (e.g., Facebook), we recorded electroencephalography (EEG) and behavioral responses to trailers of social issue documentaries. We examined EEG using reliable component analysis (RCA), finding reliability within subjects across multiple viewings and across subjects within a given viewing of the same trailer. We found this reliability both over EEG captured from whole-movie viewing, as well as over 5-second movie segments. Behavioral responses following trailer viewing were not consistent from first to second viewings. Rather, support choices both tended towards extremes of support/non-support and were made faster upon second viewing. We hypothesized a relationship between reliability behavioral metrics, finding credible evidence for it in this dataset. Finally, we found that we could suitably train a naive classifier to categorize production value and narrative voice ratings given to the viewed movies from RCA-based metrics alone. In sum, our results show that EEG components during free-viewing of social issue documentary trailers can provide a useful tool to investigate viewers' neural responses during viewing, when coupled with a post hoc behavioral decision-making paradigm. The possibility of this tool being used by producers and filmmakers is also discussed.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130166456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2015.2
T. Anderson
Human experiences are stored in episodic memory and are the basis for developing semantic narrative structures and many of the narratives we continually compose. Episodic memory has only recently been recognized as a necessary module in general cognitive architectures and little work has been done to examine how the data stored by these modules may be formulated as narrative structures. This paper regards episodic memory as fundamental to narrative intelligence and considers the gap between simple episodic memory representations and narrative structures, and proposes an approach to generating basic narratives from episodic sequences. An approach is outlined considering the Soar general cognitive architecture and Zacks’ Event Segmentation Theory.
{"title":"From Episodic Memory to Narrative in a Cognitive Architecture","authors":"T. Anderson","doi":"10.4230/OASIcs.CMN.2015.2","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2015.2","url":null,"abstract":"Human experiences are stored in episodic memory and are the basis for developing semantic narrative structures and many of the narratives we continually compose. Episodic memory has only recently been recognized as a necessary module in general cognitive architectures and little work has been done to examine how the data stored by these modules may be formulated as narrative structures. This paper regards episodic memory as fundamental to narrative intelligence and considers the gap between simple episodic memory representations and narrative structures, and proposes an approach to generating basic narratives from episodic sequences. An approach is outlined considering the Soar general cognitive architecture and Zacks’ Event Segmentation Theory.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128694330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2013.100
Bernhard Fisseni, F. Lawrence
The understanding of story variation, whether motivated by cultural currents or other factors, is important for applications of formal models of narrative such as story generation or story retrieval. We present the first stage of an experiment to elicit natural narrative variation data suitable for evaluation with respect to story similarity, to qualitative and quantitative analysis of story variation, and also for data processing. We also present few prelimary results from the first stage of the experiment, using Red Riding Hood and Romeo and Juliet as base texts.
{"title":"A Paradigm for Eliciting Story Variation","authors":"Bernhard Fisseni, F. Lawrence","doi":"10.4230/OASIcs.CMN.2013.100","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2013.100","url":null,"abstract":"The understanding of story variation, whether motivated by cultural currents or other factors, is important for applications of formal models of narrative such as story generation or story retrieval. We present the first stage of an experiment to elicit natural narrative variation data suitable for evaluation with respect to story similarity, to qualitative and quantitative analysis of story variation, and also for data processing. We also present few prelimary results from the first stage of the experiment, using Red Riding Hood and Romeo and Juliet as base texts.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127847952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2013.228
Moshe Simon-Shoshan
This paper seeks to investigate some of the defining elements of narrative. The underlying assumption of my discussion is that the terms "narrative" and "story" do not refer to clearly defined, self-enclosed genres. Rather, they are part of a spectrum which embraces all forms of texts. Similarly, narratives and stories are not independent discourses but rather are an integral part of virtually all forms of discourse, be it day-to-day conversation or more specialized discourses. In order to analyze the relationship between narratives and other modes of discourse, we introduce the concept of narrativity. Narrativity refers to a collection of textual attributes. All texts exist along a continuum of greater or lesser narrativity, depending on the number and prominence of the narrative attributes they contain. When we refer to a text as a story, we mean that it contains a critical mass of narrativity. Most theorists of narrative have defined narrativity purely in terms of "dynamism" - that is, the extent to which a text portrays transition and change. To this I have added the quality of "specificity". Specificity refers to the extent to which a text focuses on a particular time or place, a unique event, or individual people and objects. Many if not most texts contain a certain degree of narrativity. We established, however, that in order to be considered a story the text must present a sequence of at least two interrelated events that occurred once and only once in the past. In other words, a story must have a certain degree of dynamism in that it portrays the transition from at least one event to another. It must also have specificity at least to the degree that the text narrates events that happened at a fixed time in the past. This theoretical framework allows us to chart the relationship between different types of texts within a single discourse. It also gives us a vocabulary for discussing different parts of more complex narratives which often contain elements of varying narrativity. The paper then goes on to discuss the concept of narrative structure, arguing that narrative structure is not an inherent attribute of narrative texts but a framework that the reader imposes on the text in order to make it intelligible in terms of other narratives. The structure which the reader abstracts from a given narrative will be heavily dependent on the context of the narrative with in a wider discourse.
{"title":"Narrativity and Textuality in the Study of Stories","authors":"Moshe Simon-Shoshan","doi":"10.4230/OASIcs.CMN.2013.228","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2013.228","url":null,"abstract":"This paper seeks to investigate some of the defining elements of \u0000narrative. The underlying assumption of my discussion is that the \u0000terms \"narrative\" and \"story\" do not refer to clearly defined, \u0000self-enclosed genres. Rather, they are part of a spectrum which \u0000embraces all forms of texts. Similarly, narratives and stories are not \u0000independent discourses but rather are an integral part of virtually \u0000all forms of discourse, be it day-to-day conversation or more \u0000specialized discourses. In order to analyze the relationship between \u0000narratives and other modes of discourse, we introduce the concept of \u0000narrativity. Narrativity refers to a collection of textual attributes. \u0000All texts exist along a continuum of greater or lesser narrativity, \u0000depending on the number and prominence of the narrative attributes \u0000they contain. When we refer to a text as a story, we mean that it \u0000contains a critical mass of narrativity. Most theorists of narrative \u0000have defined narrativity purely in terms of \"dynamism\" - that is, the \u0000extent to which a text portrays transition and change. To this I have \u0000added the quality of \"specificity\". Specificity refers to the extent \u0000to which a text focuses on a particular time or place, a unique event, \u0000or individual people and objects. Many if not most texts contain a \u0000certain degree of narrativity. We established, however, that in order \u0000to be considered a story the text must present a sequence of at least \u0000two interrelated events that occurred once and only once in the past. \u0000In other words, a story must have a certain degree of dynamism in that \u0000it portrays the transition from at least one event to another. It must \u0000also have specificity at least to the degree that the text narrates \u0000events that happened at a fixed time in the past. This theoretical \u0000framework allows us to chart the relationship between different types \u0000of texts within a single discourse. It also gives us a vocabulary for \u0000discussing different parts of more complex narratives which often \u0000contain elements of varying narrativity. The paper then goes on to \u0000discuss the concept of narrative structure, arguing that narrative \u0000structure is not an inherent attribute of narrative texts but a \u0000framework that the reader imposes on the text in order to make it \u0000intelligible in terms of other narratives. The structure which the \u0000reader abstracts from a given narrative will be heavily dependent on \u0000the context of the narrative with in a wider discourse.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"151 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133803622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2013.94
Bernhard Fisseni, Aadil Kurji, Deniz Sarikaya, Mira Viehstädt
Interested in formally modelling similarity between narratives, we investigate judgements of similarity between narratives in a small corpus of film reviews and book–film comparisons. A main finding is that judgements tend to concern multiple levels of story representation at once. As these texts are pragmatically related to reception contexts, we find many references to reception quality and optimality. We conclude that current formal models of narrative can not capture the task of naturalistic narrative comparisons given in the analysed reviews, but that the development of models containing a more reception-oriented point of view will be necessary.
{"title":"Story Comparisons: Evidence from Film Reviews","authors":"Bernhard Fisseni, Aadil Kurji, Deniz Sarikaya, Mira Viehstädt","doi":"10.4230/OASIcs.CMN.2013.94","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2013.94","url":null,"abstract":"Interested in formally modelling similarity between narratives, we \u0000investigate judgements of similarity between narratives in a small \u0000corpus of film reviews and book–film comparisons. A main finding is \u0000that judgements tend to concern multiple levels of story \u0000representation at once. As these texts are pragmatically related to \u0000reception contexts, we find many references to reception quality and \u0000optimality. We conclude that current formal models of narrative can \u0000not capture the task of naturalistic narrative comparisons given in \u0000the analysed reviews, but that the development of models containing a \u0000more reception-oriented point of view will be necessary.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133455154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2015.72
Sarah Harmon, A. Jhala
Intelligent storytelling systems either formalize specific narrative structures proposed by narratologists (such as Propp and Bremond), or are founded on formal representations from artificial intelligence (such as plan structures from classical planning). This disparity in underlying knowledge representations leads to a lack of common evaluation metrics across story generation systems, particularly around the creativity aspect of generators. This paper takes Skald, a reconstruction of the Minstrel creative story generation system, and maps the representation to a formal narrative representation of Story Intention Graphs (SIG) proposed by Elson et al. This mapping facilitates the opportunity to expand the creative space of stories generated through imaginative recall in Minstrel while maintaining narrative complexity. We show that there is promise in using the SIG as an intermediate representation that is useful for evaluation of story generation systems.
{"title":"Imaginative Recall with Story Intention Graphs","authors":"Sarah Harmon, A. Jhala","doi":"10.4230/OASIcs.CMN.2015.72","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2015.72","url":null,"abstract":"Intelligent storytelling systems either formalize specific narrative structures proposed by narratologists (such as Propp and Bremond), or are founded on formal representations from artificial intelligence (such as plan structures from classical planning). This disparity in underlying knowledge representations leads to a lack of common evaluation metrics across story generation systems, particularly around the creativity aspect of generators. This paper takes Skald, a reconstruction of the Minstrel creative story generation system, and maps the representation to a formal narrative representation of Story Intention Graphs (SIG) proposed by Elson et al. This mapping facilitates the opportunity to expand the creative space of stories generated through imaginative recall in Minstrel while maintaining narrative complexity. We show that there is promise in using the SIG as an intermediate representation that is useful for evaluation of story generation systems.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134010470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2014.42
M. Cavazza, Gabor Aranyi, Fred Charles, J. Porteous, Stephen W. Gilroy, Ilana Klovatch, Gilan Jackont, E. Soreq, Nimrod Jakob Keynan, Avihay Cohen, G. Raz, T. Hendler
Interactive Narrative is a form of digital entertainment based on AI techniques which support narrative generation and user interaction. Despite recent progress in the field, there is still a lack of unified models integrating narrative generation, user response and interaction. This paper addresses this issue by revisiting existing Interactive Narrative paradigms, granting explicit status to users' disposition towards story characters. We introduce a novel Brain-Computer Interface (BCI) design, which attempts to capture empathy for the main character in a way that is compatible with filmic theories of emotion. Results from two experimental studies with a fully-implemented system demonstrate the effectiveness of a neurofeedback-based approach, showing that subjects can successfully modulate their emotional support for a character who is confronted with challenging situations. A preliminary fMRI analysis also shows activation during user interaction, in regions of the brain associated with emotional control.
{"title":"Towards Empathic Neurofeedback for Interactive Storytelling","authors":"M. Cavazza, Gabor Aranyi, Fred Charles, J. Porteous, Stephen W. Gilroy, Ilana Klovatch, Gilan Jackont, E. Soreq, Nimrod Jakob Keynan, Avihay Cohen, G. Raz, T. Hendler","doi":"10.4230/OASIcs.CMN.2014.42","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2014.42","url":null,"abstract":"Interactive Narrative is a form of digital entertainment based on AI techniques which support narrative generation and user interaction. Despite recent progress in the field, there is still a lack of unified models integrating narrative generation, user response and interaction. This paper addresses this issue by revisiting existing Interactive Narrative paradigms, granting explicit status to users' disposition towards story characters. We introduce a novel Brain-Computer Interface (BCI) design, which attempts to capture empathy for the main character in a way that is compatible with filmic theories of emotion. Results from two experimental studies with a fully-implemented system demonstrate the effectiveness of a neurofeedback-based approach, showing that subjects can successfully modulate their emotional support for a character who is confronted with challenging situations. A preliminary fMRI analysis also shows activation during user interaction, in regions of the brain associated with emotional control.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128811797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2014.24
C. Battaglino, R. Damiano
In literary and drama criticism, emotions, and moral emotions in particular, have been pointed out as one of characterizing features of stories. In this paper, we propose to model story characters as value-based emotional agents, who appraise their own and others' actions based on their desires and values, and feel the appropriate moral emotions in response to narrative situations that challenge their goals and values. In order to validate the appropriateness of the agent model for narrative characters, we ran an experiment with human participants aimed at comparing their expectations about characters' emotions with the predictions of the value-based model of emotional agent. The results of the experiment show that the participants' expectations meet the predictions of the model.
{"title":"A Character Model with Moral Emotions: Preliminary Evaluation","authors":"C. Battaglino, R. Damiano","doi":"10.4230/OASIcs.CMN.2014.24","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2014.24","url":null,"abstract":"In literary and drama criticism, emotions, and moral emotions in particular, have been pointed out as one of characterizing features of stories. In this paper, we propose to model story characters as value-based emotional agents, who appraise their own and others' actions based on their desires and values, and feel the appropriate moral emotions in response to narrative situations that challenge their goals and values. \u0000 \u0000In order to validate the appropriateness of the agent model for narrative characters, we ran an experiment with human participants aimed at comparing their expectations about characters' emotions with the predictions of the value-based model of emotional agent. The results of the experiment show that the participants' expectations meet the predictions of the model.","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122594857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4230/OASIcs.CMN.2014.154
Christos T. Rodosthenous, Loizos Michael
Successfully comprehending stories involves integration of the story information with the reader’s own background knowledge. A prerequisite, then, of building automated story understanding systems is the availability of such background knowledge. We take the approach that knowledge appropriate for story understanding can be gathered by sourcing the task to the crowd. Our methodology centers on breaking this task into a sequence of more specific tasks, so that human participants not only identify relevant knowledge, but also convert it into a machine-readable form, generalize it, and evaluate its appropriateness. These individual tasks are presented to human participants as missions in an online game, oering them, in this manner, an incentive for their participation. We report on an initial deployment of the game, and discuss our ongoing work for integrating the knowledge gathering task into a full-fledged story understanding engine. 1998 ACM Subject Classification I.2.4 Knowledge Representation Formalisms and Methods
{"title":"Gathering Background Knowledge for Story Understanding through Crowdsourcing","authors":"Christos T. Rodosthenous, Loizos Michael","doi":"10.4230/OASIcs.CMN.2014.154","DOIUrl":"https://doi.org/10.4230/OASIcs.CMN.2014.154","url":null,"abstract":"Successfully comprehending stories involves integration of the story information with the reader’s own background knowledge. A prerequisite, then, of building automated story understanding systems is the availability of such background knowledge. We take the approach that knowledge appropriate for story understanding can be gathered by sourcing the task to the crowd. Our methodology centers on breaking this task into a sequence of more specific tasks, so that human participants not only identify relevant knowledge, but also convert it into a machine-readable form, generalize it, and evaluate its appropriateness. These individual tasks are presented to human participants as missions in an online game, oering them, in this manner, an incentive for their participation. We report on an initial deployment of the game, and discuss our ongoing work for integrating the knowledge gathering task into a full-fledged story understanding engine. 1998 ACM Subject Classification I.2.4 Knowledge Representation Formalisms and Methods","PeriodicalId":311534,"journal":{"name":"Workshop on Computational Models of Narrative","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114428092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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