Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work.

The chapter house of the Benedictine priory of Saint John Le Bas-Nueil, currently located in the Worcester Art Museum, is an impressive piece of architecture. However, visitors are currently restricted to admiring the structure and its restoration only, as there is limited information presented in the museum about the room’s original use. The purpose of this project was to produce a low-impact, narrative-driven audio experience designed to increase visitor interest in the museum in general and Benedictine life during the twelfth century in particular. The prototype produced combines elements of traditional audio tours, radio drama, and question-and-answer interaction sequences to provide a self-driven immersive experience.

"Video games are more popular now than they have ever been, and the video game industry is on the verge of hitting its Golden Age (Diver, 2015). In 2015 alone, the video game industry is predicted to reach $91 billion in sales revenue (Nunnely, 2015). Video games have become a key element in today’s youth culture (Seel, 2001; Aarsand, 2007; Gee, 2007). With such a successful and culturally relevant medium at their disposal, pedagogues can use this form of entertainment as a gateway medium for educational instruction. This paper describes the progressive integration of technology in music education as well as the implications of using a non-traditional method of educational instruction through a video game. Focusing specifically on the instruction of music theory, several methods of instruction are examined. Past studies using video games as a medium to convey instruction are further examined. The development of an educational music theory video game is explored along with several development tools in its design. A randomized controlled trial was conducted in an undergraduate classroom where participants completed a series of activities using either the music theory video game prototype or a simulated method book application. The data suggests a significant improvement in each skill topic when using the video game and compares similarly to the simulated method book application."

<p>The overall aim of the study is to describe and explain the formation and organisation of interactive media production in Sweden from the 1990s to the end of 2003, the period of the so-called IT boom and crash, through the development of a theoretical model and gathering of empirical material.</p><p>In the theory, interactive media production is conceptualised as a practice in part taking place on a social field structured according to the division and integration of labour within and between firms, and logics and status. It is argued that social fields are formed through the entrepreneurial realisation of opportunity structures resting in pre-existing structural configurations, and through the allocation of resources. The organisational outcome is explained by the structural preconditions, aspects of formation (what, who, how) and firms’ demands for stability and flexibility, creating a set of interrelated positions that firms might occupy.</p><p>Empirical data has been collected from four firm and one individual level survey aimed at interactive media producers in Sweden, conducted between 1997 and 2003. A second data source consists of 8,000 news articles and items focussed on IT and interactive media in Sweden. Third, visual analyses of web sites of firms producing interactive media solutions have been conducted. Finally, interviews with people active within the field have been made.</p><p>The results show that the formation of interactive media production in Sweden should be understood in relation to the Swedish economic crisis of the early 1990s, visions of IT, and beliefs in a societal transition to a new economy and knowledge society. These ideas contributed to allocating massive resources, e.g. state initiatives, increased demands and investment capital, to those producers of interactive media solutions that came to be symbols of the new economy. The abundance of resources caused a rapid growth of firms engaged in interactive media production and a financialisation that led to a speculative bubble and a stock market crash, eventually making the social field dissolve.</p><p>The majority of firms that produce interactive media solutions are small and reach flexibility and stability by having a large proportion of permanently employed skilled workers and extensively participating in collaborations with other firms, including customers. The division and integration of labour follows the logics and clusters of activities that structure the social field: techno¬logy, aesthetics and economy. A large proportion of Swedish organisations have further developed inhouse interactive media operations that taken together are larger than the more visible so-called Internet consultants.</p> / Avhandlingen är också publicerad på Arbetslivsinstitutets webbsida: http://ebib.arbetslivsinstitutet.se/aio/2005/aio2005_16.pdf

The overall aim of the study is to describe and explain the formation and organisation of interactive media production in Sweden from the 1990s to the end of 2003, the period of the so-called IT boom and crash, through the development of a theoretical model and gathering of empirical material. In the theory, interactive media production is conceptualised as a practice in part taking place on a social field structured according to the division and integration of labour within and between firms, and logics and status. It is argued that social fields are formed through the entrepreneurial realisation of opportunity structures resting in pre-existing structural configurations, and through the allocation of resources. The organisational outcome is explained by the structural preconditions, aspects of formation (what, who, how) and firms’ demands for stability and flexibility, creating a set of interrelated positions that firms might occupy. Empirical data has been collected from four firm and one individual level survey aimed at interactive media producers in Sweden, conducted between 1997 and 2003. A second data source consists of 8,000 news articles and items focussed on IT and interactive media in Sweden. Third, visual analyses of web sites of firms producing interactive media solutions have been conducted. Finally, interviews with people active within the field have been made. The results show that the formation of interactive media production in Sweden should be understood in relation to the Swedish economic crisis of the early 1990s, visions of IT, and beliefs in a societal transition to a new economy and knowledge society. These ideas contributed to allocating massive resources, e.g. state initiatives, increased demands and investment capital, to those producers of interactive media solutions that came to be symbols of the new economy. The abundance of resources caused a rapid growth of firms engaged in interactive media production and a financialisation that led to a speculative bubble and a stock market crash, eventually making the social field dissolve. The majority of firms that produce interactive media solutions are small and reach flexibility and stability by having a large proportion of permanently employed skilled workers and extensively participating in collaborations with other firms, including customers. The division and integration of labour follows the logics and clusters of activities that structure the social field: techno¬logy, aesthetics and economy. A large proportion of Swedish organisations have further developed inhouse interactive media operations that taken together are larger than the more visible so-called Internet consultants. / Avhandlingen är också publicerad på Arbetslivsinstitutets webbsida: http://ebib.arbetslivsinstitutet.se/aio/2005/aio2005_16.pdf

This dissertation identifies if and how graduate teaching assistants and instructors working in the field of rhetoric and composition teach multimodal assignments in first-year composition (FYC) courses. The research questions for this study were as follows: 1) In what ways do graduate teaching assistants and faculty teach multimodal assignments in FYC courses? 2) Are graduate teaching assistants, adjuncts, and contract faculty equally as likely as assistant, associate, and full professors to teach multimodal assignments in FYC courses? 3) What kinds of training do graduate teaching assistants and faculty receive to prepare them to teach multimodal assignments in FYC courses? 4) Do graduate teaching assistants and faculty feel the kinds of training they receive adequately prepare them to teach multimodal assignments in FYC courses? If not, what needs to change? These research questions were investigated using a combination of online survey research methods and follow-up interviews. This study provides a broad and current analysis, as well as a reflective picture, of the teaching of multimodal assignments in FYC courses. As a result of quickly evolving technologies, instructors have potentially more opportunities to teach multimodal assignments. However, in some cases, writing program policies and curriculum limit or make it difficult for graduate teaching assistants and instructors to assign multimodal assignments in FYC courses. Thus, this study investigated the ways current graduate teaching assistants and/or instructors teach multimodal assignments despite difficulties and limitations. It also investigated whether or not graduate teaching assistants and instructors receive any training or help in shaping their multimodal pedagogy and whether or not they feel this training or help was adequate. The findings indicate instructors are more willing than their departments to implement multimodal composition pedagogy. The findings also show that instructors teach multimodal assignments in their classrooms in various ways, including the use of different technologies and resources. Evidence suggests that despite their desire for more help from their departments, instructors teach themselves how to use such technologies and resources to implement their multimodal composition pedagogy. The study concludes that how multimodal composition pedagogy is implemented in a writing classroom is more likely an individual instructor’s decision rather than a department’s decision. / Department of English

This study focuses on the manifestation of mediated experiences in digital media environments in the visual arts, conducted by human-computer interactive technologies such as virtual reality and augmented reality, in order to construct a framework for understanding experience through diverse artistic experiments. My inquiry is constructed through analysis of the connections, indications and reflections of mediated experience in various interactive virtual environments, and discusses the profound and related connections among media, technology and experience in the context of digital interactive arts. Further, a number of representative artworks, particularly in the territory of digital interactive arts, are examined in order to map the concept of mediated experience. The study of the philosophical, social and cultural roots of experience is at the center of this project. This research can be considered a trial that brings theoretic discourse into art practices, and vice versa. By situating the discussion through case studies of artworks, readers are better able to read abstract concepts in actual artistic practices and develop a deeper understanding of the topic. These considerations, from a broader point of view, pave the road for the future manipulation and application of interactive digital media in public visual art. Digital interactive art as a complex of technology and conceptual exploration is an ideal vehicle for embarking on the research into the instinctive and emotional feelings generated by human-computer interactive experiences. / Graduate / 0357 / 0326 / 0984 / 0377 / 67865805@qq.com

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-08-02T20:50:59Z No. of bitstreams: 3 Dissertação - Maria Antonia Rivera Jurado - 2016.pdf: 3111644 bytes, checksum: 4b2b9d92c1061272c27672f2e1038c9b (MD5) Ata de Defesa - Maria Antonia Rivera Jurado.jpg: 304608 bytes, checksum: fa64b50c33b65614d3ab16de58fa1620 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-03T12:53:43Z (GMT) No. of bitstreams: 3 Dissertação - Maria Antonia Rivera Jurado - 2016.pdf: 3111644 bytes, checksum: 4b2b9d92c1061272c27672f2e1038c9b (MD5) Ata de Defesa - Maria Antonia Rivera Jurado.jpg: 304608 bytes, checksum: fa64b50c33b65614d3ab16de58fa1620 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-03T12:53:43Z (GMT). No. of bitstreams: 3 Dissertação - Maria Antonia Rivera Jurado - 2016.pdf: 3111644 bytes, checksum: 4b2b9d92c1061272c27672f2e1038c9b (MD5) Ata de Defesa - Maria Antonia Rivera Jurado.jpg: 304608 bytes, checksum: fa64b50c33b65614d3ab16de58fa1620 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-07-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research proposes a look at the experiences with interactive media and the current implementation of its poetic potential in brand promotional activities, whose combination of languages and resources from multiple disciplines, is setting new transmedia products and communicative models, with a growing presence in the contemporary market. Methodologically, after establishing a theoretical basis of the disciplines involved in the creation and diffusion of this advertising experiences, this qualitative research was based on the observation and semiotic analysis of the poetic strategies present in some of them, according to their ability to provide a closer relationship between their consumers and the brand values that these promote. Later, as a practical application of the information / observations gathered, went up to the Promotional Project Pyxis design - P³: an advertising action boosted by an interactive experience of virtual reality, focused on disclosure and positioning of the Media Lab / UFG brand. From this process we discuss the concepts referenced throughout the research, to finally point out some of the implications and dynamics that these new media products bring to the experiences with brands, design of interactive experiences and the current advertising communication. / Esta investigação propõe um olhar sobre as experiências com mídias interativas e a atual aplicação do seu potencial poético em ações promocionais de marca, cuja combinação de linguagens e recursos de múltiplas disciplinas, vem configurando novos produtos transmidiáticos e modelos comunicativos, com uma presença cada vez maior no mercado contemporâneo. Metodologicamente, após estabelecer uma base teórica sobre as disciplinas envolvidas na criação e difusão destas experiências publicitárias, esta pesquisa qualitativa se baseou na observação e a análise semiótica das estratégias poéticas presentes em algumas delas, selecionando-as segundo a sua capacidade para propiciar um relacionamento mais próximo entre os seus receptores e os valores da marca que estas promovem. Posteriormente, como aplicação prática das informações/observações reunidas, prosseguiu-se ao design do Projeto Promocional Pyxis - P³: uma ação publicitária potencializada por uma experiência interativa de realidade virtual, direcionada à divulgação e posicionamento da marca Media Lab / UFG. A partir desse processo, são discutidos os conceitos referenciados ao longo da pesquisa, para, finalmente, apontar algumas das implicações e dinâmicas que estes novos produtos midiáticos trazem para as experiências com marcas, o design de experiências interativas e a comunicação publicitária atual.

El presente trabajo universitario desarrollado por Jorge Tulio Pickmans León, en calidad de estudiante de la facultad de Comunicaciones en la especialidad de Audiovisual y Medios Interactivos, de la Universidad Peruana de Ciencias Aplicadas, tiene como finalidad ser un trabajo de investigación con tema principal el desarrollo de videojuegos en el Perú, precisamente de Lima provincia, y cómo estos son vistos en un entorno internacional. Además de analizar los factores de desarrollo que están impulsando o retrasando esta joven industria. Para ello, se investigará el mercado y el público objetivo a través de un estudio mixto de investigación. Y con ello, analizar las principales empresas del rubro: Bamtang Games y Leap Game Studios, y sus aportes en el mercado. / The present university work written by Jorge Tulio Pickmans León, as a student of the Communication faculty in the specialty of Audiovisual and Interactive Media, of the “Universidad Peruana de Ciencias Aplicadas” (Peruvian University of Applied Sciences), aims to be an investigation project having as a main topic the development of video games in Peru, precisely from Lima City, and how they are seen in an international environment. Plus, to analyze the development factors that are improving or delaying this young industry. In order to do this, the market and the target audience will be investigated through a mixes research study. And with that, analyze the main companies in the work field: Bamtang Games and Leap Game Studios, and their contributions in the market. / Trabajo de investigación

La siguiente investigación es realizada a base de que en la actualidad no existen muchos casos de emprendimientos ni investigaciones sobre el lenguaje audiovisual en la realidad virtual en el Perú. Se considera necesario conocer de esta tecnología ya que tienen un gran aporte en el lenguaje audiovisual y hasta pueden llegar a crear uno nuevo. Para esta investigación la metodología con la que se trabajará será con el paradigma interpretativo y una estrategia metodológica con un enfoque cualitativo  a base de estudio de casos. La delimitación del trabajo es a base de unidad de análisis teniendo como universo dos casos de realidad virtual colocados en al web “RSA Consequences VR Movie 1” (2018) y “Rebuilt from memories - The VR experience” (2020). Para la recolección de datos se utilizará las técnicas de entrevista, focus group y análisis de contenido. / The following research is based on the fact that there are not many cases or research about audiovisual language on virtual reality in Peru. It is considered necessary to know about this technology since they have a great contribution to the audiovisual language, they can even create a new one. For this investigation, the methodology to be used will be with the interpretive paradigm and a methodological strategy with a qualitative approach based on case studies. The delimitation of the work is based on an analysis unit with two virtuality videos on the website “RSA Consequences VR Movie 1” (2018) and “Rebuilt from memories - The VR experience” (2020). For data collection, it will be used interviews, focus groups, and content analysis techniques. / Trabajo de investigación