This play, Weaving Worlds, and the accompanying case study of its use of multimedia examine how multimedia can complexify space in theatre. The case study explores the process of writing a play that has multimedia elements scripted into it. Space in theatre can be defined in terms of its function as well as its location, its representational ideas and as an area used to present an argument, otherwise known as the fictional space. This is achieved through the narrative (that is presented traditionally in theatre through movement, gesture, and text). Multimedia has complexified this fictional space by expanding its location and being able to deliver multiple narratives within it. Multimedia has complexified the time and the space continuum of the narrative through its ability to present mediated images from the stage to the audience at the same time as traditional live performance. This challenges the definition of live performance. The multimedia elements in the play are soundscapes, virtual characters composed of multimedia animations captured on pre-recorded digital video, and live video displays of performance. The world of the play exists in an augmented reality of the memories of the two main characters, Bev and Ben. The addition of multimedia assisted me as a playwright to present my idea of augmented reality in the world of the play, as well as a means of presenting the underpinning themes of the play being disassociation and recorded memory, violence as a means of control, and issues on change. Twentieth century theatre theorists, including Erwin Piscator and Bertolt Brecht, pioneered the use of multimedia in the theatre. In some way they contributed to a contemporary theatre that has evolved in tandem with multimedia. Correspondingly, multimedia requires its own skill sets and equipment and brings with it new aesthetic possibilities as well as becoming an agent of narrative. Multimedia creates opportunities for improvisation. This means that despite the pre-recorded nature of multimedia elements each presentation of multimedia that involves live actors can still create a unique performance experience. The exchange of touch is removed between virtual characters created by multimedia technology and live actors. At the same time the idea of live performance is challenged by the inclusion of multimedia elements. New audiences understand the narrative presented by multimedia because their world is filled with technologies that contain multimedia applications. Playwrights, who are aware of the spatial implications of multimedia, can utilise these new elements to create narratives to alter the structure of their work, and to create new ways of presenting characters, soundscapes and thematic digital displays to enhance and support the performance of their plays.

For children, high quality friendships are associated with adaptive social, emotional and academic functioning. There is also evidence that children experience real and imaginary friendships in similar ways, and that imagined relationships could have an impact on development. However, less is known about the relationships made possible by virtual agents in digital media. This dissertation research was designed to provide preliminary data about children’s concepts of virtual agents, and the social opportunities they attribute to such entities. In Studies 1 and 2 (combined N = 48), preschool aged children differentiated the social affordances of a stuffed dog and a virtual dog. Participants played a game in which they guessed whether a child in a video was referring to a stuffed dog or a virtual dog in a series of statements. Items designed to assess high quality friendships, such as comfort, protection and love, were attributed more to the stuffed dog than the virtual dog. Studies 3 and 4 examined adult and child concepts of a virtual child, and how concepts of this entity might differ from a real child, a child on a video chat program (e.g., Skype™) and an inanimate doll. Adults and children attributed a range of properties to each child agent, including biological, psychological and social properties, as well as opportunities for relationships. In Study 3 (N = 144), adults did not differentiate between the virtual child and the doll on the social property; however, they favored the doll on opportunities for unilateral relationships. In Study 4 (N = 30), five to eight-year-old children indicated an overall preference for the doll on the social property, as well as on opportunities for reciprocal relationships. Children also favored the doll on opportunities for love, companionship, and intimate disclosure. Altogether, these findings suggest that virtual agents afford more limited social opportunities than inanimate artifacts, and they are less likely to be loved by children and adults alike. These results raise important questions about the design goals for virtual agents, and the functions they are intended to serve in our everyday lives. This dissertation includes both previously published and co-authored material.

This work addresses various applications pertaining to the design, modelling and animation of parametric surfaces using elliptic Partial Differential Equations (PDE) which are produced via the PDE method. Compared with traditional surface generation techniques, the PDE method is an effective technique that can represent complex three-dimensional (3D) geometries in terms of a relatively small set of parameters. A PDE-based surface can be produced from a set of pre-configured curves that are used as the boundary conditions to solve a number of PDE. An important advantage of using this method is that most of the information required to define a surface is contained at its boundary. Thus, complex surfaces can be computed using only a small set of design parameters. In order to exploit the advantages of this methodology various applications were developed that vary from the interactive design of aircraft configurations to the animation of facial expressions in a computer-human interaction system that utilizes an artificial intelligence (AI) bot for real time conversation. Additional applications of generating cyclic motions for PDE based human character integrated in a Computer-Aided Design (CAD) package as well as developing techniques to describe a given mesh geometry by a set of boundary conditions, required to evaluate the PDE method, are presented. Each methodology presents a novel approach for interacting with parametric surfaces obtained by the PDE method. This is due to the several advantages this surface generation technique has to offer. Additionally, each application developed in this thesis focuses on a specific target that delivers efficiently various operations in the design, modelling and animation of such surfaces. / The project files will not be available online.

<p>How does haptic feedback during human-virtual character interaction affect participant physiological responses in virtual reality? In this between-subjects study, haptic feedback and non-haptic feedback conditions in which virtual characters bump into the participant who is immersed in a virtual environment are compared. A questionnaire was developed to determine the influence of haptic feedback on presence, embodiment, positive and negative affect, interaction with virtual characters, and haptic feedback realism, among other more exploratory concepts. These exploratory variables include engagement, flow, comfort with virtual characters, comfort with virtual characters’ appearance, realism of virtual character interaction, realism of haptic feedback, and virtual reality sickness. Physiological data was collected using galvanic skin response (GSR) to investigate the influence of haptic feedback on physiological arousal during human-virtual character interaction. Five conditions were developed (no haptic feedback, full and half intensity, incorrect position, and delayed timing). Significant differences were found in embodiment, realism of virtual character interaction, haptic feedback realism, and GSR amplitude after the first interaction with the virtual character. These results may inform future virtual reality studies that investigate haptic feedback during human-virtual character interaction and/or arousal via GSR data, as well as advise studies that seek to correlate self-report responses with physiological data. </p>

Narrative Intelligence is the ability to craft, tell, understand, and respond appropriately to narratives. It has been proposed as a vital component of machines aiming to understand human activities or to communicate effectively with humans. However, most existing systems purported to demonstrate Narrative Intelligence rely on manually authored knowledge structures that require extensive expert labor. These systems are constrained to operate in a few domains where knowledge has been provided. This dissertation investigates the learning of knowledge structures to support Narrative Intelligence in any domain. I propose and build a system that, from an corpus of simple exemplar stories, learns complex knowledge structures that subsequently enable the creation, telling, and understanding of narratives. The knowledge representation balances the complexity of learning and the richness of narrative applications, so that we can (1) learn the knowledge robustly in the presence of noise, (2) generate a large variety of highly coherent stories, (3) tell them in recognizably different narration styles and (4) understand stories efficiently. The accuracy and effectiveness of the system have been verified by a series of user studies and computational experiments. As a result, the system is able to demonstrate Narrative Intelligence in any domain where we can collect a small number of exemplar stories. This dissertation is the first step toward scaling computational narrative intelligence to meet the challenges of the real world.

Given the expansion of multimedia technology and proliferation of moving projections on the theatre stage in the 21st century, this thesis examines how a virtual or projected character can appear to be present without a physical body on the stage. This study is grounded in the theories of effet de présence (effect of presence) as elaborated by Josette Féral, but also uses other theories to look at how productions can create such an effect for virtual characters. Specifically, this thesis examines the character’s relationship with the real, framing devices and actions of the characters. The specific examples of Rwanda 94 (Groupov), La Belle et la Bête (4D Art) and Les Aveugles (UBU CC) are used as case studies in order to focus on these techniques. Partant de l’intégration des nouvelles technologies et la prolifération des projections vidéo au sein des scènes théâtrales du 21e siècle, cette thèse examine les techniques par lesquel les personnages projeté peut sembler présent en l’absence d’un corps physique visible. Cette réflexion est basée sur l’effet de présence, concept élaboré par Josette Féral, ainsi que d’autres théories et examine comment un effet de présence est constitué pour ces personnages virtuels en considérant leur relation au réel (mimesis), les dispositifs de cadrage dans lesquels ils s’inscrivent de même que leurs actions. Cette analyse sera menée à porter de avec trois étudies de cas : Rwanda 94 (Groupov), La Belle et la Bête (4D Art) et Les Aveugles (UBU CC).

This work addresses various applications pertaining to the design, modelling and animation of parametric surfaces using elliptic Partial Differential Equations (PDE) which are produced via the PDE method. Compared with traditional surface generation techniques, the PDE method is an effective technique that can represent complex three-dimensional (3D) geometries in terms of a relatively small set of parameters. A PDE-based surface can be produced from a set of pre-configured curves that are used as the boundary conditions to solve a number of PDE. An important advantage of using this method is that most of the information required to define a surface is contained at its boundary. Thus, complex surfaces can be computed using only a small set of design parameters. In order to exploit the advantages of this methodology various applications were developed that vary from the interactive design of aircraft configurations to the animation of facial expressions in a computer-human interaction system that utilizes an artificial intelligence (AI) bot for real time conversation. Additional applications of generating cyclic motions for PDE based human character integrated in a Computer-Aided Design (CAD) package as well as developing techniques to describe a given mesh geometry by a set of boundary conditions, required to evaluate the PDE method, are presented. Each methodology presents a novel approach for interacting with parametric surfaces obtained by the PDE method. This is due to the several advantages this surface generation technique has to offer. Additionally, each application developed in this thesis focuses on a specific target that delivers efficiently various operations in the design, modelling and animation of such surfaces.

Given the expansion of multimedia technology and proliferation of moving projections on the theatre stage in the 21st century, this thesis examines how a virtual or projected character can appear to be present without a physical body on the stage. This study is grounded in the theories of effet de présence (effect of presence) as elaborated by Josette Féral, but also uses other theories to look at how productions can create such an effect for virtual characters. Specifically, this thesis examines the character’s relationship with the real, framing devices and actions of the characters. The specific examples of Rwanda 94 (Groupov), La Belle et la Bête (4D Art) and Les Aveugles (UBU CC) are used as case studies in order to focus on these techniques. Partant de l’intégration des nouvelles technologies et la prolifération des projections vidéo au sein des scènes théâtrales du 21e siècle, cette thèse examine les techniques par lesquel les personnages projeté peut sembler présent en l’absence d’un corps physique visible. Cette réflexion est basée sur l’effet de présence, concept élaboré par Josette Féral, ainsi que d’autres théories et examine comment un effet de présence est constitué pour ces personnages virtuels en considérant leur relation au réel (mimesis), les dispositifs de cadrage dans lesquels ils s’inscrivent de même que leurs actions. Cette analyse sera menée à porter de avec trois étudies de cas : Rwanda 94 (Groupov), La Belle et la Bête (4D Art) et Les Aveugles (UBU CC).

To understand what modality affects the perception of emotion is interesting since it would help us get closer to understanding and dissecting emotions. Earlier research has shown that body motions can help disambiguate ambiguous (determining something vaguely presented) facial expressions but there is no study that examines the possibility of facial expressions to affect the perception of body motion. That is why this study aims to examine if facial expressions can affect the perception of full body emotions. This is done with a perceptual experiment in which 22 subjects were exposed to stimuli consisting of scenes with virtual characters expressing emotions (see figure 1). It was concluded that the facial expression does affect the perception of joined valence within the group of characters and it is thereby proven that not only body motions can help disambiguating ambiguous facial expressions but that facial expressions can help disambiguating ambiguous body motions and alter the perception of distinct body motions perceived as either positive or negative without face and hands showing. It is also concluded that perceived trustworthiness is affected by the valence of the facial expression, which supports recent studies conducted which aimed to find out what makes for a trustworthy and dominant face with the help of valence as a factor. The perceived relationship within the group is also examined as well as the dominance of the group as a whole but neither gave results clear enough to make any conclusions except that positive valence affects the perceived relationship within the group as closer. The study is conducted using virtual agents but is meant to help better understand people in everyday situations.

Technical advancements allow for embodied virtual agents to not only be increasingly human-like, but also to behave and look like particular individuals. As biases towards self-similarity have been found in human-human studies, it is of interest to explore to what extent this applies to virtual characters (VCs). This work set out to extend on previous research that has investigated the effects of facial self-similarity in VCs, and explore it in the context of empathic emotion. For this aim, a method for creating facially similar virtual characters was developed and a user study conducted where 13 participants were told autobiographical stories by a virtual character that either did or did not resemble them facially and/or in gender category. The participants' first impressions and emotional responses were measured. The results showed that even though similarity was not explicitly perceived, a bias might exist towards more positive impressions of self-similar characters, especially in terms of gender category. Regarding the emotional responses, the results did not allow for discovering any difference between conditions but pointed to some interesting differences in comparison to what was hypothesized. The immense ways in which the appearances of virtual characters can be altered provides possibilities to influence the interaction with them. However, although biases might exist on a general level, it is difficult to predict the human responses in individual cases. Virtual characters might make possible a more human-like interaction with technology, however, it might also mean that our reactions to them are influenced by more parameters and our relations to them become even more like those with other humans: complex. / Den tekniska utvecklingen möjliggör numera att virtuella agenter kan göras inte bara människolika, utan även lika specifika individer i hur de beter sig och ser ut. Då tidigare studier påvisat att människor ofta föredrar personer som i någon mån liknar dem själva, är det intressant att utforska i vilken utsträckning detta även gäller virtuella karaktärer. Detta arbete hade som mål att undersöka effekterna av visuella likheter mellan människor och virtuella karaktärer, med fokus på ansikten och genus och i en kontext där empati är betydande. En metod för att konstruera virtuella karaktärer som hade visuella likheter med specifika användare utvecklades, och en användarstudie med 13 deltagare genomfördes. I det konstruerade scenariot berättade en karaktär, som hade likheter med användaren antingen gällande ansiktets utseende och/eller genus, självbiografiska historier. Intrycket av karaktären och den emotionella responsen mättes. Resultaten visade att den visuella likheten inte uppfattades explicit. Dock fanns tendenser som pekar på att likheter framför allt när det gäller sociala kategorier som genus, kan ha en positiv påverkan på hur virtuella karaktärer uppfattas. Det gick inte att upptäcka några skillnader mellan betingelserna gällande den emotionella responsen, men resultaten påvisade intressanta avvikelser från de förväntade reaktionerna. Möjligheterna att designa och anpassa virtuella karaktärer till olika individer och situationer ökar, vilket kan utnyttjas för att försöka påverka hur människor förhåller sig till och interagerar med dem. Det är dock svårt att förutsäga hur människor kommer att reagera och relatera till en virtuell karaktär utifrån generella tendenser, vilket denna studie visar. Virtuella karaktärer kan möjliggöra en mer människolik interaktion med teknik, men det innebär också att många parametrar är inblandade och att relationerna med tekniken blir liksom relationerna mellan människor: komplexa.