Grand Text Auto

Emerging Langauge Practices is a new journal based at SUNY Buffalo (poetic hotbed and host of the next E-Poetry) and founded by Loss Pequeño Glazier, Sarah JM Kolberg, and A. J. Patrick Liszkiewicz. Issue one is a real accomplishment.

There are eye-catching creative projects by mIEKAL aND & Liaizon Wakest and by Lawrence Upton and John Levack Drever. There are also pieces by Young-Hae Chang Heavy Industries and Molleindustria. (We can only hope for further industrialization of this sort and more of these compelling productions in future issues.) The issue also includes a piece by Abraham Parangi, Giselle Beiguelman’s mobile tagging, Sandy Baldwin’s plaintive piece “** PLEASE REPLY MY BELOVED **,” and Jorge Luis Antonio’s wide-ranging article on digital poetry.

New Scientist is running an article about the use of data mining in computer games. The article focuses on research being presented at the IEEE Conference on Computational Intelligence and Games (CIG 2010). Catch live coverage of the conference here.

You may have noticed a slew of posts on the Get Lamp blog, Taking Inventory, or seen the writeups on Boing Boing, PC Gamer, CNET, or other sites. But I’ll say it here too: Jason Scott’s documentary about text adventures, years in the making, is completed, has been pressed and assembled, and is now for sale and shipping. The movie is Get Lamp, and there is a trailer for it online.

A recent article in the Washington Post discusses South Korea’s world-leading gaming culture. Considered the world’s most technologically integrated country, with high numbers of gamers and internet users, South Korea is the one to watch as far as gaming policies. Appx 95% of households have broadband access, and in July 2010 there were appx 420,00 concurrent users of the popular online game Maple Story — that is about one in every 115 South Koreans playing the same game at the same time. The e-sports movement has gained massive momentum in South Korea as well, with popular Starcraft competitions.

The 3G Summit a visionary 4-day initiative in Chicago that convenes 50 urban teenage girls with five leading women game designers and scholars for intensive dialogue, inquiry, game-play, and mentorship. Through multi-faceted workshops and a public forum, this initiative will critically confront gender representation and participation in our society’s fastest growing cultural medium.

In their quest to use human computation ability to its fullest, U-Washington researchers made a game called Foldit available on the web to model the folding of proteins. Based on Rosetta@home project, where volunteers were contributing the downtime on their home computers to power a protein-folding program, Foldit uses human volunteers as game players. (Read further in a recent NYTimes article). Players can compare their results in the system and celebrate the acuity of pattern-recognition among people!

Kurt Reinhard of the Zurich University of Applied Sciences and Arts has posted a 10-part video series about storytelling in our networked, digital age. The first part (“Change of Storytelling”) includes comments by:

• Ian Condry (MIT)
• Joshua Green (UCSB)
• Dean Jansen (Participatory Culture Foundation)
• Henry Jenkins (USC)
• Joe Lambert (Center for Digital Storytelling)
• Nick Montfort (MIT)
• Clay Shirky (NYU)

I also appear in part 7 (“Risks of Social Media”) and part 10 (“Bits and Pieces”). Besides the august company listed above, you can see that the videos get to some of the critical issues in storytelling today: fans attired as stormtroopers and “Charlie Bit My Finger – Again!”

There are many recent studies that try to discover anew why, during a time when women are increasingly prominent in medicine, law and business, there so few women scientists and engineers.

The 2010 AAUW research report Why So Few? Women in Science, Technology, Engineering, and Mathematics (STEM) presents evidence that can help to explain this puzzle. Primarily, the research points to environmental and social barriers – including stereotypes, gender bias and the climate of science and engineering departments in colleges and universities. These elements persist to block women’s participation in STEM, but the report does recommend things everyone can do to help the associated fields open up. A collection of related recent reports can help flesh out this picture. The good news: Women are slowly on the increase in academic departments in these areas. The bad news: women continue to earn less $ than their equally educated and experienced male counterparts, across the board in almost every career category.

Local sound artist/electronic musician Keith Fullerton Whitman released an extraordinary piece on the b-side of his November 2009 cassette hallicrafters, inc. The piece is called 10 poke 54272+int(rnd(1)*25),int(rnd(1)*256) : goto 10 and is 18 minutes of sound produced by a Commodore 64 emulator running the BASIC program that is the title of the piece.

The memory locations beginning at 54272 are mapped on the Commodore 64 to the registers of the SID (Sound Interface Device). By POKEing random values into them, the SID, although it is a musical chip, is stimulated to produce sounds in what probably seems like a non-musical way: based on the effect of register settings and the sequence produced by the system’s random number generator, a polynomial counter.

Jason MacIntosh at The Gameshelf has just posted a great 10-minute video introducing interactive fiction, with specific discussion of some good games to begin playing. I’m there offering some unconventional ideas about why it’s interesting for those new to IF to start off by playing complex, difficult games.

Command your space bovine!

In space, social interactions are sparse. Space Cow Clicker overcomes this problem. In this parody of a satire, you command a battlecruiser (Space Cow) in an epic battle  to click enemy units. The first player to click all of the opponent forces wins: To click is natural, to command is Bovine!

A great event will be taking place in Mexico City at the end of April, one that is sure to help us connect computing and creativity in new ways. I’m helping to organize ICCC-11 and am planning to be there. I hope some of you will submit to this conference, and that I’ll see some of you there. -Nick

2nd International Conference on Computational Creativity

April 27-29, 2011
Mexico City, Mexico
http://iccc11.cua.uam.mx

Original contributions are solicited in all areas related to Computational Creativity, including but not limited to:

1. computational paradigms for understanding creativity, including heuristic search, analogical and meta-level reasoning, and re-representation;

device design by Ed Flanagan

We’re taking a moment to reflect on the lab’s move to Dartmouth. First, we found some press to share if you’d like to chart our progress with us! In an upcoming post, we’ll review all of our new games. It has been a lot of fun setting up camp at Dartmouth and we’re thankful for the support and enthusiasm around us. Thanks to colleagues near and far, friends, advisory board, the administration at our home institution, our emerging program, staff, interns, and STUDENTS!
Go Tilt!

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“Acting for embodied interactive narrative”

Ken Perlin, NYU

Date: July 16th, 2010
Time: 1:15pm
Place: Engineering 2, Room 192

This lecture is free and open to the public, but visitors should purchase a parking pass from the visitor kiosk at the main entrance. There they can also provide a map showing the best parking for the School of Engineering.

Abstract

The transition from game play to emotionally believable embodied interactive protagonist-driven narrative requires something more radical than better animation blending or motion capture.  It requires rethinking the process of virtual acting from the ground up.  We must abandon linear thinking altogether and create virtual actors that can move, emote, interact and respond in real time with plausible expression, emotion and body language.

There have been a variety of recent news reports on the relationship between computer ownership and education patterns around the world. The NY Times article from 9 July 2010, Computers at Home: Educational Hope vs. Teenage Reality, is one of the many articles discussing the recent studies by economists about class, income, computers, and academic achievement. Duke researchers just released a National Bureau of Economic Research working paper called “Scaling the Digital Divide.” It examined the introduction of broadband internet service from 2000-2005 in North Carolina. Their study examined the simultaneous effects on middle school testing scores in that period. Unfortunately, there were lower math scores as broadband was introduced, an after several broadband providers appeared to serve an area, there was a decrease in reading scores.

The study ultimately suggests that home computers and Internet access may have a negative effect for those already poor, and can contribute to widening academic achievement gaps between groups. Indeed, a study with middle schoolers and free laptops in Texas noted “there was no evidence linking technology immersion with student self-directed learning or their general satisfaction with schoolwork.”

What happens to game designers when they don’t know the “right” answers?

This is especially important in situations where designers need to somehow verify crowdsourcing data. What data can we obtain with the resources we have?

Well, what do we have?

1) In the case of our Metadata Games project for Archives, we have a huge collection of photographs.

2) Users who might want to interact with these photographs, and the user accounts they create.

3) The competitive relationships between players that might be fostered within our games.

Try our online version of the Grow-A-Game© cards!

We are currently waiting for the arrival of our new editions of Grow-A-Game, so our ordering area is offline for the moment until they are in.

About 2 weeks ago, at Asilomar in Pacific Grove, CA for Foundations of Digital Games Conference, professionals gathered to present academic efforts in “all areas of research and education involving games, game technologies, gameplay and game design. The goal of the conference is the advancement of the study of digital games, including new game technologies, capabilities, designs, applications, educational uses, and modes of play.”

In case you missed it (and other than what you’d find in the conference proceedings), we shared every meal, played several games of poker, and sang show tunes as Jesper Juul played the piano (for not one but) two nights in a row. I have to admit that I’m lucky enough to both love what I do and all those in my professional family.

In April, I blogged about adding chat capabilities to EISBot, with the goal of achieving the Eliza effect in StarCraft.  Nicholas Carr responded to my post, criticizing my approach:

The sure way to distinguish the computer’s messages from the human’s is to recognize that the computer has a rather sentimental attachment to the apostrophe and the comma.

The lab is in full swing with several projects: Metadata Games, a game exploring biodiversity, and some games for health– right now, HIV games and games to combat sexual assault. Interns this summer are: Max Seidman, Alicia Driscoll, and visiting for the summer from USC, Mike Ayoob. Folks working with us this summer include Playmatics, Cecile Williams, Robinson Tryon, Vanessa Moy, and Sukdith Punjasthitkul. Welcome!

and…Finally!  After 7 years, we have Tiltfactor bling! Soon available on our web site.

The blog edition of my presentation at the Electronic Literature Organization’s ELO_AI Conference, Brown University, 5 June 2010

The process of writing and programming the first two full-scale interactive fiction pieces in the new system I have been developing, Curveship, has been a part of my poetic practice that I have found interesting and has also been a useful activity from several perspectives. Here I focus on the project Adventure in Style. I will also mention The Marble Index, a project that contrasts with Adventure in Style in an important way. These two pieces, still in progress, are initial explorations of the potential of Curveship and of the automation of narrative variation. My hope has been that these two games will serve as provocative interactive experiences, whether or not those who interact with them are interested in Curveship as a research project or as a development system. Of course, it will be very useful if they also serve as demonstrations of how Curveship works. I have, additionally, used these two projects to help me determine what additional development is critical before I release Curveship.

Here’s something with a good point and that’s worth watching: “Girls suck at video games” / “Les filles sont nulles aux jeux vidéo.” It makes me wonder about several things, and puts me in mind of a previous conversation about gender, gaming, and work, but for now, I’ll just mention one thing I’ve been pondering: Could a generally similar idea have been expressed as effectively in an actual video game? Or perhaps the answer to that is an obvious yes. How would it have been different if it was done as a game rather than a video?

The 2010 Summer courses at Dartmouth have begun: Virtual Cinema, which is an exploration of Machinima practices as well as a hands-on studio course in game-related movie making, and Games and Playculture, a theory seminar on play.

Visitors to the classes include designer and theorist Celia Pearce, designer Tracy Fullerton, machinima maker Claus-Dieter Schulz, senior level designer Zach Wilson, screenwriter Lisa Dethridge, and Hugh Hancock of Strange Company (machinima).  A very exciting term in a very beautiful New Hampshire/Vermont summer (rainbow spotted today! reminding me of the students’ beloved game…

I spent this weekend at @party 2010, the first (and hopefully not last) demoparty of this name. The event was in the Town of Harvard, Massachusetts – a bit outside of Boston. I heard four live music performances, saw an early cut of Jason Scott’s almost-finished Get Lamp documentary, and saw and heard grafix, music, and demos (wild and windows) in the Saturday evening compos. There were great tunes, a truly excellent 4k windows demo, an incredible demo running on an Arduino, and much more. Many thanks to the organizer, Metoikos, and everyone who helped her out. And, a big thanks to the demoscene!