Wednesday, January 25, 2006

 

La literatura se puede volver un campo de entrenamiento?

La transmisión de la experiencia ha jugado un rol decisivo en el género épico. Los relatos, el tiempo del relato, constituyen el preciso tiempo vital, el “hanging out” de los actores alejados momentáneamente de la acción… Este sistema pretende generar automáticamente “tradición” con un doble propósito…producir imágenes, sentimientos de continuidad, pero a su vez contrafactuales de posibles situaciones… Lo que paso podría no volver a suceder o lo que no paso e imagine podría suceder o si… programación de paranoia, entrenamiento emocional, fabulaciones, desarrollo de la técnica de los sueños mas allá del psicoanálisis? La imaginación es un training ground colectivo?

Story Representation and Management

The Story Representation and Management project develops technologies, applications, and languages for collecting, retrieving, and analyzing stories told by US Army soldiers about real-life experiences. The current research focuses on the following areas:

Automated story collection—Technologies for automatically recognizing when people are telling stories of their experiences in oral conversations and written text using automated speech recognition and statistical text classification methods

Story retrieval interfaces—Web-based applications to enable training developers to search story repositories and the Web for stories that relate to the specific activities of their target training applications

Formal representation languages—Large-scale knowledge representations (first-order predicate calculus theories) for expressing the situations and points articulated in stories, with a particular emphasis on vocabularies of commonsense psychology

Goals
The goal of the Story Representation and Management project is to develop a semi-automated pipeline of soldiers’ stories to enable rapid development of immersive training applications.





 

Nuevas relaciones entre improvisación y planificación: educación virtual

Automated Story Director

The Automated Story Director project builds immersive leadership training simulations that combine the interactive and spontaneous properties of simulations with a directed and pre-planned storyline. The central component in this project, the automated story director, takes the role of an observer-controller in military training simulations. It monitors the simulation state with respect to the storyline and makes real-time adaptations to both the storyline and simulation so that each trainee has a unique experience, yet still follows the original training objectives. The automated story director works behind the scenes, providing real-time direction to autonomous Virtual Human (VH) agents who improvise within the bounds of the story structure to achieve a high level of interactivity and believability.
The project uses a narrative approach to training simulations where trainees experience a leadership-building scenario based on the life stories of an expert. The leadership story becomes an interactive simulation where the trainee is in the role of the decision-maker. Unlike linear narratives with predetermined events and outcomes, the narrative-based simulation is relatively unrestricted, enabling trainees to apply their knowledge and problem-solving judgments in potentially different ways from the original outcome, while still achieving the desired training objectives.
Goals

The goals for the Automated Story Director project are as follows:

Build an immersive training simulator that can take a story, either a first-person account or a fictional scenario, and use it to shape the experience of a trainee during a simulation

Develop an automated story director that integrates with autonomous agents to add interactivity, believability, and dialogue to the simulation

Differences Between This Project and Others in the Field
This project differs from others in the following ways:

It develops simulations where autonomous agents and story directors share responsibility for the user’s experience (other research uses either strong autonomy solutions or strong story solutions)

It uses narrative-based interactive storytelling in the context of training (storytelling has been used almost exclusively in entertainment contexts)


Tuesday, January 24, 2006

 

Conversación ecléctica: el entretenimiento como frontera entre la guerra y la ciencia.


To build a partnership among entertainment industry, army, and academia with the goal of creating synthetic experiences so compeling that participants react as if they are real. The result is engaging, new immersive technologies for learning, training, and operational environments.

 

armas "no letales" para golpear la moral...

como hacer armamento con tecnicas de guion

 

El guion como maquina estrategica

Pentagon calls for rewrites on war script (oct. 2001)

Filmmakers produced some understandably skeptical reactions. What does Hollywood know about the realities of modern warfare, some huffed. This is a surreal exercise.

But is it?

Here are the facts: Working groups of writers and directors have been holding furtive meetings with Army operatives at USC's Institute for Creative Technology. The government, it seems, wants to brainstorm about possible terrorist schemes and how to combat them.

With all this in mind, the government has thus chosen an interesting cast of characters for its exercise in brainstorming. When you mix in such filmmakers as David FincherDavid Fincher, Spike JonzeSpike Jonze and Randal Kleiser with writers like Steven De Souza, you're certainly registering an impatience with orthodoxy. Suddenly you have "Fight Club""Fight Club" meets "Being John Malkovich"; you have "Die Hard" married to "Grease."

Now introduce some special-effects wizards into the equation and you develop the makings for serious brainstorming. Warfare may never be the same.


Una composición de fuerzas…
también un dolor de cabeza para la teoría moral de la división de la sociedad en esferas (política, economía, ciencia, religión, arte, etc). En general podemos llamar arte a aquella zona de producción que utiliza de manera asistemática y oportunista todo tipo de formas de producción y contenidos que toma de los mas diversos sitios. También se llama arte al campo de experimentación y desarrollo de usos, es decir la exploración de las posibilidades de uso que se le puede dar a las cosas, a cualquier cosa. Mezcla de politica debil y ciencia informal.
Es por eso que el arte esta considerado como algo fuera de la “realidad”? es por que esta en el borde de esta? En su borde de ataque?
El arte esta siempre a la caza de lo mas diverso.
Lo cierto es que es menos frecuente, e indicativo, que el ejercito tenga en su horizonte la utilización del arte como herramienta… una lectura piscopopulista podría decir que en el entretenimiento masivo, uno puede entrever un síntoma, tendencias e ideas colectivas que pueden ser usadas, como claves para manipular los nuevos miedos, o detectores de tendencias imaginativas presentes, aunque latentes. Pero también es cierto que la técnica de guiones para cine, entre otras disciplinas artisticas, esta pasando por un momento de experimentación y complejización bastante alto como para tomarla solamente como un mero síntoma; veamos por ejemplo los guiones de
Spike Jonze, que pueden ser entretenimiento, claro, pero no son solo eso…así que tenemos una composición de puntos de vista, técnicas. “esferas” y objetivos políticos (que si bien no es nueva, recordemos por ejemplo que Maquiavelo también escribió teatro) que hay que seguir muy de cerca.




This page is powered by Blogger. Isn't yours?