IDSwiki - User contributions [en]

User:Nicolas Szilas

2025-02-26T14:51:17Z

Nicolas Szilas:

Nicolas Szilas is working in the field of Interactive Storytelling since 1999. He has implemented [[IDtension]]. He is now [http://tecfa.unige.ch/perso/szilas/index.htm Senior Lecturer (Maître d'Enseignement et de Recherche) at the University of Geneva].

I-Storytelling

2019-11-08T11:18:01Z

Nicolas Szilas: /* Result Description (end user perspective) */

[[IRIS Wiki]] - [[IS Systems]] - '''{{PAGENAME}}'''
===Availability===
I-Storytelling (aka Friends) is an IS system which was developed as a research prototype. It is not available for download.

===Technical Description===
The interest here is in stories that have a well-defined storyline, from which many variants can unfold based on characters' interaction of user intervention.
While many researchers agree on the use of planning formalisms to support characters' behaviour, there was little research in the representation of narrative knowledge itself,
apart from the recurring reference to narrative functions.

===Result Description (end user perspective)===
Videos of several examples of the narratives generated by the planning system can be viewed [https://www.youtube.com/user/VirtualEmma/videos here].

===Authoring Description===
The overall narrative authoring is processed via the encoding of the characters' roles using Hierarchical Task Networks (HTN).
Characters are assigned primary or secondary roles which are described using a selection of decomposable tasks in the light of HTN planning systems.

===Strong Points===
* Generativity of the HTN-based planning system.
* Dramatisation of narrative situations.
* User interactions' influences on the unfolding of the narrative in real-time.

===Limitations===
Control over the quality of the narrative generated.

===Main Publications===
* Cavazza, M., Charles, F. and Mead, S.J. (2002). Character-based Interactive Storytelling. IEEE Intelligent Systems, special issue on AI in Interactive Entertainment, pp. 17-24. [http://www.scm.tees.ac.uk/f.charles/publications/journals/2002/ieeeis2002.pdf]
* Cavazza, M., Charles, F. and Mead, S.J. (2002). Interacting with Virtual Characters in Interactive Storytelling. ACM Joint Conference on Autonomous Agents and Multi-Agent Systems, Bologna, Italy, pp. 318-325. [http://www.scm.tees.ac.uk/f.charles/publications/conferences/2002/aamas2002.pdf]
* Charles, F. and Cavazza, M. (2004). Exploring the Scalability of Character-based Storytelling. ACM Joint Conference on Autonomous Agents and Multi-Agent Systems, New York, USA, pp. 872-879. [http://www.scm.tees.ac.uk/f.charles/publications/conferences/2004/Charles_AAMAS2004.pdf]

===Supporting Narrative Theories===
I-Storytelling is strongly linked to a computational model of [[Narrative units]] from Roland Barthes (structuralism).

===Computational Model===
IStorytelling relies on AI planning tools and techniques, namely HTN planning (STRIPS-like planner) [[pddl]]

===Type of interaction===
* Physical interaction within the active spectator paradigm whereby the user is not embodied within the virtual environment.
* Speech-based NL interaction where the user can provide advice, information, etc to the virtual characters.

Aesop's Fables

2018-06-29T14:39:46Z

Nicolas Szilas: /* References */

__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Structural Analysis of the Aesop's Fables</h4>

===Objectives===
This wiki analyzes Aesop's Fables with a structural model of narrative called "[[GOTSEC model]]". GOTSEC stands for Goal, Obstacle, Tasks, Side-Effects and Characters. The models aims to capture the deep structure of a narrative, its core meaning [3]. It is a theoretical outcome of long term project in Interative Drama by [http://tecfa.unige.ch/perso/szilas/ Nicolas Szilas] and colleagues (see also the [http://www.idtension.com IDtension narrative engine]).

The [[GOTSEC model]] aims at formalizing dramatic situations, as defined by E. Souriau [2]. It considers that a dramatic situation is described as a graph containing a limited set of nodes and relations of different types[4]. Via these nodes and relations, dramatic situations are described syntactically, to provide a higher generative power.

At the core of the model is the concept of ''dramatic cycle''. A dramatic cycle is a subpart of a graph that represents a ''paradox'', according to Bill Nichols' approach [1]. It is formally defined as a cycle containing two half paths, one positive path and one negative path. The notion of dramatic cycle covers what is often referred as "conflict".

===Content===

The 20 first Aesop's Fables (V.S. Vernon Jones English translation) have been analyzed. For each fable, we have provided:
* The visual representation of the structural graph, possibly separated in successive situations. Please refer to the [[GOTSEC model]] to find the legend of the graphs.
* The ''dramatic cycles''. A dramatic cycle is coded as an ordered pair of two paths, the positive path and the negative path: (positivePath,negativePath), each path being represented itself by a tuple of nodes.

===References===

#Nichols, B. (1981). Ideology and the image. Bloomington, IN: Indiana University Press.
#Souriau, E. (1950). Les deux cent mille Situations dramatiques. Paris: Flammarion.
#Szilas, N., Richle, U., & Dumas, J. E. (2012). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_ICIDS2012.pdf Structural Writing, a Design Principle for Interactive Drama]. In D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, & G. Méndez (Eds.), 5th International Conference on International Digital Storytelling (ICIDS 2012). LNCS 7648 (Vol. 7648, pp. 72–83). Heidelberg: Springer.
#Szilas, N., & Richle, U. (2013). [http://drops.dagstuhl.de/opus/volltexte/2013/4164/pdf/p257-szilas.pdf Towards a Computational Model of Dramatic Tension]. In M. A. Finlayson, B. Fisseni, B. Löwe, & J. C. Meister (Eds.), 2013 Workshop on Computational Models of Narrative (Vol. 32, pp. 257–276). Dagstuhl, Germany: Schloss Dagstuhl--Leibniz-Zentrum fuer Informatik.
#Szilas, N., Estupiñán, S., & Richle, U. (2016). Qualifying and quantifying interestingness in dramatic situations. In F. Nack & A. S. Gordon (Eds.), 9th International Conference on International Digital Storytelling (ICIDS 2016) (Vol. 10045, pp. 336–347). Cham: Springer.
#Szilas, N. (2017). Modeling and representing dramatic situations as paradoxical structures. Digital Scholarship in the Humanities, 32(2).

</div>

<div style="float:left; width:40%; background: #FAF9EC; border:1px solid #996600; margin-left: 4px; padding: 3px;">

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Fables</h4>

#[[The Fox & the Grapes]]
#[[The Goose that Laid the Golden Eggs]]
#[[The Cat & the Mice]]
#[[The Mischievous Dog]]
#[[The Charcoal-Burner & the Fuller]]
#[[The Mice in Council]]
#[[The Bat & the Weasels]]
#[[The Dog & the Sow]]
#[[The Fox & the Crow]]
#[[The Horse & the Groom]]
#[[The Wolf & the Lamb]]
#[[The Peacock & the Crane]]
#[[The Cat & the Birds]]
#[[The Spendthrift & the Swallow]]
#[[The Old Woman & the Doctor]]
#[[The Moon & Her Mother]]
#[[Mercury & the Woodman]]
#[[The Ass, the Fox & the Lion]]
#[[The Lion & the Mouse]]
#[[The Crow & the Pitcher]]

GOTSEC model

2018-06-29T14:38:30Z

Nicolas Szilas:

Part of the [[Aesop's Fables]] project.
In Construction.

Six types of nodes have been identified in the GOTSEC model: goals, obstacles, tasks, side effects, characters and character families or sets. These elements are connected by relations of various types: reaching (from task to goal), hindering (from obstacle to task), collateral (from task to side effect), inhibiting (from goal to obstacle), exciting (idem), needing (from side effect to goal), satisfy-ing/unsatisfying (from goal to character), belonging (from character to character fami-ly), failing (from task to obstacle), weak success (from obstacle to goal), degradation (from task to character).

The following tables specifies the nodes and relations in the model.

===Nodes===

{| border="1"
| Node (short name)
| Visualisation
| Comments
|-
| goal (G)
| [[Image:G.gif]]
|
|-
| task (T)
| [[Image:T.gif]]
|
|-
| obstacle (O)
| [[Image:O.gif]]
|
|-
| side-effect (E)
| [[Image:SE.gif]]
|
|-
| character (C)
| [[Image:Ch.gif]]
|
|-
| set (S)
| [[Image:Fa.gif]]
|
|}

===Relations===

{| border="1"
| Relation (short name)
| Source node (short name)
| Target node (short name)
| Weight
| Visualisation
| Comments
|-
| reaching (r)
| task (T)
| goal (G)
| +1
| [[Image:R.gif]]
|
|-
| hindering (h)
| obstacle (O)
| task (T)
| -1
| [[Image:H.gif]]
or
[[Image:H2.gif]]
|
|-
| colateral (c)
| task (T)
| side-effect (E)
| +1
| [[Image:C01.gif]]
or
[[Image:C2.gif]]
|
|-
| needing (n)
| side-effect (E)
| goal (G)
| -1
| [[Image:n.gif]]
|
|-
| inhibiting (i)
| goal (G) or side-effect (E)
| obstacle (O)
| -1
| [[Image:i.gif]]
|
|-
| exciting (x)
| goal (G) or side-effect (E)
| obstacle (O)
| +1
| [[Image:x.gif]]
|
|-
| satisfying (s)
| goal (G)
| character (C)
| +1
| [[Image:s.gif]]
|
|-
| unsatisfying (u)
| goal (G)
| character (C)
| +1
| [[Image:u.gif]]
|
|-
| belonging (b)
| character (C)
| family (F)
| +1
| [[Image:b.gif]]
|
|-
| failing (f)
| obstacle (O)
| goal (G)
| -1
| [[Image:f.gif]]
|
|-
| weak success (w)
| task (T)
| obstacle (O)
| +1
| [[Image:w.gif]]
|
|-
| degradation (d)
| task (T) or side-effect (E)
| character (C)
| +1
| [[Image:d.gif]]
|
|}

GOTSEC model

2018-06-29T14:38:06Z

Nicolas Szilas: /* Nodes */

Part of the [[Aesop's Fables]] project.
In Construction.

Six types of nodes have been identified in the GOTSEC model: goals, obstacles, tasks, side effects, characters and character families. These elements are connected by relations of various types: reaching (from task to goal), hindering (from obstacle to task), collateral (from task to side effect), inhibiting (from goal to obstacle), exciting (idem), needing (from side effect to goal), satisfy-ing/unsatisfying (from goal to character), belonging (from character to character fami-ly), failing (from task to obstacle), weak success (from obstacle to goal), degradation (from task to character).

The following tables specifies the nodes and relations in the model.

===Nodes===

{| border="1"
| Node (short name)
| Visualisation
| Comments
|-
| goal (G)
| [[Image:G.gif]]
|
|-
| task (T)
| [[Image:T.gif]]
|
|-
| obstacle (O)
| [[Image:O.gif]]
|
|-
| side-effect (E)
| [[Image:SE.gif]]
|
|-
| character (C)
| [[Image:Ch.gif]]
|
|-
| set (S)
| [[Image:Fa.gif]]
|
|}

===Relations===

{| border="1"
| Relation (short name)
| Source node (short name)
| Target node (short name)
| Weight
| Visualisation
| Comments
|-
| reaching (r)
| task (T)
| goal (G)
| +1
| [[Image:R.gif]]
|
|-
| hindering (h)
| obstacle (O)
| task (T)
| -1
| [[Image:H.gif]]
or
[[Image:H2.gif]]
|
|-
| colateral (c)
| task (T)
| side-effect (E)
| +1
| [[Image:C01.gif]]
or
[[Image:C2.gif]]
|
|-
| needing (n)
| side-effect (E)
| goal (G)
| -1
| [[Image:n.gif]]
|
|-
| inhibiting (i)
| goal (G) or side-effect (E)
| obstacle (O)
| -1
| [[Image:i.gif]]
|
|-
| exciting (x)
| goal (G) or side-effect (E)
| obstacle (O)
| +1
| [[Image:x.gif]]
|
|-
| satisfying (s)
| goal (G)
| character (C)
| +1
| [[Image:s.gif]]
|
|-
| unsatisfying (u)
| goal (G)
| character (C)
| +1
| [[Image:u.gif]]
|
|-
| belonging (b)
| character (C)
| family (F)
| +1
| [[Image:b.gif]]
|
|-
| failing (f)
| obstacle (O)
| goal (G)
| -1
| [[Image:f.gif]]
|
|-
| weak success (w)
| task (T)
| obstacle (O)
| +1
| [[Image:w.gif]]
|
|-
| degradation (d)
| task (T) or side-effect (E)
| character (C)
| +1
| [[Image:d.gif]]
|
|}

Aesop's Fables

2018-06-29T14:37:36Z

Nicolas Szilas:

__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Structural Analysis of the Aesop's Fables</h4>

===Objectives===
This wiki analyzes Aesop's Fables with a structural model of narrative called "[[GOTSEC model]]". GOTSEC stands for Goal, Obstacle, Tasks, Side-Effects and Characters. The models aims to capture the deep structure of a narrative, its core meaning [3]. It is a theoretical outcome of long term project in Interative Drama by [http://tecfa.unige.ch/perso/szilas/ Nicolas Szilas] and colleagues (see also the [http://www.idtension.com IDtension narrative engine]).

The [[GOTSEC model]] aims at formalizing dramatic situations, as defined by E. Souriau [2]. It considers that a dramatic situation is described as a graph containing a limited set of nodes and relations of different types[4]. Via these nodes and relations, dramatic situations are described syntactically, to provide a higher generative power.

At the core of the model is the concept of ''dramatic cycle''. A dramatic cycle is a subpart of a graph that represents a ''paradox'', according to Bill Nichols' approach [1]. It is formally defined as a cycle containing two half paths, one positive path and one negative path. The notion of dramatic cycle covers what is often referred as "conflict".

===Content===

The 20 first Aesop's Fables (V.S. Vernon Jones English translation) have been analyzed. For each fable, we have provided:
* The visual representation of the structural graph, possibly separated in successive situations. Please refer to the [[GOTSEC model]] to find the legend of the graphs.
* The ''dramatic cycles''. A dramatic cycle is coded as an ordered pair of two paths, the positive path and the negative path: (positivePath,negativePath), each path being represented itself by a tuple of nodes.

===References===

#Nichols, B. (1981). Ideology and the image. Bloomington, IN: Indiana University Press.
#Souriau, E. (1950). Les deux cent mille Situations dramatiques. Paris: Flammarion.
#Szilas, N., Richle, U., & Dumas, J. E. (2012). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_ICIDS2012.pdf Structural Writing, a Design Principle for Interactive Drama]. In D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, & G. Méndez (Eds.), 5th International Conference on International Digital Storytelling (ICIDS 2012). LNCS 7648 (Vol. 7648, pp. 72–83). Heidelberg: Springer.
#Szilas, N., & Richle, U. (2013). [http://drops.dagstuhl.de/opus/volltexte/2013/4164/pdf/p257-szilas.pdf Towards a Computational Model of Dramatic Tension]. In M. A. Finlayson, B. Fisseni, B. Löwe, & J. C. Meister (Eds.), 2013 Workshop on Computational Models of Narrative (Vol. 32, pp. 257–276). Dagstuhl, Germany: Schloss Dagstuhl--Leibniz-Zentrum fuer Informatik.

</div>

<div style="float:left; width:40%; background: #FAF9EC; border:1px solid #996600; margin-left: 4px; padding: 3px;">

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Fables</h4>

#[[The Fox & the Grapes]]
#[[The Goose that Laid the Golden Eggs]]
#[[The Cat & the Mice]]
#[[The Mischievous Dog]]
#[[The Charcoal-Burner & the Fuller]]
#[[The Mice in Council]]
#[[The Bat & the Weasels]]
#[[The Dog & the Sow]]
#[[The Fox & the Crow]]
#[[The Horse & the Groom]]
#[[The Wolf & the Lamb]]
#[[The Peacock & the Crane]]
#[[The Cat & the Birds]]
#[[The Spendthrift & the Swallow]]
#[[The Old Woman & the Doctor]]
#[[The Moon & Her Mother]]
#[[Mercury & the Woodman]]
#[[The Ass, the Fox & the Lion]]
#[[The Lion & the Mouse]]
#[[The Crow & the Pitcher]]

Hero's journey

2017-11-28T10:55:58Z

Nicolas Szilas: /* References */

[[IRIS Wiki]] - [[Narrative Theories]] - '''{{PAGENAME}}'''
===Authors===
Joseph Campbell

===Histo-geographical placement===
This model appeared in Mid 20th century. Campbell explores the theory that important myths from around the world all share a fundamental structure (monomyth). Campbell used the work of early 20th century theorists to develop his model of the hero (ethnographers, psychologists, etc.)

===Type of story===
Narrative in general and Myth in particular.

===Parent Theories===
Campbell discusses his theory of the journey as the archetypal hero found in world mythologies.

===Child Theories===
Christopher Vogler's [http://en.wikipedia.org/wiki/The_Writer%27s_Journey:_Mythic_Structure_For_Writers The Writer's Journey: Mythic Structure for Writers] applies the Campbell's model to screenwriting.

===Brief Description===
Joseph Campbell proposes a common pattern, including strong reference symbols: a journey from the ”common” world towards another more supernatural, and the way back. The structure describes the story in 3 parts:
*Departure:
**The Hero begins the story in the ordinary world.
**The Hero feels the Call to adventure, an event (or series of events) that pushes him to leave the comfort of his world for the more marvelous world of adventure.
**Once the Hero is engaged in the adventure, he receives a Supernatural Aid, in the shape of an ally or a mentor that delivers indices or objects that will be useful to him thereafter.
** He can then go cross the First Threshold, thus marking his entry in the supernatural world. He disappears from the common world and is found In the Belly of the Whale (in reference to symbolic disappearance of Pinocchio).
*Initiation: Our Hero from now on is completely engaged in the adventure.
**He will have to pass a Road of Trials that will aim at testing his courage, his determination, and the virtues relative to his quest.
**He then encoutners a Meeting with the Goddess, who represents a protective and maternal ﬁgure and also to Woman as the Temptress as tests of his virtue.
** He must then pass the Atonement with the Father, who makes of him an adult and opens the doors of the...
** Apotheosis: last test of the initiation which will require him to use all its understanding of the quest and will offer him the Ultimate Boon: knowledge and experience in reward of his efforts.
*Return: the Return mirrors the Departure and closes the narrative.
** The Hero, from now on master of the quest, must then return and succeed in his original world.

[[Image:campbells-heros-journey.gif|The Hero's Journey]]

===Relation with Interactive Storytelling===
Similarily to [[Vladimir Propp]]'s model, the hero's journey is linear and has general steps that can be used in IS approaches that keep some linearity (for example [[Moe]] or [[IDA]] (which use plot points)).

===Systems/Tools using this theory===
Maricopa Center for Learning & Instruction (MCLI) and the South Mountain Community College Storytelling Institute project [http://www.mcli.dist.maricopa.edu/smc/journey/]

In addition, in the field of educational games, an extension of Campbell's Hero's Journey was proposed. By comparing Campbell patterns to a diagramme of skills and knowledge acquisition, we can observe the following: the student, coming from the profane world, is being putin front of a problem that he cannot solve. He is then attracted towards a world of unknown knowledge, which he must cross by stages, having to prove his assimilation of determined notions in order to progress. After having triumphed over the last trial, which resumes the whole of the gained knowledge, he can then go back to his original framework, and, transforming his knowledge (theoretical) into skills (put into practice), he can solve its initial problem, thus enriching his living environment by mixing skills from both mundane and extraordinary worlds.

The Hero's Interactive Journey add new stages (Stubborn Refusal, Compelled to Adventure and Interference from Without) in order to offer a sufficient flexibility for covering the various possible behaviours of the player, and to accept the player's failures as well as his successes.

Stubborn to Refusal and Compelled to Adventure were added at the beginning of the story. They are used to manage the case of players marking a stronger refusal than that allowed by the model. If inside the Refusal of the Call stage, the player does not want to follow the adventure, events will be set up in Stubborn Refusal to encourage him to enter the world of adventure. If finally he still refuses, the stage Compelled to Adventure will draw his character in the story.

Interference from Without is reciprocal to Stubborn to Refusal but at the end of the story, when the player has the choice to return or not in the common world. If the player, after having refused a first time to return, follow his refusal, the figure of Rescue from Without can then intervene, to help the player, to push him to return and ensure that he will accede at the last stages of the narrative. Here the player is not compelled to accept the intervention, and he can leave the narrative without completing his quest.

[[Image:campbellInteractif.jpg|The Hero's Interactive Journey]]

===Links===
* Joseph Campbell foundation: http://www.jcf.org/
* Maricopa web pages on Hero's Journey: http://www.mcli.dist.maricopa.edu/smc/journey/ref/summary.html

===References===
*Campbell J. (1972). A hero with a thousand faces. Princeton University Press.
*Champagnat, R., Delmas, G. & Augeraud, M (2010). A storytelling model for educational games: Hero’s interactive journey. Int. J. Technology Enhanced Learning, 2(1/2), 4-20.

The Mischievous Dog

2016-05-03T14:10:48Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''4. {{PAGENAME}}'''

{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0004.htm Text available here]
===Structure===
[[Image:fable4.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((bite,unknown,dog,master,acquaintances),(bite,victimHurt,visitors,acquaintances))
Biting visitors seems to be satisfying for the dog, which belong to the master. At the same time, it degrades visitors, which are friends with the master.
* ((strut,meritShown),(strut,disgraceShown,meritShown))
When the dog struts, he believes he shows merit, but in fact, he does not.

===Comments===
[[Category:Fables]]
The second dramatic cycle invoves two different view points of the same action.

The Mischievous Dog

2016-05-03T14:09:30Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''4. {{PAGENAME}}'''

{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0004.htm Text available here]
===Structure===
[[Image:fable4.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((bite,unknown,dog,master,acquaintances),(bite,hurt,visitors,acquaintances))
Biting visitors seems to be satisfying for the dog, which belong to the master. At the same time, it degrades visitors, which are friends with the master.
* ((strut,meritShown),(strut,disgraceShown,meritShown))
When the dog struts, he believes he shows merit, but in fact, he does not.

===Comments===
[[Category:Fables]]
The second dramatic cycle invoves two different view points of the same action.

The Mischievous Dog

2016-05-03T14:09:02Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''4. {{PAGENAME}}'''

{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0004.htm Text available here]
===Structure===
[[Image:fable4.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((bite,unknown,dog,master,friends),(bite,hurt,visitors,acquaintances))
Biting visitors seems to be satisfying for the dog, which belong to the master. At the same time, it degrades visitors, which are friends with the master.
* ((strut,meritShown),(strut,disgraceShown,meritShown))
When the dog struts, he believes he shows merit, but in fact, he does not.

===Comments===
[[Category:Fables]]
The second dramatic cycle invoves two different view points of the same action.

File:Fable4.gif

2016-05-03T12:00:25Z

Nicolas Szilas: uploaded a new version of "File:Fable4.gif"

File:Fable15.gif

2016-04-27T09:47:49Z

Nicolas Szilas: uploaded a new version of "File:Fable15.gif"

File:Fable12.gif

2016-04-27T09:44:29Z

Nicolas Szilas: uploaded a new version of "File:Fable12.gif"

The Peacock & the Crane

2016-04-27T09:42:18Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''12. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0012.htm Text available here]
===Structure===
[[Image:fable12.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((tauntDullness,peacockSeenAsSuperior,peacock,animals),(tauntDullness,craneOffended,craneSeenAsSuperior,crane,animals))
When the peacock taunts the crane, he satisfies his goal of superiority but it unsatisfies the same goal for the crane.
* ((compareFlying,craneSeenAsSuperior,crane,animals),(compareFlying,peacockOffended,peacockSeenAsSuperior,peacock,animals))
And reciprocally.

===Comments===
[[Category:Fables]]

File:Fable11.gif

2016-04-27T09:41:04Z

Nicolas Szilas: uploaded a new version of "File:Fable11.gif"

The Wolf & the Lamb

2016-04-27T09:39:52Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''11. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0011.htm Text available here]
===Structure===
[[Image:fable11.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((eatLamb,hunger,wolf,animals),(eatLamb,lambDead,lamb,animals))
Eating the lamb is good for the wolf but bad for the lamb.

===Comments===
[[Category:Fables]]
The story works not by the cycle itself, a mere interpersonal conflict, but by the transition from a situation where the wolf feels the need to find an excuse to a situation where this need does not exist anymore. See also [[The Fox & the Grapes]].

File:Fable6.gif

2016-04-27T09:38:39Z

Nicolas Szilas: uploaded a new version of "File:Fable6.gif"

File:Fable6.gif

2016-04-27T09:35:36Z

Nicolas Szilas: uploaded a new version of "File:Fable6.gif"

The Mice in Council

2016-04-27T09:32:37Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''6. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0006.htm Text available here]
===Structure===
[[Image:fable6.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((attack,hungry,cat,animals),(attack,couldNotStand,protectThemselves,mice,animals))
The cat's attacks are good for the cat, but bad for the mice.
* ((bellTheCat,bellInstalled,bellWarns,attack,couldNotStand,protectThemselves),(bellTheCat,catAttacks,protectThemselve))
Belling the cat warns the mice when the cat attacks and therefore protect them. But belling the cat will itself provoke an attack from the cat and will not make mice safer.

===Comments===
[[Category:Fables]]
The analysis does not cover the contrast between the collective threat (recurrent attacks from the cat) and the individual threat (when installing the bell).

GOTSEC model

2016-04-27T09:31:31Z

Nicolas Szilas: /* Relations */

Part of the [[Aesop's Fables]] project.
In Construction.

Six types of nodes have been identified in the GOTSEC model: goals, obstacles, tasks, side effects, characters and character families. These elements are connected by relations of various types: reaching (from task to goal), hindering (from obstacle to task), collateral (from task to side effect), inhibiting (from goal to obstacle), exciting (idem), needing (from side effect to goal), satisfy-ing/unsatisfying (from goal to character), belonging (from character to character fami-ly), failing (from task to obstacle), weak success (from obstacle to goal), degradation (from task to character).

The following tables specifies the nodes and relations in the model.

===Nodes===

{| border="1"
| Node (short name)
| Visualisation
| Comments
|-
| goal (G)
| [[Image:G.gif]]
|
|-
| task (T)
| [[Image:T.gif]]
|
|-
| obstacle (O)
| [[Image:O.gif]]
|
|-
| side-effect (E)
| [[Image:SE.gif]]
|
|-
| character (C)
| [[Image:Ch.gif]]
|
|-
| family (F)
| [[Image:Fa.gif]]
|
|}

===Relations===

{| border="1"
| Relation (short name)
| Source node (short name)
| Target node (short name)
| Weight
| Visualisation
| Comments
|-
| reaching (r)
| task (T)
| goal (G)
| +1
| [[Image:R.gif]]
|
|-
| hindering (h)
| obstacle (O)
| task (T)
| -1
| [[Image:H.gif]]
or
[[Image:H2.gif]]
|
|-
| colateral (c)
| task (T)
| side-effect (E)
| +1
| [[Image:C01.gif]]
or
[[Image:C2.gif]]
|
|-
| needing (n)
| side-effect (E)
| goal (G)
| -1
| [[Image:n.gif]]
|
|-
| inhibiting (i)
| goal (G) or side-effect (E)
| obstacle (O)
| -1
| [[Image:i.gif]]
|
|-
| exciting (x)
| goal (G) or side-effect (E)
| obstacle (O)
| +1
| [[Image:x.gif]]
|
|-
| satisfying (s)
| goal (G)
| character (C)
| +1
| [[Image:s.gif]]
|
|-
| unsatisfying (u)
| goal (G)
| character (C)
| +1
| [[Image:u.gif]]
|
|-
| belonging (b)
| character (C)
| family (F)
| +1
| [[Image:b.gif]]
|
|-
| failing (f)
| obstacle (O)
| goal (G)
| -1
| [[Image:f.gif]]
|
|-
| weak success (w)
| task (T)
| obstacle (O)
| +1
| [[Image:w.gif]]
|
|-
| degradation (d)
| task (T) or side-effect (E)
| character (C)
| +1
| [[Image:d.gif]]
|
|}

Orality

2015-12-01T14:06:22Z

Nicolas Szilas: /* Relation with Interactive Storytelling */

Orality

2015-12-01T13:52:16Z

Nicolas Szilas: Created page with "IRIS Wiki - Narrative Theories - '''{{PAGENAME}}''' ===Authors=== Who are the main authors having developed this theory? ===Histo-geographical placement=== When and wher..."

Narrative Theories

2015-12-01T13:34:37Z

Nicolas Szilas:

[[IRIS Wiki]] - '''Narrative models/theories'''
__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Narrative Theories</h4>
==Narrative models/theories==

[[Narrative Theories Template]]

Narrative theories are both numerous and diverse. While it is clearly difficult, if not impossible to cover all of them in the present review, our goal was not to focus on a subclass of theories, such as “narratology” for example but instead to cover a larger spectrum of theories. The criteria for including a theory in the following review were:
*The theory opens interesting perspectives for IS, or
*The theory has been used/mentioned in publications related to IS systems, or
*The theory suggests some formalization.
15 theories are described so far, distributed over three main groups: dramaturgy, classical narratology and psychological approaches.
Selected theories include both renowned academic work and applied practical guides for narrative writing that might not fit academic standards. Since our final goal is not theoretical but practical - "How to improve IS systems?", every approach, as soon as it is justified, is worth considering.
Only linear theories are considered here, we haven’t underestimated the contribution of existing non linear narrative genres to IS, we will simply study these non linear theories and practices later on.
For each theory, the following information is provided:
*Authors: Who were the main authors having developed this theory. When possible, several authors who developed similar approaches are grouped together.
*Histo-geographical placement: When and where did this theory appear?
*Type of story: does the theory describe a specific type of story (i.e. fairytales) or can it be generalised? What is the set of stories described by the system?
*Parent Theories: What existing theories were used as a starting point, inspiration, and foundation?
*Child Theories: What theories where inspired from this one?
*Brief Description: synthetic and accessible description of the theory.
*Relation with Interactive Storytelling: How can this theory help build IS systems?
*Systems/Tools using this theory: Systems that are explicitly based on this theory and a short description indicating how the theory is used in the system.
*Links: Links towards other sites that describe the theory.
*References
As a result, when reading and navigating among the theories, the reader should grasp both the current status on how narrative theories relate to IS as well as perspectives on how new narrative-related mechanisms could be implemented to explore new avenues in IS.

</div>

<div style="float:left; width:40%; background: #FAF9EC; border:1px solid #996600; margin-left: 4px; padding: 3px;">

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Drama models</h4>

[[Aristotle]]'s definition and characterisation of the dramatic actions.

[[Five-act model]] (G. Freytag, 1863 - Freytags Pyramid of a dramatic structure)

[[Three-Act Paradigm]] (S. Field, 1979 - Model for screenwriting)

[[TV series]]

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Narratology</h4>

[[Vladimir Propp|Vladimir Propp's morphology of the folk tale]]

[[Roles_and_processes|Roles and processes]]
(C. Bremond)

[[Actancial model]] ( E.Souriau, A.J. Greimas)

[[Narrative grammars]]
(A.J. Greimas, T. Todorov)

[[Narrative units]]
(R. Barthes, 1968)

[[Five codes]] of analysis
(R. Barthes, 1977)

[[Textual cooperation]]
(U. Eco)

[[Theory of possible worlds]]
(M.-L. Ryan)

[[Closure]]

[[Ethical dimension|Ethical dimension]]

[[Discourse/story]] relation
(G. Genette)

[[Hero's journey]]
(J. Campbell)

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Perception models</h4>

The [[Mood-Cue]] approach to the analysis of filmic emotion
(Greg M. Smith)

[[Suspense]]

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Non linear theories</h4>
[[Theatre of the Oppressed]] (A. Boal)

[[Improvisational theatre]]
[[Orality]]

Narrative Theories

2015-12-01T13:34:10Z

Nicolas Szilas:

Closure

2015-12-01T11:38:02Z

Nicolas Szilas: /* Relation with Interactive Storytelling */

[[IRIS Wiki]] - [[Narrative Theories]] - '''{{PAGENAME}}'''
===Authors===
Who are the main authors having developed this theory?

===Histo-geographical placement===
When and where did this theory appear?

===Type of story===
does the theory describe a specific type of story (i.e. fairytales) or can it be generalised? What is the set of stories described by the system?

===Parent Theories===
What existing theories were used as a starting point, inspiration, foundation?

===Child Theories===
What theories where inspired from this one?

===Brief Description===
cf Nicolas Szilas' contribution (comming soon).
Kendall L. Walton: Closure as a break in the state of make believe. (Fearing Fictions)

===Relation with Interactive Storytelling===
IS systems using planning at the story level explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it.

However, in this approach, the user intervention is not taken into account in the ending itself. The user is "invited" to reach the story goal. Therefore, the ending may need to be defined dynamically (based on the user-induced “questions” (quests, goals, etc. depending of computational approaches).

Several goals

Open systems

In games, free mode...

Most systems: ending condition or ending fragment.
Her story http://www.herstorygame.com/

Closure as having consumed all the content. Exemple: percentage of reading in a hypertext.

Which goals should be left open? User sufficiently exposed

Cf devices...

===Systems/Tools using this theory===
Planning systems explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it. For example...

===Links===
Towards other sites that describe the theory

===References===

Closure

2015-12-01T11:34:26Z

Nicolas Szilas: /* Brief Description */

[[IRIS Wiki]] - [[Narrative Theories]] - '''{{PAGENAME}}'''
===Authors===
Who are the main authors having developed this theory?

===Histo-geographical placement===
When and where did this theory appear?

===Type of story===
does the theory describe a specific type of story (i.e. fairytales) or can it be generalised? What is the set of stories described by the system?

===Parent Theories===
What existing theories were used as a starting point, inspiration, foundation?

===Child Theories===
What theories where inspired from this one?

===Brief Description===
cf Nicolas Szilas' contribution (comming soon).
Kendall L. Walton: Closure as a break in the state of make believe. (Fearing Fictions)

===Relation with Interactive Storytelling===
IS systems using planning at the story level explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it.

However, in this approach, the user intervention is not taken into account in the ending itself. The user is "invited" to reach the story goal. Therefore, the ending may need to be defined dynamically (based on the user-induced “questions” (quests, goals, etc. depending of computational approaches).

Several goals

Open systems

In games, free mode...

Most systems: ending condition or ending fragment.
Her story http://www.herstorygame.com/

Closure as having consumed all the content. Exemple: percentage of reading in a hypertext.

Which goals should be left open? User sufficiently exposed

===Systems/Tools using this theory===
Planning systems explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it. For example...

===Links===
Towards other sites that describe the theory

===References===

Closure

2015-12-01T11:32:53Z

Nicolas Szilas: /* Relation with Interactive Storytelling */

[[IRIS Wiki]] - [[Narrative Theories]] - '''{{PAGENAME}}'''
===Authors===
Who are the main authors having developed this theory?

===Histo-geographical placement===
When and where did this theory appear?

===Type of story===
does the theory describe a specific type of story (i.e. fairytales) or can it be generalised? What is the set of stories described by the system?

===Parent Theories===
What existing theories were used as a starting point, inspiration, foundation?

===Child Theories===
What theories where inspired from this one?

===Brief Description===
cf Nicolas Szilas' contribution (comming soon).

===Relation with Interactive Storytelling===
IS systems using planning at the story level explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it.

However, in this approach, the user intervention is not taken into account in the ending itself. The user is "invited" to reach the story goal. Therefore, the ending may need to be defined dynamically (based on the user-induced “questions” (quests, goals, etc. depending of computational approaches).

Several goals

Open systems

In games, free mode...

Most systems: ending condition or ending fragment.
Her story http://www.herstorygame.com/

Closure as having consumed all the content. Exemple: percentage of reading in a hypertext.

Which goals should be left open? User sufficiently exposed

===Systems/Tools using this theory===
Planning systems explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it. For example...

===Links===
Towards other sites that describe the theory

===References===

Closure

2015-12-01T11:30:01Z

Nicolas Szilas: /* Brief Description */

[[IRIS Wiki]] - [[Narrative Theories]] - '''{{PAGENAME}}'''
===Authors===
Who are the main authors having developed this theory?

===Histo-geographical placement===
When and where did this theory appear?

===Type of story===
does the theory describe a specific type of story (i.e. fairytales) or can it be generalised? What is the set of stories described by the system?

===Parent Theories===
What existing theories were used as a starting point, inspiration, foundation?

===Child Theories===
What theories where inspired from this one?

===Brief Description===
cf Nicolas Szilas' contribution (comming soon).

===Relation with Interactive Storytelling===
IS systems using planning at the story level explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it.

However,

Several goals

Open systems

In games, free mode...

Most systems: ending condition or ending fragment.
Her story http://www.herstorygame.com/

Closure as having consumed all the content. Exemple: percentage of reading in a hypertext.

Defining the closure dynamically, based on the user-induced “questions” (quests, goals, etc.
depending of computational approaches).

Which goals should be left open? User sufficiently exposed

===Systems/Tools using this theory===
Planning systems explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it. For example...

===Links===
Towards other sites that describe the theory

===References===

Closure

2015-12-01T11:29:03Z

Nicolas Szilas: /* Relation with Interactive Storytelling */

[[IRIS Wiki]] - [[Narrative Theories]] - '''{{PAGENAME}}'''
===Authors===
Who are the main authors having developed this theory?

===Histo-geographical placement===
When and where did this theory appear?

===Type of story===
does the theory describe a specific type of story (i.e. fairytales) or can it be generalised? What is the set of stories described by the system?

===Parent Theories===
What existing theories were used as a starting point, inspiration, foundation?

===Child Theories===
What theories where inspired from this one?

===Brief Description===
Vulgarisation, lay person description of theory

===Relation with Interactive Storytelling===
IS systems using planning at the story level explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it.

However,

Several goals

Open systems

In games, free mode...

Most systems: ending condition or ending fragment.
Her story http://www.herstorygame.com/

Closure as having consumed all the content. Exemple: percentage of reading in a hypertext.

Defining the closure dynamically, based on the user-induced “questions” (quests, goals, etc.
depending of computational approaches).

Which goals should be left open? User sufficiently exposed

===Systems/Tools using this theory===
Planning systems explicitly follow the idea of closure because they start with an ending state (goal state) and derive the sequence events from it. For example...

===Links===
Towards other sites that describe the theory

===References===

Closure

2015-12-01T11:07:35Z

Nicolas Szilas: /* Systems/Tools using this theory */

Closure

2015-12-01T11:00:17Z

Narrative Theories

2015-12-01T10:52:08Z

Nicolas Szilas:

Aesop's Fables

2015-10-14T13:33:30Z

Nicolas Szilas: /* Objectives */

__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Structural Analysis of the Aesop's Fables</h4>

===Objectives===
This wiki analyzes Aesop's Fables with a structural model of narrative called "[[GOTSEC model]]". GOTSEC stands for Goal, Obstacle, Tasks, Side-Effects and Characters. The models aims to capture the deep structure of a narrative, its core meaning [3]. It is a theoretical outcome of long term project in Interative Drama by [http://tecfa.unige.ch/perso/szilas/ Nicolas Szilas] and colleagues (see also the [http://www.idtension.com IDtension narrative engine]).

The [[GOTSEC model]] aims at formalizing dramatic situations, as defined by E. Souriau [2]. It considers that a dramatic situation is described as a graph containing a limited set of nodes and relations of different types[4]. Via these nodes and relations, dramatic situations are described syntactically, to provide a higher generative power.

At the core of the model is the concept of ''dramatic cycle''. A dramatic cycle is a subpart of a graph that represents a ''paradox'', according to Bill Nichols' approach [1]. It is formally defined as a cycle containing two half paths, one positive path and one negative path. The notion of dramatic cycle covers what is often referred as "conflict".

===Content===

The 20 first Aesop's Fables (V.S. Vernon Jones English translation) have been analyzed. For each fable, we have provided:
* The visual representation of the structural graph, possibly separated in successive situations. Please refer to the [[GOTSEC model]] to find the legend of the graphs.
* The ''dramatic cycles''. A dramatic cycle is coded as an ordered pair of two paths, the positive path and the negative path: (positivePath,negativePath), each path being represented itself by a tuple of nodes.

===Réferences===

#Nichols, B. (1981). Ideology and the image. Bloomington, IN: Indiana University Press.
#Souriau, E. (1950). Les deux cent mille Situations dramatiques. Paris: Flammarion.
#Szilas, N., Richle, U., & Dumas, J. E. (2012). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_ICIDS2012.pdf Structural Writing, a Design Principle for Interactive Drama]. In D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, & G. Méndez (Eds.), 5th International Conference on International Digital Storytelling (ICIDS 2012). LNCS 7648 (Vol. 7648, pp. 72–83). Heidelberg: Springer.
#Szilas, N., & Richle, U. (2013). [http://drops.dagstuhl.de/opus/volltexte/2013/4164/pdf/p257-szilas.pdf Towards a Computational Model of Dramatic Tension]. In M. A. Finlayson, B. Fisseni, B. Löwe, & J. C. Meister (Eds.), 2013 Workshop on Computational Models of Narrative (Vol. 32, pp. 257–276). Dagstuhl, Germany: Schloss Dagstuhl--Leibniz-Zentrum fuer Informatik.

</div>

<div style="float:left; width:40%; background: #FAF9EC; border:1px solid #996600; margin-left: 4px; padding: 3px;">

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Fables</h4>

#[[The Fox & the Grapes]]
#[[The Goose that Laid the Golden Eggs]]
#[[The Cat & the Mice]]
#[[The Mischievous Dog]]
#[[The Charcoal-Burner & the Fuller]]
#[[The Mice in Council]]
#[[The Bat & the Weasels]]
#[[The Dog & the Sow]]
#[[The Fox & the Crow]]
#[[The Horse & the Groom]]
#[[The Wolf & the Lamb]]
#[[The Peacock & the Crane]]
#[[The Cat & the Birds]]
#[[The Spendthrift & the Swallow]]
#[[The Old Woman & the Doctor]]
#[[The Moon & Her Mother]]
#[[Mercury & the Woodman]]
#[[The Ass, the Fox & the Lion]]
#[[The Lion & the Mouse]]
#[[The Crow & the Pitcher]]

Aesop's Fables

2015-10-14T13:30:20Z

Nicolas Szilas: /* Objectives */

__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Structural Analysis of the Aesop's Fables</h4>

===Objectives===
This wiki analyzes Aesop's Fables with a structural model of narrative called "[[GOTSEC model]]". GOTSEC stands for Goal, Obstacle, Tasks, Side-Effects and Characters. The models aims to capture the deep structure of a narrative, its core meaning [3]. It is a theoretical outcome of long term project in Interative Drama by [http://tecfa.unige.ch/perso/szilas/ Nicolas Szilas] and colleagues (see also the [http://www.idtension.com IDtension narrative engine]).

The [[GOTSEC model]] aims at formalizing dramatic situations, as defined by E. Souriau [2]. It considers that a dramatic situation is described as a graph containing a limited set of nodes and relations of different types[4]. Via these nodes and relations, dramatic situations are described syntactically, to provide a higher generative power.

At the core of the model is the concept of ''dramatic cycle''. A dramatic cycle is a subpart of a graph that represents a ''paradox'', according to Bill Nichols' approach [1]. It is formally defined as a cycle containing two half paths, one positive path and one negative path. A dramatic cycle corresponds to a certain form of "conflict".

===Content===

The 20 first Aesop's Fables (V.S. Vernon Jones English translation) have been analyzed. For each fable, we have provided:
* The visual representation of the structural graph, possibly separated in successive situations. Please refer to the [[GOTSEC model]] to find the legend of the graphs.
* The ''dramatic cycles''. A dramatic cycle is coded as an ordered pair of two paths, the positive path and the negative path: (positivePath,negativePath), each path being represented itself by a tuple of nodes.

===Réferences===

#Nichols, B. (1981). Ideology and the image. Bloomington, IN: Indiana University Press.
#Souriau, E. (1950). Les deux cent mille Situations dramatiques. Paris: Flammarion.
#Szilas, N., Richle, U., & Dumas, J. E. (2012). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_ICIDS2012.pdf Structural Writing, a Design Principle for Interactive Drama]. In D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, & G. Méndez (Eds.), 5th International Conference on International Digital Storytelling (ICIDS 2012). LNCS 7648 (Vol. 7648, pp. 72–83). Heidelberg: Springer.
#Szilas, N., & Richle, U. (2013). [http://drops.dagstuhl.de/opus/volltexte/2013/4164/pdf/p257-szilas.pdf Towards a Computational Model of Dramatic Tension]. In M. A. Finlayson, B. Fisseni, B. Löwe, & J. C. Meister (Eds.), 2013 Workshop on Computational Models of Narrative (Vol. 32, pp. 257–276). Dagstuhl, Germany: Schloss Dagstuhl--Leibniz-Zentrum fuer Informatik.

</div>

<div style="float:left; width:40%; background: #FAF9EC; border:1px solid #996600; margin-left: 4px; padding: 3px;">

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Fables</h4>

#[[The Fox & the Grapes]]
#[[The Goose that Laid the Golden Eggs]]
#[[The Cat & the Mice]]
#[[The Mischievous Dog]]
#[[The Charcoal-Burner & the Fuller]]
#[[The Mice in Council]]
#[[The Bat & the Weasels]]
#[[The Dog & the Sow]]
#[[The Fox & the Crow]]
#[[The Horse & the Groom]]
#[[The Wolf & the Lamb]]
#[[The Peacock & the Crane]]
#[[The Cat & the Birds]]
#[[The Spendthrift & the Swallow]]
#[[The Old Woman & the Doctor]]
#[[The Moon & Her Mother]]
#[[Mercury & the Woodman]]
#[[The Ass, the Fox & the Lion]]
#[[The Lion & the Mouse]]
#[[The Crow & the Pitcher]]

Aesop's Fables

2015-10-14T13:29:45Z

Nicolas Szilas:

__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Structural Analysis of the Aesop's Fables</h4>

===Objectives===
This wiki analyzes Aesop's Fables with a structural model of narrative called "[[GOTSEC model]]". GOTSEC stands for Goal, Obstacle, Tasks, Side-Effects and Characters. The models aims to capture the deep structure of a narrative, its core meaning [3]. It is a theoretical outcome of long term project in Interative Drama by [http://tecfa.unige.ch/perso/szilas/ Nicolas Szilas] and colleagues (see also the [http://www.idtension.com IDtension narrative engine]).

The [[GOTSEC model]] aims at formalizing dramatic situations, as defined by E. Souriau [2]. It considers that a dramatic situation is described as a graph containing a limited set of nodes and relations of different types[4]. Via these nodes and relations, dramatic situations are described syntactically, to provide a higher generative power.

At the core of the model is the concept of ''dramatic cycle''. A dramatic cycle is a subpart of a graph that represent a paradox, according to Bill Nichols approach [1]. It is formally defined as a cycle containing two half paths, one positive path and one negative path. A dramatic cycle corresponds to a certain form of "conflict".

===Content===

The 20 first Aesop's Fables (V.S. Vernon Jones English translation) have been analyzed. For each fable, we have provided:
* The visual representation of the structural graph, possibly separated in successive situations. Please refer to the [[GOTSEC model]] to find the legend of the graphs.
* The ''dramatic cycles''. A dramatic cycle is coded as an ordered pair of two paths, the positive path and the negative path: (positivePath,negativePath), each path being represented itself by a tuple of nodes.

===Réferences===

#Nichols, B. (1981). Ideology and the image. Bloomington, IN: Indiana University Press.
#Souriau, E. (1950). Les deux cent mille Situations dramatiques. Paris: Flammarion.
#Szilas, N., Richle, U., & Dumas, J. E. (2012). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_ICIDS2012.pdf Structural Writing, a Design Principle for Interactive Drama]. In D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, & G. Méndez (Eds.), 5th International Conference on International Digital Storytelling (ICIDS 2012). LNCS 7648 (Vol. 7648, pp. 72–83). Heidelberg: Springer.
#Szilas, N., & Richle, U. (2013). [http://drops.dagstuhl.de/opus/volltexte/2013/4164/pdf/p257-szilas.pdf Towards a Computational Model of Dramatic Tension]. In M. A. Finlayson, B. Fisseni, B. Löwe, & J. C. Meister (Eds.), 2013 Workshop on Computational Models of Narrative (Vol. 32, pp. 257–276). Dagstuhl, Germany: Schloss Dagstuhl--Leibniz-Zentrum fuer Informatik.

</div>

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<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Fables</h4>

#[[The Fox & the Grapes]]
#[[The Goose that Laid the Golden Eggs]]
#[[The Cat & the Mice]]
#[[The Mischievous Dog]]
#[[The Charcoal-Burner & the Fuller]]
#[[The Mice in Council]]
#[[The Bat & the Weasels]]
#[[The Dog & the Sow]]
#[[The Fox & the Crow]]
#[[The Horse & the Groom]]
#[[The Wolf & the Lamb]]
#[[The Peacock & the Crane]]
#[[The Cat & the Birds]]
#[[The Spendthrift & the Swallow]]
#[[The Old Woman & the Doctor]]
#[[The Moon & Her Mother]]
#[[Mercury & the Woodman]]
#[[The Ass, the Fox & the Lion]]
#[[The Lion & the Mouse]]
#[[The Crow & the Pitcher]]

Aesop's Fables

2015-10-14T13:21:16Z

Nicolas Szilas: /* Objectives */

__NOTOC__

<div style="padding:3px; float:left; width:57%; border:1px solid #006699; background: #EAF5FB;">
<h4 style="background:#D0E2EE; border-bottom:1px solid #006699;">Structural Analysis of the Aesop's Fables</h4>

===Objectives===
This wiki analyzes Aesop's Fables with a structural model of narrative called "[[GOTSEC model]]". GOTSEC stands for Goal, Obstacle, Tasks, Side-Effects and Characters. The models aims to capture the deep structure of a narrative, its core meaning [3]. It is a theoretical outcome of long term project in Interative Drama by [http://tecfa.unige.ch/perso/szilas/ Nicolas Szilas] and colleagues (see also the [http://www.idtension.com IDtension narrative engine]).

The [[GOTSEC model]] aims at formalizing dramatic situations, as defined by E. Souriau [2]. It considers that a dramatic situation is described as a graph containing a limited set of nodes and relations of different types[4]. Via these nodes and relations, dramatic situations are described syntactically, to provide a higher generative power.

At the core of the model is the concept of 'dramatic cycle'

===Content===

The 20 first Aesop's Fables (V.S. Vernon Jones English translation) have been analyzed. For each fable, we have provided:
* The visual representation of the structural graph, possibly separated in successive situations. Please refer to the [[GOTSEC model]] to find the legend of the graphs.
* The ''dramatic cycles''. Dramatic cycles are subparts of a graph that represent paradoxes, according to Bill Nichols approach [1]. These cycles correspond to "conflicts". A dramatic cycle is coded as a pair of two paths, the positive path and the negative path.

===Réferences===

#Nichols, B. (1981). Ideology and the image. Bloomington, IN: Indiana University Press.
#Souriau, E. (1950). Les deux cent mille Situations dramatiques. Paris: Flammarion.
#Szilas, N., Richle, U., & Dumas, J. E. (2012). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_ICIDS2012.pdf Structural Writing, a Design Principle for Interactive Drama]. In D. Oyarzun, F. Peinado, R. M. Young, A. Elizalde, & G. Méndez (Eds.), 5th International Conference on International Digital Storytelling (ICIDS 2012). LNCS 7648 (Vol. 7648, pp. 72–83). Heidelberg: Springer.
#Szilas, N., & Richle, U. (2013). [http://drops.dagstuhl.de/opus/volltexte/2013/4164/pdf/p257-szilas.pdf Towards a Computational Model of Dramatic Tension]. In M. A. Finlayson, B. Fisseni, B. Löwe, & J. C. Meister (Eds.), 2013 Workshop on Computational Models of Narrative (Vol. 32, pp. 257–276). Dagstuhl, Germany: Schloss Dagstuhl--Leibniz-Zentrum fuer Informatik.

</div>

<div style="float:left; width:40%; background: #FAF9EC; border:1px solid #996600; margin-left: 4px; padding: 3px;">

<h4 style="background:#ffccaa; border-bottom:1px solid #996600;border-top:1px solid #996600;border-top:1px solid #996600;">Fables</h4>

#[[The Fox & the Grapes]]
#[[The Goose that Laid the Golden Eggs]]
#[[The Cat & the Mice]]
#[[The Mischievous Dog]]
#[[The Charcoal-Burner & the Fuller]]
#[[The Mice in Council]]
#[[The Bat & the Weasels]]
#[[The Dog & the Sow]]
#[[The Fox & the Crow]]
#[[The Horse & the Groom]]
#[[The Wolf & the Lamb]]
#[[The Peacock & the Crane]]
#[[The Cat & the Birds]]
#[[The Spendthrift & the Swallow]]
#[[The Old Woman & the Doctor]]
#[[The Moon & Her Mother]]
#[[Mercury & the Woodman]]
#[[The Ass, the Fox & the Lion]]
#[[The Lion & the Mouse]]
#[[The Crow & the Pitcher]]

The Lion & the Mouse

2015-10-14T13:19:33Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''19. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0019.htm Text available here]
===Structure===
[[Image:fable19.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((runOverFace,unknown,mouse,animals),(runOverFace,wakedUp,asleep,lion,animals)
Running over the lion is good for the mouse but bad or the lion.
* ((moouseKilled,mouseDead,runOverFace,wakedUp,asleep,lion,animals),(moouseKilled,mouse,animals))
Killing the mouse prevents the later to run over the Lion's face, which is good for him, but this is bad for the mouse.
* ((mouseKilled,mouseDead,runOverFace,wakedUp,asleep,lion),(mouseKilled,notHelpful,repay/gnow,laterLionProblemSolved/freeLion,lion))
If the mouse is killed, it is good for the lion, but it prevents the mouse to repay him later.

===Comments===
[[Category:Fables]]

The Ass, the Fox & the Lion

2015-10-14T13:18:36Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''18. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0018.htm Text available here]
===Structure===
[[Image:fable18.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
In S1:
* ((eatFox,hungry,lion,animals),(eatFox,fox,animals))
Eating the fox is good for the lion, but bad for the fox.
* ((eatAss,hungry,lion,animals),(eatAss,ass,animals))
Eating the ass is good for the lion, but bad for the ass.

In S2:
* ((eatFox,hungry,lion),(eatFox,stalkFox,rested,lion))
Eating the fox is good for the lion, but tiring because he must stalk the fox.

* ((eatAss,hungry,lion),(eatAss,stalkAss,rested,lion))
Eating the ass is good for the lion, but tiring because he must stalk the ass.

* ((assTrapped,promise,eatFox,fox,friends),(assTrapped,eatAssEasily,ass,friends))
If the ass is trapped, then via the promise, the lion does not eat the fox and the fox is not harmed. At the same time, if the ass is trapped, it cannot run and the lion eats him easily, which is bad for the ass. Since both are friends the fact that the ass is trapped is problematic (paradoxical). Because this situation is created by the fox performing the task, this is a betrayal.

* ((assTrapped,promise,eatFox,fox,animals),(assTrapped,eatAssEasily,ass,animals))
This is similar to the previous cycle, but weaker, since it only denote an interpersonal conflict, not a betrayal.

* ((eatAssEasily,hungry,lion,animals),(eatAssEasily,ass,animals))
Eating the ass easily is good for the lion, but bad for the ass. This is a replication of the conflict above in S1.

===Comments===
[[Category:Fables]]

Mercury & the Woodman

2015-10-14T13:16:35Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''17. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0017.htm Text available here]
===Structure===
[[Image:fable17.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((acceptOwnAxe,haveAxe,woodman),(acceptOwnAxe,choiceMade2,areadyAccepted1,acceptExpensiveAxe,beRich,woodman))
If the woodman accepts his own axe, he gets, but it prevents him from getting the expensive axe and being rich.
* ((acceptExpensiveAxe,beRich),(acceptExpensiveAxe,disgusted,beRich))
If the woodman accepts the expensive axe, he may be rich but he may also not be rich.
* ((acceptExpensiveAxe,haveAxe),(acceptExpensiveAxe,disgusted,haveAxe))
Similarily, if the woodman accepts the expensive axe, he may have an axe but he may also not have it.

===Comments===
[[Category:Fables]]

File:Fable17.gif

2015-10-14T13:15:54Z

Nicolas Szilas: uploaded a new version of "File:Fable17.gif"

Mercury & the Woodman

2015-10-14T13:12:23Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''17. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0017.htm Text available here]
===Structure===
[[Image:fable17.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((acceptOwnAxe,haveAxe,woodman),(acceptOwnAxe,choiceMade2,areadyAccepted,acceptExpensiveAxe,beRich,woodman))
If the woodman accepts his own axe, he gets, but it prevents him from getting the expensive axe and being rich.
* ((acceptExpensiveAxe,beRich),(acceptExpensiveAxe,disgusted,beRich))
If the woodman accepts the expensive axe, he may be rich but he may also not be rich.
* ((acceptExpensiveAxe,haveAxe),(acceptExpensiveAxe,disgusted,haveAxe))
Similarily, if the woodman accepts the expensive axe, he may have an axe but he may also not have it.

===Comments===
[[Category:Fables]]

Mercury & the Woodman

2015-10-14T13:05:11Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''17. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0017.htm Text available here]
===Structure===
[[Image:fable17.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((acceptOwnAxe,haveAxe,woodman),(acceptOwnAxe,choiceMade2,areadyAccepted,acceptExpensiveAxe,beRich,woodman))
If the woodman accepts his own axe, he gets, but it prevents him from getting the expensive axe and being rich.
* ((acceptExpensiveAxe,beRich),(acceptExpensiveAxe,digusted,beRich))
If the woodman accepts the expensive axe, he may be rich but he may also not be rich.

===Comments===
[[Category:Fables]]

The Goose that Laid the Golden Eggs

2015-10-14T12:57:39Z

Nicolas Szilas: /* Dramatic Cycles */

[[Aesop's Fables]] - '''2. {{PAGENAME}}'''
{{Aesop}}
===Text===
[http://www.happychild.org.uk/nvs/cont/stories/aesopsfables/page0002.htm Text available here]
===Structure===
[[Image:fable2.gif|frame|none
|<div style="text-align: center;">'''{{PAGENAME}}'''</div>]]
===Dramatic Cycles===
* ((killGoose,beRich),(killGoose,noEggs,beRich))
One the one hand, killing the goose may make the family very rich but on the other hand, they will loose the periodic income from the golden eggs.
* ((killGoose,beRich),(killGoose,notInGold,beRich))
Killing the goose might make the couple richer or less rich.

===Comments===
[[Category:Fables]]
This fable contains a "weak failure": the tasks succeeds but the intended goal fails.
It's main dramatic cycle plays of the two different possible outcomes of an action.

File:Fable19.gif

2015-10-14T12:55:08Z

Nicolas Szilas: uploaded a new version of "File:Fable19.gif"

File:Fable18.gif

2015-10-14T12:54:20Z

Nicolas Szilas: uploaded a new version of "File:Fable18.gif"

File:Fable17.gif

2015-10-14T12:53:41Z

Nicolas Szilas: uploaded a new version of "File:Fable17.gif"

File:Fable15.gif

2015-10-14T12:52:46Z

Nicolas Szilas: uploaded a new version of "File:Fable15.gif"

File:Fable14.gif

2015-10-14T12:52:13Z

Nicolas Szilas: uploaded a new version of "File:Fable14.gif"

File:Fable13.gif

2015-10-14T12:51:24Z

Nicolas Szilas: uploaded a new version of "File:Fable13.gif"

File:Fable12.gif

2015-10-14T12:50:52Z

Nicolas Szilas: uploaded a new version of "File:Fable12.gif"