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Showing posts from May, 2020

AI Narrative: A History (BrainStorm Examples)

When applying AI narrative in a project, it seems important to first look at the narrative of AI narrative. That is to say, the historical context through which AI Narrative is viewed as this could inform how it is used in practical terms.

What is AI? Where did it originate? Has the description evolved ? How is AI used to form narrative in media ? How is it used to form the media through narrative ?

I’m going to look at this pretty broadly and identify some examples that seem important to me (which are by no means exhaustive.. and may even seem off topic).



In Absentia ©️ Brothers Quay
Automatic Writing ©️William Kentridge 

Wall-e ©️ Disney 

Short Circuit ©️ TriStar Pictures (1986) 

Uncanny Valley 

Polar Express ©️ Warner Bros Pictures 

A Cyborg Manifesto ©️ Donna Harraway 
Full Text Available Here…

AI Narrative : Paper

Strange as it may seem, I’m going to begin my track through AI narrative history with the definition of animation as ‘the endowing of life and the endowing of motion’ (Chodlodenko, 2007). I begin here because the evolving definition of Animation as a practice in which the animator is the author of the animated world and everything in it is relevant to AI narrative in which the author has less control over the narrative aspect of the animated world.


I’m also going to talk about cyborg, Donna Harraway.

cybernetics, systems design and how Crowds are controlled (Policing and the pandemic).

2nd order cybernetics, the observer observing the observed and the particle/wave collapse.

Film Studies
Chodlodenko, returns to this topic again, referring to the way ‘animation as giving life to’ is Animation as film and media studies ‘blind spot’. (Chodlodenko, A. 2015).

First is my perennial annoyance—when attending conferences, lectures, etc., across all disci…

AI Narrative: Modelling ‘mind’

What is narrative and how is it structured?

When I think about this, I am reminded of the helix project. Part of this experimental work was focused on trying to find a way to capture, organise, connect and disseminate, practice-based research.

Helix App Concept

At that time, when trying to represent the structure and process of mind, I turned to psychology. I used mental modelling theory (Craik, k, Johnson-Laird, P, Taversky,B) to Provide terms to help articulate my concept and inform the visual representation of mind 
I noted that when talking to people about how they think, I asked them to recall memories and describe how they did this. Some described a pathway, a cycle, a spiral or a labyrinth. Others described an experience of running and catching ideas, some playing golf but these activities were usually constructed in a world model of some sort. 
For me, at that time, I aligned my model as a cloud from which my ‘timeline’ was drawn as a spiral model. Through which I could look d…

AI Narrative: Grey & Academic Literature (2015 - 2020) GDC/IEEE/ACM literature Sweep findings

AI/VR: situated animation in the Library of Babel
If cinema represents the `most replete and consuming instance of an interface for dreaming' [1], what more can we expect of virtual technologies and Artificial Intelligence, or indeed, of computation in general, to create animated works that surpass our longstanding, heterogeneous, heritage of time-based visual media? The promise of VR and AI is arguably that of an ontological and ethical shift, one that takes us closer to a posthuman animation.Through a practice-based research process the author reports on the ways in which a VR/AI work, `Return to the Library of Babel'[2], deploys procedural animation and emergent spaces, engendering a dynamic, animated realm, one of situated, emergent, subjects and objects, within what Sara Ahmed frames as a political economy of, and, one might add a logic, of `disorientation' [3].
Published in: 2018 IEEE 1st Workshop on Animation in Virtual and Augmented Environments (ANIVAE)