(Riedl, Saretto, & Young 2003) describes narrative mediation, a plan-based technique for addressing human user actions that conflict with the story structure maintained by computer-controlled agents within interactive narrative environments. This technique is used to generate real-time system responses to unanticipated user actions while balancing user freedom with story coherence. Narrative me...

Narrative representations have become recognized as an important tool for software design. Such design techniques as use-cases and the user stories of eXtreme Programming [26] exploit narrative’s ability to represent a complex sequence of actions in a coherent, systematic structure. This is true, not only of games, storytelling systems and other directly narrative applications, but also of ordi...

Children with pre- or perinatal brain injury (PL) exhibit marked plasticity for language learning. Previous work has focused mostly on the emergence of earlier-developing skills, such as vocabulary and syntax. Here we ask whether this plasticity for earlier-developing aspects of language extends to more complex, later-developing language functions by examining the narrative production of childr...

People are constrained by their culture and social life when telling stories. A second language learner then cannot be expected to tell stories in the target language without cross-cultural effects that influence the way of narration. The present study examined the role of the first language (L1) and second language (L2) in the organization of narratives by focusing on Persian speakers’ and EFL...

Discursive functions are shared across all languages, but each language uses different linguistic means to appropriately establish referential cohesion. Children’s mastery of this cohesion in narrative texts develops gradually and is influenced by development in syntax. Consequently, speakers can employ different strategies, and among the various structural configurations of arguments, some are...

Previous approaches to adaptive presentation have highlighted conflicts of interest between adapting the content, media type or quality and structure of a presentation. By using the three level model of narrative as a starting point, we can gain a greater understanding of the relationship between these. In this paper we present the prototype Hyperdoc system, which applies adaptive techniques at...

Computational models for goal recognition hold great promise for enhancing the capabilities of drama managers and director agents for interactive narratives. The problem of goal recognition, and its more general form, plan recognition, have been the subjects of extensive investigation in the AI community. However, relatively little effort has been undertaken to examine goal recognition in inter...

An interactive narrative is an education, training, or entertainment experience, based on a narrative that is guided by authorial intent. Interactive narratives have two important characteristics: some form of authorial intent as represented by the narrative structure and an affordance for autonomy of player characters. Technologies for constructing engaging interactive narratives have been spr...

When we read narrative texts such as novels and newspaper articles, we segment information presented in such texts into discrete events, with distinct boundaries between those events. But do our eyes reflect this event structure while reading? This study examines whether eye movements during the reading of discourse reveal how readers respond online to event structure. Participants read narrati...

Cognitive neurosciences have made significant progress in learning about brain activity in situated cognition, thanks to adopting stimuli that simulate immersion in naturalistic conditions instead of isolated artificial stimuli. In particular, the use of films in neuroscientific experiments, a paradigm often referred to as neurocinematics, has contributed to this success. The use of cinematic s...