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In November 2018, Studio Tender Claws launched Tendar, the first long-form, augmented reality game to merge AR technology with human sentiment analysis. Gameplay centers around an artificially-intelligent pet fish that responds to the player’s actions, emotions, and physical surroundings via a combination of generative and hand-scripted dialog. The fish recognizes over 100 user emotions and 200 physical objects as it navigates eight distinct developmental stages. As a small independent game studio, our challenge was to generate and trigger engaging dialog for the vast combinatoric writing surface that the game presented, all while dynamically adjusting tone, affect, and content according to player actions and the fish’s emotional state.

To address this challenge, we adopted Dialogic, an open-source scripting language and toolkit for interactive, generative dialog. Dialogic, authored by panellist Daniel Howe, integrates generative and scripted content, allowing NPCs to respond organically to non-sequential input from human users. Because the system is open-source and under active development, we were able to adapt it to our needs as they emerged throughout the game’s development. The system proved both versatile enough to be used by our mixed-background writing team, and performant enough for runtime execution in our Unity/Android environment.

This panel brings together Samantha Gorman, co-founder of Tender Claws and lead writer for the project; Ian Hatcher, a member of the core writing team; and Daniel Howe, the creator of Dialogic. Together we will discuss how iterative design and close collaboration between the various teams helped us achieve project goals for both Tendar and Dialogic. We will also present the strategies, processes, and tools we found to be most useful in addressing the vast combinatoric space that the project presented.

By Chiara Agostinelli, 3 October, 2018
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Abstract (in English)

Private reading practices and public spaces collide at the mobile browser, and this interactive installation imagines a browser that amplifies the intimate co-presence of its readers. In an ambient immersive environment, it asks if an interface could become more expressive of our influence on each other, and it embodies how language slips from one screen to another in an always shifting hybrid of reading-writing. Users join a public reading area equipped with a row of iPads, each opened to an experimental web browser. The darkened gallery combines the interstitial nature of the public waiting room with the intimacy of a bedroom, and the illumination from each screen invites digital eavesdropping and attention to fellow users. Upon browsing, each reader witnesses other readers' touch behaviors layered in colorful, ephemeral trails on their own screen as they browse. Fragments of text tapped by their neighbors float over their own reading choices, interceding in their chosen narratives, both as alteration of the reading experience and also as reminder that their reading behaviors are written elsewhere. In addition to the in-app display, the program collects these text fragments from all readers into an accumulating archive and conceptual poem, written collaboratively and programmatically. This shared composition is made publicly available on site, as the performance of digital reading becomes an act of writing in an era when every action becomes data. Language has always been about that spark gap of transmission from one mind to another. This work explores how digital reading negotiates the gap between readers as we share anonymous physical proximity but diffuse digital intimacy, plumbing the tensions alive in the intersections of reading–writing, physical–digital, self–other. The work directly engages ELO conference themes including "mobile technologies' effect on writing and reading habits" as well as considerations of screens and presence. The paper draws on interdisciplinary scholarship from media studies and classics, cognitive science and design research, to explore cultural and historical contexts for digital reading practices that ground the considerations of the installation. It argues that digital reading environments contribute to a more fragmented experience of subjectivity, one that reflects an existing social ecology which technology should be used to emphasize.