Information Technology Reference
In-Depth Information
5
LogTell-R
To implement this model w
schema level, i.e. the set of
consideration the four relat
Manager module originally
The changes introduced in
introducing complex operat
When dealing with supp
composition, we considere
some sort of discontinuit
discontinuity in one cont
incompatible contexts, then
the technique or artisanship
a great deal of creativity.
characterizing in terms of
factor involving the current
can in general be seen as a
that the audience knows w
borderline of plausibility. F
by resorting to folktale m
contradictions or dead-end
their encompassing genres.
insertion of a motif at an ap
a pre-defined set, and tak
associated with either a goa
concept, we selected a set o
without the unrealistic assu
dramatization tools, provid
events must ensue. In our
behaviour of the involved c
we extended LOGTELL's interaction modes and dynam
f operations that can transform the storyworld, to take i
tions previously presented. As mentioned before, the P
y dealt only with the syntagmatic and paradigmatic ax
n our new prototype now allow meronymic relations
tions, and antithetic relations, by employing motifs.
port for antithetic relations, since we emphasize interact
ed the possibility of user interventions that can result
ty being produced. If we see a disruption not a
text, but as an attempt to put together two origina
n the notion of blending [3] immediately comes to mind
p of conciliating the pending conflicts, which often requ
Incompatibilities between events - which we have b
antithetic event relations - are usually induced by so
t value of a property or the beliefs of a character. A ge
a contract between author and audience [7] - in the se
what to expect - even if some event almost crosses
Fortunately, blending can be achieved in a convenient w
motifs [18], which often encode ingenious solutions
ds in a tale, while seeming to fit with the conventions
In order to support this mediation, LogTell-R permits
ppropriate position in the plot. This motif must come fr
kes the form of a special (pseudo-)operation. Motifs
al specification or a set of post-conditions. In our proof
of genre-suitable motifs (e.g. life token - that allows to
umption that characters are omniscient). Motifs also ac
ding the audience a convincing explanation of why cert
prototype, a motif is associated with a script defining
characters when dramatizing it.
mic
into
Plot
xes.
by
tive
t in
as a
ally
d, as
uires
been
ome
enre
ense
the
way
s to
s of
the
rom
are
f-of-
o do
t as
tain
the
Fig. 2.
Hierarch
hy of typical plans used in most of our experiments
