Affective narrative, augmenting relevance for informational space

Notes 1 Emotional museum visits

Like museums, rich media can be seen as a collections of aesthetic and fascinating objects that are supposed to arouse excitement.

With adding an element of narrative, or xxx visitors experience a different environment from the ususal one (being away), they have a stimulating experience extended in time and space (extent), visitors are in an inherently interesting and engaging environment (fascination) and they are supported in what they intend.

Inducing emotions in passive visitors, is a step toward the appropriation of the information, which is an essential component of appreciation.

The capability of surprising visitors using different presentations styles different depending on the observed exhibit (rich media, information space) which is an essential component of the of appreciation.

By using these cues, the potential emotional of the presentation/information space can be exploited to influence and possibly change visitors attitude.

Visitors models...

Note 2 engagement vs immersion

We can trace the pleasure we enjoy from narratives directly chemas. thus building a narrative...

The pleasures of immersion stem from our being completly absorbed within the ebb and flow of a familiar narrative schema. The pleasure of engagement tend to come from our ability to recognize a work's overtuing or conjoining conflicting schemas from a perspective outside the text.

Clearly immersion and engagement represents the ideals or goals of affective experiences, but do they necessarily exist on a continuum where ....

our expectations of continuity, causation and the closure that neatly resolves the story's central tensions

Long term engagement with character

Note 3 aesthetic framework to develop for our case see paper

We can explore the relation to the rich media environment by...

-unity: the coherence and completeness of objects or ideas. unity is the wholeness of an experience

• Focus attention or object directedness: elements that bring about focus to desire to proceed with an activity
• affect: an emotional investisment that helps create link to an experience or activity
• intrinsic gratification: a feeling of pleasure, reward and satisfaction from an activity.

Note 4: Fictional character johan http://www.cs.vu.nl/~jfhoorn/ Virtual reality: Do not augment realism, augment relevance.

To imagine fictional worlds has functions for primary concerns in real life, one of which is subjective well-being (cf. [7], p. 344-359). In supporting subjective well-being, fiction has at least five functions (cf. [25], [31, pp. 15-39]). First, fiction fulfils a modeling function [1] in that one learns how to behave in specific circumstances (e.g., the avatar of a famous micro-surgeon in the virtual operation room may be a role model to medical students). Second, people need to explore in a safe place (e.g., a flight simulator) dangerous, impossible, or expensive events such as moon landings, star wars or terrorist attacks (cf. [3], [6], [24], [28]). Third, fiction can satisfy the need for emotional experiences to recompense tedium and listlessness, and motivate our behaviors (cf. [1], [7, p. 475, p. 371]). Fourth, fiction may be entertaining and relaxing. People love seeing stunning events that are pretty impossible to encounter in real life. Fifth, fiction helps to re-experience or re-live the past, which may be clear for historic novels (e.g., Père Dumas) but also for family photographs and home videos (see below).

Founded on psychological theories of emotion, art, and interpersonal attraction, [11], [12], [18] formulated a new theory on how spectators of theater, art, film, TV, and other media establish affective relationships with fictional characters. The PEFiC theory (Perceiving and Experiencing Fictional Characters) states that identification is merely one example of a diversity of involvement and distance conflicts that someone may experience with fictional characters

What happens first, is that people scan the situation on features that are important to the goals and concerns with which they enter that situation (relevance). Second, they evaluate whether these relevant features are helpful (positive) or harmful (negative) to the goals and concerns at stake (valence) [7, p. 494, p. 463]. Valence is fed by the appraisal of three domains: Ethics, aesthetics, and epistemics. The morality or ethics of a situation refers to questions such as 'Is this environment equipped for goodness (e.g., a church) or for badness (e.g., a war zone)?' The aesthetics of a situation refers to estimates of beauty (a beautiful garden or an ugly ruin). The epistemics of a situation pertains to the degree of being realistic (virtually hovering over Berlin) or unrealistic (e.g., being on Fantasy Island). These appraisals pertain to the norms someone maintains and sometimes people use double standards ('I like to go into war zones but the church says no').

Note 6 Emotions and hedonic experience

Enjoyyment generally is the emotion resulting either perceiving a fit object form some concern or from the successful exercise of one's capabilities when such succes in not taken as granted (function pleasure)

Unexpectedeness has been shon to determine major parameters of surprise

-affect

• appraisal
• action readiness
• arousal
• cognitive activity changes

Emotion enhancement- Emotion Anticipation. Emotion significance.

Frawework claire give one example and discuss //

-state o information as in VU / navigation VU

-state 1 : + baloon ; immersion, communication-- invisible auditor rhetoric style unity affect

-state 2: media in balloon: engagement affect object directness attention

-state3: virtual character and dialogue. affect immersion intrsic gratification ....

• state 4: state 3 + media object is dubful in my mind too many objects disperse attention, imersion lose unity? engagement possibly