This paper frames the process of designing a level in a game as a series of model transformations. The transformations correspond to the application of particular design principles, such as the use of locks and keys to transform a linear mission into a branching space. It shows that by using rewrite systems, these transformations can be formalized and automated. The resulting automated process is highly controllable: it is a perfect match for a mixed-initiative approach to level generation where human and computer collaborate in designing levels. An experimental prototype that implements these ideas is presented.
A level designer typically creates the levels of a game to cater for a certain set of objectives, or mission. But in procedural content generation, it is common to treat the creation of missions and the generation of levels as two separate concerns. This often leads to generic levels that allow for various missions. However, this also creates a generic impression for the player, because the potential for synergy between the objectives and the level is not utilised. Following up on the mission-space generation concept, as described by Dormans, we explore the possibilities of procedurally generating a level from a designer-made mission. We use a generative grammar to transform a mission into a level in a mixed-initiative design setting. We provide two case studies, dungeon levels for a rogue-like game, and platformer levels for a metroidvania game. The generators differ in the way they use the mission to generate the space, but are created with the same tool for content generation based on model transformations. We discuss the differences between the two generation processes and compare it with a parameterized approach.
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Deze casestudie geeft inzicht in verschillende soorten kennis die kenmerkend zijn voor applied design research. Er wordt onderscheid gemaakt tussen kennis over de huidige situatie, over wenselijke alternatieven en over effectieve oplossingen om daar te komen. Ofwel, kennis hoe het is, kennis over hoe het kan zijn en kennis over hoe het zal zijn als we effectieve oplossingen toepassen. Elk van deze soorten kennis heeft andere kwaliteitscriteria.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
In the last decade, the automotive industry has seen significant advancements in technology (Advanced Driver Assistance Systems (ADAS) and autonomous vehicles) that presents the opportunity to improve traffic safety, efficiency, and comfort. However, the lack of drivers’ knowledge (such as risks, benefits, capabilities, limitations, and components) and confusion (i.e., multiple systems that have similar but not identical functions with different names) concerning the vehicle technology still prevails and thus, limiting the safety potential. The usual sources (such as the owner’s manual, instructions from a sales representative, online forums, and post-purchase training) do not provide adequate and sustainable knowledge to drivers concerning ADAS. Additionally, existing driving training and examinations focus mainly on unassisted driving and are practically unchanged for 30 years. Therefore, where and how drivers should obtain the necessary skills and knowledge for safely and effectively using ADAS? The proposed KIEM project AMIGO aims to create a training framework for learner drivers by combining classroom, online/virtual, and on-the-road training modules for imparting adequate knowledge and skills (such as risk assessment, handling in safety-critical and take-over transitions, and self-evaluation). AMIGO will also develop an assessment procedure to evaluate the impact of ADAS training on drivers’ skills and knowledge by defining key performance indicators (KPIs) using in-vehicle data, eye-tracking data, and subjective measures. For practical reasons, AMIGO will focus on either lane-keeping assistance (LKA) or adaptive cruise control (ACC) for framework development and testing, depending on the system availability. The insights obtained from this project will serve as a foundation for a subsequent research project, which will expand the AMIGO framework to other ADAS systems (e.g., mandatory ADAS systems in new cars from 2020 onwards) and specific driver target groups, such as the elderly and novice.
This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
