Adaptive Storytelling
Story lies at the basis of human experience of life. We see stories
in a leaf floating, in a cup of tea, a natural disaster or in a moving
dot on a screen. We tell stories to communicate with each other, to make
sense of the world we live in, to entertain ourselves and our fellows.
Story bears a conflict between fixed form and fluidity.
Actors adapt to their audiences, especially in comedy performances.
Commedia dell’Arte involved a continuous dialogue between improvisation
and pre-written texts. Forms of improvisation theatre use low but
efficient techniques to build adaptive storytelling.
While a story can be fixed in a script, stories time travel and are
re-told. The printing press fixed the novels in books as a culmination
of storytelling. Captured movement fixed stories on celluloid and made
actors into stars. Later, on in the digital environment, what was fixed
became fluid again. The end can become the beginning, the dead can
resurrect on screen and entertain us once again with vidding, produsage or datamoshing becoming a widespread practice in online video, content audiences interacting with ready made content in shaping new stories.
With the advent of stronger and stronger computing power, a new ideal is emerging: interactive storytelling.
Story is strongly linked to the technology and the medium through
which it is told. Besides delivering targeted commercials, nowadays AI
can simulate speech and draft scripts. Games use AI in emulating
non-human players for bringing action and realism to digital worlds.
Will AI overcome the need for a good story for structure? Will we be
living the dream of a digital storytelling machine?
CINETic Review 2(1).2020 focusses on technologies
and techniques used for creating live or recorded adaptive stories. We
look forward to papers publishing original research results or case
studies from fields of performance, film, gaming, interactive art,
social platforms, and interdisciplinary art-science-technology
approaches on interactive storytelling practices.
All submitted papers will be peer-reviewed. Accepted articles will be published in the CINETic Review.
The previous issue of our open-sourced journal can be read here: CINETic Review 1(1).2019
ABSTRACT SUBMISSIONS
- Title, Author(s) and Affiliations
- Abstract: 400 words
- Deadline: 10 February 2021
- Abstracts will be sent at cinetic@unatc.ro
GENERAL GUIDELINES FOR SUBMITTING ARTICLES
TITLE: maximum 8 words.
ABSTRACT: 150-200 words.
KEYWORDS: 5.
ARTICLE LENGTH: minimum 2500 words, maximum 5000 words.
LANGUAGE: US English.
REFERENCING STYLE: HARVARD (https://www.mendeley.com/guides/harvard-citation-guide).
STRUCTURE:
- Introduction (minimum: State of the subject, Objective, Hypothesis)
- Methods | Methodology
- Results | Findings | Originality
- Discussion | Relevance
- References
ILLUSTRATIONS: maximum 3 (photographs, drawings, diagrams, charts), captioned in Harvard style, included in the text and sent separately as .jpg files.
BIOGRAPHY: maximum 250 words, plus a 3x4cm portrait picture (to be sent separately as .jpg file).
Authors are invited to present selected papers at the online conference on Games Education and Digital Tools between 6-9 November 2020 organized by the CINETic center of the National University of Theatre and Film Bucharest.
All contributions and correspondence should be sent to: cinetic@unatc.ro
