Artificial Actors Research Articles

Carbon metabolism modelling and regulation in Beijing

Land use and cover change leads to significant increases in urban carbon emissions. Considering the insufficiency of spatially fine-grained management in previous carbon emission studies, this study integrated top-down and bottom-up methods to simulate urban carbon metabolism. Metabolic actors were allocated to grids based on land use and POI data and then attributed to districts. Results indicated that from 2000 to 2018, Beijing's Carbon Imbalance Index increased by 55.81% in 2010 and declined by 12.46%. Carbon emission dominated the changes in the Carbon Imbalance Index, with the Production and Supply of Electric Power actors consistently accounting for over 25.96%, while the contribution of Urban and Transportation actors reached 20.11% and 27.74% in 2018, respectively. The metabolic actors exhibited a gradient distribution pattern from southeast to northwest. Artificial actors' carbon emissions decreased from the center to the periphery and spread along the road network, with the High-High cluster in the southeast mainly contributed by Manufacturing (22.33%) and the Production and Supply of Electric Power (20.16%) actors. Spatial distribution changes of Natural actors mainly occurred in Daxing and Chaoyang districts, whose absorption area extended by 45% and 37.26%, respectively, contributing to an increase in carbon absorption by 2.47 and 0.15 times. The Semi-natural actor exhibited net carbon emissions, with the High-High cluster in the southeast zone contributing 60.96% of emissions in 2000. We also categorized Beijing into four Areas based on the relationship between carbon emission and absorption. Targeted policy recommendations were formulated for different districts and metabolic actors.

Cute or creepy, that is the question of liveness: can artificial actors perform live?

This paper examines the liveness of the performative acts of technologically simulated or synthesized agents in interaction with humans. It questions the ability of artificial performers to construct a sense of live presence on stage and in other daily performative scenarios and evaluates our perception of liveness in those contexts. In this critical and comparative analysis, I study the live quality of Hatsune Miku’s live musical performances – a computer-generated cyber celebrity with a three-dimensional holographic body and an artificially synthesized singing voice – and the stimulating interactions of PARO, the seal – an adorable therapeutic cuddle-robot utilized as an emotional companion in nursing homes and hospitals. Using performance and media theories, I examine the audience/users’ affective responses and engagement quality with the holographic singer and the robotic pet, directly leading to the acceptance or rejection of the claim to the liveness of these techno-actors. This research also evaluates the impact of the application of cuteness (or kawaii) in designing non-human agents versus the emergence of creepiness in interactions with their incorporeal bodies on our emotive response. The objective is to study the difference between the liveness and aliveness of non-human, non-living performing agents and the impact of evoking the sense of “cute” versus “creepy” on warping the Uncanny Valley Curve.

Visually Abstracting Event Sequences as Double Trees Enriched with Category‐Based Comparison

AbstractEvent sequence visualization aids analysts in many domains to better understand and infer new insights from event data. Analysing behaviour before or after a certain event of interest is a common task in many scenarios. In this paper, we introduce, formally define, and position double trees as a domain‐agnostic tree visualization approach for this task. The visualization shows the sequences that led to the event of interest as a tree on the left, and those that followed on the right. Moreover, our approach enables users to create selections based on event attributes to interactively compare the events and sequences along colour‐coded categories. We integrate the double tree and category‐based comparison into a user interface for event sequence analysis. In three application examples, we show a diverse set of scenarios, covering short and long time spans, non‐spatial and spatial events, human and artificial actors, to demonstrate the general applicability of the approach.

Concept Formalization in Designing: Roles of Natural and Artificial Actors

Concept Formalization in Designing: Roles of Natural and Artificial Actors

IMPLEMENTATION OF CHAT-BOTS IN THE HR PRACTICE OF A CONSTRUCTION ENTERPRISE

The article examines the practical aspect of the introduction of chatbots into the company's activities, taking into account its practical activities. Under the conditions of market relations, the responsibility and independence of enterprises in the development and adoption of management decisions to ensure the effectiveness of their activities increases. That is why the search for alternative solutions in the HR practice of a construction company is becoming relevant in today's crisis economy, namely the introduction of chatbots. The article analyzes and presents the main trends of its direction, as well as positive and negative sides. In modern business conditions, the construction sector plays a significant role in the domestic economy. Construction ensures the reproduction of fixed assets in all sectors of the economy, has numerous inter-sectoral connections and a high multiplier effect. More than 50% of the total investment in fixed capital is for the construction of buildings (residential and non-residential) and structures. Therefore, taking into account the analysis of the trends in the development of enterprises, it is determined that the construction industry plays an important role both in the regional economy and in the economy of the country. The sphere of construction is the main link in accelerating the development of other spheres of the national economy, as well as ensuring the appropriate level of people's quality of life. The use of Bots as automatic agents operating in the Internet space are not simple mechanical devices.Their presence indicates the formation of a new reality, in which artificial actors, partially endowed with human-like properties, are integrated into social relations. Therefore, the analysis of bots and their actions in various spheres of life is extremely relevant. In modern business conditions, bots are actively introduced into the field of human resource management, accordingly, the topic of automation and robotization of human resource management processes is at the peak of popularity. Keywords: construction enterprise, chatbot, personnel, profit, HR activity, development, industry, automation tool.

Social perception of embodied digital technologies—a closer look at bionics and social robotics

This contribution of the journal Gruppe. Interaktion. Organisation. (GIO) presents a study on the social perception of Embodied Digital Technologies (EDTs) and provides initial insights into social perception processes concerning technicality and anthropomorphism of robots and users of prostheses. EDTs such as bionic technologies and robots are becoming increasingly common in workspaces and private lives, raising questions surrounding their perception and their acceptance. According to the Stereotype Content Model (SCM), social perception and stereotyping are based on two fundamental dimensions: Warmth (recently distinguished into Morality and Sociability) and Competence. We investigate how human actors, namely able-bodied individuals, users of low-tech prostheses and users of bionic prostheses, as well as artificial actors, such as industrial robots, social robots, and android robots, are perceived in terms of Competence, Sociability, and Morality. Results show that individuals with low-tech prostheses were perceived as competent as users of bionic prostheses, but only users of low-tech prostheses were perceived less competent than able-bodied individuals. Sociability did not differ between users of low-tech or bionic prostheses or able-bodied individuals. Perceived morality was higher for users of low-tech prostheses than users of bionic prostheses or able-bodied individuals. For robots, attributions of competence showed that industrial robots were perceived as more competent than more anthropomorphized robots. Sociability was attributed to robots to a lesser extent. Morality was not attributed to robots, regardless of their level of anthropomorphism.

Perceptions of Creativity in Artistic and Scientific Processes

This paper presents the results of a factorial survey research on perceptions of artistic and scientific creativity in humans and AI. A general reluctance at at- tributing creativity to artificial systems is well-documented in the literature on the theme. Aim of this survey is to test whether this reluctance is equally strong when participants evaluate scenarios where human and artificial agents are involved in processes of scientific discovery and scenarios where they are en- gaged in artistic creation processes. The starting hypothesis of the study is that participants should be less hesitant at attributing creativity to artificial agents when the latter engage in scientific discovery processes. Findings, however, dis- confirm this assumption, showing that participants attribute significantly less creativity to artificial actors than to human ones, and even more so when they are involved in scientific processes.

Agents, environments, scenarios: A framework for examining models and simulations of human-vehicle interaction

This paper provides a framework for examining human-vehicle interactions with respect to three dimensions that can involve models or simulations: the agents, the environments, and the scenarios. Agents are considered on a spectrum from human to artificial actors. Environments are considered on a spectrum from simulated to real. Scenarios are considered on a spectrum from constrained to unconstrained. It is argued that these three dimensions capture key differences in research approaches within the field of human-vehicle interaction, and that explicitly situating research and discussions within this framework will allow researchers to better compare and contrast research outcomes and contributions. The framework is used to locate different disciplines in the community with respect to one another, and to identify areas which are as-yet unexplored.

Emancipation cannot be programmed: blind spots of algorithmic facilitation in online deliberation

ABSTRACT Challenges in attaining deliberative democratic ideals – such as inclusion, authenticity and consequentiality – in wider political systems have driven the development of artificially-designed citizen deliberation. These designed deliberations, however, are expert-driven. Whereas they may achieve ‘deliberativeness’, their design and implementation are undemocratic and limit deliberative democracy’s emancipatory goals. This is relevant in respect to the role of facilitation. In online deliberation, algorithms and artificial actors replace the central role of human facilitators. The detachment of such designed settings from wider contexts is particularly troubling from a democratic perspective. Digital technologies in online deliberation are not developed in a manner consistent with democratic ideals and are not being amenable to scrutiny by citizens. I discuss the theoretical and the practical blind spots of algorithmic facilitation. Based on these, I present recommendations to democratise the design and implementation of online deliberation with a focus on chatbots as facilitators.

Искусственные и живые актеры в пьесе Л. Пиранделло «Горные великаны»: воплощение в художественном тексте и на сцене

Искусственные и живые актеры в пьесе Л. Пиранделло «Горные великаны»: воплощение в художественном тексте и на сцене

Self-adaptive communication for collaborative mobile entities in ERCMS

Adaptation of communication is required for maintaining the connectivity and the quality of communication in group-wide collaborative activities. This becomes challenging to handle when considering mobile entities in a wireless environment, requiring responsiveness and availability of the communication system. We address these challenges in the context of the ROSACE project where mobile ground and flying robots have to collaborate with each other and with remote human and artificial actors to save and rescue in case of disasters such as forest fires. This paper aims to expose a communication component architecture allowing to manage a cooperative adaptation which is aware of the activity and resource context into pervasive environment. This allows providing the appropriate adaptation of the activity in response to evolutions of the activity requirements and the changes in relation with the communication resource constraints. In this paper, we present a simulation of a ROSACE use case. The results show how ROSACE entities collaborate to maintain the connectivity and to enhance the quality of communications.

The two projects of microeconomics

The Mazzoleni and Nelson paper published in Industrial and Corporate Change 22:6 (Mazzoleni and Nelson, 2013) is a graceful and informative excursion into the ambiguities of intellectual history. As I can lay no claim to special knowledge about the intellectual history of economics, I can only be impressed. The paper is also an examination of the possible future of microeconomics. Mazzoleni and Nelson have prejudices, so do I. This recitation of my prejudices has been stimulated by reading theirs, but it can be interpreted as a comment on their paper only in the sense in which an after dinner speech is commentary on the food. Modern microeconomics can be seen as a conflation of two projects. The first project is a normative one: inducing humans and artificial actors to make choices that exhibit intelligence of a particular kind. Within the litany of contemporary thought, it draws its framework from theories of choice, particularly those associated with modern statistics. It leads an acolyte to the pleasures of gambling, decision trees, Bayesian estimates, discounting, risk preference, derivatives, game theory, and the other refinements of rational action. It is encapsulated not only in introductory economics but also in statistics, operations research, finance, and management science. Its holy grail is the maximization of expected value as determined by a personal, exogenous, stable, consistent utility function; its principal technologies are the technology of estimation and the technology of gambling. It purports to provide an unassailable template for intelligent action. The second project is a positive one: describing the actual choices of clusters of intelligent humans when they are organized into markets, organizations, or other forms of interaction. It seeks to describe how decisions happen in individuals, groups, organizations, or societies. It explores the consumption choices of �

SIMULAÇÃO DE PACIENTES – CURSOS DE SUPORTE DE VIDA Suporte Avançado de Vida no Trauma

Durante os últimos 30 anos, o curso “Advanced Trauma Life Support” – Suporte Avançado de Vida no Trauma, do American College of Surgeons, tornou-se a principal referência mundial no ensino do atendimento inicial ao traumatizado. A partir de uma primeira experiência em Nebraska, em 1978, o curso difundiu-se rapidamente para mais de 25 países, graças a sua abordagem objetiva, prática e dinâmica do ensino das prioridades vitais do traumatizado grave e por sistematizar algumas técnicas cirúrgicas indispensáveis para o sucesso do atendimento. Este modelo de ensino, baseado em simuladores artificiais, em modelos animais e atores humanos se apresenta como alternativa eficiente para o ensino de emergências médicas.

Interacting neural networks and the emergence of social structure

AbstractThe article describes a computational model for the simulation of the emergence of social structure or social order, respectively. The model is theoretically based on the theory of social typifying by Berger and Luckmann. It consists of interacting artificial actors (agents), which are represented by two neural networks, an action net, and a perception net. By mutually adjusting of their actions, the agents are able to constitute a self‐organized social order in dependency of their personal characteristics and certain features of their environment. A fictitious example demonstrates the applicability of the model to problems of extra‐terrestrial robotics. © 2007 Wiley Periodicals, Inc. Complexity 12: 41–52, 2007

Planning characters' behaviour in interactive storytelling

AbstractIn this paper, we describe a method for implementing the behaviour of artificial actors in the context of interactive storytelling. We have developed a fully implemented prototype based on the Unreal Tournament™ game engine, and carried experiments with a simple sitcom‐like scenario. We discuss the central role of artificial actors in interactive storytelling and how real‐time generation of their behaviour participates in the creation of a dynamic storyline. We follow previous work describing the behaviour of artificial actors through AI planning formalisms, and adapt it to the context of narrative representation. In this context, the narrative equivalent of a character's behaviour consists of its role. The set of possible roles for a given actor is represented as a hierarchical task network (HTN). The system uses HTN planning to dynamically generate the character roles, by interleaving planning and execution, which supports dynamic interaction between actors, as well as user intervention in the unfolding plot. Finally, we present several examples of short plots and situations generated by the system from the dynamic interaction of artificial actors. Copyright © 2002 John Wiley & Sons, Ltd.

From computer games to interactive stories: interactive storytelling

Interactive storytelling can be based either on explicit plot representations or on the autonomous behaviour of artificial characters. In such a character‐based approach, the dynamic interaction between characters generates the actual plot from a generic storyline. Characters’ behaviours are implemented through real‐time search‐based planning techniques. However, the top‐down planning systems that control artificial actors need to be complemented with appropriate mechanisms dealing with emerging (“bottom‐up”) situations of narrative relevance. After discussing the determinants that account for the emergence of narrative situations, we introduce additional mechanisms for coping with these situations. These comprise situated reasoning and action repair: we also illustrate the concepts through detailed examples.

Missing Persons: Character and Characterization in Modern Drama by William Gruber

300Comparative Drama ceedingly scholastic, and probably definitive biography of Wilde by Richard Ellmann stands as a silent rebuke to the aberrant publication here under review. JAMES COAKLEY Northwestern University William Gruber. Missing Persons: Character and Characterization in Modern Drama. Athens: Univ. of Georgia Press, 1994. Pp. xi + 222. $40.00. At a time when notions of the unified self have become increasingly untenable, a book that purports to "restore [the study of] character to dramatic criticism" (p. 2) is likely to encounter difficulties. But inasmuch as William Gruber focuses on character in modern drama as the definition or redefinition of "subjectivity, identity, [and] selfhood" on the stage (p. 1), readers may feel that he sets out to "restore" to dramatic criticism a central component of its discourse. Rather than taking issue with recent critiques of the self, he demonstrates that these critiques are actually played out in dramas themselves and observes a continued centrality of the issue of character for theater criticism. The five chapters of this book are divided between the modern and the postmodern. The first two chapters argue that the modern theories of drama of Edward Gordon Craig and Bertolt Brecht "rewrite" what Gruber calls "the grammars by which agents are understood to act" (p. 10). The final three chapters then explore how the works of Samuel Beckett, Thomas Bernhard, and Maria Irene Fornes "exemplify some of the problems that Brecht or Craig dealt with on more theoretical levels" (p. 10). In short, the intent is to demonstrate how the modern continues to provide the conceptual framework for the representation of character in postmodern drama. The analysis of Craig seems to be more innovative than the treatment of Brecht. Gruber coordinates a reading of Craig's essay "The Übermarionette" with an examination of his illustrations for the stage. Gruber contends that Craig consistently attempted to "discount psychological representation as the source of meaning in theatrical performance " and that Craig's conception of character resulted from a combined emphasis on artificial actors and on what he called the "kinetic stage" (p. 27). The departure from psychological representation, Gruber argues, is evident in the image of the marionette or "artificial actor" which "moves in accord with powers external to it" (p. 15). In Craig's conception, however, this departure is accentuated by a lack of mimetic component in the "kinetic stage"—a lack that Gruber identifies in the often insurmountable two-dimensionality of his designs for the theater. Consequently, the representation of character for Craig assumes Reviews301 a paradoxical dimension: while it is contingent upon external forces or environment, the environment he provides cannot be realized. Character thus remains thwarted, suspended and ghost-like. Since this characterdefining "space" remains undefined, Craig's illustrations "are studies in the attrition of individualized characters" and thus are "elaborate denials of the possibility of representing individual experience" (p. 46). Whereas pictorial art is crucial to the analysis of the representation of character in Craig, narrative art is crucial to Gruber's analysis of the complexities of Brecht's conception of character. While both theoreticians represent character as the product of external, material forces, Gruber notes that Brecht understands these forces as "the roles the world obliges one to play" (p. 59). For Gruber, the difference between pictorial and narrative structures in the theories of Craig and Brecht facilitates the social implications of the latter's conception of character. Indeed, Gruber maintains that Brecht's emphasis on the actor's difference from his or her role parallels the individual's relation to the roles he or she must play in daily life. With regard to the assessment of character and its representation in contemporary drama, Gruber thus implies that it is conceived either along pictorial or narrative lines, and that the more narrative its structure, the more socio-political the drama's implications. In the final three chapters Gruber seems increasingly interested in socio-political aspects and consequently the favoring of the narrative rather than pictorial representation of character. After emphasizing the resemblance between Beckett's theater and Craig's, Gruber then distances Thomas Bernhard from his usual association with Beckett. Bernhard is given a more Brechtian hue, and also it would appear that...