Human Storytelling Research Articles

Integrating sound effects and background music in Robotic storytelling – A series of online studies across different story genres

Social robots as storytellers combine advantages of human storytellers – such as embodiment, gestures, and gaze – and audio books – large repertoire of voices, sound effects, and background music. However, research on adding non-speech sounds to robotic storytelling is yet in its infancy. The current series of four online studies investigates the influence of sound effects and background music in robotic storytelling on recipients’ storytelling experience and enjoyment, robot perception, and emotion induction across different story genres, i.e. horror, detective, romantic and humorous stories. Results indicate increased enjoyment for romantic stories and a trend for decreased fatigue for all genres when adding sound effects and background music to the robotic storytelling. Of the four genres examined, horror stories seem to benefit the most from the addition of non-speech sounds. Future research should provide guidelines for the selection of music and sound effects to improve the realization of non-speech sound-accompanied robotic storytelling. In conclusion, our ongoing research suggests that the integration of sound effects and background music holds promise for enhancing robotic storytelling, and our genre comparison provides first guidance of when to use them.

Illustrating Tomorrow: The Role of Comics in Engaging Research Participants in Disruptive Futures Research

This study examines the application of comics in futures research to involve stakeholders in infrastructure strategy discussions for disruptive futures. It employs a graphic novel called “Vanishing Point! Our Built World,” which augments generative AI art with human storytelling to transport participants into a speculative 2150 with a solarpunk theme. The narrative applies the concept of future-self continuity and a temporal discontinuity framework to promote visions of sustainability for both humanity and the environment. The research emphasises the ability of comics to foster meaningful discussions on future infrastructure coordination by incorporating Social Construction Theory, Social Construction of Technology Theory, and Actor Network Theory. Comics being adapted into videos and used in workshops highlight their effectiveness in promoting engagement and facilitating semi-structured discussions. This demonstrates comics as a dynamic tool in futures research and participatory methodologies. Relevant themes: Anthropocene, Ecocene and Climate Change/Post-capitalism/Utopias, Eutopias and Dystopias/Solar Punk and its relations/Artificial Intelligence and Automation/Wicked Problems/Futures and Metaphor/Reimagining Futures Tools and Methodologies. Statement acknowledging use of Generative AI Art and copyright ownership: “Vanishing Point! Our Built World” graphic novel artwork was created with Midjourney generative AI. These images were created using the author’s prompts and ideas. The author owns these AI-generated photos and their derivatives. Synthesia was used to create animated films and AI-generated avatars from comic artwork. Statement on the use of Generative AI in the production of this manuscript: Referring to Author Guidelines on Using Generative AI and Large Language Models| Sage Learning Resources (sagepub.com ), this manuscript employed various AI tools to assist with research and writing. ChatGPT4 and its plugin, Scholar AI, helped identify relevant literature in addition to traditional research. Litmaps revealed article linkages, clarifying the research landscape. ChatGPT4 critiqued the manuscript. Quillbot improved the manuscript's clarity and consistency by improving its language.

Similarities and Differences in Revenge Motifs Between Hamlet and the Orphan of Zhao

“The Orphan of Zhao” written by Ji Junxiang who was a playwright in China’s Yuan Dynasty and “Hamlet” by William Shakespeare are two very classic literary works in East and the West, both with the theme of “revenge”. This article found that the similarities in revenge motif of the two works can be divided into four aspects: central themes、plot presentation、social background innuendo、political conspiracy. In the differences in revenge motif, there are obvious differences in three aspects: narrative form、means of Revenge、character portrayal. In-depth research found that the main reason for these similarities and differences is differences in cultural backgrounds.Through this comparative endeavor, we aim not only to highlight the divergent approaches to revenge between Eastern and Western literary traditions but also to deepen our comprehension of the unique characteristics, connotations, and cultural backgrounds inherent in these works. Moreover, this analysis endeavors to serve as a guiding framework for discerning common patterns in the developmental trajectory of literature across diverse ethnic groups. In essence, this study aspires to illuminate the rich tapestry of human storytelling while fostering a more profound appreciation for the multifaceted interplay between culture, society, and creative expression.

NARRATIVE EXPLORATIONS OF CARE: THE TRANSFORMATIVE POWER OF CAREGIVING IN THE CONTEXT OF MENTAL HEALTH AND CANCER

Abstract Embracing the “narrative turn,” we used the post-modern and feminist informed research methodologies of narrative inquiry alongside photo elicitation to co-create an in-depth cancer family caregiver narrative with a 50-year-old daughter who cared for her mother (age 80) affected by lifelong schizophrenia and recent metastatic breast cancer. The participant was invited to share personal photos to support her in co-creating a caregiver narrative within the narrative interview environment. While these photos were not analyzed for content, they prompted the participant to share stories about her private caring experiences and make meaning of them. The I-statements of these stories were then used to create a research poem which explores a life lived alongside a parent with mental health issues, while highlighting the transformation and healing potential that life-limiting cancer introduced to their complex relationship affected by mental health barriers. The I-Poem rendering was analyzed for cognitive and emotional meaning resonant of the human experience. Emergent thematic threads of personal humanistic values include altruism, love, and forgiveness. Additionally, this I-Poem analysis contributes to new knowledge situated in human story telling while capturing a transformational personal experience of caring as an exemplar which resists discrimination and disunity among older persons and their family caregivers on the basis of mental health with concomitant serious illness.

The Nexus of Storytelling and Collective Learning: A Synergistic Spark for Human Emergence

This paper explores the implications of storytelling as an essential complimentary concept to collective learning for labeling human emergence within the Big History thresholds framework. It proposes that the distinctively human cognitive capability for communicating explanatory descriptive narration (i.e., storytelling) was a foundational adaptive behavior and central driving force that launched humans into a unique evolutionary pathway as collective learners whose increasing knowledge has transformed the world. Storytelling provides a theorem for why human language skills and brain capacity increased so dramatically since our common ancestor with chimpanzees, and how our storytelling brain models our world through narratives that undergird human belief systems and facilitate complex social coordination. The paper outlines the symbiotic role that storytelling played in turning the cultural “ratchet” of collective learning throughout prehistoric times and its corresponding influence on prehistorical milestones. It goes on to explore the benefits of teaching storytelling as a complement to Big History threshold (6) collective learning and concludes with a look at the vulnerability of the human storytelling brain regarding its ability to unite or divide people through the power of narratives, whether they are factual or fictional. The paper invites the Big History community to consider embracing the emerging transdiscipline of storytelling within the Big History tent as synergistic complement to collective learning, that pulls together many Big History threads and which can help improve the effectiveness of telling Big History as a common human origin story for navigating the precarious prospects of the Anthropocene.

Augmented digital human vs. human agents in storytelling marketing: Exploratory electroencephalography and experimental studies

AbstractAs the fourth industrial revolution unfolds and the use of digital humans becomes more commonplace, understanding digital humans' potential to replace real human interaction or enhance it, particularly in storytelling marketing contexts, is becoming evermore important. To promote interaction and increase the entertainment value of technology‐enhanced storytelling marketing, brands have begun to explore the use of augmented digital humans as storytelling agents. In this article, we examine the effectiveness of leveraging advanced technologies and delivering messages via digital humans in storytelling advertisements. In Study 1, we investigate the effectiveness of narrative transportation on behavioral responses after exposure to an interactive augmented reality mobile advertisement with a digital human storyteller. In Study 2, we compare how consumers respond to augmented digital human versus real human storytelling advertisements after conducting an exploratory neurophysiological electroencephalography study. The findings show that both types of agents promote narrative transportation when the story fits the product well. Moreover, a digital human perceived as more human‐like elicits stronger positive consumer responses, suggesting an effective new approach to storytelling marketing.

Hypertextethics as a Trans- and Posthumanistic Redemption to the Pathology of Unilinearity: A Pilot Project for Schools and Prisoners

ABSTRACT The author of this paper is currently working on a pilot project with school children and individuals who are in their final years of their prison sentence. The project should offer a pragmatic alternative to the way humanism has established and defined our mode of expressions. Such modes effect our ways of deliberation and judgement when it comes to ethical issues. This paper will act both as a critique and provide, at the same time, a positive alternative to those who are still being coerced into confessing an act they committed in a language in which they do not only not recognise themselves but risk, moreover, not being understood. The likelihood of this occurring stems from a fundamental disconnect, namely the fact that their way of communicating does not chime in with the expectations of the knowledgeable others whose formal speech registers betray deeply-ingrained oppressive humanist modes of discourse and ideologies which, having long been normalized are, to the former’s detriment, regrettably and routinely overlooked. The aim of this paper is to introduce my project in order to show the reader that many of the postmodern critiques of narrative and agent formation can be overcome by a cybernetic system of a new mode of writing, by means of which the intentions of the agent are fragmented and reconstructed immediately by a secondary, non-human agent – the software. I shall be making a case that this software will become vital to mediate human storytelling through non- human generation creating an enhanced understanding for both reader and writer.

Chinese Narrotologies

Chinese Narrotologies

What drives technology-enhanced storytelling immersion? The role of digital humans

In this research, we investigate consumer responses to technology-enhanced storytelling marketing via augmented digital humans in two different contexts. We test the role of an augmented digital human stimulus as a moderator for storytelling satisfaction in a technology-enhanced retail complex. Building on visual perception theory and information processing theory, the findings from our study reveal sequential links between the four realms of experience economy theory in a mixed reality environment and subsequent effects on storytelling satisfaction, which in turn are boosted by digital human storytelling. Overall, our findings reveal that digital human storytelling is an effective long-term marketing strategy in technology-enhanced environments.

Language, Childhood, and Fire: How We Learned to Love Sharing Stories.

Stories do not fossilize. Thus, exploring tales shared during prehistory, the longest part of human history inevitably becomes speculative. Nevertheless, various attempts have been made to find a more scientifically valid way into our deep human past of storytelling. Following the social brain hypothesis, we suggest including into the theory of human storytelling more fine-grained and evidence-based findings (from archaeology, the cognitive sciences, and evolutionary psychology) about the manifold exaptation and adaptation, genetic changes, and phenotypic plasticity in the deep human past, which all shaped the emergence of storytelling in hominins. We identify three preconditions for humans sharing stories: first, the long evolution of language in the different taxa as one of the preconditions of ostensive signaling; second, the pivotal role of childhood in the evolution of collaborative intentionality; and third, the role of fireside chats in the rise of elaborative (i.e., narrative) sharing of stories. We propose that humans, albeit perhaps no other hominins learned to understand others through sharing stories, not only as intentional agents, but also as mental ones.

Design and Analysis of a Collaborative Story Generation Game for Social Robots

Storytelling plays a central role in human socializing and entertainment, and research on conducting storytelling with robots is gaining interest. However, much of this research assumes that story content is curated. In this paper, we introduce the task ofcollaborative story generation, where an artificial intelligence agent, or a robot, and a person collaborate to create a unique story by taking turns adding to it. We present a collaborative story generation system which works with a human storyteller to create a story by generating new utterances based on the story so far. Our collaborative story generation system consists of a publicly-available large scale language model that was tuned on a dataset of writing prompts and short stories, and a ranker that samples from the language model and chooses the best possible output. We improve storytelling quality by optimizing the ranker’s sample size to strike a balance between quality and computational cost. Since latency can be detrimental to human-robot interaction, we examine the performance-latency trade-offs of our approach and find the optimal ranker sample size that strikes the best balance between quality and computational cost. We evaluate our system by having human participants play the collaborative story generation game and comparing the stories they create with our system to a naive baseline. Next, we conduct a detailed elicitation survey that sheds light on issues to consider when adapting our collaborative story generation system to a social robot. Finally, in a first step towards allowing human players to control the genre or mood of stories generated, we present preliminary work on steering story generation sentiment polarity with a sentiment analysis model. We find that our proposed method achieves a good balance of steering capability and text coherence. Our evaluation shows that participants have a positive view of collaborative story generation with a social robot and consider rich, emotive capabilities to be key to an enjoyable experience.

Re-creating the homeplace: more-than-human constellations and the political consequences of storytelling in central Appalachian community-based theatre

ABSTRACT This paper details ethnographic observation of the development and performance of a community-based theatre production in eastern Kentucky, titled The Homecoming. Participating in community-based theatre provides community members an opportunity to collaboratively, creatively tell the story of their place. In Central Appalachia, where the artform has over four decades of history, community-based plays regularly push back on damaging stereotypes and actively encourage open dialogue. Productions both highlight and demonstrate community members’ agency to imagine – and bring about – possible futures for what eastern Kentuckians call their ‘homeplace’. I mobilize literature from feminist geography, more-than-human geography, and Appalachian studies to frame an analysis of my ethnographic findings. I contend that the ‘homeplace’ emerges in the interplay between humans and the material world. Coal, pharmaceutical opioids, and organic vegetables populate and shape political identities, opinions, and dialogues, as political contention is navigated through narratives. I offer ‘constellations’ as a theoretical framing to help us think through these more-than-human politics, emphasizing human storytelling as one of many forces that shape those politics. I argue that the collaborative, reflexive process of storytelling utilized by community-based theatre has political and material consequence, changing how participants perceive and interact with themselves, each other, and their shared homeplace.

Empathet(H)Ics: Intersubjectivity, Interobjectivity, and (Non)Human Storytellers in Colum Mccann’s Let The Great World Spin

Tracing some of the inflection points in our conceptualization of empathy, social cognition, intersubjective understanding, and social theories over time, this essay attempts to contextualize and give a possible explanation to the more radical changes determined by the so-called nonhuman turn. Drawing on the theories proposed by Steven Connor, Bill Brown, and Bruno Latour on the relations between human and nonhuman agents, the paper will argue for the inherent potential of things to both exceed the limits of human agency and cognitive capacities (specifically, memory and intersubjective understanding) and foster their expansion. A reading of Colum McCann’s Let the Great World Spin (2009) will emphasize the importance of interobjectivity as a mechanism of augmenting empathy and intersubjective understanding. The polyphony of narrativized memories of loss, mourning, trauma – and even pre-trauma, in their construction of an alternative history to the 9/11 terrorist attacks, uses things to encode, store, and retrieve memories, as well as to facilitate (re)connections with others beyond boundaries of space, time, or death. Thus, the democratic force of storytelling returns to corroborate “a democracy extended to things” (Latour).

Toward Characters Who Observe, Tell, Misremember, and Lie

Knowledge and its attendant phenomena are central to human storytelling and to the human experience more generally, but we find very few games that revolve around these concerns. This works to preclude a whole class of narrative experiences in games, and it also damages character believability. In this paper, we present an AI framework that supports gameplay with non-player characters who observe and form knowledge about the world, propagate knowledge to other characters, misremember and forget knowledge, and lie. We outline this framework through the lens of a gameplay experience that is intended to showcase it, called Talk of the Town, which we are currently developing. From a review of earlier projects, we find that our system has a novel combination of features found only independently across other systems, and that it is among the first to support character memory fallibility.

Personhood of Water: Depositions of Bodies and Things in Water Contexts as a Way of Observing Agential Relationships

This paper stems from a curiosity about relationships between water, depositions, life, death and sacrifice. It probes into how traditional binaries such as nature/culture, human/animal, alive/dead and language/reality were addressed in Irish medieval place lore, using critical posthumanist theory to explore ways in which agential powers were not merely ascribed to the environment, but also observed and acknowledged by people in the past. It also considers how the agentialities of both artefacts and waters could have affected and made their way into human storytelling. In so doing, the paper presents a contribution from archaeology to the emerging field of environmental humanities, offering research that could entice us to sharpen our environmental sensibilities and respond to environmental change. Depositions of things and bodies in wet contexts are often understood as sacrifices made to deities located in the otherworld. However, there is plentiful evidence in archaeology and in medieval place-lore to suggest that waters were observed as being alive, as immanent beings, as more-than-human persons who could have received these depositions as gifts. This study explores how depositions would have added to and reconfigured such water-personhood in locally and regionally-situated ways, and how they may also have worked as apparatuses for paying close attention to the water environment.

Character Synthesis of Ballet Archetypes on Robots Using Laban Movement Analysis: Comparison Between a Humanoid and an Aerial Robot Platform with Lay and Expert Observation

Imitation of human movement by robots is an important area of research to create expressive systems that are able to interact with humans in social settings. One lens through which imitation may be investigated is that of character archetypes, commonly found in human story-telling. Classical ballet, a form of story-telling through movement, makes extensive use of such archetypes. This paper reviews how Laban Movement Analysis creates a descriptive taxonomy in which features of interest may be identified and reported from human performers to robotic platforms, specifically for a BeBop aerial drone and a Nao humanoid platform. To determine the success of this approach, the paper also presents evaluation by lay human viewers that validates the character transfer. Moreover, this paper offers more nuance into this evaluation by querying two specialized groups of experts, which frequently deviated from lay ratings and, thus, offer deeper insight into both the success of the character transfer and the importance of prior training in movement perception. This work may be useful in human-facing scenarios where character archetypes facilitate engagement, identification, and understanding between robots and human counterparts. Further, it highlights nuances in working with expert artists to create broadly applicable designs.

“First we invented stories, then they changed us”: The Evolution of Narrative Identity

Abstract An integrative psychological concept that bridges the sciences and humanities, narrative identity is the internalized and evolving story a person invents to explain how he or she has become the person he or she is becoming. Combining the selective reconstruction of the past with an imagined anticipated future, narrative identity provides human lives with a sense of unity, moral purpose, and temporal coherence. In this article, I discuss how the evolution of human storytelling provides the basic tools for constructing self-defining life narratives. I then consider theory and research on the development of narrative identity over the human life course, socially consequential variations in narrative identity, and how culture shapes the stories people tell about themselves. My overall perspective on narrative identity was formulated within the fields of personality and developmental psychology, but it is also informed by concepts and constructs in evolutionary biology, cognitive neurosci­ence, philosophy, and literary studies.

Modeling and Evaluating Emotion, Contextual Head Movement and Voices for a Social Robot Storyteller

Storytelling bears great potential as prospective application for social robots. Through their embodiment and potential for multi-modal behavior, they can enhance current storytelling media, for example books or audio books. We combined theoretical knowledge about designing storytelling robots with an analysis of human storytellers to implement the behavior of a robot storyteller. We tested the following modalities in three perception studies: emotional behavior, contextual head movements, and voice acting through different synthetic voices. Our results suggest, that an emotional robot storyteller is able to transport participants equally well as the traditional audio book, contextual head movement has to be carefully modeled to be recognized, and voice acting can improve narrative presence and can make the robot more interesting. With the present contribution, we provide guidance for modeling and evaluating the behavior of a social robot storyteller, and suggest that the careful integration of emotional display and different voices can enhance the perception of a robot storytelling experience.

‘For We Are American’: Postmodern Pastiche and National Identity in Anne Washburn’sMr. Burns, a Post-Electric Play

AbstractThe final act of Anne Washburn’sMr. Burns, a Post-Electric Playfeatures a Greek tragedy-like distillation of the “Cape Feare” episode ofThe Simpsons, performed many decades after an unspecified catastrophe has left the former United States in a state of post-apocalyptic ruin. After the first two acts’ depiction of an earlier generation’s struggles to both survive and connect with each other through the preservation of some elements of their previous shared culture, the third act’s culmination in a display of treadmill-powered electric lights accompanied by an inspirational anthem has often been interpreted as a celebration of the timelessness and tenacity of the human storytelling impulse. But while earlier versions of the play structured this final moment within a pastiche expression of American patriotism (sung to the tune of Gilbert and Sullivan’s “For He Is an Englishman”), subsequent versions have expunged this final reference to national pride, as well as any reference to the satirically nationalistic source material from which it stemmed, opting instead to trace the development of a more ‘empty’ G&S quotation into its post-apocalyptic future. This paper will examine the implications of this change in regards to the play's pastiche portrayal of what Jean-Luc Nancy calls the “myth of myth” and the role of its interruption in imagining an “inoperative community” beyond or to the side of nation-based constructions of identity.

A Playwright for Practitioners: Reflections on Human Rights Storytelling and the Art of Naomi Wallace

A Playwright for Practitioners: Reflections on Human Rights Storytelling and the Art of Naomi Wallace