Learn More
One of the key steps in creating quality interactive drama is the ability to create quality interactive characters (or believable agents). Two important aspects of such characters will be that they appear emotional and that they can engage in social interactions. My basic approach to these problems has been to use a broad agent architecture and minimal(More)
Many people who favour the design-based approach to the study of mind, including the author previously, have thought of the mind as a computational system, though they don’t all agree regarding the forms of computation required for mentality. Because of ambiguities in the notion of ’computation’ and also because it tends to be too closely linked to the(More)
There is a huge diversity of definitions of “emotion” some of which are associated with relatively shallow behavioural or measurable criteria or introspectable experiences, for instance use of facial expression, physiological measures, activity of specific regions of the brain, or the experience of bodily changes or desires, such as wanting to run away, or(More)
This paper is about how to give human-like powers to complete agents. For this the most important design choice concerns the overall architecture. Questions regarding detailed mechanisms, forms of representations, inference capabilities, knowledge etc. are best addressed in the context of a global architecture in which different design decisions need to be(More)
In the last decade and a half, the amount of work on affect in general and emotion in particular has grown, in empirical psychology, cognitive science and AI, both for scientific purposes and for the purpose of designing synthetic characters, e.g. in games and entertainments. Such work understandably starts from concepts of ordinary language (e.g.(More)
Much discussion of emotions and related topics is riddled with confusion because different authors use the key expressions with different meanings. Some confuse the concept of “emotion” with the more general concept of “affect”, which covers other things besides emotions, including moods, attitudes, desires, preferences, intentions, dislikes, etc. Moreover(More)
This paper echoes, from a philosophical standpoint, the claim of McCarthy and Hayes that Philosophy and Artificial Intelligence have important relations. Philosophical problems about the use of ’intuition’ in reasoning are related, via a concept of analogical representation, to problems in the simulation of perception, problem-solving and the generation of(More)
1 As a step towards comprehensive computer models of communication, and effective human machine dialogue, some of the relationships between communication and affect are explored. An outline theory is presented of the architecture that makes various kinds of affective states possible, or even inevitable, in intelligent agents, along with some of the(More)
Emotions involve complex processes produced by i n te rac t i ons between motives/ b e l i e f s / percepts , e t c . E.g. real or imagined f u l f i l m e n t or v i o l a t i o n of a mot ive/ or t r i g g e r i n g of a 'mot ive-genera tor ' / can d i s tu rb processes produced by other mot ives. To understand emotions/ t he re fo re / we need to(More)
We present integration mechanisms for combining heterogeneous components in a situated information processing system, illustrated by a cognitive robot able to collaborate with a human and display some understanding of its surroundings. These mechanisms include an architectural schema that encourages parallel and incremental information processing, and a(More)