Emotional Agents in Educational Game Design

Evaluating the subjective playing experience and engagement in learning is important in the design of advanced learning technologies (ALTs) that respond to the learners' cognitive and emotional states. This article addresses students' attitudes toward an educational game, Heroes of Math Island, and their responses to the emotional agent, an animated monkey. Fifteen students (seven boys and eight girls) from grades six and seven participated in this quasi-experimental study (pretest, intervention, post-test, followed by post-questionnaire and interview). This research presents a detailed analysis of students' subjective reactions with respect to Heroes of Math Island and to the underlying mathematics content, their learning gains and emotions triggered during gameplay, and design issues resulting from the evaluation of the game and of its emotional agent. The findings from this study inform how ALTs and educational games can be designed in order to be effective and provide emotional engagement, enjoyment, and learning.

Emotions and agency in prison research

The emotionality of prison research has received much justified attention in recent years. However, this aspect of undertaking qualitative research is often not considered by early career researchers until they are confronted with the impact of both researching emotionally laden subjects and employing their emotional agency as the researcher. Emerging from this, the authors argue for the development of a methodology that conceives researchers as emotional agents. This methodology incorporates harnessing emotional experiences as a tool for data collection. In this way, researchers are encouraged and trained to shift from passive to active emotional agents. Thus, far from inhibiting the research, the inherent emotionality of conducting research enhances its rigour, integrity and validity. Emotionality is intrinsic to conducting research in the prison milieu. As such, it warrants constructive employment and integration into existing research methodologies. This article draws on the authors’ respective experiences conducting mixed methods research in prison settings. The authors’ research methodologies incorporated emotional reflexivity as a core constituent throughout their data collection, analysis and the writing of their doctoral studies. The argument will be illustrated by detailing experiences of emotional charge during the fieldwork. To reflect this, the authors advocate for the emergence of an integrative methodology. The development of such a methodology would be of value to prison researchers but particularly to novice and/or doctoral researchers. Furthermore, it would be similarly applicable to researchers throughout the field of criminal justice and beyond.

Designing emotional BDI agents: good practices and open questions

Intelligent agents built on the basis of the BDI (belief–desire–intention) architecture are known as BDI agents. Currently, due to the increasing importance given to the affective capacities, they have evolved giving way to the BDI emotional agents. These agents are generally characterized by affective states such as emotions, mood or personality but sometimes also by affective capacities such as empathy or emotional regulation. In the paper, a review of the most relevant proposals to include emotional aspects in the design of BDI agents is presented. Both BDI formalizations and BDI architecture extensions are covered. From the review, common findings and good practices modeling affect, empathy and regulatory capacities in BDI agents, are extracted. In spite of the great advance in the area several, open questions remain and are also discussed in the paper.

Emotional Agents

This chapter examines how ritual drummers fit into the larger sociocultural world of music making in South and West Asia. The Shiʻi wedding Muharram Ali attended in Lahore is an example of a ritual sequence with contrasting emotional overtones. The idea that individuals relate to elements in the ways that music might structure other such events and sequences raises the problem of reception. Before discussing how we understand musical meaning in complex events, the chapter situates the musical actors in the sociocultural structures and institutions of South and West Asia. It then considers the role of the individual in religious or other events that diverse populations attend and participate in, as well as the ways actors in such complex events bring forth emotionally coded musical components that themselves have a differential impact on participants' emotional conditions. It shows that the very performance of emotive acts such as music, recitation, sermons, and certain kinds of bodily practice have an effect on those who are collectively making that statement.