Producing a Mental Representation of a Cup of Sake

In this chapter, methodologies for producing a mental representation of a cup of sake are introduced. Mental representations of taste are often vague and fuzzy in comparison to audio or visual images. On the other hand, some individuals, such as sommeliers or tasters of sake, are able to readily formulate a representation of the taste they experience. How can the average person produce words or other types of mental representations in such a situation? In this chapter, the author presents three methodologies for eliciting mental representations of taste: a new supporting tool for verbalizing an image of taste, an experimental method for testing a verbal and visual image for taste, and an experimental methodology for producing a free drawing representation of a cup of sake.

Elegant and Efficient Communication by Haiku-Like Concise Sentences

Poetic fragmental sentences such as Haiku are often free from grammatical constraint while maintaining full message transmitting power. The author takes Haiku, a classical Japanese concise poetic sentence, as an elegant and efficient communication language for a digital signal system. By using the functional grammar and season-word ontology, the author will throw light on the secret of efficiency in Haiku-like sentences. It is often said that this efficiency comes from artistic mutism—ellipsis or abbreviation. Various events and situations are narrated in a very short and simple sentence, which is composed of a 5-7-5 pattern of letters, words, or phrases. Haiku-like sentences can be composed in non-Japanese, such as English, French, Chinese, etc. The most important Haiku philosophy is “the universality” (Fueki-Ryukou), which was first told by the great poet Basho in 1689. The benefit of universality is even ranging over the digital communication system. That is, the Haiku-like sentence enables highly efficient and concise communication. You can so much as write a cipher by Haiku.

The Potentiality of First-Person Views

The aim of this chapter is to suggest the possible use of first-person views to evaluate and improve museum facilities. The authors attempt to explain possible ways to analyze this type of data by conducting an experiment as an example. First, the authors introduce their experiment to determine the influence of story creation on the appreciation of abstract artwork. Previous research has shown that novice viewers tend to dislike abstract artworks more than representative artworks because abstract artworks lacks forms that can be easily understood. The authors tried to mitigate this difficulty by asking participants to create story about the works of art while they viewed them. Second, the authors explain the possible use of first-person narratives in evaluation of art museums themselves. Finally, some important issues needing further discussion are listed.

Past, Non-Story Narrative Film, and Nostalgia

Nostalgia effects are essential for cognition about the past. Also, film has a closer relationship with the past. Nostalgia-based film rhetoric composition can broaden the potential for narrative generation, especially from the perspective of non-story narratives, without using the story grammar and characters' goal-directed actions that were the central focus in previous studies. In this chapter, the film cognitive effects related to re-defining nostalgia through cutting techniques and defamiliarization of narrative rhetoric are particularly analyzed. Using a cognitive and computational model, the rhetoric of the film is classified into four kinds of nostalgia including non-nostalgia and analyzed in particular from the cognitive process perspective as it related to non-story and nostalgia. Next, a computerized classification is used to compose rhetoric and generate films for various kinds of nostalgia. The generated films revealed both the narrow story and broad non-story aspects of the rhetoric, narrative, and cognition of the past and the film.

Kabuki as Multiple Narrative Structures and Narrative Generation

This chapter undertakes a comprehensive survey and analysis of kabuki, aiming to explore a narrative generation-reception and a narrative production-consumption model of kabuki from the viewpoint of an information system and, in particular, a narrative generation system. A fundamental concept of the modeling is “multiplicity,” or multiple narrative structures. In addition, the author associates this model with the concept of the Geinō Information System (GIS), representing a system model in which multiple narrative generations and production mechanisms or processes are included. This chapter presents introductory knowledge on kabuki, including history and basic terms, as background for the discussion. In addition, this chapter shows the results of concrete analyses of kabuki's elements, including “person,” “story,” “tsukushi,” and “naimaze.”

Consideration of Fundamental Methods and Principles for Human-Computer Co-Creation of Narratives

The authors propose the conceptual design of a co-creative narrative generation system that co-creates a collection of diverse narratives from a narrative generation program and people. The long-term goal of this study is to vitalize humans' narrative creation by developing generative narrative technology. The key idea is to connect and unify individual narrative productions by many agents, including one or more computer programs and humans, via a collection of narratives produced and accumulated by these agents. Simultaneously, a co-creative narrative generation system is the practice of a computational approach to narratology as a model for the social system of narrative production. This chapter describes the basic concepts of the co-creative narrative generation system.

Taking Perspectives in Digital Storytelling on Business Planning

Digital storytelling for business planning has the narrative mode and the logical scientific mode. This chapter explores how the structure of the digital storytelling work affects its effectiveness and how the storyteller's reflection influences the improvement of the work. It is critical to consider the structure, consistency, and balance between the narrative and the analytical part, especially the link from a contrast between the initial situation and obstruction to key success factors. In addition, three types of perspective taking make digital storytelling effective: 1) an audience perceives a storyteller's perspective, 2) a storyteller refines his/her perspective, and 3) a storyteller perceives an audience's perspective. When the storyteller deepens his/her own perspective and is aware of others' different perspectives, the audience could find some essential commonality between the episodes of the story and the audience's experience.

An Attempt of the Commercial Film Production Support System Based on the Image Rhetoric of Commercial Film

This chapter describes the concepts behind a commercial film production support system (CFPSS) in terms of related studies in the areas of advertising, image techniques and rhetoric, cognitive science, and information engineering. The chapter then analyzes the structure of commercial films to establish and describe an information system that is tested with a viewing experiment. The proposed system reflects the environment by implementing basic image techniques to create commercial films through an interaction between the users and the system. The experiment uses commercial films for beer with 55 participants. The results show that evaluations for image types related to the advertising story generate the most interest and high evaluations for the provider type of rhetoric stimulates willingness to buy. In terms of technique, mise-en-scène and editing attracts interest, and the advertising story associated with the product function and the supporting production and distribution stimulates willingness to buy.

The Possibility of the Generation of Literary Works by Abduction

This chapter will show the possibility of literary-work (poems, stories, novels, etc.) generation. First, the author introduces the research field, language-sense processing engineering (LSE). The key concept in LSE is language sense. The author defines “language sense” as affective or psychological aspects of language, to analyze and show several types of literary-work generation. For instance, the author analyzes the emotional and technical part of waka generation to generate new waka (Japanese poems). One feature that can be used for literary-work generation is “intertextuality” proposed by J. Kristeva. Below, the possibility of the automatic literary-work generation will be shown using a strategy to generate waka. In addition, several strategies to generate literary works will be shown to illustrate the possibility of automatic literary-work generation. In addition, the author will show the possibility of literary-work generation by abduction, which is rather intelligent generation.

Toward a Post-Narratology or the Narratology of Narrative Generation

This new enhanced book, which includes this chapter, explores new possibilities and directions of narrative-related technologies and theories, as well as their implications for the innovative design, development, and creation of future media and contents such as automatic narrative generation systems; this exploration is carried out through interdisciplinary approaches to narratology that are dependent on computational and cognitive studies (i.e., computational and cognitive approaches to narratology). Concurrently, this book refers to “computational and cognitive approaches to narratology” as “post-narratology” to reflect its exploration of a new narratology. This chapter presents the concept of post-narratology and, in particular, describes “the narratology of narrative generation,” which is an approach to the author's post-narratology. In particular, this chapter demonstrates an attempt toward post-narratology, post-narratological survey, and the narrative generation modeling, as well as a comparative discussion on previous approaches to narratology and post-narratology.