Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
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Dit artikel beschrijft de bevindingen uit een explorerend literatuuronderzoek naar de grammaticale ontwikkeling van Nederlandstalige kinderen tussen 7 en 10 jaar met en zonder een taalontwikkelingsstoornis (TOS). De resultaten worden ook in een klinische context geplaatst, met als doel logopedisten te ondersteunen in de behandeling van grammaticale problemen bij kinderen met TOS in deze leeftijdsgroep. Grammaticale problemen zijn een kernprobleem van kinderen metTOSen behandeling van deze grammaticale problemen is daarmee een kerntaak van de logopedist. De verwervingsvolgorde van grammaticale structuren bij Nederlandstalige kinderen met een normale taalontwikkeling is redelijk duidelijk tot een leeftijd van 5 á 6 jaar. Voor oudere kinderen is dit veel minder het geval. Deze informatie is echter wel van belang om passende grammaticale behandeldoelen te kunnen selecteren en prioriteren.
A level designer typically creates the levels of a game to cater for a certain set of objectives, or mission. But in procedural content generation, it is common to treat the creation of missions and the generation of levels as two separate concerns. This often leads to generic levels that allow for various missions. However, this also creates a generic impression for the player, because the potential for synergy between the objectives and the level is not utilised. Following up on the mission-space generation concept, as described by Dormans, we explore the possibilities of procedurally generating a level from a designer-made mission. We use a generative grammar to transform a mission into a level in a mixed-initiative design setting. We provide two case studies, dungeon levels for a rogue-like game, and platformer levels for a metroidvania game. The generators differ in the way they use the mission to generate the space, but are created with the same tool for content generation based on model transformations. We discuss the differences between the two generation processes and compare it with a parameterized approach.
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