{"id":2110,"date":"2024-10-16T11:10:40","date_gmt":"2024-10-16T15:10:40","guid":{"rendered":"https:\/\/trasatlantica.org\/?page_id=2110"},"modified":"2024-10-21T12:11:46","modified_gmt":"2024-10-21T16:11:46","slug":"daniel-escandell-montiel","status":"publish","type":"page","link":"https:\/\/trasatlantica.org\/?page_id=2110","title":{"rendered":"Daniel Escandell-Montiel (in English)"},"content":{"rendered":"\n
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Emergent Storytelling Techniques:<\/strong><\/strong>
Procedural Narrative and Its Creative and Reactive Potential in Hypermedia<\/strong><\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Translated into English by Andrea Rosenberg <\/p>\n\n\n\n

Abstract<\/strong><\/p>\n\n\n\n

The generation of texts seeks to simulate the creative spirit not only in terms of an artificial literary inventiveness but also in relation to the video game as a narratively complex hypermedium that reacts to the user. We examine the automated creation of interactive narratives using generative tools as the next challenge of the specter of electronic literary forms.<\/p>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

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Introduc<\/strong>tio<\/strong>n<\/strong>:<\/strong> <\/strong>The E<\/strong>merg<\/strong>ent<\/strong> Ques<\/strong>t<\/strong>ion<\/strong><\/p>\n\n\n\n

The increasing importance of user agency in engagement with hypermedia (that is, interactive media, of which video games are the supreme example; Nelson) has provoked the question of designing narrative structures as a space that reacts to the input a receiver provides to a synthetic world. LeBlanc outlined the concept of emergent narrative at the end of the last century, and its use was taken up again in Jenkins\u2019s work, though significantly reduced and restricted to ambient narrative. According to LeBlanc, the emergent narrative is a way of constructing and telling stories that do not rely on blocks of narrative written by a scriptwriter (which he views as an embedded narrative within the hypermedium). In other words, there is no predefined narrative sequence (linear or otherwise), but instead, what takes place in the narrative is an organic reaction to how the user interacts with the world.<\/p>\n\n\n\n

LeBlanc\u2019s proposition does not unseat the author, but it does redefine their work, no longer positioning them in the role of a deterministic god and transforming them into a god that accepts free will. This author sets out rules and parameters that establish what the world is like, what sorts of interactions can take place, what consequences each action can produce, and what interactions influence others, but from there the world is no longer governed by determinism (or at least does not seem to be so to the receiver). The role of the receiver\/user, too, is altered: previously confronted with a scripted space (maybe even one that allowed a genuine possibility of making moral decisions, but within a predesigned narrative sequence) in which they remained a kind of puppet moving through the constrained terrain laid out for it, now they have the ability to act on their own story and on the rest of their environment. Within limits, of course: though it is clear that there is no set sequence of events and the illusion of free will is carefully crafted, this is possible only insofar as the preestablished and designed mechanisms of interaction allow for it. In fact, these very mechanisms can also be used to force the user to carry out a particular action or sequence, meaning that narrative construction is also present. Nevertheless, under this paradigm, narration and interaction are ideally one and the same, as a result of which the line between narrative and ludological elements blurs, thus transcending classic questions such as that posed by Adams, for whom interaction and narration were practically opposing concepts.<\/p>\n\n\n\n

It is doubtlessly significant that, decades later, the most strictly conceptual debate on this topic remains unresolved (Su\u00e1rez) and literary analysis has failed to take it very far, which has left the discursive framework for this question centered in gamestudies. Another issue, already raised by LeBlanc himself, is that it can be quite complicated to generate interesting, meaningful, or emotionally satisfying stories using only mechanisms of interaction without straightforward scripting. And, of course, this poses another subordinate, but fundamental, question: where does it leave the traditional script and, therefore, the focus of literary study that makes it relevant as a medium for the discipline?<\/p>\n\n\n\n

Video games\u2019 ability as a medium to develop relevant stories has advanced as technological capacity, which originally even limited the amount of text a program could contain, has increased (Escandell Montiel). As such, we can consider a hypermedium to be a sort of metamedium\u2014that is, a general foundation (effected electronically) able to encompass multimodalities to which the receiver relates through a series of interactions. It is in this broad\u2014but necessary\u2014conception that we findoutcomes that tip the balance toward one type of medium or another. For example, the first adventure video games were purely text-based (they had no\u2014or only negligible\u2014graphical capacity), more akin to choose-your-own-adventure books than to our current notion of video games.<\/p>\n\n\n\n

That may be why Device 6 <\/em>was such a surprise: an interactive textual-visual story (with a substantial textual component) with audiovisual and 3D photographic elements that presents readers with integrated puzzles that they must solve to advance in their reading. The creators promoted it as a video game, but it is not unique; the Electronic Literature Organization\u2019s various compilations of international digital literature have included works such as Dwarf Fortress <\/em>(fantasy adventure with textual graphics), Kentucky Route Zero <\/em>(a magical realist story with an Americana-inflected aesthetic), 80 Days <\/em>(a decolonial rewriting of Verne\u2019s novel), <\/em>and A Slow Year <\/em>(visual poems with an eight-bit aesthetic), which have already explored the gray areas between the textual\/literary and the ludic\/interactive, sometimes using in their taxonomies the label \u201cliterary game,\u201d and at others \u201cinteractive fiction.\u201d<\/p>\n\n\n\n

It is clear that contemporary criticism accepts and understands the narrative and intersectional capacity of the video game; nevertheless, LeBlanc\u2019s question remains relevant. The experience of a predesigned (embedded) narrative with an (emergent) derivative of user actions produces internarrative dissonance. That is, the illusion of free will fostered by the emergent narrative collides with the narrative touchpoints and developments designed to build a story and a world. The emergent narrative, likewise, can only reach a particular point through the actions-reactions (explicit and implicit) generated by users regarding themselves and the world, by the world regarding the users, and by the world regarding itself. Taken to the extreme, emergent narratives seem to be produced, above all, in pure play\u2014that is, in the stories that users can tell themselves in variations of the Lego formula (such as Minecraft<\/em>); in titles where a kind of divine role is adopted to alter the characters\u2019 lives and world (such as The Sims<\/em>); or in games in which the narrative is secondary and the social component assumes greater importance, such as in the massively multiplayer online role-playing genre (e.g., Worldof Warcraft<\/em>), or even in the amalgamation of social network and synthetic world (e.g.,Second Life<\/em>). In these game concepts, the narrative experience is a secondary aspect at best.<\/p>\n\n\n\n

Procedural Narratives: The Prism of Machine Content Generation<\/strong><\/p>\n\n\n\n

Certainly, these models do not entirely match the experience of a free or truly emergent narrative. That is achieved with procedural narrative as one of the strategies of procedural content generation (PCG). PCG is a growing part of software design, as when using trained artificial intelligences for aspects such as character or location design (for example, ensuring that each person has a face and body of their own, or that the vegetation in a forest is unique) in synthetic worlds. This leads us to procedural narrative generation (PNG)\u2014in other words, where an artificial intelligence does not merely randomize which script preestablished by scriptwriters and narrative architectsis followed in response to an input, but in fact itself creates characters, contexts, determinants, events, etc., presenting the user with different situations and stories. As a narrative component, it should also be accompanied by an advanced capacity for natural language generation (NLG) with which to supply illocutive acts to the characters, narrators, and contents to ensure satisfactory communication between software and receiver.<\/p>\n\n\n\n

NLG has been employed in virtual mobile assistants (such as Apple devices\u2019 Siri) and in a variety of chat systems that continue to make strides in generating complex, reactive, and simulatedly human texts. The PNG arena, however, has drawn less attention. Akimoto and Ogata, jumping off from the theories of Barthes, Propp, and Genette, have designed programs capable of presenting random narratives that also react to the receiver\u2019s input (Akimoto and Ogata). Unsurprisingly, their work serves as a relevant example of the application of digital humanities by combining established narratological theories (especially those that have sought to atomize and systematize narrative and narrator functions) with advanced computer programming.<\/p>\n\n\n\n

Following Akimoto and Ogata\u2019s work, we can establish three well-defined phases of PNG that also parallel the human creative process. At first, the system builds a general framework (the story) with which it designs an initial sequence of basic markers to which it associates content in a treelike structure, predicting possible outcomes and consequences. In the second phase, the discourse is established, which involves shaping the narrative by selecting the elements to be presented to the receiver\/user; this includes defining which aspects can be altered through input generated by the receiver\u2019s interaction. The third phase is the textual-audiovisual expression of the previous one\u2014that is, the execution of the narrative’s surface<\/em> (what the receiver will see, hear, and be able to interact with) in the medium and format in which it will be narrated.<\/p>\n\n\n\n

As noted above, this system of creation is essentially identical to that used by a human when devising the predefined narratives mentioned in the previous pages; the difference resides in that artificial intelligence can perform it systematically, automatically, and as an ongoing reaction, especially if the interactions deviate from what had been predicted, constructing new narratives in a world that never has to be considered finished because it can potentially present an unlimited number of permutations. The result is true emergent narrative, in that it can transcend the limitations of the general framework itself but implements the structures that continue to be considered vital to a coherent, efficient narrative. It is unquestionably harder to predict emotional impact, though in reality the world is full of failed stories in every medium and format, so a failure to evoke satisfaction or an emotional reaction in the receiver does not necessarily mean that said experience should be dismissed. In any case, we must not forget that digital services companies are fully informed on our tastes and interests thanks to their algorithms and their analysis of all our data (Graefe et al.), which they use to offer us more content that they predict we will like (and to give instructions\u2014or not-so-subtle advice\u2014to their creatives when designing new products).<\/p>\n\n\n\n

The work of any artificial intelligence, as currently conceived, involves training\u2014that is, exposing the system to a substantial, properly prepared corpus to be analyzed and patterns extracted to reproduce and debug, until the software is able to generate its own content. This explanation, though tremendously simplified, allows people without computer expertise to understand how AIs such as the DALL-E image creator and the ChatGPT conversationalist, to cite some examples popular with the general public, have achieved their results. It was years ago now that an artificial intelligence succeeded in learning to play a video game on its own (Jaderberg et al.), a major technical milestone since it means the program was able to learn to move and act both actively and reactively to play against human users and achieve results that allowed it to defeat professional players. The present-day computing capacity, number of variables per second, and algorithmic complexity are greater than what was needed for Deep Blue to defeat Kasparov.<\/p>\n\n\n\n

Several years earlier, a novel generated by an artificial intelligence (though revised by a human) designed at Future University Hakodate was named a finalist for a literary prize (Shoemaker). The project lead explained that whereas AIs had so far been used to solve problems, the new challenge was to attempt to emulate human creativity, as has in fact been the case ever since.<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Still, we cannot ignore that PNG in the hands of an artificial intelligence implies both emulating human creativity and some degree of programming. AIs\u2019 ability to write computer code has been advancing for some time thanks to the combination of two areas of study: deep learning and symbolic reasoning. One of the first popular products in this field was SketchAdapt (Nye et al.), which learned from a database of tens of thousands of programs (Martineau). In 2021, GitHub, in collaboration with Open AI, launched Copilot (Dillet), an AI that can help users debug and correct their code to write more efficiently, even allowing the programmer to explain in simple words the function they want to program so that Copilot can then translate<\/em> this into computer code.<\/p>\n\n\n\n

So far, PNG has produced limited results in terms of tangible products, though work is under way on open narrative generation systems (Akimoto) and in other areas that will have a direct impact on this area. As a result, we cannot yet assess with any precision what resolution there will be of the conflict that McRae foresaw: the more substantial the presence of PNG, the greater the impact of experiencing the story compared to the narration of said story. This is important, in his view, because he is focused on the less commercial creative space, and in independent video game development (as in any other industry), the most interesting and creatively crafted results are produced outside the high-pressure machinery of multinational corporations and their balance sheets.<\/p>\n\n\n\n

Conclusions<\/strong><\/p>\n\n\n\n

We must not fall back on the tired old question of who the author is, if there is an author at all, in cases where AIs are used. Other areas of humanistic study have already grappled with the authorial problems of conceptual art, and while that does not suggest that there is a universally satisfactory answer, it is clear that the debate is hardly limitedto the use of computer aids. As Lewitt noted, \u201cthe idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand, and the execution is a perfunctory affair. The idea becomes a machine that makes the art.\u201d Therefore,, adding an intermediate machine that comes up with the idea, after<\/em> those ideas<\/em> have been put into its head<\/em>, is just another step in an identical (though possibly more efficient) process.<\/p>\n\n\n\n

Artificial intelligences\u2019 ability to generate stories can be considered only fledgling still, but their implementation in different areas and outcomes so far suggest that the turning point is not far off. Among all possible media, the one that has shown itself to be most receptive to this kind of mechanism is the video game, as the active role of the receiver means an inherent need for an adaptable, dynamic narrative structure that can respond to intangible variables to foster complete immersion in its synthetic worlds. Other media, such as literature, cinema, and comics, do not require the flexibility and automation that can be of such benefit to a hypermedium. Furthermore, the pursuit of emergent narratives means that scriptwriters and narrative architects in the video game industry may be more predisposed to incorporating them into their process.<\/p>\n\n\n\n

A foreseeable consequence of the introduction of PNG is how to deal with those creations from the standpoint of narrative and literary study, since their form, execution, and outcome can turn out to be so unique and random that they never produce two totally comparable experiences. Given that the engineers working on AI systems so they can generate an infinite number of stories are working from theoretical frameworks such as the functions of story and structural narratology, it would be irresponsible for literary studies to attempt to ignore this area just because there is no strictly human mind behind it (or because of the persistent prejudice against it as a narratively minor medium). If these theorists are equipped to create these technologies, they must be equipped to lay the foundations for analyzing and interpreting them.<\/p>\n\n\n\n

In fact, precisely because of the way artificial intelligences are trained to carry out their functions, elements such as intertextuality, narrative universals, and even symbolic referents could be just as present\u2014or even more so\u2014as when the narratives are the product of a biological mind. Certainly, their presence would not be a simple statistical coincidence as theorized by Borel: that infinite monkeys pounding away at a typewriter for an infinite amount of time would eventually manage to write any book in the Biblioth\u00e8que Nationale de France. This would be a supremely well-trained monkey with a corpus larger than what any human being could read in a lifetime. And if we\u2019re lucky, it will be an artificial intelligence that is not offended by such a comparison. <\/p>\n\n\n\n

Bibliogra<\/strong>phy<\/strong><\/p>\n\n\n\n

80 Days. <\/em>Inkle, 2014. iOS game.<\/p>\n\n\n\n

Adams, Ernest. \u201cThree Problems for Interactive Storytellers.\u201d Gamasutra<\/em>, Dec. 29,1999. http:\/\/www.designersnotebook.com\/Columns\/026_Three_Problems\/body_026_three_problems.htm<\/a>. Accessed 12 Jan. 2023.<\/p>\n\n\n\n

Akimoto, Taisuke. \u201cDesigning a Socially Open Narrative Generation System.\u201d In Computational and Cognitive Approaches to Narratology<\/em>, edited by Takahashi Ogata and Taisuke Akimoto, pp. 91\u2013117. Hershey: IGI Global, 2016.<\/p>\n\n\n\n

Akimoto, Taisuke, and Takahashi Ogata. \u201cMacro Structure and Basic Methods in the Integrated Narrative Generation System by Introducing Narratological Knowledge.\u201d 2012 IEEE 11th International Conference on Cognitive Informatics and Cognitive Computing<\/em>, pp. 253\u201362. Kyoto: IEEE Press, 2012. https:\/\/doi.org\/10.1109\/ICCI-CC.2012.6311156<\/a>.<\/p>\n\n\n\n

Borel, \u00c9mile. \u201cM\u00e9canique Statistique et Irr\u00e9versibilit\u00e9.\u201d  Journal de Physique<\/em> vol. 5, no.3, 1913, pp. 189\u201396.<\/p>\n\n\n\n

Device 6. <\/em>Directed by Simon Flesser, Simogo, 2013. iOS game.<\/p>\n\n\n\n

Dillet, Romain. \u201cGitHub previews new AI tool that makes coding suggestions.\u201d Tech Crunch<\/em>, 29 June 2021. https:\/\/techcrunch.com\/2021\/06\/29\/github-previews-new-ai-tool-that-makes-coding-suggestions\/<\/a>. Accessed 12 Jan. 2023.<\/p>\n\n\n\n

Dwarf Fortress.<\/em> Directed by Tarn Adams and Zach Adams, version 0.43.05, Bay 12 Games, 2006. Windows game.<\/p>\n\n\n\n

Escandell Montiel, Daniel. \u201c(Otras) maneras de narrar.\u201d Vandal<\/em>, 26 Jan. 2013.https:\/\/doi.org\/10.13140\/RG.2.1.1816.7761<\/a>. Accessed 12 Jan. 2023.<\/p>\n\n\n\n

Graefe, Julia, Doreen Engelhardt, Lena Rittger, and Klaus Blengler. \u201cHow Well Does the Algorithm Know Me?: A Structured Application of the Levels of Adaptive Sensitive Responses (LASR) on Technical Products.\u201d International Conference on Human-Computer Interaction. HCII 2022: Design, User Experience, and Usability: Design Thinking and Practice in Contemporary and Emerging Technologies<\/em>, edited by Marcelo M. Soares, Elizabeth Rosenzweig, and Aaron Marcus, pp. 211\u2013336. Cham: Sprinter International.  https:\/\/doi.org\/10.1007\/978-3-031-05906-3_24<\/a>.<\/p>\n\n\n\n

Jaderberg, Max, Wojciech M. Czarnecki, Iain Dunning, Luke Marris, Guy Lever, Antonio Garc\u00eda Casta\u00f1eda, Charles Beattie, Neil C. Rabinowitz, Ari S. Morcos, Avraham Ruderman, Nicolas Sonnerat, Tim Green, Louise Deason, Joel Z. Leibo, David Silver, Demis Hassabis, Koray Kavukcuoglu, and Thore Graepel. \u201cHuman-Level Performance in 3D Multiplayer Games with Population-Based Reinforcement Learning.\u201d Science<\/em>, vol. 364, no. 6443, 2019, pp. 859\u201365. https:\/\/doi.org\/10.1126\/science.aau6249<\/a>.<\/p>\n\n\n\n

Jenkins, Henry. \u201cGame Design as Narrative Architecture.\u201d First Person: New Media as Story, Performance, Game<\/em>, edited by Noah Wardripf-Fruin and Pat Harrigan, pp.117\u201330. Cambridge: MIT Press, 2004.<\/p>\n\n\n\n

Kentucky Route Zero<\/em>. Directed by Jake Elliott, Tamas Kemenczy, and Ben Babbit,Cardboard Computer, 2013. Windows game.<\/p>\n\n\n\n

LeBlanc, Marc. \u201cFormal Design Tools: Emergent Complexity, Emergent Narrative.\u201d Game Developers Conference 2000, San Jose Convention Center, San Jose, CA,8\u201312 Mar. 2000. Conference presentation.<\/p>\n\n\n\n

LeWitt, Sol. \u201cParagraphs on Conceptual Art.\u201d ArtForum<\/em>, vol. 5, no. 10, 1967, pp. 79\u201381.<\/p>\n\n\n\n

Martineau, Kim. \u201cToward Artificial Intelligence that Learns to Write Code.\u201d MIT News<\/em>, 14 June<\/em> 2019. https:\/\/news.mit.edu\/2019\/toward-artificial-intelligence-that-learns-to-write-code-0614<\/a>. Accessed 12 Jan. 2023.<\/p>\n\n\n\n

McRae, Edwin. Narrative Design for Indies. <\/em>Dunedin: <\/em> Fiction Engine Ltd., 2018.<\/p>\n\n\n\n

Minecraft. <\/em>Directed by Markus Persson, version 1.0 (Java Edition), Mojang Studios, 2009. Windows game. <\/p>\n\n\n\n

Nelson, Theodor Holm. Dream Machines. <\/em>Redmond:<\/em> Tempus Books, 1974.<\/p>\n\n\n\n

Nye, Maxwell, Luke Hewitt, Joshua Tenenbaum, and Armando Solar-Lezama. \u201cLearning to Infer Program Sketches.\u201d ArXiv<\/em>, 4 June 2019. http:\/\/arxiv.org\/abs\/1902.06349<\/a>.<\/p>\n\n\n\n

Second Life. <\/em>Linden Lab, 2003. Windows game.<\/p>\n\n\n\n

Shoemaker, Natalie. \u201cJapanese AI Writes a Novel, Nearly Wins Literary Award.\u201d Big Think, 24 Mar. 2016. <\/em>https:\/\/bigthink.com\/technology-innovation\/a-japanese-ai-wrote-a-novel-almost-wins-literary-award\/<\/a>. Accessed 12 Jan. 2023.<\/p>\n\n\n\n

The Sims. <\/em>Directed by Will Wright, Maxis, 2000. Windows game.<\/p>\n\n\n\n

A Slow Year. <\/em>Directed by Ian Bogost, Ian Bogost, 2010. Atari 2600 game.<\/p>\n\n\n\n

Smith, Ryan. \u201cJake Elliot, Writer and Designer of Kentucky Route Zero<\/em>.\u201d The Gameological Society<\/em>,<\/em> 22 Jan. 2013, https:\/\/web.archive.org\/web\/20180329161157\/http:\/\/www.gameological.com\/2013\/01\/jake-elliott-writer-and-designer-of-kentucky-route-zero\/<\/a>. Accessed 12 Jan. 2023.<\/p>\n\n\n\n

Su\u00e1rez, Adri\u00e1n. \u201cLa narrativa realmente nunca existi\u00f3.\u201d YouTube<\/em>, uploaded by Nuevebits, 13 Feb. 2017, https:\/\/www.youtube.com\/watch?v=OvIiYqZGd1M<\/a>,accessed 12 Jan. 2023.<\/p>\n\n\n\n

World of Warcraft<\/em>. Directed by Mark Kern and Chris Metzen, version 1.1.0, <\/em>Blizzard Entertainment, 2004. Windows game.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Emergent Storytelling Techniques: Procedural Narrative and Its Creative and Reactive Potential in Hypermedia Translated into English by Andrea Rosenberg Abstract The generation of texts seeks to simulate the creative spirit not only in terms of an artificial literary inventiveness but also in relation to the video game as a narratively complex hypermedium that reacts to the user. We examine the automated creation of interactive narratives using generative tools as the […]<\/p>\n","protected":false},"author":33188029,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_wpcom_ai_launchpad_about_page":false,"_wpcom_ai_launchpad_gallery_page":false,"_wpcom_ai_launchpad_contact_page":false,"_wpcom_ai_launchpad_events_page":false,"_wpcom_ai_launchpad_video_page":false,"_wpcom_ai_launchpad_portfolio_piece":false,"footnotes":""},"class_list":["post-2110","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":false,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P2V8if-y2","jetpack-related-posts":[{"id":6151,"url":"https:\/\/trasatlantica.org\/?page_id=6151","url_meta":{"origin":2110,"position":0},"title":"Ensayos\/Essays","author":"Soviet Cuba: Identities in Transition","date":"January 17, 2026","format":false,"excerpt":"Jos\u00e9 Ram\u00f3n Ruis\u00e1nchez Serra: \u201cAma y haz lo que quieras\u201d: sobre la libertad Adonis S\u00e1nchez Cervera: Egun Awole Daniel Escandell-Montiel: T\u00e9cnicas emergentes para contar historias: la narrativa procedimental y su potencial creativo y reactivo en los hipermedios Emergent\u00a0Storytelling Techniques: Procedural Narrative and Its Creative and Reactive Potential in Hypermedia Yordan\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":395,"url":"https:\/\/trasatlantica.org\/?page_id=395","url_meta":{"origin":2110,"position":1},"title":"Daniel Escandell-Montiel","author":"diceyk","date":"August 25, 2024","format":false,"excerpt":"Universidad de Salamanca T\u00e9cnicas emergentes para contar historias: la narrativa procedimental y su potencial creativo y reactivo en los hipermedios ResumenLa generaci\u00f3n de textos persigue simular el esp\u00edritu creativo no solo desde un ingenio literario artificial, sino tambi\u00e9n desde el videojuego como hipermedio narrativamente complejo y reactivo ante el usuario.\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/08\/untitled-11.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/08\/untitled-11.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/08\/untitled-11.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/08\/untitled-11.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/08\/untitled-11.png?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":523,"url":"https:\/\/trasatlantica.org\/?page_id=523","url_meta":{"origin":2110,"position":2},"title":"POETRY","author":"diceyk","date":"August 23, 2024","format":false,"excerpt":"Angela AcostaDaniel Ch\u00e1vez LanderosB\u00e1rbara Escobar AnleuIrina GarbatzkyPablo G. LLeonartLara L\u00f3pez de Jes\u00fasDiego MoraEduardo Rodr\u00edguez Mart\u00ednezJos\u00e9 Ram\u00f3n Ruis\u00e1nchezGustavo Ruiz PascacioRicardo Tejera Partido","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/el-sendero-1200182.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/el-sendero-1200182.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/el-sendero-1200182.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/el-sendero-1200182.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/el-sendero-1200182.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/el-sendero-1200182.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":5763,"url":"https:\/\/trasatlantica.org\/?page_id=5763","url_meta":{"origin":2110,"position":3},"title":"Poetry\/Poes\u00eda","author":"Soviet Cuba: Identities in Transition","date":"January 8, 2026","format":false,"excerpt":"Newest additions\/\u00daltimas adiciones Aleyda Quevedo Rojas Alfredo Alonso Estenoz Alicia Llarena Gonz\u00e1lez Ana Merino Antonio Colinas Bruno R\u00edos Coral Bracho Francisco Layna Ranz Hern\u00e1n Bravo Varela Jorge Saucedo Julio Marinas Odette Alonso Olga Mu\u00f1oz Carrasco Tambi\u00e9n\/Also Angela AcostaAtilio CaballeroB\u00e1rbara Escobar AnleuBenito PascualDaniel S\u00e1nchez LanderosDairen ZamoraDiego MoraEduardo Rodr\u00edguez Mart\u00ednezGustavo Ruiz PascacioIrina\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/barbwire.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/barbwire.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/barbwire.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/barbwire.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/barbwire.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/09\/barbwire.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":2194,"url":"https:\/\/trasatlantica.org\/?page_id=2194","url_meta":{"origin":2110,"position":4},"title":"Submission Guidelines","author":"Soviet Cuba: Identities in Transition","date":"October 18, 2024","format":false,"excerpt":"Submission Guidelines\u00a0\u00a0 Submissions must be written in Spanish, English, or Portuguese. We are unable to accept AI-generated works at this time. For poetry translation, please see the specific requirements. Please use the submissions link in our website, or email it to trasatlantica@trasatlantica.org. Write your name and the category in which\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2053,"url":"https:\/\/trasatlantica.org\/?page_id=2053","url_meta":{"origin":2110,"position":5},"title":"Daniel Ch\u00e1vez Landeros","author":"Soviet Cuba: Identities in Transition","date":"October 14, 2024","format":false,"excerpt":"Ubicuidad en la OficinaPrende la radio y adentro sus ojos para obligarse a poner caf\u00e9 aunque sean las cincoen LimaNo tiene intenci\u00f3n de llamar a un taxi ni barre la talavera, si hoy es lunes de lluvia enPueblaY como a\u00f1ora Granada, la del lago echado a otear la luna, pues\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/trasatlantica.org\/wp-content\/uploads\/2024\/11\/375924705_f2766e16a8_z.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/trasatlantica.org\/index.php?rest_route=\/wp\/v2\/pages\/2110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/trasatlantica.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/trasatlantica.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/trasatlantica.org\/index.php?rest_route=\/wp\/v2\/users\/33188029"}],"replies":[{"embeddable":true,"href":"https:\/\/trasatlantica.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2110"}],"version-history":[{"count":28,"href":"https:\/\/trasatlantica.org\/index.php?rest_route=\/wp\/v2\/pages\/2110\/revisions"}],"predecessor-version":[{"id":2568,"href":"https:\/\/trasatlantica.org\/index.php?rest_route=\/wp\/v2\/pages\/2110\/revisions\/2568"}],"wp:attachment":[{"href":"https:\/\/trasatlantica.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}