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must carry out a close reading of the training texts before the AI
can kick in. Experiments <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2667942/pdf/nihms-106359.pdf> show that readers tend
to take longer to process events that are distant in time or separated
by a time shift (such as a day later). Such processing creates room
for error, although distributing standard annotation guidelines to
users can reduce it. People also have a hard time
<https://scholar.google.com/citations?view_op=view_citation&
hl=en&user=XdcULRkAAAAJ&citation_for_view=XdcULRkAAAAJ:W7OEmFMy1HYC> imagining temporally complex
situations, such as the mind-bending ones described in Alan
Lightmans novel Einsteins Dreams (1992):
For in this world, time has three dimensions, like space.
Each future moves in a dierent direction of time. Each
future is real. At every point of decision, whether to visit a
woman in Fribourg or to buy a new coat, the world splits
into three worlds, each with the same people, but dierent
fates for those people. In time, there are an innity of
worlds.
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The team have since extended the tool to create plot lines for
musical theatre including Beyond the Fence, the rst ever
computer-generated musical, which ran for several weeks at the
Arts Theatre in Londonthis year.
Suchexperiments raise the tantalising possibility that AI systems
could beliterary creators themselves one day. Several years ago,
Marc Cavazza and his colleagues at Teesside University in
Middlesbrough built an immersive interactive storytelling system
<http://tees.openrepository.com/tees/bitstream/10149/58296
/4/58296.pdf> in virtual reality, using excerpts of Gustave
Flauberts novel Madame Bovary (1857). Human users took on the
role of a character and interacted with Emma Bovary to inuence
the plot outcomes. The developers created an inventory of character
feelings based on Flauberts preliminary studies for the novel.
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https://aeon.co/essays/how-ai-is-revolutionising-the-role-of-th...
and also swayed by Rodolphes power over her. These states are
preconditions for her expressing her feelings to Rodolphe, causing
her to tell him: There are times when I long to see you again! At
this juncture, the user (in the role of Rodolphe) could reply: I will
leave you and never see you again. This response will make Emma
angry and trigger a chain of events, including regret for falling for
Rodolphe, and discovery of happiness in family life (an outcome
that might have upset Flaubert). On other occasions
<https://ive.scm.tees.ac.uk/data/media/lugrin-vrst2010.pdf> ,
users ended up drastically curtailing the story by providing
excessive emotional input to an already overwrought Emma.
More recently, these researchers have focused
<https://ive.scm.tees.ac.uk/data/media/aamas13-porteousfull.pdf> on generating animated medical soap operas involving
virtual characters such as doctors, nurses and patients. Participants
can specify certain social relations between characters, such as
extreme antagonism between a pair. These choices produce
unpredictable narrative actions, such as the spreading of malicious
gossip, and result in the creation of an episode
<https://www.youtube.com/watch?time_continue=102&v=enMzP0kvNH8> that users can watch.
Computational analysis and traditional literary interpretation need
not be a winner-takes-all scenario. Digital technology has already
started to blur the line between creators and critics. In a similar way,
literary critics should start combining their deep expertise with
ingenuity in their use of AI tools, as Broadwell and Tangherlini did
with WitchHunter. Without algorithmic assistance, researchers
would be hard-pressed to make such supernaturally intriguing
ndings, especially as the quantity and diversity of writing
proliferates online.
In the future, scholars who lean on digital helpmates are likely to
dominate the rest, enriching our literary culture and changing the
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