What to do:

1. Think of a simple narrative scenario - either in the real world, or in a game - that has at least two actors (agents) in it. We'll use the names Sam and Ruth for this example, but you certainly can have more than two agents. You can reuse your content theory domain if you wish.

2. Think of a collection of events that might reasaonably take place in your narrative. Identify the events that are required as part of the essential plot. These are the invariant plot events . Some of these events may be as a result of an emotion-based action by one of your agents, Sam or Ruth. These are special plot invariants that we'll call invariant emotion action-events (see below).

3. Other events in the narrative are not required as part of the essential plot, these are non-invariant plot events .

4. Create some preliminary construals (using GSPs) of the events to represent the ways that different agents, Sam and Ruth, might care about the events in different ways. If you are not programming, then use the ?AppraisingAgent preceeding-question-mark form for variables.

5. Consider at least three different dispositional personalities you would like to build for each of Sam and Ruth (the ways in which they appraise the world). We will call these the A, B, and C dispositions.

6. For the events in your narrative (non-invariant, and invariant), create interpretations of the events consistent with the dispositional personalities A, B, and C. They can share some of the construals. If you wish, you can build some high-level frames that are passed on as features to child frames, so that you do not have to write all the slots for all the construals.

7. You may find that some of the construals are only appropriate for Sam, and some are only appropriate for Ruth.

8. In theory, we place all of the construals in one large database, but then we select different frames to be included (activated) to represent the different dispositions, A, B, and C.

9. Create (something like) five different manifestation channels shared between your agents. These channels will be used to manifest all of the different emotions that arise in your scenario.

10. For example, you might use somatic, emotion-modulation (self) suppression, expressive verbal, obsessive attentional focus on other as some of the channels.

11. Create three different manifestative personalities ( temperaments ) X, Y, and Z, to be used with your agents Ruth and Sam, by creating sets of activations of the manifestation channels that express such a temperament. Note that channels are all activated the same for positive emotions, and independently all activated the same for negative emotions.

    In english, note which emotion manifestations are not compatible with other manifestations for some of your emotions. (We will finesse this difficult subject for the time being.)

12. Create at least three action manifestation tokens and/or templates for each of your agents (in this case, Sam, and Ruth), for EACH emotion. Order the tokens by intensity? The action sets are typically written for each agent (e.g., adults might typically have many expressions that are different than those of children's expressions), but agents, might, of course, share many tokens.

13. Solidify the skeleton steps in your story morph that are invariant because they are necessary for the unfolding of the plot. These cannot be altered or removed, unless you are willing to take on the burden of keeping the story consistent.

14. The non-invariant plot events can be enabled, altered, and removed, as part of the actions of agents.

15. Note that each of the events in the story skeleton, including both invariant steps, and non-invariant steps, can lead to construals on the part of agents.

16. If some of your skeletal invariant events are the result of some emotion-based action (the invariant emotion action-events ), then it is required that there be at least one construal as part of the disposition of the acting agent such that the resulting emotion WILL lead to the action taking place. The emotion generating the action can change, however.

17. "Run" different versions of your Story-Morph by activating different dispositions, A, B, and C for your agents Sam and Ruth, and different temperaments for your agents, X, Y, and Z. As the story unfolds, your agents will act in different ways, for different reasons.

    Note that it is not practical to build a system to actually run the morphs, except as a final project. So, just make the construals, and generate the actions, by hand, for some of the steps in your story-morph. Those of you that have already written programs to generate construals, can use these to save one of the steps.

What to turn in:

1. Your narrative scenario in English.

2. The skeletal events in your narrative. Lable them as invariant, non-invariant, and emotion-action invariant. Number these as S-5, S-10,..., S-n*5. You do not need to be consecutive when inserting events, so counting by fives might be a good way to start. If you end up with S-5, S-7, S-8, S-10, S-15 etc. that is fine, as long as lower numbers always preceed a higher number in the narrative sequence.

3. A numbered set of construals C-n-X-Y, such that C-5-A-G, and C-5-B-S are two different construals that interpret the scenario event S-5, where the first is a goal-based construal, and the second is a standards-based construal (Y = G for goal, S for standard, or P for principle / X = A, B, C,... to enumerate the different construals of the same event). These construals must be sufficiently specified so that they could lead to the binding of an EECR, and also would have the necessary other bindings to generate actions. If you are not programming this, then use ?amountOfMoney, and ?appraisingAgent style with the question-marks to represent variables.

4. A description of each of the three different disposition types that you are trying to create. Then include a list of the labels (e.g., C-5-A above) for construals intended to implement that dispositional personality (annotations of how a construal helps to implement the disposition would help here!)

5. A list of the emotion manifestation channels you will use.

6. A desciption of the three temperaments. Then list which channels are activated to express each of the temperaments.

7. For each agent, a list of the emotions that appear in your narrative, along with the emotion manifestation channels for each emotion, including the three different expression tokens that are used, in that channel, to express that emotion, for that agent. Note that many of the tokens/templates will be copied from one agent to another.

   If you wish, you can give a master temperament that includes tokens / templates that are shared between the agents, and then just supplement each individual agent's emotion expression with additional tokens/templates (and tokens/templates that are to be removed from the master?).

8. Several "runs" of your story morph: which disposition and temperament (A,B,C, X,Y,Z) were selected for each agent at the beginning; how the events in the story were interpreted to give rise to different emotions based on which construals; how the emotions were expressed based on which channels and tokens/templates were selected.

9. Your english language discription of how each morph was different, and what the stories "meant." What different themes arose?

10. Your discussion of what worked in the morphs, and what did not.

11. Note that if you use the AR model, only one of the (three) actions from each channel for each narrative instance for each emotion, would be used, but that one of the tokens from each active channel would be selected.

12. Note: you do not need to run all 81 different story morphs by hand!* :)