Immersivity and narrativity in the 3D computer animation Incantation of an Avatar (Down, down, baby, I want some AI please): a brain network model based approach

A 3D computer animation with stereo sound, Incantation of an Avatar, portrays an avatar whose chant suggests she possesses a virtual, physical, emotional, and real existence despite having no body, personal history, or lived experience. The work induces viewers to experience her fluctuating mental states and interpret them via Theory of Mind. The animation was created iteratively, yielding both predicted and unintended qualities, including a surprising narrative structure and immersivity. These features are examined within current research on brain network dynamics, showing how they interact to enable multiple coexisting narratives of increased complexity and depth, and stimulate active psychological participation. The work's expression of female rage is discussed as one such narrative.

Study at a glance

Abstract

This practice-based research paper describes the process of creating the 3D computer animation with stereo sound Incantation of an Avatar (Down, down, baby, I want some AI please) . The initial concept was to create an animation that depicts the paradoxical state of an avatar whose chant implies her existence is virtual, physical, emotional and real, when, in fact, she has no physical existence, no body, no personal history, no lived experience and no real emotional life. Nevertheless, in the work, embodying the paradox, the avatar chants in a compelling way so she is experienced by the viewer as having a complex interior life (mind/consciousness); the viewer is induced to experience her fluctuating mental states and interpret them (Theory of Mind/ToM/mentalizing). This initial concept was then developed by iteratively following a set of principles (which will be described) until the complete work emerged; it emerged with both predicted qualities and unintended qualities, the latter including both a surprising narrative structure and an equally surprising immersivity. How the immersivity and narrativity emerged in the work will be considered within the framework of certain current research on brain network dynamics. How the immersivity and narrativity synergistically interact, enabling multiple coexisting narratives of increased complexity, depth and intensity, and how they stimulate active psychological participation in the viewer will be considered. Finally, the work's inclusive expression of the often silent or suppressed female rage will be discussed as an example of one of the multiple coexisting narratives.