This post is a continuation from  Énoncé – The Base Of A Narrative which discusses how said semi-autonomous agent would go about creating narrative based on an énoncé model. This post deals with the similar issues discussed in Énoncé – The Base Of A Narrative but this time, using practical syllogism as a base for narrative.

Practical Syllogism

Overview – A belief of Aristotle’s was that practical reasoning could be represented in the shape of syllogism. Thus, a premise could produce a desire, the second would identify an instance and the conclusion would be an action. Thus, we get into the idea of practical syllogism being used in narrative.

Desires Are What Drive Actors / Narrative – The schema of a practical syllogism involves a major premise, minor premise, and conclusion. Thus, an example of the schema would be:

Major Premise – N wants to do O

Minor Premise – N considers that they cannot do O unless P is done.

Conclusion – N sets themselves to do P.

Narratives, can be considered simply a set of desires associated with actors. Each actors set themselves to achieve such desires. To achieve such actions it is required that they venture into their actantial roles and relationships with other actors as well as query their ‘knowing’. Once an actor knows of their major premise then they must take action within the minor premise such that a questioner would aid in the conclusion or accomplishment of P.

This schema must be prepared to deal with modals, as they are directly associated with desires and the truth of judgement. Such that modals suppose a succession of chronology which result into different degrees:

- Possible (This is what I want to do or must do)

- Probable (This is what I can do)

- Certain (This is what I do)

Thus, an actor knows what is possible and probable for them to do. By invoking a questioner such as the one proposed within narrative énoncé this could generate a logic tree of that which is possible in a predictive form. Allowing the actor or perhaps user to choose what the action that they would like to perform. These actions can then generate a different set of narrative which expands on the current narrative.

Once a conclusion is reached, it is necessary for an actor – not necessarily the one whose desire was achieved – to have another desire so that that actors can continue to drive the narrative. So, it is essential for the actor structure to be developed in such a way that through actanial roles and relationships, the actors find themselves with new desires as every desire causes the actors to take on certain actions.

Every premise within a practical syllogism must pass through three stages regardless of the premises. These are the initial, intermediate, and conclusion stages which relate to the major premise, minor premise, and conclusion. It is a possible for a minor premise to create a major premise which then produces a minor premise which  can also create another major premise, that results in a minor premise and then perhaps a conclusion or another major premise. Within all of these premises there is an initial stage which the narrative or in the case of an actor driven narrative, the actor must go through. The stages are structured so that every actor can embark on a journey which produces a significant part of narrative. Through interactions with other actors, they can also cause other actors to embark on journeys therefore, producing concurrent journeys which make for an interesting narrative.

It is important within practical syllogism that premises are dealt with accurately and are restricted to the possible. While it could deal with the probable, this could result in narratives which are non-sensical.