Method and apparatus for identifying, predicting, and reporting object relationships

Abstract

A method and apparatus for identifying, predicting and reporting relationships. The present invention uses a quad structure to describe relationships between dramatic units. Story elements, characters and appreciations are mapped onto the quad structure to reveal and constrain relationships. A storyform whose structure is described by the quad structure configuration and choices is identified and provided to a user.

Claims

We claim:

1. A method of using a computer system for addressing a plurality of levels and a plurality of units to identify relationships between user inputs corresponding to said plurality of units, the method comprising the steps of:

defining in said computer system a class level having a first plurality of units, a type level having a second plurality of units, a variation level having a third plurality of units, and an element level having a fourth plurality of units;

addressing by said computer system each of said first, second, third, and fourth levels, and each of said first, second, third, and fourth plurality of units with a five digit address, a first digit designating a unit in said first plurality of units in said class level, a second digit designating a unit in said second plurality of units in said type level, a third digit designating a unit in said third plurality of units in said variation level, a fourth digit designating a unit in said fourth plurality of units in said element level, and a fifth digit defining the number of units being addressed.

2. The method of claim 1 wherein each of said first plurality of units is addressed with x0000, wherein x=1 for a universe unit, x=2 for a physics unit, x=3 for a psychology unit, and x=4 for a mind unit.

3. The method of claim 1 wherein x0001 defines said class level, and wherein x is selected from the group consisting of 1, 2, 3, and 4.

4. The method of claim 1 wherein each of said second plurality of units is addressed with xx'000, wherein x and x' are selected from the group consisting of 1, 2, 3, and 4.

5. The method of claim 1 wherein xx'002 defines said type level, and wherein x and x' are selected from the group consisting of 1, 2, 3, and 4.

6. The method of claim 1 wherein each of said third plurality of units is addressed with xx'x"00, wherein x, x', and x" are selected from the group consisting of 1, 2, 3, and 4.

7. The method of claim 1 wherein xx'x"03 defines said variation level, and wherein x, x', and x" are selected from the group consisting of 1, 2, 3, and 4.

8. The method of claim 1 wherein each of said fourth plurality of units is addressed with xx'x"x'"0, wherein x, x', x", and x'" are selected from the group consisting of 1, 2, 3, and 4.

9. The method of claim 1 wherein xx'x"x'"4 defines said element level, and wherein x, x', x", and x'" are selected from the group consisting of 1, 2,3, and 4.

Description

This application includes a microfiche appendix which has a total of 12 microfiche having 780 frames.

BACKGROUND OF THE INVENTION

1. Field of the Invention

This invention relates to a method of identifying, predicting and reporting relationships.

2. Background Art

Mathematical models are used to represent complex systems that involve relationships of multiple elements. Examples of such mathematical models include models for economic systems, weather systems, stock market analysis, traffic patterns, artificial intelligence, expert systems, population growth, etc. These systems generally involve the processing of data associated with elements of the model using algorithms believed to represent behaviour of the elements with respect to the model. Such systems have not proven useful when attempts have been made to apply them to systems that do not lend themselves to quantifiable elements.

An example of such a system is the structure of stories. Ever since stories were first told, theorists have searched for patterns that would explain dramatic function and assist authors in creating sound structures. A number of prior art theories of structural analysis exist. These theories include deconstruction, semiotics, reception theory, etc. These prior art theories have the disadvantage of focussing on linear causal relationships in attempting to analyze stories.

These prior art systems ignore the fact that once a story has been told, it is no longer appreciated simply as a progression. Rather, a story is constructed and built up by its separate parts. By the time the story is complete, a construction has been created that is greater than the sum of its parts. The progression of a story, though linear in nature, ultimately constructs a greater meaning that is appreciated as a whole.

To perceive the essence of the "big picture", one must separate Storyform from Storytelling. Storyform is the unique arrangement of structure and dynamics that creates the dramatics of each story. Storytelling is the way that arrangement is illustrated. As an example, we might imagine an author wishing to communicate the abandonment of morality in favor of self-interest. To illustrate this concept the author might describe someone taking candy from a baby or drinking the last water in a lost desert patrol. The essential concept of morality vs. self-interest is part of the storyform. Either of these scenarios specifically used to make the point would be the storytelling.

Previous attempts to discover the inner workings of story have often incorporated storytelling as part of the theory. Storytelling is an expression of an arragangemt of story sturcture and dynamics that creates the dynamics of the story. When storytelling is combined with the structure of the story, the nature of the problem becomes too nonspecific and the number of possible solutions becomes infinite. These combinations create the enormous variety seen in stories, but also make the task of discovering the underlying patterns very difficult.

SUMMARY OF THE INVENTION

The present invention provides a model of story that is based on a "storyform". A storyform is the unique arrangement of structure and dynamics that creates the dramatics of a story. Storytelling is the way that arrangement (the storyform) is illustrated. As an example, consider the storyform consisting of the notion of the abandonment of morality in favor of self-interest. Storytelling applied to this storyform may result in a story descrbing (1) taking candy from a baby or (2) drinking the last water in a lost desert patrol. The storyform is morality vs. self-interest.

The storyform can be represented symbolically as a cubic construct referred to as a "quad structure". The model's components are finite in number and movable according to dynamic parameters. The structure consists of Dramatic Units that represent the processes of the story as objects. This has the effect of quantifying the interactions of a story into functions. Each dramatic unit is a function. To produce a complete storyform, each of these functions must act upon the audience in the proper place and time. It is the relationship between these Dramatic Units that varies from story to story, while the Dramatic Units still maintain their identity as a cube. Changing the position of the Dramatic Units shuffles their position in the fourth dimensional time/space of the model so that the order of events is intimately connected to the nature of the message being sent by the author. For example, Doing something so one can Obtain something creates different dramatic potentials than Obtaining something so one can Do something.

There are four vertical levels in the structural model representing four dimensions that group "families" of similar Dramatic Units. The levels tend to differentiate Character, Theme, Plot, and Perspective (sometimes referred tos as Genre). This does not mean, for example, that Character is confined to a specific level but rather that the audience's appreciation of dramatic functions perceived as character traits and relationships tends to focus at a particular level.

Each level is constructed of Quads, which are square frameworks containing four Dramatic Units. The quad form is a physical representation of the an underlying mathematical relationship of the model of the invention. The math of this equation has been translated into a quad pattern or matrix. Each position in the matrix represents a variable in the equation. In a sense, the Dramatic Units can be seen as dramatic functions that are treated as objects rather than processes so that they may be easily manipulated by an author. Similarly, the quad form represents an equation seen as a matrix.

Dramatic Functions are concepts that impart understanding to an audience. The relationship of the dramatic functions in the quad structure represent one of a number of possible storyforms.

In a storyform's neutral position, all dramatic functions are balanced by their position in the matrix. As a result, like functions are grouped together so that quads describe families of Dramatic Units. Each of the families is such that, although each Dramatic Unit in a family is unique, there are certain traits that describe the family as a whole.

The dynamics are represented in another matrix of choices containing a number of mutually exclusive dramatic intents. An example is whether a character should ultimately decide they have been wrong in their story-long approach and must change or should hold on to their resolve and remain steadfast. Additional dynamic choices determine whether the decision to change or remain steadfast leads to the character's ultimate success or failure in their endeavor, whether that is truly good or bad in the context of the story.

There are 256 Dramatic Units in the storyform in the preferred embodiment. Each is a different function having a unique meaning to and effect upon an audience. Once every Dramatic Unit is placed in one of the four positions in each of the quads that represent variables in the storyform's equation, values have been assigned to the entire fractal nature of the model creating a unique storyform. When an author makes dynamic choices for her or his story it rearranges the position of the Dramatic Units within affected quads. Quads are also rearranged within each fractal dimension. We call this process storyforming.

The meaning of a story derives not just from the dramatic potentials that exist, but the unique way in which they interact. As an audience interprets the progression of a story over time, each Dramatic Unit comes into conjunction with many others, creating dramatic tension that rises and falls over the course of the story. Sometimes dramatic potentials combine to create a greater overall potential. Other times they might cancel out, eliminating potential entirely.

The present invention provides a unique addressing scheme for representing units in locations of the quad structure. The addressing scheme is then utilized to generate relevent partners of a unit of interest, pursuant to desired relationships. As elements are selected in the quad structure and associated with story and character elements, other relationships become constrained by existing relationships. These constraints arise out of the nature of the quad structure. A benefit of these constraints is a predictive nature of the present invention. Given elements and relationships, other elements and other relationships fall into place automatically.

The possible relationships that comprise a storyform are maintained in a storyform table, or can be generated during operation. As elements and relationships are determined, the number of possible storyforms that satisfy the conditions is reduced, eventually leading to a single storyform that represents the choices made.

The present invention uses a quad structure for mapping relationships such that each quad on the structure has a consistent internal relationship, and each quad, or set of sixteen, or set of sixty-four, as well as each level, has the same relationship with neighbor quads, sets of sixteen, sets of sixty-four, and neighbor levels. A unique addressing scheme provides a method of indentifying multiple resolutions of objects, from unit level to chess sets of sixty-four units, with the same form of address. An algorithm for identifying partners of interest operates by changing only a single place of the address.

The present invention defines relationships between and among entries in the quad structure. When data is mapped to certain locations, the nature of the data and the destination address result in the identification of certain of those predefined relationships. In addition, other relationships are predicted based on constraints that arise from existing relationships. In the preferred embodiment, all possible relationships of the quad structure can be determined with as little as twelve pieces of information.

In the preferred embodiment of the invention, the mapping of data to the quad structure and the resulting relationships define storyforms that represent an outline of a story and the relationships between characters, thematics, plot, and dynamics. The invention permits a user to identify a storyform by mapping data to the quad structure.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 illustrates a quad pattern.

FIGS. 2A-2H illustrate a TKAD quad pattern in eight orientations.

FIG. 3 illustrates the vertical relationship of the planes of the quad structure of the present invention.

FIG. 4 is a perspective view of the quad structure of the present invention.

FIG. 5 illustrates the values at each digit location in the addressing scheme of the present invention.

FIG. 6 illustrates the class level of the quad structure of the present invention.

FIG. 7 illustrates the type level of the quad structure of the present invention.

FIG. 8 illustrates the variations level of the quad structure of the present invention.

FIG. 9 illustrates the universe class element level of the quad structure of the present invention.

FIG. 10 illustrates the physics class element level of the quad structure of the present invention.

FIG. 11 illustrates the psychology class element level of the quad structure of the present invention.

FIG. 12 illustrates the mind class element level of the quad structure of the present invention.

FIG. 13 illustrates the characteristics of objective characters of the present invention.

FIGS. 14A-14F are flow diagrams describing the operation of selecting a storyform in the preferred embodiment of the present invention.

FIG. 15 illustrates an example of a computer system for implementing the present invention.

DETAILED DESCRIPTION OF THE INVENTION

In the following description, numerous specific details are set forth in order to provide a more thorough understanding of the present invention. It will be apparent, however, to one skilled in the art, that the present invention may be practiced without these specific details. In other instances, well-known features have not been described in detail in order not to unnecessarily obscure the present invention.

The present invention provides a method of identifying, predicting and reporting relationships. In the preferred embodiment, and in the example described, the present invention provides a method for identifying, predicting, and reporting the relationships in a story to create a storyform.

A "storyform" is the dramatic structure or blueprint that contains the essence of the entire argument to be made. A storyform is a specific combination of elements and their dynamic influences on each other. Each storyform contains the entire set of story elements needed to create a complete story. In the preferred embodiment of the present invention, a storyform is represented as a plurality of appreciations.

In the present invention, there are certain commonly shared dramatic concepts that are present in a story. When a person attempts to deal with troubles, certain considerations and perspectives are commonly adopted such as "goals," "requirements," and "consequences." Stories, which represent analogies to this problem solving process, also incorporate these aspects. In the present invention, these shared considerations are referred to as "appreciations."

The way the model is explored is by measuring quads using each of three kinds of pairs known as dynamic pairs, companion pairs and dependent pairs. The process of measuring a quad three ways "triangulates" on the suspected meaning of how that quad is arranged internally, and a fourth appreciation provides the context of the quad as a whole in the overall storyform. There are several ways to create an order of events by scanning the storyform by pairs. Some of these make the outline of the big picture visible at the very beginning, then spend the rest of the progression filling in details until all is known. Other approaches start with the detail, then build outward to the big picture. In any case, only when the story is over does the audience have all the pieces necessary to know what it means on a grand scale.

Dramatic choices made by an author determine how dramatic units are to be moved, but we have not yet described how it is determined which dramatic units are going to be affected. To link both structure and dynamics, the author selects the nature of the problem by "zeroing in" on it through a number of choices . One way t o appreciate this concept is to start with a quad at the top level (class) and work down through the other three levels to the bottom of the structure.

The quad of classes consists of Universe, Physics, Mind, and Psychology. Each class describes an area in which the problem of the story seems to center. A problem in the Universe class involves a situation, which is a state in the environment. A problem in the Physics class concerns an activity, which is a process in the environment. Mind Class describes problems concerning a fixed attitude, or state of mind. The Psychology class contains problems with a manner of thinking, which is a process of the mind.

Once an author has decided upon a specific element as the center of the story's problem, it becomes the "lynch pin" for all of the story's dynamics. This Critical Element is the nodal point of the storyform: the single unit a round which all of the story's dissonance is built. All of the dynamics can now be applied to the structure in reference to that point. If one were to keep all dynamic choices the same but merely select a different critical element, the resulting storyform could have an entirely different meaning. However, since the structure is fractal in nature, sometimes a shift in position of the choice of critical element can result in differences in meaning, yet other times, differences in critical element position might have little effect other than nuance.

In a sense, experiencing the progression of the story is a subjective view, whereas observing the big picture after all the information is available is an objective view. In fact, the concept of a story having two vantage points clarifies many of the relationships between audience and story. One way to appreciate the difference between Subjective and Objective perspectives is to imagine each story as a battle. The Subjective view of the battle, the one that speaks to our emotions, puts us down in the trenches in the middle of the action. This is the realm of the Main Character and works to develop our empathy for her or him. The battle is also observed by a General on the hill, who, although concerned with the outcome, is not actually involved. This more dispassionate perspective is the Objective View. It is the dissonance between the Main Character's perspective and the Objective Reality provided by the author that carries the message of the story.

This dissonance is created in the following manner. Either the Subjective or Objective perspective will serve as the "measuring stick" for the audience, becoming the carrier wave or reference signal. A Subjective measuring stick sides with the Main Character and indicates they must hold on to their resolve. An Objective measuring stick sides with the universe at large, indicating the character should learn they are in error and change. All hat is explored in the story will be judged against this constant.

Quad Structure and Addressing

The quad structure of the preferred embodiment of the present invention is described with respect to FIGS. 1-13.

FIG. 1 illustrates a quad pattern in the present invention. A number of relationships are defined with respect to, and illustrated by, the quad pattern of FIG. 1. For purposes of example, the quad pattern consists of a 2.times.2 grid. The upper left hand location of the grid is referred to as location "W". The upper right hand location is referred as to location "X". The lower left hand location is referred to as location "Y". The lower right hand location is referred to as location "Z". The locations of the quad are defined to have the relationship expressed by W/Z=X*Y. That is, whatever is in location W is divided by the units in location Z and this expression is equivalent to the product of the units in location X and the unit in location Y.

In addition, a number of other relationships exist with respect to the quad of FIG. 1. A pair of units along the diagonal from location W to location Z is referred to as the "dynamic pair". The units on the diagonal from location X to location Y are referred to as the co-dynamic pair. The units from location W to location X are referred to as the "companion pair". The units along the line from location Y to location Z are defined as the "co-companion pair". The units in the line from location W to location Y referred to as the "dependent pair". The pair of units along the line from location X to location Z are referred to as the "co-dependent pair".

For purposes of example, the present invention uses parameters in the quads that can be thought of as representing the following:

Knowledge (K)

Thought (T)

Ability (A) and

Desire (D)

The preferred embodiment of the present invention is a "Knowledge based system" so that K is in the upper left hand system of the quad pattern as shown in FIG. 2A. In a preferred embodiment, K is in a dynamic pair relationship with Thought and so T is in the lower right hand location of the quad pattern. K is in a companion relationship with Ability so that A is in the upper right hand location of the quad pattern. K is in a dependent relationship with Desire so that D is in the lower left hand position of the quad pattern. As defined above, the relationship of the placement of K, T, A, and D of FIG. 2A can be expressed by the equation:

K/T=A*D (Equation 1)

The quad pattern of FIG. 2A is altered by rotating the quad pattern about the axis 201 formed by the vertical line between the left and right side of the quad pattern pairs. This results in the pattern of FIG. 2B where A is in the upper left corner, K is in the upper right corner, T is in the lower left corner, and D is in the lower right corner. The relationship of the pattern of FIG. 2B is described by:

A/D=K*T (Equation 2)

In the pattern of FIG. 2B, A and D are the dynamic pair, K and T are the co-dynamic pair, A and K are the companion pair, T and D are the co-companion pair, A and T are the dependent pair and K and D are the co-dependent pair.

The pattern is again changed by rotating the quad of FIG. 2B about the horizontal axis 202. This results in the pattern of FIG. 2C with T in the upper left hand corner, D in the upper right hand corner, A in the lower left hand corner, and K in the lower right hand corner. The relationship of the units of this pattern is expressed by:

T/K=D*A (Equation 3)

The dynamic pair is TK, the co-dynamic pair is DA, the companion pair is TD, the co-companion pair is AK, the dependent pair is TA, and the co-dependent pair is DK.

Rotating the pattern of FIG. 2C about axis 201 results in the pattern of FIG. 2D. In FIG. 2D, D is in the upper left corner, T in the upper right, K in the lower left and A in the lower right. DA is the dynamic pair, TK is the co-dynamic pair, DT is the companion pair, KA is the co-companion pair, DK is the dependent pair, and TA is the co-dependent pair. The relationships of the units of the pattern of FIG. 2D is expressed by:

D/A=T*K (Equation 4)

The quad can also be rotated on the diagonal to create new relationships. Referring to FIG. 2E, we see the pattern of this form by rotating the quad pattern of FIG. 2A about the diagonal from the upper left to the lower right. This results in the pattern with K in the upper left, D in the upper right, T in the lower right and A in the lower left. This relationship is described by:

K/T=D*A (Equation 5)

The dynamic and co-dynamic pairs are KT and DA respectively, the companion and co-companion pairs are KD and AT respectively, and the dependent and co-dependent pairs are KA and DT respectively.

FIG. 2F illustrates the pattern of FIG. 2B rotated about the axis from the upper left to lower right. A is in the upper left, T is in the upper right, K is in the lower left, and D is in the lower right. This pattern is expressed by the equation:

A/D=T*K (Equation 6)

The dynamic and co-dynamic pairs are AD and TK respectively, the companion and co-companion pairs are AT and KD respectively, and the dependent and co-dependent pairs are AK and TD respectively.

Rotating the pattern of FIG. 2C about the axis from the diagonal from upper left to lower right, results in the pattern of FIG. 2G. T is in the upper left, A is in the upper right, D is in the lower left, and K is in the lower right. This pattern is expressed by the equation:

T/K=A*D (Equation 7)

The dynamic and co-dynamic pairs are TK and AD respectively, the companion and co-companion pairs are TA and DK respectively, and the dependent and co-dependent pairs are TD and AK respectively.

Rotating the pattern of FIG. 2D about the diagonal from the upper left to lower right results in the pattern of FIG. 2H where the dynamic and co-dynamic pairs are DA and KT respectively, the companion and co-companion pairs are DK and TA respectively, and the dependent and co-dependent pairs are DT and KA respectively. This pattern is expressed by the equation:

D/A=K*T (Equation 8)

The expression on the right hand side of the equivalent sign is not a bi-directional or commutatable operation. That is, K*T is not the same as T*K.

The relationship described in FIGS. 1 and 2A-2H describes the relationship developments in the horizontal plane. The same relationship holds true in the vertical plane. Referring now to FIG. 3, four planes, W, X, Y and Z are illustrated with W being the highest plane followed by the X plane, the Z plane and the Y plane. The formula relationship among the locations of FIG. 1 holds true for the planes of FIG. 3, namely W/Z=X*Y. In the preferred embodiment of the invention, planes W, X, Z and Y are associated with the values K, A, T and D respectively. The relationship of these four values is governed by their location in the planes. The units in the W and Z planes always have a ratio relationship while the units in the X and Y planes always have a product relationship.

In the preferred embodiment, the present invention uses a "quadstructure" of units in physical locations that describe their effect upon one another. An overview of this quadstructure is illustrated in FIG. 4. In the quadstructure of the present invention, each unit at one level is associated with four units on the next level down. Referring to FIG. 4, the top level of the quadstructure is level 401 with levels 402, 403, and 404 below that level. In the present invention the top level is referred to as the "class" level and consists of the universe unit in the upper left corner, unit 401.1, a physics unit in the upper right corner, unit 401.2, a psychology unit 401.3 in the lower left corner and a mind unit 401.4 in the lower right corner. Below each unit of the class level 401 are four units at level 402. Level 402 is referred to as the "type" level. The type level 402 consists of four quadstructures, each consisting of a 2.times.2 array of units. As noted previously, since each unit of one level is associated with four units at the next lower level, and the level 401 consists of four units, level 402 consists of 16 units.

Each unit of level 402 is associated with four units on level 403. Thus, with sixteen units in level 402, there are 64 units in level 403. As can be seen, by extending the boundaries of each unit of level 402 to level 403, the boundaries sound four smaller proportioned units. Each 2.times.2 quadstructure of level 402 has an associated 4.times.4 structure at level 403.

Finally, each unit of level 403 has associated with it four units at level 404. Thus, level 404 consists of four 8.times.8 structures or 256 units. The relationship of four units and any 2.times.2 quadstructure at any level, is the same as the relationship described with respect to FIG. 1. That is, the units at locations W, X, Y and Z will have the relationship W/Z=X*Y. In addition, the relationship among the various levels is that as described with respect to FIG. 3. Namely, the first and third levels are in a dynamic relationship, and the second and fourth levels are in a co-dynamic relationship. The first and fourth level are in a dependent relationship and the second and third level are in a co-dependant relationship. The first and second level are in a companion relationship and the third and fourth level are in a co-companion relationship.

The preferred embodiment of the present invention relates to the creation of story forms in the identification of relationships and appreciations based on user input.

Quadstructure Units and Addressing Scheme

The present invention uses a five place addressing scheme to identify units in the quadstructure. The addressing scheme is illustrated in FIG. 5. In the scheme of FIG. 5, the most significant position of the addressing scheme at the left and the least significant position is at the right. The first position, the most significant position represents and identifies the class, the next position identifies the type, the next the variation and fourth the unit. The fifth place represents a range that allows the selection with a single address of a quad of units etc. up to an entire level of units. The class position can vary from a value of one to four to identify one of the four class level units. The numbering system relies on the following convention. The upper left hand corner of a quad is identified as location one, the upper right as location two, lower left as location three and lower right as location four. The type variation unit and range can all vary from zero to four. The values of one to four for type variation and element identify a quad position. A zero value in a type variation or element means that no unit is selected at that level. Typically, this means that the next higher level with a non-zero value is the level of interest. The range value is described further below with respect to particular examples.

FIG. 6 illustrates the class level of FIG. 4 in a two dimensional presentation. Location one in the top left is the universe unit, location two on the top right is the physics units, location three in the lower left is the psychology unit, and location four in the lower right is the mind unit. The top left, the universe unit is identified with the address 10000. The one in the most significant position indicates that the unit and the one location of the quad is the unit of interest. The zero in the type variation and unit locations indicates that there are no selections made at those levels. The zero and the range position indicates that it is only the unit indicated by the prior four places that is of interest. The address of the physics unit is 20000, the address of the psychology unit 30000, and the address of the mind unit is 40000. An entire quad can be selected with a single address in the present invention. Selecting the entire quad at the class level has a value of X0001 where X=don't care. The one in the range value means selecting the four members of the quad of which the units selected by the previous four address places indicates. Selecting any of the four class level units and then selecting a one in the range position selects all four of the units in the class level quad.

FIG. 7 illustrates the type level for each of the class units of FIG. 6. The type units of the universe class unit are illustrated in the upper left hand corner of FIG. 7. They include the past unit 11000, progress unit 12000, future unit 13000, and present unit 14000. The first position of the address is a 1 to indicate that these units are associated with the universe class unit. The second position selects one of the four units in the type level. The next two positions are zero indicate that there is no unit of interest below the type level. Finally, the range position of the address is a zeroed indicate that it is the unit selected by the second position which is of interest. To select the entire type quad, and address 1X001 is used.

The type quad of the physics unit of the class level includes understanding unit 21000, doing unit 22000, obtaining unit 23000, and learning unit 24000, the entire type quad is selected by the address 2X001.

The type quad associated with the psychology unit of the class level is illustrated in the lower left hand corner of FIG. 7. This includes the conceptualizing unit 31000, being unit 32000, becoming unit 33000, and conceiving unit 34000. This quad is selected by an address 3X001.

Memory unit 41000, preconscious unit 42000, subconscious unit 43000, and conscious unit 44000, make up the type quad associated with the mind unit of the class level. This quad is selected by an address 4X001. The entire type quad is selected by an address of the form XX002. At least one unit at the class and type level is selected. The variation and unit address positions are at zero and the range position has a value of two to indicate that a quad of quads is selected. That is that the 16 units associated with a selected type class unit are selected.

FIG. 8 illustrates the variations level for each unit of the class level. The universe variations consists of a quad of quads in the upper left hand corner of FIG. 8. Each quad is associated with one unit of the universe type level of FIG. 7. The units of each variation can be seen by reference to FIG. 8. For example, the variations associated with the past unit of the universe type level are fate 11000, prediction 11200, interdiction 11300, and destiny 11400. There is a quad of quads associated with each unit of the class level. And each quad of quads includes a quad associated with one unit of its associated type unit. The address of a quad of quads at the variations level is illustrated by reference to the quad of quads in the lower left hand comer of FIG. 8. This quad of quads is identified 3XX02. The three in the initial position refers to the psychology unit of the class level. The X in the second position means that any of the type units of FIG. 7 associated with the psychology unit may be selected. The X in the third position indicates that any of the units of the lower left hand corner of the variations level of FIG. 8 may be selected. The zero means that no lower levels are selected and the two in the last position means that a quad of quads is selected. A "quad of quad of quads" (referred to in the present invention as "chess set" of 64 units) may also be identified by a single address as illustrated in FIG. 8. Address XXX03 is used to indicate such a chess set of variation level units. X in the first three positions indicates that any of the class level type level and variation level items may be selected. The zero in fourth position indicates that nothing at the element level is selected and the three indicates that a chess set of items is to be selected. The chess set being those 64 units associated with the items chosen by the first three positions.

The lowest level in the preferred embodiment of the present invention is the element level. In the preferred embodiment, there are 64 units and they are the same in each class (universe, physics, psychology, and mind). However, the arrangement and location of the units in each class is different. The addresses and arrangements of the items at the element level can be determined by reference to FIGS. 9 through 12 which are the element levels for the universe, physics, psychology and mind class respectively. It should be noted that the addressing scheme of the present invention provides some method of referring to all of the items of the entire element level (a quad of chess sets) by any address of the form XXXX4. Four refers to a quad of chess sets.

The order of the items in each level illustrated in FIGS. 6 through 12 are referred to in the preferred embodiment of the present invention as a reference quad structure or "neutral" quad structure. The arrangement may be changed without departing from the scope of the present invention. The universe units all have an address beginning with 1, and the physics units, psychology units and mind units have addresses beginning with 2, 3 and 4 respectively.

FIG. 13 illustrates characteristics of objective characters in the preferred embodiment of the present invention. The upper left quarter of the items of FIG. 13 represent purpose units of an objective character. The items of FIG. 13 are the 64 units level items. The upper right hand quarter of FIG. 13 contains evaluation units of an objective character. The lower left hand corner contains motivation units and lower right hand corner contains methodology units.

The units of the quad tables are defined in a files referred to as "SEMTABLE.H" and "SEMTABLE.CC" illustrated in the microfiche appendix. The units and their definitions are described in the table below.

                  TABLE
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    Domains (Classes)
    Universe: a situation
    Physics: an activity
    Psychology: a manner of thinking
    Mind: a fixed attitude
    Concerns (Types)
    Becoming: transforming one's nature
    Being: temporarily adopting a lifestyle
    Conceiving: coming up with an idea
    Conceptualizing: visualizing how an idea might be implemented
    The Conscious: considerations
    Doing: engaging in a physical activity
    The Future: what will happen or what will be
    Learning: gathering information or experience
    Memory: recollections
    Obtaining: achieving or possessing something
    The Past: what has already happened
    The Preconscious: immediate responses
    The Present: the current situation and circumstances
    Progress: the way things are going
    The Subconscious: basic drives and desires
    Understanding: appreciating the meaning of something
    Themes (Variations)
    Ability: being suited to handle a task; the innate capacity to do or be
    Analysis: evaluation of the situation and/or circumstances
    Appraisal: an initial understanding
    Approach: one's methodology of doing or being
    Attempt: applying oneself to something not known to be within one's
    ability
    Attitude: one's demeanor while doing or being
    Attraction: drawing or being drawn to something
    Choice: making a decision
    Circumstances: the relationship of oneself to the environment
    Closure: bringing something to an end
    Commitment: a decision to stick with something regardless of the
    consequences
    Conditioning: responses based on experience or training
    Confidence: belief in the accuracy of an expectation
    Deficiency: motivation based on lack
    Delay: putting off until later
    Denial: the refusal to let something go
    Desire: the motivation to change one's situation or circumstances
    Destiny: the future path an individual will take
    Doubt: questioning validity without investigating to be sure
    Dream: a desired future that requires unexpected developments
    Enlightenment: an understanding that transcends knowledge
    Evidence: information supporting a belief
    Expediency: most efficient course considering repercussions
    Experience: the gaining of familiarity
    Fact: belief in something real
    Falsehood: that which has been shown to be erroneous
    Fantasy: belief in something unreal
    Fate: a future situation that will befall an individual
    Hope: a desired future if things go as expected
    Instinct: intrinsic unconditioned responses
    Interdiction: an effort to change a pre-determined course
    Interpretation: determination of possible meaning
    Investigation: gathering evidence to resolve questions of validity
    Knowledge: that which one holds to be true
    Morality: doing or being based on what is best for others
    Need: that which is required
    Obligation: accepting a task or situation in exchange for someone's
    potential favors
    Openness: willingness to re-evaluate
    Permission: one's ability based on what is allowed
    Preconception: unwillingness to re-evaluate
    Preconditions: limitations tacked on to an effort
    Prediction: a determination of a future state of affairs
    Prerequisites: preliminary steps that must be met
    Rationalization: a logical altemative used to mask the real reason
    Reappraisal: a reconsiderafion of a conclusion
    Repulsion: pushing or being pushed away from
    Responsibility: the belief that one is best suited to accomplish a task
    Security: an evaluation of one's protections
    Self-Interest: doing or being based on what is best for oneself
    Sense-of-Self: one's perception of oneself
    Senses: sensory observations
    Situation: the arrangement of one's environment
    Skill: practiced ability
    State-of-Being: one's true self
    Strategy: a plan to achieve one's purpose or a plan of response
    Suspicion: questioning a belief based on evidence
    Thought: the process of consideration
    Threat: an evaluation of one's vulnerabilities
    Truth: that which has been proven correct
    Value: the objective usefulness of something in general
    Wisdom: understanding how to apply Knowledge
    Work: applying oneself to something known to be within one's ability
    Worry: concern for the future
    Worth: a rating of usefulness or desirability to oneself
    Elements
    Ability: being suited to handle a task; the innate capacity to do or be
    Acceptance: a decision not to oppose
    Accurate: being within tolerances
    Actuality: an objective reality--the way things are
    Avoidance: stepping around, preventing or escaping from a problem rather
    than solving it
    Aware: being conscious of things outside oneself
    Cause: the specific circumstances that lead to an effect
    Certainty: a conclusion that something is absolutely true
    Change: an alteration of a state or process
    Chaos: random change or a lack of order
    Conscience: foregoing an immediate benefit because of future
    consequences
    Consider: weighing pros and cons
    Control: a method based on organization and constraint
    Deduction: a process of thought that determines certainty
    Desire: the motivation to change one's situation or circumstances
    Determination: a conclusion as to the cause behind a particular effect
    Disbelief: the belief that something is untrue
    Effect: the specific outcome forced by a cause
    Ending: coming to a conclusion
    Equity: a balance, fairness, or stability
    Evaluation: an appraisal of a situation and/or circumstances
    Expectation: a conclusion as to the eventual effect of a particular
    cause
    Faith: accepting something as certain without proof
    Feeling: an emotional sense of how things are going
    Help: a direct assistance to another's effort to achieve their goal
    Hinder: a direct detraction from another's effort to achieve their goal
    Hunch: a conclusion based on intuition
    Inaction: taking no action as a means of response
    Induction: a means of determining possibility
    Inequity: an unbalance, unfairness, or lack or stability
    Inertia: a continuation of a state or process
    Knowledge: that which one holds to be true
    Logic: a rational sense of how things are related
    Non-acceptance: a decision to oppose
    Non-Accurate: not within tolerances
    Oppose: an indirect detraction from another's effort
    Order: an arrangement in which patterns are seen
    Perception: the way things seem to be
    Possibility: a determination that something might be true
    Potentiality: a determination that something has the capacity to become
    true
    Proaction: taking initiative action to achieve one's goals
    Probability: a determination of likelihood
    Process: the mechanism through which a cause leads to an effect
    Production: a process of thought that determines potential
    Projection: an extension of probability into the future
    Protection: an effort to prevent one's concerns from being vulnerable to
    interference
    Proven: a rating of knowledge based on corroboration
    Pursuit: a directed effort to resolve a problem
    Re-evaluation: a reappraisal of a situation or circumstances
    Reaction: actions made in response
    Reconsider: questioning a conclusion based on additional information
    Reduction: a process of thought that determines probability
    Result: the ramifications of a specific effect
    Self-Aware: being conscious of one's own existence
    Speculation: an extension of possibility into the future
    Support: an indirect assistance given to anotherts efforts
    Temptation: the urge to embrace immediate benefits despite possible
    consequences
    Test: a trial to determine somethingts validity
    Theory: an unbroken chain of relationships leading from a premise to a
    conclusion
    Thought: the process of consideration
    Trust: an acceptance of knowledge as proven without first testing its
    validity
    Un-Ending: a continuance without cessation
    Uncontrolled: a disorganized response
    Unproven: a rating of knowledge that has not been tested
    ______________________________________

    ______________________________________
    CHARACTER DYNAMICS APPRECIATIONS:
    Change or Steadfast
                       Which best describes what the Main
                       Character decides?
    Do-er or Be-er     Which best describes the Main Character's
                       approach?
    Stop or Start      Which best describes how the Main
                       Character needs to grow?
    Mental Sex         What is the Main Character's Mental Sex?
    PLOT DYNAMICS APPRECIATIONS:
    Action or Decision Which best describes the feel of the story?
    Timelock or Optionlock
                       What is the type of limit that brings the
                       story to a resolution?
    Success or Failure Which best describes how the efforts in
                       the story resolve?
    Good or Bad        What is the story's outcome shown to be?
    OBJECTIVE STORY APPRECIATIONS
    Obj. Story Domain
                 C     Locate the domain in which the objective
                       story takes place
    Obj. Story Concern
                 T     Locate the area of concern in the objective
                       story
    Obj. Story Range
                 V     Locate the objective story's thematic focus
    Obj. Story Problem
                 E     Locate the source of the objective story's
                       problems
    Obj. Story Solution
                 E     Locate the solution to the objective story's
                       problems
    Obj. Story Focus
                 E     Locate where attention is focused in the
                       objective story
    Obj. Story Direction
                 E     Locate the direction of efforts in the
                       objective story
    Obj. Story Catalyst
                 V     Locate the item that acts as the catalyst to
                       move the objective story forward
    Obj. Story Inhibitor
                 V     Locate the item that impedes the objective
                       story's progress
    Obj. Story Stipulation
                 T     Locate the standard by which progress is
                       measured in the Objective Story
    ADDITIONAL OBJECTIVE STORY APPRECIATIONS
    Story Goal   T     Locate the common goal of the objective
                       characters
    Story Consequence
                 T     Locate the area that best describes the
                       result of failing to achieve the goal
    Story Costs  T     Locate the area that best describes the
                       costs incurred while trying to achieve the
                       goal
    Story Dividends
                 T     Locate the area that best describes the
                       dividends accrued while trying to achieve
                       the goal
    Story Requirements
                 T     Locate the area that best describes the
                       requirements that must be met prior to
                       achieving the goal
    Story Prerequisites
                 T     Locate the area that best describes what is
                       needed to meet the story requirements
    Story Preconditions
                 T     Locate the area that best describes the
                       conditions imposed on meeting the story's
                       requirements
    Story Forewarnings
                 T     Locate the area that best describes the
                       imminent approach of the story
                       consequences
    SUBJECTIVE STORY APPRECIATIONS
    Subj. Story Domain
                 C     Locate the domain in which the subjective
                       story takes place
    Subj. Story Concern
                 T     Locate the area of concern between the
                       Main Character and the Obstacle
                       Character
    Subj. Story Range
                 V     Locate the subjective story's thematic
                       focus
    Subj. Story Problem
                 E     Locate the source of the problems between
                       the Main Character and the Obstacle
                       Character
    Subj. Story Solution
                 E     Locate the solution to the problems
                       between the Main Character and the
                       Obstacle Character
    Subj. Story Focus
                 E     Locate where attention is focused in the
                       subjective story
    Subj. Story Direction
                 E     Locate the direction of efforts in the
                       subjective story
    Subj. Story Catalyst
                 V     Locate the item that acts as the catalyst
                       to move the subjective story forward
    Subj. Story Inhibitor
                 V     Locate the item that impedes the
                       subjective story's progress
    Subj. Story Stipulation
                 T     Locate the standard by which growth is
                       measured in the Subjective Story
    MAIN CHARACTER APPRECIATIONS
    MC Domain    C     Locate the domain in which the Main
                       Character operates
    MC Concern   T     Locate the area of the Main Character's
                       concern
    MC Range     V     Locate the Main Character's thematic
                       focus
    MC Problem   E     Locate the source of the Main Character's
                       problems
    MC Solution  E     Locate the solution to the Main
                       Character's problems
    MC Focus     E     Locate where the Main Character's
                       attention is focused
    MC Direction E     Locate the direction of the Main
                       Character's efforts
    MC Unique Ability
                 V     Locate the item that makes the Main
                       Character uniquely able to achieve the
                       goal
    MC Critical Flaw
                 V     Locate the item that undermines the Main
                       Character's efforts
    MC Stipulation
                 T     Locate the standard by which the Main
                       Character judges the degree of their
                       concern
    OBSTACLE CHARACTER APPRECIATIONS
    OC Domain    C     Locate the dom