Agent-Based Model
From CasGroup
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* Axelrod and Bennett's (1993) model of competing bimodal coalitions | * Axelrod and Bennett's (1993) model of competing bimodal coalitions | ||
* Joyce et al.'s (2006) model of conditional association | * Joyce et al.'s (2006) model of conditional association | ||
| + | |||
| + | == Models and Plays == | ||
| + | |||
| + | Can agent based models and traditional plays | ||
| + | (for example Shakespeare's plays) be considered as two | ||
| + | extremes on one scale? In both we witness the outcome of a | ||
| + | small number of agents or actors interacting | ||
| + | with each other in a particular environment | ||
| + | according to certain rules and intentions. | ||
| + | Shakespeares' plays are basic "models" for the | ||
| + | complexity which arises through "love in hate" | ||
| + | (Romeo and Juliet), "hesitation in action" (Hamlet) | ||
| + | or "striving against destiny" (Macbeth). In | ||
| + | Shakespeares' words "Though this be madness, | ||
| + | yet there is method in't." | ||
| + | |||
| + | Can plays be considered as a kind of model for systems | ||
| + | with complex BDI agents and abstract rules? | ||
| + | If a developer programs an object-oriented system, | ||
| + | he determines in detail what every object should do, | ||
| + | step by step, in every possible situation. | ||
| + | What happens if we write advanced programs for agent- | ||
| + | oriented systems, would they look like plays from | ||
| + | a playwright? Or would we have to program | ||
| + | beliefs, desires, emotions and intentions? | ||
| + | |||
| + | In plays, the actors are driven by basic emotions | ||
| + | and intentions. One theme is "love in hate" or | ||
| + | "desire in vengeance" which appears in "Romeo and | ||
| + | Juliet". Among others, the "desire in vengeance" | ||
| + | theme can also be found in Hamlet: Ophelia and | ||
| + | Hamlet love each other, but Hamlet kills her | ||
| + | father accidentally, she kills herself, then her | ||
| + | brother Laertes takes revenge, and in the end | ||
| + | they are all dead. | ||
| + | |||
| + | The playwright usually describes one of many | ||
| + | possible plots or outcomes for a certain theme, | ||
| + | here for instance what could happen if love and | ||
| + | hate collide. The basic motives are as simple as | ||
| + | the rules in basic ABMs. This is why I said | ||
| + | that ABMs and plays can be considered as two | ||
| + | extremes on one scale: | ||
| + | |||
| + | ABMs: | ||
| + | * simple agents, driven by basic rules | ||
| + | * outcome (the sequence of actions) is not determined | ||
| + | |||
| + | Plays: | ||
| + | * complex actors, driven by basic emotions and intentions | ||
| + | * outcome (the sequence of actions) is determined | ||
| + | |||
== Literature == | == Literature == | ||
