Claudio Meneses Villegas

Brian Felipe Keith-Norambuena, Carolina Inés Rojas-Córdova, Claudio Juvenal Meneses-Villegas et al.

Existing narrative extraction methods face a trade-off between coherence, interactivity, and multi-storyline support. Narrative Maps supports rich interaction and generates multiple storylines as a byproduct of its coverage constraints, though this comes at the cost of individual path coherence. Narrative Trails achieves high coherence through maximum capacity path optimization but provides no mechanism for user guidance or multiple perspectives. We introduce agenda-based narrative extraction, a method that bridges this gap by integrating large language models into the Narrative Trails pathfinding process to steer storyline construction toward user-specified perspectives. Our approach uses an LLM at each step to rank candidate documents based on their alignment with a given agenda while maintaining narrative coherence. Running the algorithm with different agendas yields different storylines through the same corpus. We evaluated our approach on a news article corpus using LLM judges with Claude Opus 4.5 and GPT 5.1, measuring both coherence and agenda alignment across 64 endpoint pairs and 6 agendas. LLM-driven steering achieves 9.9% higher alignment than keyword matching on semantic agendas (p=0.017), with 13.3% improvement on \textit{Regime Crackdown} specifically (p=0.037), while keyword matching remains competitive on agendas with literal keyword overlap. The coherence cost is minimal: LLM steering reduces coherence by only 2.2% compared to the agenda-agnostic baseline. Counter-agendas that contradict the source material score uniformly low (2.2-2.5) across all methods, confirming that steering cannot fabricate unsupported narratives.

Fausto German, Brian Keith, Mauricio Matus et al.

This paper presents a semi-supervised approach to extracting narratives from historical photographic records using an adaptation of the narrative maps algorithm. We extend the original unsupervised text-based method to work with image data, leveraging deep learning techniques for visual feature extraction and similarity computation. Our method is applied to the ROGER dataset, a collection of photographs from the 1928 Sacambaya Expedition in Bolivia captured by Robert Gerstmann. We compare our algorithmically extracted visual narratives with expert-curated timelines of varying lengths (5 to 30 images) to evaluate the effectiveness of our approach. In particular, we use the Dynamic Time Warping (DTW) algorithm to match the extracted narratives with the expert-curated baseline. In addition, we asked an expert on the topic to qualitatively evaluate a representative example of the resulting narratives. Our findings show that the narrative maps approach generally outperforms random sampling for longer timelines (10+ images, p < 0.05), with expert evaluation confirming the historical accuracy and coherence of the extracted narratives. This research contributes to the field of computational analysis of visual cultural heritage, offering new tools for historians, archivists, and digital humanities scholars to explore and understand large-scale image collections. The method's ability to generate meaningful narratives from visual data opens up new possibilities for the study and interpretation of historical events through photographic evidence.

Luis Rojas Rubio, Claudio Meneses Villegas

Social networks have become one of the main information channels for human beings due to the immediate and social interactivity they offer, allowing in some cases to publish what each user considers relevant. This has brought with it the generation of false news or Fake News, publications that only seek to generate uncertainty, misinformation or skew the opinion of readers. It has been shown that the human being is not capable of fully identifying whether an article is really a fact or a Fake News, due to this it is that models arise that seek to characterize and identify articles based on data mining and machine learning. This article proposes a three-layer framework, the main objective of which is to characterize the emotions present in Fake News and to be a tool for future work that identifies the emotional state and intentional state of the public.