Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Stacy Marsella. A short summary of this paper. The current state of the art virtual characters fall far short of characters produced by skilled animators. One reason for this is that the physical behaviors of virtual characters do not express the emotions and attitudes of the character adequately.
A key deficiency possessed by virtual characters is that their gaze behavior is not emotionally expressive. This paper describes work on expressing emotion through head movement and body posture during gaze shifts, with intent to integrate a model of emotionally expressive eye movement into this work in the future. The paper further describes an evaluation showing that users can recognize the emotional states generated by the model.
In fact, a key role of gaze in human interaction is to express the feelings and attitudes of the individual gazing. Phrases such as glare, gawking, furtive glance, etc.
In this research, we are interested in how to create a virtual human capable of revealing its emotional states through the manner of its gaze behavior. We define the manner of gaze behavior as changes in physical parameters of individual movements, such as the velocity of the head in a single gaze shift, as opposed to changes in specific properties such as the target or time of occurrence of a gaze shift.
While there are many potential influences on gaze behavior [2], [10], we will only be looking at a subset of these. Specifically, we will be looking at how emotion affects the manner of gaze behavior. We have chosen to examine emotional factors for a number of reasons. In our previous work on gaze behavior manner [13], we found a greater association between physical parameters and emotion than between physical parameters and the other gaze-affecting factors that we examined, such as speech-related gaze shifts.
More importantly, we found that the manner of gaze is a highly expressive signal. Despite findings from psychological research that show the importance of gaze manner in displaying emotion [2], [12], its recognized importance C. Pelachaud et al.
A key challenge that arises in developing such a model of gaze manner is that gaze is not simply eye movement. Gaze is a complex of behaviors that can include eye, head, posture, and even stepping or standing, and all of these components must be taken into account.
In addition, these behaviors are not independent from each other [16]. The importance of both appropriate manner for gazing behaviors and of appropriate physical interrelations between distinct body components can be seen in a number of virtual human designs, as well as in some computer graphic animated films.
The result is that independent behaviors seem robotic and unnatural, and their relationship appears random and disjointed. This effect is immediately disconcerting to the viewer.
This approach is described as follows: first, recordings of head, eye, and body movement are made of actors performing emotionally expressive and emotionally neutral gaze shifts. Then, parameters describing how the emotionally expressive gaze shifts differ from neutral gaze shifts are extracted.
This parameterization is then applied to emotionally neutral gaze shifts at different targets from the emotional gaze shifts, transferring the physical properties of the emotional gaze to the neutral gaze. Finally, the emotional content of these generated shifts are evaluated. While this approach only describes a subset of a dimensional model of emotion and does not address the problem of emotionally expressive eye movement, the preliminary results described here show promise for future research.
While it may seem counterintuitive to discuss generating gaze while not discussing the generation of eye movement, we believe that modeling eye movement and modeling movement of the head and body require different approaches, due to the physical differences between the two types of movement. We are currently developing a model of emotionally expressive eye movement, derived in part from the eye data collected while performing this work, which will be integrated with this work once it is completed.
Much research has been done on how gaze regulates interaction between individuals, as well as the use of gaze to signal communicative acts [10]. Dominance is a signal sent through gaze [7], head movement [18], and posture [5]. Lance and S.
Marsella increased gaze while speaking, a raised head, and upright posture all signal dominance, while the opposite behaviors signal submission. Arousal is also closely related to gaze [2]. While there has been little work on how arousal and relaxation are specifically related to head movement, velocity has been shown to be an indicator of arousal [19].
In fact, as reported in [12], some have argued that gaze is incapable of displaying emotional valence. There have also been many implementations of gaze behaviors in real-time applications, such as Embodied Conversational Agents. Many of these implementat- ions are based on communicative signals, such as [3], [20]. Other models of gaze have been developed for agents that perform tasks, interacting with an environment instead of with other characters or users [21].
Further models have simulated resting gaze, when the eye is performing no other tasks [14], or models of gaze based on realistic models of saliency [11].
In addition to models of gazing behavior, there has also been work focused on the manipulation of parameters describing the way in which movement is performed. Other style research includes applying different styles to walking behaviors [15], or using style to express emotion, although through gesture instead of gaze, as described in [25], and [1].
The research in [1] employs a similar technique to ours, but focuses on a simple door- knocking movement, as opposed to our work, which focuses on the greater emotional expressivity possible through gaze. Despite the numerous models of gaze in virtual agents, and the work done on transferring manner from one movement to another, there currently has been no exploration of how changes in emotional state affect changes in the manner of gazing behavior. This work is intended to begin this exploration.
This transformation, when applied to an emotionally neutral gaze shift created procedurally or through motion capture ; will modify that neutral gaze shift into one which displays the same emotion as the original shift. A small number of transformations would then be used to produce gazes displaying different emotional content that vary in the directionality of the gaze.
It is currently unclear to what extent emotional expression can be transferred between different categories of gaze. For example, if an individual is interacting with another individual on a catwalk high above her, how is her gaze behavior different from that of two people speaking face to face?
In order to find a GWT we first use psychological research into expressive gaze manner to generate a series of guidelines describing how emotional state affects gaze behavior. These guidelines are provided to actors, whose performances of the behaviors result in three sets of collected motion capture data. The first set consists of emotionally expressive gaze shifts and emotionally neutral gaze shifts directed at a single target.
From this data, we derive the GWT. This transformation is then applied to the second set of motion capture data, which consists of emotionally neutral gaze shifts averting from that target, transferring expressive manner to the neutral gazes.
Finally, animations are generated from these modified gaze shifts, and compared to a set of emotionally expressive gaze shifts collected for evaluation. In order to do this, a model of emotion is used as a framework for the gaze behavior.
We are using the model of emotion described in [17], which is a dimensional model of emotion, one that views the set of emotions as a space described with a small number of dimensions. His full-body. Paperback This title is printed on demand and is nonreturnable. Share This Resource. Meanwhile the improvisations expand your emotional expressiveness by developing an awareness of and control over impulse, spontaneity, and creativity.
The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art. This work by Karl-Julius Reubke embodies labours of experience and reflection spanning almost 20 years. Reubke describes this movement, inspired and led by PV Rajagopal from the inside with a personal touch and a uncannily reflective eye. All of this is an accomplishment of some note and worthy of our attention especially as we now turn to confront how we as people of the planet will face the ecological disaster our way of living has created.
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The book teases out the difficult relationship between the individual, culture and society especially in relation to autonomy and marginality, while arguing that the creative underground is crucial for a better world, as it offers enchantment, vitality and hope. Deterrence is a theory which claims that punishment is justified through preventing future crimes, and is one of the oldest and most powerful theories about punishment. The argument that punishment ought to secure crime reduction occupies a central place in criminal justice policy and is the site for much debate.
Should the state deter offenders through the threat of punishment? What available evidence is there about the effectiveness of deterrence? Is deterrence even possible? This volume brings together the leading work on deterrence from the dominant international figures in the field. Deterrence is examined from various critical perspectives, including its diversity, relation with desert, the relation of deterrence with incapacitation and prevention, the role deterrence has played in debates over the death penalty, and deterrence and corporate crime.
Many people consider Martin Heidegger the most important German philosopher of the twentieth century. He is indisputably controversial and influential. Athough much has been written about Heidegger, this may be the best single volume covering his life, career, and thought. For all its breadth and complexity, Heidegger's perspective is quite simple: he is concerned with the meaning of Being as disclosure.
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