Why Do I Feel Like This?

2011 ◽  
Vol 2 (2) ◽  
pp. 28-47 ◽  
Author(s):  
Diana Arellano ◽  
Javier Varona ◽  
Francisco J. Perales
Keyword(s):  
Facial Expressions ◽  
Emotional Responses ◽  
Virtual Characters ◽  
The World

One of the milestones in creation of virtual characters is the achievement of believability, which can be done through the representation of emotions using behaviours, voice, or facial expressions. To know which emotions to elicit in a variety of situations it is necessary to have a framework for reasoning, which is why context representation is important when creating synthetic emotions. It provides a description of what is occurring around the character, eliciting different emotions in the same situation or the same emotions in different situations. The novelty of this work is the representation of context, not only as events in the world, but also as the internal characteristics of the character, which when related with the events, give believable emotional responses.

Emotional Context? Or Contextual Emotions?

2015 ◽  
pp. 366-385
Author(s):  
Diana Arellano ◽  
Javier Varona ◽  
Francisco J. Perales
Keyword(s):  
Emotional Responses ◽  
Daily Lives ◽  
Virtual Characters ◽  
Emotional Context ◽  
The World ◽  
The One

The question “What is the meaning of a smile?” could be easily answered with the sentence “it means happiness”. But we can see in our daily lives that it is not always true. We also recognize that there is the context the one that makes us differentiate a happy smile from an embarrassed smile. The context is the framework that gives emotions a reason for happening because it describes what occurs around a person. Therefore, to create virtual characters, or agents that express emotions in a believable way it is necessary to simulate the context around them. The novelty of this chapter is the representation of context using ontologies, where context is seen not only as the events in the world, but also as that part of the character which allows them to react in one way or another, resulting in more believable emotional responses.

Emotional Context? Or Contextual Emotions?

2016 ◽  
pp. 1423-1443
Author(s):  
Diana Arellano ◽  
Javier Varona ◽  
Francisco J. Perales
Keyword(s):  
Emotional Responses ◽  
Daily Lives ◽  
Virtual Characters ◽  
Emotional Context ◽  
The World ◽  
The One

The question “What is the meaning of a smile?” could be easily answered with the sentence “it means happiness”. But we can see in our daily lives that it is not always true. We also recognize that there is the context the one that makes us differentiate a happy smile from an embarrassed smile. The context is the framework that gives emotions a reason for happening because it describes what occurs around a person. Therefore, to create virtual characters, or agents that express emotions in a believable way it is necessary to simulate the context around them. The novelty of this chapter is the representation of context using ontologies, where context is seen not only as the events in the world, but also as that part of the character which allows them to react in one way or another, resulting in more believable emotional responses.

SIMILARITIES AND DIFFERENT FEATURES OF HAND GESTURES IN AMERICAN AND KYRGYZ CULTURES

2019 ◽  
pp. 19-22
Author(s):  
Avtandil kyzy Ya
Keyword(s):  
Everyday Life ◽  
Facial Expressions ◽  
Main Part ◽  
Body Language ◽  
Hand Gestures ◽  
Common Definition ◽  
The World ◽  
The Common ◽  
Definition Of ◽  
Different Cultures

Abstract: This paper highlights similarities and different features of the category of kinesics “hand gestures”, its frequency usage and acceptance by different individuals in two different cultures. This study shows its similarities, differences and importance of the gestures, for people in both cultures. Consequently, kinesics study was mentioned as a main part of body language. As indicated in the article, the study kinesics was not presented in the Kyrgyz culture well enough, though Kyrgyz people use hand gestures a lot in their everyday life. The research paper begins with the common definition of hand gestures as a part of body language, several handshake categories like: the finger squeeze, the limp fish, the two-handed handshake were explained by several statements in the English and Kyrgyz languages. Furthermore, this article includes definitions and some idioms containing hand, shake, squeeze according to the Oxford and Academic Dictionary to show readers the figurative meanings of these common words. The current study was based on the books of writers Allan and Barbara Pease “The definite book of body language” 2004, Romana Lefevre “Rude hand gestures of the world”2011 etc. Key words: kinesics, body language, gestures, acoustics, applause, paralanguage, non-verbal communication, finger squeeze, perceptions, facial expressions. Аннотация. Бул макалада вербалдык эмес сүйлѳшүүнүн бѳлүгү болуп эсептелген “колдордун жандоо кыймылы”, алардын эки башка маданиятта колдонулушу, айырмачылыгы жана окшош жактары каралган. Макаланын максаты болуп “колдордун жандоо кыймылынын” мааниси, айырмасы жана эки маданиятта колдонулушу эсептелет. Ошону менен бирге, вербалдык эмес сүйлѳшүүнүн бѳлүгү болуп эсептелген “кинесика” илими каралган. Берилген макалада кѳрсѳтүлгѳндѳй, “кинесика” илими кыргыз маданиятында толугу менен изилденген эмес, ошого карабастан “кинесика” илиминин бѳлүгү болуп эсептелген “колдордун жандоо кыймылы” кыргыз элинин маданиятында кѳп колдонулат. Андан тышкары, “колдордун жандоо кыймылынын” бир нече түрү, англис жана кыргыз тилдеринде ма- селен аркылуу берилген.Тѳмѳнкү изилдѳѳ ишин жазууда чет элдик жазуучулардын эмгектери колдонулду. Түйүндүү сѳздѳр: кинесика, жандоо кыймылы, акустика,кол чабуулар, паралингвистика, вербалдык эмес баарлашуу,кол кысуу,кабыл алуу сезими. Аннотация. В данной статье рассматриваются сходства и различия “жестикуляции” и частота ее использования, в американской и кыргызской культурах. Следовательно, здесь было упомянуто понятие “кинесика” как основная часть языка тела. Как указано в статье, “кинесика” не была представлена в кыргызской культуре достаточно хорошо, хотя кыргызский народ часто использует жестикуляцию в повседневной жизни. Исследовательская работа начинается с общего определения “жестикуляции” как части языка тела и несколько категорий жестикуляции, таких как: сжатие пальца, слабое рукопожатие, рукопожатие двумя руками, были объяснены несколькими примерами на английском и кыргызском языках. Кроме того, эта статья включает определения слов “рука”, “рукопожатие”, “сжатие” и некоторые идиомы, содержащие данных слов согласно Оксфордскому и Академическому словарю, чтобы показать читателям их образное значение. Данное исследование было основано на книгах писателей Аллана и Барбары Пиз «Определенная книга языка тела» 2004 года, Романа Лефевра «Грубые жестикуляции мира» 2011 года и т.д. Ключевые слова: кинесика, язык жестов, жесты, акустика, аплодисменты, паралингвистика, невербальная коммуникация, сжатие пальца, чувство восприятия, выражение лиц.

Evidence from young children regarding emotional responses to music

2008 ◽  
Vol 31 (5) ◽  
pp. 581-582 ◽  
Author(s):  
Steven John Holochwost ◽  
Carroll E. Izard
Keyword(s):  
Pilot Study ◽  
Young Children ◽  
Facial Expressions ◽  
Emotional Response ◽  
Emotional Responses ◽  
Theoretical Framework ◽  
Future Research

AbstractJuslin & Västfjäll (J&V) propose a theoretical framework of how music may evoke an emotional response. This commentary presents results from a pilot study that employed young children as participants, and measured musically induced emotions through facial expressions. Preliminary findings support certain aspects of the proposed theoretical framework. The implications of these findings on future research employing the proposed framework are discussed.

scholarly journals “Yay! Yuck!” Toddlers use incongruent emotions to reason about hidden objects

2020 ◽  
Author(s):  
Alexis Sierra Smith-Flores ◽  
Lisa Feigenson
Keyword(s):  
Early Development ◽  
Present Experiment ◽  
Single Agent ◽  
Emotional Responses ◽  
Higher Order ◽  
Single Stimulus ◽  
Developmental Trajectory ◽  
Infants And Toddlers ◽  
The World ◽  
Do So

Infants show impressive sensitivity to others’ emotions from early on, attending to and discriminating different facial emotions, using emotions to decide what to approach or avoid, and recognizing that certain objects and events are likely to produce certain emotional responses. But do infants and toddlers also recognize more abstract features of emotions—features that are not tied to any one emotion in particular? Here we examined the development of the higher order expectation that emotions are more or less mutually exclusive, asking whether young children recognize that people generally do not express two conflicting emotions towards a single stimulus. We first asked whether 26-month old toddlers can use an agent’s incongruent versus congruent emotional responses (“Yay! Yuck!” versus “Yay! Wow!”) to reason about how many objects were hidden in a box. We found that toddlers inferred that incongruent emotions signaled the presence of two numerically distinct objects (Experiment 1). This inference relied on the incongruent emotions being produced by a single agent; when two different agents gave two incongruent emotional responses, toddlers did not assume that two objects must be present (Experiment 2). Finally, we examined the developmental trajectory of this ability. We found that younger, 20-month olds failed to use incongruent emotions to individuate objects (Experiment 3), although they readily used incongruent novel labels to do so (Experiment 4). Our results suggest that by 2-years of age, children use higher order knowledge of emotions to make inferences about the world around them, and that this ability undergoes early development.

scholarly journals Facial Expressions of Emotions for Virtual Characters

2015 ◽  
Author(s):  
Rafael Calvo ◽  
Sidney D'Mello ◽  
Jonathan Gratch ◽  
Arvid Kappas ◽  
Magalie Ochs ◽  
...  
Keyword(s):  
Facial Expressions ◽  
Virtual Characters

Attunement and Perspectival Truth

2018 ◽  
Author(s):  
Rick Anthony Furtak
Keyword(s):  
Selective Attention ◽  
Emotional Responses ◽  
Vantage Point ◽  
Point Of View ◽  
Distinct Form ◽  
The World

Once we have rejected the notion of a subject-independent objectivity, we lack any basis for assuming that our emotional responses project value onto a neutral world. Love’s vision must give us unique, unequalled access to the sort of truth that it reveals. Each person’s emotional point of view, his or her attunement to the world, makes possible a distinct form of knowledge, revealing a particular truth. Our moods, temperaments, and idiosyncratic affective outlooks must fit into this book’s account of emotions as felt recognitions of significance. Each attunement involves selective attention and focus—not distortion. An observer who is not attuned in any way would not notice anything. Each person’s affective vantage point illustrates the perspectival character of existence. Because our affective outlook is a condition of apprehending axiological reality, becoming appreciative of another person’s attunement enables us to know other sides of the truth and other significant truths.

Media Entertainment and Emotions

2017 ◽  
Author(s):  
Ed S. Tan
Keyword(s):  
Virtual World ◽  
State Of The Art ◽  
Temporal Structure ◽  
Emotional Responses ◽  
Emotional Experiences ◽  
Radio Drama ◽  
Proper Understanding ◽  
The World ◽  
Presentation Time ◽  
Effects Of Media

Entertainment is fun, and fun is an emotion. What fun is as an emotion, and how it depends on features of entertainment messages and on other emotions, needs to be understood if we want to explain the appeal of entertainment. Entertainment messages such as movies, stories, drama, games, and sports spectacles can move us in a great variety of ways. But characteristic for the use of all genres is a remarkable, intense focus on interacting with the entertainment message and the virtual world it stages. Gamers in action or listeners of radio drama tend to persist in using the message, apparently blind and deaf to any distraction. Persistence is emotion driven. Intrinsic pleasure in what is a playful activity drives this passionate persistence. Enjoyment, interest, or excitement and absorption are the emotions that make entertainees go for more fun in the ongoing use of an entertainment message. In the use of an entertainment message, these go-emotions complement emotional responses to what happens in the world staged by the message. Horror incites fear and disgust, while serious drama elicits sadness and bittersweet feelings. In our conception, go and complementary emotions are immediate effects of the use of entertainment content: I feel excitement and apprehension now, while I am watching this thriller. Models of distal effects of media entertainment, such as ones on mood, behavior, beliefs, attitudes, and preferences require a proper understanding of immediate emotional responses to concrete messages. The effects of entertainment are only incidental; the emphasis is on immediate emotional experiences in the use of entertainment messages. Immediate emotional responses can be understood and predicted from an analysis of entertainment messages. Entertainment comes in messages with a characteristic temporal structure. Entertainment emotions develop across the presentation time of the message. Their development can be captured and understood in models of a message’s emotion structure. The emotion structure of a message represents the dynamics of go and complementary emotions across consecutive events, such as story episodes or drama scenes, and within these. Research into the uses and effects of media entertainment has a long tradition. Immediate emotional responses to mediated entertainment messages have been theorized and researched since the seminal work of Dolf Zillmann in the 1970s. The state of the art in research on the entertainment emotions needs to be discussed—starting with a general model of these, and elaborating it for selected entertainment genres.

scholarly journals Association of Game Events with Facial Animations of Computer-Controlled Virtual Characters Based on Probabilistic Human Reaction Modeling

2020 ◽  
Vol 10 (16) ◽  
pp. 5636
Author(s):  
Wafaa Alsaggaf ◽  
Georgios Tsaramirsis ◽  
Norah Al-Malki ◽  
Fazal Qudus Khan ◽  
Miadah Almasry ◽  
...  
Keyword(s):  
Facial Expression ◽  
Virtual Environments ◽  
Facial Expressions ◽  
Computer Games ◽  
Virtual Agents ◽  
Board Game ◽  
Virtual Character ◽  
Virtual Characters ◽  
Computer Controlled ◽  
Human Player

Computer-controlled virtual characters are essential parts of most virtual environments and especially computer games. Interaction between these virtual agents and human players has a direct impact on the believability of and immersion in the application. The facial animations of these characters are a key part of these interactions. The player expects the elements of the virtual world to act in a similar manner to the real world. For example, in a board game, if the human player wins, he/she would expect the computer-controlled character to be sad. However, the reactions, more specifically, the facial expressions of virtual characters in most games are not linked with the game events. Instead, they have pre-programmed or random behaviors without any understanding of what is really happening in the game. In this paper, we propose a virtual character facial expression probabilistic decision model that will determine when various facial animations should be played. The model was developed by studying the facial expressions of human players while playing a computer videogame that was also developed as part of this research. The model is represented in the form of trees with 15 extracted game events as roots and 10 associated animations of facial expressions with their corresponding probability of occurrence. Results indicated that only 1 out of 15 game events had a probability of producing an unexpected facial expression. It was found that the “win, lose, tie” game events have more dominant associations with the facial expressions than the rest of game events, followed by “surprise” game events that occurred rarely, and finally, the “damage dealing” events.

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