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Human-robot interaction in social robotics applications could be greatly enhanced by robotic behaviors that incorporate emotional body language. Using as our starting point a set of pre-designed, emotion conveying animations that have been created by professional animators for the Pepper robot, we seek to explore how humans perceive their affect content, and to increase their usability by annotating them with reliable labels of valence and arousal, in a continuous interval space. We conducted an experiment with 20 participants who were presented with the animations and rated them in the two-dimensional affect space. An inter-rater reliability analysis was applied to support the aggregation of the ratings for deriving the final labels. The set of emotional body language animations with the labels of valence and arousal is available and can potentially be useful to other researchers as a ground truth for behavioral experiments on robotic expression of emotion, or for the automatic selection of robotic emotional behaviors with respect to valence and arousal. To further utilize the data we collected, we analyzed it with an exploratory approach and we present some interesting trends with regard to the human perception of Pepper’s emotional body language, that might be worth further investigation.

Abstract-Musicians often have the following problem: they have a music score that requires 2 or more players, but they have no one with whom to practice. So far, score-playing music robots exist, but they lack adaptive abilities to synchronize with fellow players' tempo variations. In other words, if the human speeds up their play, the robot should also increase its speed. However, computer accompaniment systems allow exactly this kind of adaptive ability. We present a first step towards giving these accompaniment abilities to a music robot. We introduce a new paradigm of beat tracking using 2 types of sensory input -visual and audio -using our own visual cue recognition system and state-of-the-art acoustic onset detection techniques. Preliminary experiments suggest that by coupling these two modalities, a robot accompanist can start and stop a performance in synchrony with a flutist, and detect tempo changes within half a second.

It has been long speculated that expression of emotions from different modalities have the same underlying 'code', whether it be a dance step, musical phrase, or tone of voice. This is the first attempt to implement this theory across three modalities, inspired by the polyvalence and repeatability of robotics. We propose a unifying framework to generate emotions across voice, gesture, and music, by representing emotional states as a 4-parameter tuple of speed, intensity, regularity, and extent (SIRE). Our results show that a simple 4-tuple can capture four emotions recognizable at greater than chance across gesture and voice, and at least two emotions across all three modalities. An application for multi-modal, expressive music robots is discussed.

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