Evaluating the emotional content of human motions on real and virtual characters

McDonnell, Rachel; Jörg, Sophie; McHugh, Joanna E.; Newell, Fiona N.; O’Sullivan, Carol

doi:10.1145/1394281.1394294

Cited by 47 publications

(26 citation statements)

References 14 publications

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“…Pasch and Poppe [2007] evaluated the importance of the realism of the stimuli on the perception of emotion, demonstrating that high realism did not always conform to an increase in agreement of the emotional content. McDonnell et al [2008] investigated the role of body shape on the perception of emotion and found that emotion identification is largely robust to change in body shape.…”

Section: Related Workmentioning

confidence: 99%

“…Several previous studies focus on specific motion categories such as gait [Crane and Gross 2007;Roether et al 2009], knocking and drinking [Pollick et al 2001], and dance movements [Sawada et al 2003], whereas this study uses non-restricted actor portrayals, similarly to previous work [Wallbott 1998;Atkinson et al 2004;McDonnell et al 2008]. This choice was made for two reasons.…”

Section: Related Workmentioning

confidence: 99%

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The effect of posture and dynamics on the perception of emotion

Normoyle

Liu

Kapadia

et al. 2013

Proceedings of the ACM Symposium on Applied Perception

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AngerDisgust Fear Happiness Sadness Surprise AbstractMotion capture remains a popular and widely-used method for animating virtual characters. However, all practical applications of motion capture rely on motion editing techniques to increase the reusability and flexibility of captured motions. Because humans are proficient in detecting and interpreting subtle details in human motion, understanding the perceptual consequences of motion editing is essential. Thus in this work, we perform three experiments to gain a better understanding of how motion editing might affect the emotional content of a captured performance, particularly changes in posture and dynamics, two factors shown to be important perceptual indicators of bodily emotions. In these studies, we analyse the properties (angles and velocities) and perception (recognition rates and perceived intensities) of a varied set of full-body motion clips representing the six emotions anger, disgust, fear, happiness, sadness, and surprise. We have found that emotions are mostly conveyed through the upper body, that the perceived intensity of an emotion can be reduced by blending with a neutral motion, and that posture changes can alter the perceived emotion but subtle changes in dynamics only alter the intensity.

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Section: Related Workmentioning

confidence: 99%

Section: Related Workmentioning

confidence: 99%

The effect of posture and dynamics on the perception of emotion

Normoyle

Liu

Kapadia

et al. 2013

Proceedings of the ACM Symposium on Applied Perception

Self Cite

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show abstract

“…The work presented by Neff and Fiume (2006), which focused on the modifications made to the inverse kinematics algorithms to generate different poses to modify the expressiveness of a stance, is also interesting. Finally, the results obtained by McDonnell et al (2008McDonnell et al ( , 2009) are important to our work. They studied the relation between the perception of emotion in virtual characters and their shape and visual aspects, concluding that they are independent of each other.…”

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confidence: 84%

Synthesizing mood-affected signed messages: Modifications to the parametric synthesis

López-Colino

Colás

2012

International Journal of Human-Computer Studies

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This paper describes the first approach in synthesizing mood-affected signed contents. The research focuses on the modifications applied to a parametric sign language synthesizer (based on phonetic descriptions of the signs). We propose some modifications that will allow for the synthesis of different perceived frames of mind within synthetic signed messages. Three of these proposals focus on modifications to three different signs' phonologic parameters (the hand shape, the movement and the non-hand parameter). The other two proposals focus on the temporal aspect of the synthesis (sign speed and transition duration) and the representation of muscular tension through inverse kinematics procedures. These resulting variations have been evaluated by Spanish deaf signers, who have concluded that our system can generate the same signed message with three different frames of mind, which are correctly identified by Spanish Sign Language signers.

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“…e perception of emotional body language has also been studied on virtual characters. McDonnell et al [19], [20] recorded motion capture data of the six basic emotions of Ekman [9] performed by an actor, and mapped it to virtual characters in di erent categories: realistic, cartoon, zombie and a wooden mannequin. eir results suggested that the perception of emotions are not a ected by the appearance of the character.…”

Section: Related Workmentioning

confidence: 99%

Mimebot—Investigating the Expressibility of Non-Verbal Communication Across Agent Embodiments

Alexanderson

O’Sullivan

Neff

et al. 2017

ACM Trans. Appl. Percept.

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Unlike their human counterparts, arti cial agents such as robots and game characters may be deployed with a large variety of face and body con gurations. Some have articulated bodies but lack facial features, and others may be talking heads ending at the neck. Generally, they have many fewer degrees of freedom than humans through which they must express themselves, and there will inevitably be a ltering e ect when mapping human motion onto the agent. In this paper, we investigate ltering e ects on three types of embodiments, a) an agent with a body but no facial features, b) an agent with a head only and c) an agent with a body and a face. We performed a full performance capture of a mime actor enacting short interactions varying the non-verbal expression along ve dimensions (e.g. level of frustration and level of certainty) for each of the three embodiments. We performed a crowd sourced evaluation experiment comparing the video of the actor to the video of an animated robot for the di erent embodiments and dimensions. Our ndings suggest that the face is especially important to pinpoint emotional reactions, but is also most volatile to ltering e ects. e body motion on the other hand had more diverse interpretations, but tended to preserve the interpretation a er mapping, and thus proved to be more resilient to ltering.

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Evaluating the emotional content of human motions on real and virtual characters

Cited by 47 publications

References 14 publications

The effect of posture and dynamics on the perception of emotion

The effect of posture and dynamics on the perception of emotion

Synthesizing mood-affected signed messages: Modifications to the parametric synthesis

Mimebot—Investigating the Expressibility of Non-Verbal Communication Across Agent Embodiments

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