A conceptual framework for interactive virtual storytelling

This paper presents a framework of an interactive storytelling system. It can integrate five components: management centre, evaluation centre, intelligent virtual agent, intelligent virtual environment, and users, making possible interactive solutions where the communication among these components is conducted in a rational and intelligent way. Environment plays an important role in providing heuristic information for agents through communicating with the management centre. The main idea is based on the principle of heuristic guiding of the behaviour of intelligent agents for guaranteeing the unexpectedness and consistent themes

From automata to animate beings: the scope and limits of attributing socialness to artificial agents

Understanding the mechanisms and consequences of attributing socialness to artificial agents has important implications for how we can use technology to lead more productive and fulfilling lives. Here, we integrate recent findings on the factors that shape behavioral and brain mechanisms that support social interactions between humans and artificial agents. We review how visual features of an agent, as well as knowledge factors within the human observer, shape attributions across dimensions of socialness. We explore how anthropomorphism and dehumanization further influence how we perceive and interact with artificial agents. Based on these findings, we argue that the cognitive reconstruction within the human observer is likely to be far more crucial in shaping our interactions with artificial agents than previously thought, while the artificial agent's visual features are possibly of lesser importance. We combine these findings to provide an integrative theoretical account based on the “like me” hypothesis, and discuss the key role played by the Theory‐of‐Mind network, especially the temporal parietal junction, in the shift from mechanistic to social attributions. We conclude by highlighting outstanding questions on the impact of long‐term interactions with artificial agents on the behavioral and brain mechanisms of attributing socialness to these agents

How instructions modify perception: An fMRI study investigating brain areas involved in attributing human agency

Behavioural studies suggest that the processing of movement stimuli is influenced by beliefs about the agency behind these actions. The current study examined how activity in social and action related brain areas differs when participants were instructed that identicalmovement stimuli were either human or computer generated.Participants viewed a series of point-light animation figures derived frommotion-capture recordings of amoving actor, while functional magnetic resonance imaging (fMRI) was used to monitor patterns of neural activity. The stimuli were scrambled to produce a range of stimulus realism categories; furthermore, before each trial participants were told that they were about to view either a recording of human movement or a computersimulated pattern of movement. Behavioural results suggested that agency instructions influenced participants' perceptions of the stimuli. The fMRI analysis indicated different functions within the paracingulate cortex: ventral paracingulate cortex was more active for human compared to computer agency instructed trials across all stimulus types, whereas dorsal paracingulate cortex was activated more highly in conflicting conditions (human instruction, lowrealismor vice versa). These findings support the hypothesis that ventral paracingulate encodes stimuli deemed to be of human origin,whereas dorsal paracingulate cortex is involvedmore in the ascertainment of human or intentional agency during the observation of ambiguous stimuli. Our results highlight the importance of prior instructions or beliefs on movement processing and the role of the paracingulate cortex in integrating prior knowledge with bottom-up stimuli

Looking at instructional animations through the frame of virtual camera

This thesis investigates the virtual camera and the function of camera movements in expository motion graphics for the purpose of instruction. Motion graphic design is a popular video production technique often employed to create instructional animations that present educational content through the persuasive presentation styles of the entertainment media industry. Adopting animation as a learning tool has distinct concerns and challenges when compared to its use in entertainment, and combining cognitive learning and emotive design aspects requires additional design considerations for each design element. The thesis will address how the camera movement-effect in supporting the narrative and aesthetic in instructional animations. It does this by investigating the virtual camera in terms of technical, semiotic and psychological level, culminating in a systematic categorization of functional camera movements on the basis of conceptual framework that describes hybrid integration of physical, cognitive and affective design aspects; and a creative work as a case study in the form of a comprehensive instructional animation that demonstrates practiced camera movements. Due to the correlation of the conceptual framework relied upon by the supplementary work with the techniques of effective instructional video production and conventional entertainment filmmaking, this thesis touches on the relationship between live action and animation in terms of directing and staging, concluding that the virtual camera as a design factor can be useful for supporting a narrative, evoking emotion and directing the audience’s focus while revealing, tracking and emphasizing informatio

The perception of emotion in artificial agents

Given recent technological developments in robotics, artificial intelligence and virtual reality, it is perhaps unsurprising that the arrival of emotionally expressive and reactive artificial agents is imminent. However, if such agents are to become integrated into our social milieu, it is imperative to establish an understanding of whether and how humans perceive emotion in artificial agents. In this review, we incorporate recent findings from social robotics, virtual reality, psychology, and neuroscience to examine how people recognize and respond to emotions displayed by artificial agents. First, we review how people perceive emotions expressed by an artificial agent, such as facial and bodily expressions and vocal tone. Second, we evaluate the similarities and differences in the consequences of perceived emotions in artificial compared to human agents. Besides accurately recognizing the emotional state of an artificial agent, it is critical to understand how humans respond to those emotions. Does interacting with an angry robot induce the same responses in people as interacting with an angry person? Similarly, does watching a robot rejoice when it wins a game elicit similar feelings of elation in the human observer? Here we provide an overview of the current state of emotion expression and perception in social robotics, as well as a clear articulation of the challenges and guiding principles to be addressed as we move ever closer to truly emotional artificial agents

Gelotophobia and the challenges of implementing laughter into virtual agents interactions

This study investigated which features of AVATAR laughter are perceived threatening for individuals with a fear of being laughed at (gelotophobia), and individuals with no gelotophobia. Laughter samples were systematically varied (e.g., intensity, laughter pitch, and energy for the voice, intensity of facial actions of the face) in three modalities: animated facial expressions, synthesized auditory laughter vocalizations, and motion capture generated puppets displaying laughter body movements. In the online study 123 adults completed, the GELOPH (Ruch and Proyer, 2008a,b) and rated randomly presented videos of the three modalities for how malicious, how friendly, how real the laughter was (0 not at all to 8 extremely). Additionally, an open question asked which markers led to the perception of friendliness/maliciousness. The current study identified features in all modalities of laughter stimuli that were perceived as malicious in general, and some that were gelotophobia specific. For facial expressions of AVATARS, medium intensity laughs triggered highest maliciousness in the gelotophobes. In the auditory stimuli, the fundamental frequency modulations and the variation in intensity were indicative of maliciousness. In the body, backwards and forward movements and rocking vs. jerking movements distinguished the most malicious from the least malicious laugh. From the open answers, the shape and appearance of the lips curling induced feelings that the expression was malicious for non-gelotophobes and that the movement round the eyes, elicited the face to appear as friendly. This was opposite for gelotophobes. Gelotophobia savvy AVATARS should be of high intensity, containing lip and eye movements and be fast, non-repetitive voiced vocalization, variable and of short duration. It should not contain any features that indicate a down-regulation in the voice or body, or indicate voluntary/cognitive modulation.the European Union Seventh Framework Program (FP7/2007-2013) under grant agreement no. 270780 (ILHAIRE project)

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

What do Collaborations with the Arts Have to Say About Human-Robot Interaction?

This is a collection of papers presented at the workshop What Do Collaborations with the Arts Have to Say About HRI , held at the 2010 Human-Robot Interaction Conference, in Osaka, Japan

Example Based Caricature Synthesis

The likeness of a caricature to the original face image is an essential and often overlooked part of caricature production. In this paper we present an example based caricature synthesis technique, consisting of shape exaggeration, relationship exaggeration, and optimization for likeness. Rather than relying on a large training set of caricature face pairs, our shape exaggeration step is based on only one or a small number of examples of facial features. The relationship exaggeration step introduces two definitions which facilitate global facial feature synthesis. The first is the T-Shape rule, which describes the relative relationship between the facial elements in an intuitive manner. The second is the so called proportions, which characterizes the facial features in a proportion form. Finally we introduce a similarity metric as the likeness metric based on the Modified Hausdorff Distance (MHD) which allows us to optimize the configuration of facial elements, maximizing likeness while satisfying a number of constraints. The effectiveness of our algorithm is demonstrated with experimental results