Macro-and Micro-Expressions Facial Datasets: A Survey

Automatic facial expression recognition is essential for many potential applications. Thus, having a clear overview on existing datasets that have been investigated within the framework of face expression recognition is of paramount importance in designing and evaluating effective solutions, notably for neural networks-based training. In this survey, we provide a review of more than eighty facial expression datasets, while taking into account both macro-and micro-expressions. The proposed study is mostly focused on spontaneous and in-the-wild datasets, given the common trend in the research is that of considering contexts where expressions are shown in a spontaneous way and in a real context. We have also provided instances of potential applications of the investigated datasets, while putting into evidence their pros and cons. The proposed survey can help researchers to have a better understanding of the characteristics of the existing datasets, thus facilitating the choice of the data that best suits the particular context of their application

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Based on a true story : "The Gezi Film Poster Series" and the role of narrative in cultural history

textFocusing on a series of hypothetical film posters titled the "Gezi Movie Theatre Poster Series," commissioned by Istanbul's independent magazine Bant Mag, this thesis is a multi-methodological, exploratory case study utilizing ethnographic methods, as well as visual, textual, and document analysis. The posters within this series narrativize and encapsulate instances that took shape on the ground during the Gezi protests in Turkey in the Summer of 2013. Embodying the confluence of larger contextual events through the micro-lens of a singular organization and cultural product, the series provides an instance in which key and complex factors regarding social structure, political activism, and cultural production come together in the form of visual narrative. This undertaken analysis seeks to bring together theoretical constructs of social structure, historicization, alternative media and cultural resistance, material culture, artistic creation, and the imaginary, and apply them, in order, to Turkey, Gezi, Bant Mag, and the posters themselves, in order to create an understanding of how they each play a role within the series and its archival formation. Utilizing a critical analytical framework by focusing on the series as art, artifact, and action, after firmly contextually situating the film poster series within Bant Mag's own organizational framework, internal discourse, and history as a magazine, zine, and online resource, this study hopes to demonstrate the affordances of art, imagination, and subjectivity in the creation, documentation, and conservation of historical micro-narratives.Radio-Television-Fil

Spartan Daily, August 26, 2005

Volume 125, Issue 2https://scholarworks.sjsu.edu/spartandaily/10145/thumbnail.jp