46,467 research outputs found
Looking Beyond a Clever Narrative: Visual Context and Attention are Primary Drivers of Affect in Video Advertisements
Emotion evoked by an advertisement plays a key role in influencing brand
recall and eventual consumer choices. Automatic ad affect recognition has
several useful applications. However, the use of content-based feature
representations does not give insights into how affect is modulated by aspects
such as the ad scene setting, salient object attributes and their interactions.
Neither do such approaches inform us on how humans prioritize visual
information for ad understanding. Our work addresses these lacunae by
decomposing video content into detected objects, coarse scene structure, object
statistics and actively attended objects identified via eye-gaze. We measure
the importance of each of these information channels by systematically
incorporating related information into ad affect prediction models. Contrary to
the popular notion that ad affect hinges on the narrative and the clever use of
linguistic and social cues, we find that actively attended objects and the
coarse scene structure better encode affective information as compared to
individual scene objects or conspicuous background elements.Comment: Accepted for publication in the Proceedings of 20th ACM International
Conference on Multimodal Interaction, Boulder, CO, US
Multimodal Content Analysis for Effective Advertisements on YouTube
The rapid advances in e-commerce and Web 2.0 technologies have greatly
increased the impact of commercial advertisements on the general public. As a
key enabling technology, a multitude of recommender systems exists which
analyzes user features and browsing patterns to recommend appealing
advertisements to users. In this work, we seek to study the characteristics or
attributes that characterize an effective advertisement and recommend a useful
set of features to aid the designing and production processes of commercial
advertisements. We analyze the temporal patterns from multimedia content of
advertisement videos including auditory, visual and textual components, and
study their individual roles and synergies in the success of an advertisement.
The objective of this work is then to measure the effectiveness of an
advertisement, and to recommend a useful set of features to advertisement
designers to make it more successful and approachable to users. Our proposed
framework employs the signal processing technique of cross modality feature
learning where data streams from different components are employed to train
separate neural network models and are then fused together to learn a shared
representation. Subsequently, a neural network model trained on this joint
feature embedding representation is utilized as a classifier to predict
advertisement effectiveness. We validate our approach using subjective ratings
from a dedicated user study, the sentiment strength of online viewer comments,
and a viewer opinion metric of the ratio of the Likes and Views received by
each advertisement from an online platform.Comment: 11 pages, 5 figures, ICDM 201
Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience
A recent version of the view that aesthetic experience is based in empathy as inner
imitation explains aesthetic experience as the automatic simulation of actions,
emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied
visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer
Evaluating Content-centric vs User-centric Ad Affect Recognition
Despite the fact that advertisements (ads) often include strongly emotional
content, very little work has been devoted to affect recognition (AR) from ads.
This work explicitly compares content-centric and user-centric ad AR
methodologies, and evaluates the impact of enhanced AR on computational
advertising via a user study. Specifically, we (1) compile an affective ad
dataset capable of evoking coherent emotions across users; (2) explore the
efficacy of content-centric convolutional neural network (CNN) features for
encoding emotions, and show that CNN features outperform low-level emotion
descriptors; (3) examine user-centered ad AR by analyzing Electroencephalogram
(EEG) responses acquired from eleven viewers, and find that EEG signals encode
emotional information better than content descriptors; (4) investigate the
relationship between objective AR and subjective viewer experience while
watching an ad-embedded online video stream based on a study involving 12
users. To our knowledge, this is the first work to (a) expressly compare user
vs content-centered AR for ads, and (b) study the relationship between modeling
of ad emotions and its impact on a real-life advertising application.Comment: Accepted at the ACM International Conference on Multimodal Interation
(ICMI) 201
Affective games:a multimodal classification system
Affective gaming is a relatively new field of research that exploits human emotions to influence gameplay for an enhanced player experience. Changes in player’s psychology reflect on their behaviour and physiology, hence recognition of such variation is a core element in affective games. Complementary sources of affect offer more reliable recognition, especially in contexts where one modality is partial or unavailable. As a multimodal recognition system, affect-aware games are subject to the practical difficulties met by traditional trained classifiers. In addition, inherited game-related challenges in terms of data collection and performance arise while attempting to sustain an acceptable level of immersion. Most existing scenarios employ sensors that offer limited freedom of movement resulting in less realistic experiences. Recent advances now offer technology that allows players to communicate more freely and naturally with the game, and furthermore, control it without the use of input devices. However, the affective game industry is still in its infancy and definitely needs to catch up with the current life-like level of adaptation provided by graphics and animation
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