Sharing Human-Generated Observations by Integrating HMI and the Semantic Sensor Web

Current “Internet of Things” concepts point to a future where connected objects gather meaningful information about their environment and share it with other objects and people. In particular, objects embedding Human Machine Interaction (HMI), such as mobile devices and, increasingly, connected vehicles, home appliances, urban interactive infrastructures, etc., may not only be conceived as sources of sensor information, but, through interaction with their users, they can also produce highly valuable context-aware human-generated observations. We believe that the great promise offered by combining and sharing all of the different sources of information available can be realized through the integration of HMI and Semantic Sensor Web technologies. This paper presents a technological framework that harmonizes two of the most influential HMI and Sensor Web initiatives: the W3C’s Multimodal Architecture and Interfaces (MMI) and the Open Geospatial Consortium (OGC) Sensor Web Enablement (SWE) with its semantic extension, respectively. Although the proposed framework is general enough to be applied in a variety of connected objects integrating HMI, a particular development is presented for a connected car scenario where drivers’ observations about the traffic or their environment are shared across the Semantic Sensor Web. For implementation and evaluation purposes an on-board OSGi (Open Services Gateway Initiative) architecture was built, integrating several available HMI, Sensor Web and Semantic Web technologies. A technical performance test and a conceptual validation of the scenario with potential users are reported, with results suggesting the approach is soun

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

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

World futures through RT’s eyes: multimodal dataset and interdisciplinary methodology

There is a need to develop new interdisciplinary approaches suitable for a more complete analysis of multimodal data. Such approaches need to go beyond case studies and leverage technology to allow for statistically valid analysis of the data. Our study addresses this need by engaging with the research question of how humans communicate about the future for persuasive and manipulative purposes, and how they do this multimodally. It introduces a new methodology for computer-assisted multimodal analysis of video data. The study also introduces the resulting dataset, featuring annotations for speech (textual and acoustic modalities) and gesticulation and corporal behaviour (visual modality). To analyse and annotate the data and develop the methodology, the study engages with 23 26-min episodes of the show ‘SophieCo Visionaries’, broadcast by RT (formerly ‘Russia Today’)

Practical aspects of designing and developing a multimodal embodied agent

2021 Spring.Includes bibliographical references.This thesis reviews key elements that went into the design and construction of the CSU CwC Embodied agent, also known as the Diana System. The Diana System has been developed over five years by a joint team of researchers at three institutions – Colorado State University, Brandeis University and the University of Florida. Over that time, I contributed to this overall effort and in this thesis, I present a practical review of key elements involved in designing and constructing the system. Particular attention is paid to Diana's multimodal capabilities that engage asynchronously and concurrently to support realistic interactions with the user. Diana can communicate in visual as well as auditory modalities. She can understand a variety of hand gestures for object manipulation, deixis, etc. and can gesture in return. Diana can also hold a conversation with the user in spoken and/or written English. Gestures and speech are often at play simultaneously, supplementing and complementing each other. Diana conveys her attention through several non-verbal cues like slower blinking when inattentive, keeping her gaze on the subject of her attention, etc. Finally, her ability to express emotions with facial expressions adds another crucial human element to any user interaction with the system. Central to Diana's capabilities is a blackboard architecture coordinating a hierarchy of modular components, each controlling a part of Diana's perceptual, cognitive, and motor abilities. The modular design facilitates contributions from multiple disciplines, namely VoxSim/VoxML with Text-to-speech/Automatic Speech Recognition systems for natural language understanding, deep neural networks for gesture recognition, 3D computer animation systems, etc. – all integrated within the Unity game engine to create an embodied, intelligent agent that is Diana. The primary contribution of this thesis is to provide a detailed explanation of Diana's internal working along with a thorough background of the research that supports these technologies