Children interpretation of emotional body language displayed by a robot

Previous results show that adults are able to interpret different key poses displayed by the robot and also that changing the head position affects the expressiveness of the key poses in a consistent way. Moving the head down leads to decreased arousal (the level of energy), valence (positive or negative) and stance (approaching or avoiding) whereas moving the head up produces an increase along these dimensions [1]. Hence, changing the head position during an interaction should send intuitive signals which could be used during an interaction. The ALIZ-E target group are children between the age of 8 and 11. Existing results suggest that they would be able to interpret human emotional body language [2, 3]. Based on these results, an experiment was conducted to test whether the results of [1] can be applied to children. If yes body postures and head position could be used to convey emotions during an interaction.Peer reviewe

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

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

Assistive robotics: research challenges and ethics education initiatives

Assistive robotics is a fast growing field aimed at helping healthcarers in hospitals, rehabilitation centers and nursery homes, as well as empowering people with reduced mobility at home, so that they can autonomously fulfill their daily living activities. The need to function in dynamic human-centered environments poses new research challenges: robotic assistants need to have friendly interfaces, be highly adaptable and customizable, very compliant and intrinsically safe to people, as well as able to handle deformable materials. Besides technical challenges, assistive robotics raises also ethical defies, which have led to the emergence of a new discipline: Roboethics. Several institutions are developing regulations and standards, and many ethics education initiatives include contents on human-robot interaction and human dignity in assistive situations. In this paper, the state of the art in assistive robotics is briefly reviewed, and educational materials from a university course on Ethics in Social Robotics and AI focusing on the assistive context are presented.Peer ReviewedPostprint (author's final draft

Influence of facial feedback and mind perception during a cooperative human-robot task in schizophrenia

This is the author accepted manuscript. The final version is available from Springer Nature via the DOI in this record.Rapid progress in the area of humanoid robots offers tremendous possibilities for investigating and improving social competences in people with social deficits, but remains yet unexplored in schizophrenia. In this study, we examined the influence of social feedbacks elicited by a humanoid robot on motor coordination during a human-robot interaction. Twenty-two schizophrenia patients and twenty-two matched healthy controls underwent a collaborative motor synchrony task with the iCub humanoid robot. Results revealed that positive social feedback had a facilitatory effect on motor coordination in the control participants compared to non-social positive feedback. This facilitatory effect was not present in schizophrenia patients, whose social-motor coordination was similarly impaired in social and non-social feedback conditions. Furthermore, patients’ cognitive flexibility impairment and antipsychotic dosing were negatively correlated with patients’ ability to synchronize hand movements with iCub. Overall, our findings reveal that patients have marked difficulties to exploit facial social cues elicited by a humanoid robot to modulate their motor coordination during human-robot interaction, partly accounted for by cognitive deficits and medication. This study opens new perspectives for comprehension of social deficits in this mental disorder.This experiment was supported by a grant from the European Union’s Seventh Framework Program (FP7 ICT 2011 Call 9) under grant agreement n FP7-ICT-600610 ALTEREGO

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