Creative approaches to emotional expression animation

In facial expression research, it is well established that certain emotional expressions are universally recognized. Studies into observer perception of expressions have built upon this research by highlighting the importance of particular facial regions, actions, and movements to the recognition of emotions. In many studies, the stimuli for such studies have been generated through posing by non-experts or performances by trained actors. However, character animators are required to craft recognizable, believable emotional facial expressions as a part of their profession. In this poster, the authors discuss some of the creative processes employed in their research into emotional expressions, and how practice-led research into expression animation might offer a new perspective on the generation of believable emotional expressions

6 Seconds of Sound and Vision: Creativity in Micro-Videos

The notion of creativity, as opposed to related concepts such as beauty or interestingness, has not been studied from the perspective of automatic analysis of multimedia content. Meanwhile, short online videos shared on social media platforms, or micro-videos, have arisen as a new medium for creative expression. In this paper we study creative micro-videos in an effort to understand the features that make a video creative, and to address the problem of automatic detection of creative content. Defining creative videos as those that are novel and have aesthetic value, we conduct a crowdsourcing experiment to create a dataset of over 3,800 micro-videos labelled as creative and non-creative. We propose a set of computational features that we map to the components of our definition of creativity, and conduct an analysis to determine which of these features correlate most with creative video. Finally, we evaluate a supervised approach to automatically detect creative video, with promising results, showing that it is necessary to model both aesthetic value and novelty to achieve optimal classification accuracy.Comment: 8 pages, 1 figures, conference IEEE CVPR 201

Getting creative in the languages classroom

The following principles are central to the work of ‘Linguistic Creativity in Language Learning’, a research strand of Creative Multilingualism: We create language every day. Language diversity facilitates creative diversity. Linguistic diversity nurtures diverse expression of feelings, thoughts and identities, and diverse ways of knowing and seeing the world. In this chapter we outline how they might be considered in relation to classroom language learning. One of the authors of this chapter..

Empowering Expression for Users with Aphasia through Constrained Creativity

Creative activities allow people to express themselves in rich, nuanced ways. However, being creative does not always come easily. For example, people with speech and language impairments, such as aphasia, face challenges in creative activities that involve language. In this paper, we explore the concept of constrained creativity as a way of addressing this challenge and enabling creative writing. We report an app, MakeWrite, that supports the constrained creation of digital texts through automated redaction. The app was co-designed with and for people with aphasia and was subsequently explored in a workshop with a group of people with aphasia. Participants were not only successful in crafting novel language, but, importantly, self-reported that the app was crucial in enabling them to do so. We refect on the potential of technology-supported constrained creativity as a means of empowering expression amongst users with diverse needs

Cinema of poverty: Independence and simplicity in an age of abundance and complexity

Over the past 25 years of writing, producing and directing, my aspirations as a creative artist in film have shifted from a paradigm in which the scale and scope of financial and human resources shaped not only the creative intentions of a project, but the very definition of what made something ‘cinematic’, to a new paradigm in which poverty - both in terms of resources and, more philosophically, in terms of artistic expression - has become one of the defining features of my artistic aspiration and my understanding of a new cinema. This development has interacted with parallel developments in technologies of production, distribution and exhibition, of a kind and scale I never envisaged when first embarking on a career in film, and has, for me, led to a kind of creative liberation which I am only now beginning to fully understand. Traditionally, human and financial resources have been considered essential for the production of quality, creative narrative films. In this article, I shall reflect on my own practice to explore how poverty can enhance the creative engagement with the medium and lead to the development of new and innovative approaches to, amongst other things, narrative imagery and, in so doing, explore how poverty can introduce new and original approaches to cinematic story-telling

Investigating facial animation production through artistic inquiry

Studies into dynamic facial expressions tend to make use of experimental methods based on objectively manipulated stimuli. New techniques for displaying increasingly realistic facial movement and methods of measuring observer responses are typical of computer animation and psychology facial expression research. However, few projects focus on the artistic nature of performance production. Instead, most concentrate on the naturalistic appearance of posed or acted expressions. In this paper, the authors discuss a method for exploring the creative process of emotional facial expression animation, and ask whether anything can be learned about authentic dynamic expressions through artistic inquiry

Culture and Urban Revitalization: A Harvest Document

Advocates have long argued that the economic benefits of the arts and culture provide a firm rationale for public support. Recent scholarship on the "creative class" and "creative economy" is simply the latest effort to link cultural expression to community prosperity. In contrast, the social benefits of cultural engagement have received relatively little attention, even though -- as we shall see -- they provide a stronger case.We need to avoid a simplistic either-or choice between the economic and social impacts of the arts. People who live in our cities, suburbs, and countryside are simultaneously consumers, workers, residents, citizens, and participants. Culture's role in promoting community capacity and civic engagement is central to its potential for generating vital cultural districts. To separate the economic and the social impacts of the arts makes each more difficult to understand.This document provides an overview of the state-of-the-art literature on culture and urban revitalization. In Part 2, we place the creative sector in contemporary context with a discussion of three social dynamics. The "new urban reality" has restructured our cities by increasing social diversity -- fueled by new residential patterns, the emergence of young adult districts, and immigration; expanding economic inequality; and changing urban form. Shifts in the economic and political environment have changed the structure of the creative sector. Finally, the changing balance of government, nonprofit, and for-profit institutions in social policy development -- the shift to transactional policymaking -- has profound implications for cultural policy and the creative sector broadly defined. These three forces -- the new urban reality, the changing structure of the creative sector, and the emergence of transactional policy-making -- define the context within which culture-based revitalization takes place

Sensory Substitution, Key to Inclusive Learning

Visually impaired students, in primary education, encounter unique challenges while learning creative skills, exploring artistic expression and developing problem-solving skills, because so much instructional content is delivered visually. Sensory substitution—an approach that replaces visual information with feedback from other intact senses like touch, sound, taste or smell—provides an opportunity to address those challenges. Through the use of sensory substitution, this thesis proposes concrete ways to capitalize on the enhanced abilities of visually impaired primary school students. The research outcome of this thesis is a system of templates that puts these enhanced abilities to work for visually impaired students, to support them while they learn creative skills and practice problem-solving in a classroom setting. Each template contains a lesson that can be learned by using the process of paper quilling. The templates work equally well for sighted and visually impaired students, since all will be able to understand the lesson by using the sense of touch, as they learn by making