Framework of controlling 3d virtual human emotional walking using BCI

A Brain-Computer Interface (BCI) is the device that can read and acquire the brain activities. A human body is controlled by Brain-Signals, which considered as a main controller. Furthermore, the human emotions and thoughts will be translated by brain through brain signals and expressed as human mood. This controlling process mainly performed through brain signals, the brain signals is a key component in electroencephalogram (EEG). Based on signal processing the features representing human mood (behavior) could be extracted with emotion as a major feature. This paper proposes a new framework in order to recognize the human inner emotions that have been conducted on the basis of EEG signals using a BCI device controller. This framework go through five steps starting by classifying the brain signal after reading it in order to obtain the emotion, then map the emotion, synchronize the animation of the 3D virtual human, test and evaluate the work. Based on our best knowledge there is no framework for controlling the 3D virtual human. As a result for implementing our framework will enhance the game field of enhancing and controlling the 3D virtual humans’ emotion walking in order to enhance and bring more realistic as well. Commercial games and Augmented Reality systems are possible beneficiaries of this technique. © 2015 Penerbit UTM Press. All rights reserved

Puppitor: Building an Acting Interface for Videogames

Videogames have historically relied on players picking what their characters say or do from a list or entering their desired action into a text parser and then having those intentions carried out in some form by the game characters. There is an understanding that a videogame player exists somewhere between an audience member and a stage actor---but rarely are players allowed to express themselves in a manner similar to an actor. This thesis argues that the acting and directing knowledge of theater is a potentially bountiful resource for designing player and NPC interactions and proposes the reversal of the player picking an action and the characters acting out the response: have the player gesture and move as their character and interpret those actions to alter the lines of dialogue characters are speaking (or in this case, displaying on screen). To illustrate this, this thesis presents a literature review of theatrical methodology, its existing relationship to games, and a survey of projects in the interactive narrative and character interaction spaces. The chosen theater practices provide a useful basis for a new type of interaction between players and non-player characters. Additionally, particularly when looking at acting practices, their major concerns with the relationship between character and actor provide useful language to describe and further explore the relationship between the player and their avatar. As part of this exploration, we created Puppitor, a rules-based input detection system that translates mouse and keyboard inputs into emotional affect values for use in changing the tone and direction of dialogue heavy scenes. We discuss the design principles behind Puppitor's architecture, how its inspiration from theater and fighting games influenced the implementation of each system module, authoring of rulesets and animations, and propose a direction for further work in the realm of interactive drama and storytelling more broadly

Japanese Demon Lore

Oni, ubiquitous supernatural figures in Japanese literature, lore, art, and religion, usually appear as demons or ogres. Characteristically threatening, monstrous creatures with ugly features and fearful habits, including cannibalism, they also can be harbingers of prosperity, beautiful and sexual, and especially in modern contexts, even cute and lovable. There has been much ambiguity in their character and identity over their long history. Usually male, their female manifestations convey distinctivly gendered social and cultural meanings. Oni appear frequently in various arts and media, from Noh theater and picture scrolls to modern fiction and political propaganda, They remain common figures in popular Japanese anime, manga, and film and are becoming embedded in American and international popular culture through such media. Noriko Reiderýs book is the first in English devoted to oni. Reider fully examines their cultural history, multifaceted roles, and complex significance as others to the Japanese.https://digitalcommons.usu.edu/usupress_pubs/1071/thumbnail.jp

Affective Computing

This book provides an overview of state of the art research in Affective Computing. It presents new ideas, original results and practical experiences in this increasingly important research field. The book consists of 23 chapters categorized into four sections. Since one of the most important means of human communication is facial expression, the first section of this book (Chapters 1 to 7) presents a research on synthesis and recognition of facial expressions. Given that we not only use the face but also body movements to express ourselves, in the second section (Chapters 8 to 11) we present a research on perception and generation of emotional expressions by using full-body motions. The third section of the book (Chapters 12 to 16) presents computational models on emotion, as well as findings from neuroscience research. In the last section of the book (Chapters 17 to 22) we present applications related to affective computing

Substitutive bodies and constructed actors: a practice-based investigation of animation as performance

The fundamental conceptualisation of what animation actually is has been changing in the face of material change to production and distribution methods since the introduction of digital technology. This re-conceptualisation has been contributed to by increasing artistic and academic interest in the field, such as the emergence of Animation Studies, a relatively new branch of academic enquiry that is establishing itself as a discipline. This research (documentation of live events and thesis) examines animation in the context of performance, rather than in terms of technology or material process. Its scope is neither to cover all possible types of animation nor to put forward a new ‘catch-all’ definition of animation, but rather to examine the site of performance in character animation and to propose animation as a form of performance. In elaborating this argument, each chapter is structured around the framing device of animation as a message that is encoded and produced, delivered and played back, then received and decoded. The PhD includes a portfolio of projects undertaken as part of the research process on which the text critically reflects. Due to their site-specific approach, these live events are documented through video and still images. The work represents an intertwining, interdisciplinary, post-animation praxis where theory and practice inform one another and test relationships between animation and performance to problematise a binary opposition between that which is live as opposed to that which is animated. It is contextualised by a review of historical practice and interviews with key contemporary practitioners whose work combines animation with an intermedial mixture of interaction design, fine art, dance and theatre