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

Attention modulates the processing of emotional expression triggered by foveal faces

To investigate whether the processing of emotional expression for faces presented within foveal vision is modulated by spatial attention, event-related potentials (ERPs) were recorded in response to stimulus arrays containing one fearful or neutral face at fixation, which was flanked by a pair of peripheral bilateral lines. When attention was focused on the central face, an enhanced positivity was elicited by fearful as compared to neutral faces. This effect started at 160 ms post-stimulus, and remained present for the remainder of the 700 ms analysis interval. When attention was directed away from the face towards the line pair, the initial phase of this emotional positivity remained present, but emotional expression effects beyond 220 ms post-stimulus were completely eliminated. These results demonstrate that when faces are presented foveally, the initial rapid stage of emotional expression processing is unaffected by attention. In contrast, attentional task instructions are effective in inhibiting later, more controlled stages of expression analysis

The role of spatial frequency information for ERP components sensitive to faces and emotional facial expression

To investigate the impact of spatial frequency on emotional facial expression analysis, ERPs were recorded in response to low spatial frequency (LSF), high spatial frequency (HSF), and unfiltered broad spatial frequency (BSF) faces with fearful or neutral expressions, houses, and chairs. In line with previous findings, BSF fearful facial expressions elicited a greater frontal positivity than BSF neutral facial expressions, starting at about 150 ms after stimulus onset. In contrast, this emotional expression effect was absent for HSF and LSF faces. Given that some brain regions involved in emotion processing, such as amygdala and connected structures, are selectively tuned to LSF visual inputs, these data suggest that ERP effects of emotional facial expression do not directly reflect activity in these regions. It is argued that higher order neocortical brain systems are involved in the generation of emotion-specific waveform modulations. The face-sensitive N170 component was neither affected by emotional facial expression nor by spatial frequency information

Towards the improvement of self-service systems via emotional virtual agents

Affective computing and emotional agents have been found to have a positive effect on human-computer interactions. In order to develop an acceptable emotional agent for use in a self-service interaction, two stages of research were identified and carried out; the first to determine which facial expressions are present in such an interaction and the second to determine which emotional agent behaviours are perceived as appropriate during a problematic self-service shopping task. In the first stage, facial expressions associated with negative affect were found to occur during self-service shopping interactions, indicating that facial expression detection is suitable for detecting negative affective states during self-service interactions. In the second stage, user perceptions of the emotional facial expressions displayed by an emotional agent during a problematic self-service interaction were gathered. Overall, the expression of disgust was found to be perceived as inappropriate while emotionally neutral behaviour was perceived as appropriate, however gender differences suggested that females perceived surprise as inappropriate. Results suggest that agents should change their behaviour and appearance based on user characteristics such as gender

Emotional and Adrenocortical Responses of Infants to the Strange Situation: The Differential Function of Emotional Expression

The aim of the study was to investigate biobehavioural organisation in infants with different qualities of attachment. Quality of attachment (security and disorganisation), emotional expression, and adrenocortical stress reactivity were investigated in a sample of 106 infants observed during Ainsworth’s Strange Situation at the age of 12 months. In addition, behavioural inhibition was assessed from maternal reports. As expected, securely attached infants did not show an adrenocortical response. Regarding the traditionally defined insecurely attached groups, adrenocortical activation during the strange situation was found for the ambivalent group, but not for the avoidant one. Previous ndings of increased adrenocortical activity in disorganised infants could not be replicated. In line with previous ndings, adrenocortical activation was most prominent in insecure infants with high behavioural inhibition indicating the function of a secure attachment relationship as a social buffer against less adaptive temperamental dispositions. Additional analyses indicated that adrenocortical reactivity and behavioural distress were not based on common activation processes. Biobehavioural associations within the different attachment groups suggest that biobehavioural processes in securely attached infants may be different from those in insecurely attached and disorganised groups. Whereas a coping model may be applied to describe the biobehavioural organisation of secure infants, an arousal model explanation may be more appropriate for the other groups

The emotional contagion in children with autism spectrum disorder

Studies of the last decade have demonstrated that children with Autism Spectrum Disorder (ASD) showed difficulties in language, social and relational areas, but they had also impairment in the mechanisms of embodied simulation, namely the imitative behaviors that allow the body to give an experiential meaning to own and other’s emotions. The identification of this specific emotional response in ASD children, also defined as emotional contagion, allows to move the therapeutic focus from reducing the behavioral symptomatic expressions of the child to promoting the expression of his ability of emotional regulation. The aim of this study was to investigate the presence of emotional contagion in 53 ASD children aged between 22 and 66 months, through the Test of emotional contagion and verify the presence of compromised emotional contagion areas. Our findings have shown that the severity of the disorder is closely related to the inability of the child to respond to the emotional stimuli, regardless from cognitive abilities, and that emotion to which children responded most frequently was happiness, while the one who responded less was anger

Processing of emotional expression in subliminal and low-visibility images

This thesis investigated the processing of emotional stimuli by the visual system, and how the processing of emotions interacts with visual awareness. Emotions have been given ‘special’ status by some previous research, with evidence that the processing of emotions may be relatively independent of striate cortex, and less affected by disruption to awareness than processing of emotionally neutral images. Yet the extent to which emotions are ‘special’ remains questionable. This thesis focused on the processing of emotional stimuli when activity in V1 was disrupted using transcranial magnetic stimulation (TMS), and whether emotional properties of stimuli can be reliably discriminated, or affect subsequent responses, when visibility is low. Two of the experiments reported in this thesis disrupted activity in V1 using TMS, Experiment 1 with single pulses in an online design, and Experiment 2 with theta burst stimulation in an offline design. Experiment 1 found that a single pulse of TMS 70-130 ms following a presentation of a body posture image disrupted processing of neutral but not emotional postures in an area of the visual field that corresponded to the disruption. Experiment 2 did not find any convincing evidence of disruption to processing of neutral or emotional faces. From Experiment 1 it would appear that emotional body posture images were relatively unaffected by TMS, and appeared to be robust to disruption to V1. Experiment 2 did not add to this as there was no evidence of disruption in any condition. Experiments 3 and 4 used visual masking to disrupt awareness of emotional and neutral faces. Both experiments used a varying interval between the face and the mask stimuli to systematically vary the visibility of the faces. Overall, the shortest SOA produced the lowest level of visibility, and this level of visibility was arguably outside awareness. In Experiment 3, participants’ ability to discriminate properties of emotional faces under low visibility conditions was greater than their ability to discriminate the orientation of the face. This was despite the orientation discrimination being much easier at higher levels of visibility. Experiment 4 used a gender discrimination task, with emotion providing a redundant cue to the decision (present half of the time). Despite showing a strong linear masking function for the neutral faces, there was no evidence of any emotion advantage. Overall, Experiment 3 gave some evidence of an emotion advantage under low visibility conditions, but this effect was fairly small and not replicated in Experiment 4. Finally, Experiments 5-8 used low visibility emotional faces to prime responses to subsequent emotional faces (Experiments 5 and 6) or words (Experiments 7 and 8). In Experiments 5, 7 and 8 there was some evidence of emotional priming effects, although these effects varied considerably across the different designs used. There was evidence for meaningful processing of the emotional prime faces, but this processing only led to small and variable effects on subsequent responses. In summary, this thesis found some evidence that the processing of emotional stimuli was relatively robust to disruption in V1 with TMS. Attempts to find evidence for robust processing of emotional stimuli when disrupted with backwards masking was less successful, with at best mixed results from discrimination tasks and priming experiments. Whether emotional stimuli are processed by a separate route(s) in the brain is still very much open to debate, but the findings of this thesis offers small and inconsistent evidence for a brain network for processing emotions that is relatively independent of V1 and visual awareness. The network and nature of brain structures involved in the processing of subliminal and low visibility processing of emotions remains somewhat elusive.ESR

A practice-led approach to facial animation research

In facial expression research, it is well established that certain emotional expressions are universally recognized. Studies into the observer perception of dynamic expressions have built upon this research by highlighting the importance of particular facial regions, timings, and temporal configurations to perception and interpretation. In many studies, the stimuli for such studies have been generated through posing by non-experts or performances by trained actors. However, skilled character animators are capable of crafting recognizable, believable emotional facial expressions as a part of their professional practice. ‘Emotional Avatars’ was conceived as an interdisciplinary research project which would draw upon the knowledge of animation practice and emotional psychology. The aim of the project was to jointly investigate the artistic generation and observer perception of emotional expression animation to determine whether the nuances of emotional facial expression could be artistically choreographed to enhance audience interpretation