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

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

Teaching Robots to Span the Space of Functional Expressive Motion

Our goal is to enable robots to perform functional tasks in emotive ways, be it in response to their users' emotional states, or expressive of their confidence levels. Prior work has proposed learning independent cost functions from user feedback for each target emotion, so that the robot may optimize it alongside task and environment specific objectives for any situation it encounters. However, this approach is inefficient when modeling multiple emotions and unable to generalize to new ones. In this work, we leverage the fact that emotions are not independent of each other: they are related through a latent space of Valence-Arousal-Dominance (VAD). Our key idea is to learn a model for how trajectories map onto VAD with user labels. Considering the distance between a trajectory's mapping and a target VAD allows this single model to represent cost functions for all emotions. As a result 1) all user feedback can contribute to learning about every emotion; 2) the robot can generate trajectories for any emotion in the space instead of only a few predefined ones; and 3) the robot can respond emotively to user-generated natural language by mapping it to a target VAD. We introduce a method that interactively learns to map trajectories to this latent space and test it in simulation and in a user study. In experiments, we use a simple vacuum robot as well as the Cassie biped

A Comprehensive Review of Data-Driven Co-Speech Gesture Generation

Gestures that accompany speech are an essential part of natural and efficient embodied human communication. The automatic generation of such co-speech gestures is a long-standing problem in computer animation and is considered an enabling technology in film, games, virtual social spaces, and for interaction with social robots. The problem is made challenging by the idiosyncratic and non-periodic nature of human co-speech gesture motion, and by the great diversity of communicative functions that gestures encompass. Gesture generation has seen surging interest recently, owing to the emergence of more and larger datasets of human gesture motion, combined with strides in deep-learning-based generative models, that benefit from the growing availability of data. This review article summarizes co-speech gesture generation research, with a particular focus on deep generative models. First, we articulate the theory describing human gesticulation and how it complements speech. Next, we briefly discuss rule-based and classical statistical gesture synthesis, before delving into deep learning approaches. We employ the choice of input modalities as an organizing principle, examining systems that generate gestures from audio, text, and non-linguistic input. We also chronicle the evolution of the related training data sets in terms of size, diversity, motion quality, and collection method. Finally, we identify key research challenges in gesture generation, including data availability and quality; producing human-like motion; grounding the gesture in the co-occurring speech in interaction with other speakers, and in the environment; performing gesture evaluation; and integration of gesture synthesis into applications. We highlight recent approaches to tackling the various key challenges, as well as the limitations of these approaches, and point toward areas of future development.Comment: Accepted for EUROGRAPHICS 202

Advanced Content and Interface Personalization through Conversational Behavior and Affective Embodied Conversational Agents

Conversation is becoming one of the key interaction modes in HMI. As a result, the conversational agents (CAs) have become an important tool in various everyday scenarios. From Apple and Microsoft to Amazon, Google, and Facebook, all have adapted their own variations of CAs. The CAs range from chatbots and 2D, carton-like implementations of talking heads to fully articulated embodied conversational agents performing interaction in various concepts. Recent studies in the field of face-to-face conversation show that the most natural way to implement interaction is through synchronized verbal and co-verbal signals (gestures and expressions). Namely, co-verbal behavior represents a major source of discourse cohesion. It regulates communicative relationships and may support or even replace verbal counterparts. It effectively retains semantics of the information and gives a certain degree of clarity in the discourse. In this chapter, we will represent a model of generation and realization of more natural machine-generated output