Renewal

Interruptions and discontinuity are the very essence of Aby Warburg’s conception of the temporality that affects art objects. Beneath the seemingly immobilized expressive gesture, the Hamburg scholar recognizes the vitality of the Pathosformeln that convey the intricacy of human multi-layered temporality, made of interruptions, resumptions, inversions, regressions, stops, accelerations, and survivals (Nachleben). In this sense, Warburg’s idea of ‘renewal’, which he developed from his well-known investigation of the Italian Renaissance, does not quite overlap with the notion of rebirth: an expressive gesture can re-emerge and be renewed in a different time without dying and being born a second time with a different form

Toward a model of computational attention based on expressive behavior: applications to cultural heritage scenarios

Our project goals consisted in the development of attention-based analysis of human expressive behavior and the implementation of real-time algorithm in EyesWeb XMI in order to improve naturalness of human-computer interaction and context-based monitoring of human behavior. To this aim, perceptual-model that mimic human attentional processes was developed for expressivity analysis and modeled by entropy. Museum scenarios were selected as an ecological test-bed to elaborate three experiments that focus on visitor profiling and visitors flow regulation

An Animation Framework for Continuous Interaction with Reactive Virtual Humans

We present a complete framework for animation of Reactive Virtual Humans that offers a mixed animation paradigm: control of different body parts switches between keyframe animation, procedural animation and physical simulation, depending on the requirements of the moment. This framework implements novel techniques to support real-time continuous interaction. It is demonstrated on our interactive Virtual Conductor

Fast and Expressive Gesture Recognition using a Combination-Homomorphic Electromyogram Encoder

We study the task of gesture recognition from electromyography (EMG), with the goal of enabling expressive human-computer interaction at high accuracy, while minimizing the time required for new subjects to provide calibration data. To fulfill these goals, we define combination gestures consisting of a direction component and a modifier component. New subjects only demonstrate the single component gestures and we seek to extrapolate from these to all possible single or combination gestures. We extrapolate to unseen combination gestures by combining the feature vectors of real single gestures to produce synthetic training data. This strategy allows us to provide a large and flexible gesture vocabulary, while not requiring new subjects to demonstrate combinatorially many example gestures. We pre-train an encoder and a combination operator using self-supervision, so that we can produce useful synthetic training data for unseen test subjects. To evaluate the proposed method, we collect a real-world EMG dataset, and measure the effect of augmented supervision against two baselines: a partially-supervised model trained with only single gesture data from the unseen subject, and a fully-supervised model trained with real single and real combination gesture data from the unseen subject. We find that the proposed method provides a dramatic improvement over the partially-supervised model, and achieves a useful classification accuracy that in some cases approaches the performance of the fully-supervised model.Comment: 24 pages, 7 figures, 6 tables V2: add link to code, fix bibliograph

Communicating and accentuating the aesthetic and expressive dimension in choral conducting

This article considers the issues that are involved in effective choral conducting from an aesthetic dimension. Drawing upon research, theories and practice, it provides some insight into the nature of communication and the significance of gesture on vocal outcome as well as qualities of leadership concomitant with such musical activity. The article also reports on a research study that investigated the professional development of students and teachers in the area of choral conducting, focusing on their attitudes, skill acquisition and the importance attached to reflection on practice. The findings reveal that consideration of what counts as effective conducting gesture and communication skill can promote better conducting and, consequently, better, more expressive singing. In addition, the positive impact of self and peer reflection on progress (both face-to-face and within a virtual learning environment) was also acknowledged. Certain suggestions for promoting effective musical leadership in the area of choral conducting are provided, in order to ground theoretical perspectives in practice

Captured Motion Data Processing for Real Time Synthesis of Sign Language

International audienceThe work described in this abstract presents a roadmap towards the creation and specification of a virtual humanoid capable of performing expressive gestures in real time. We present a gesture motion data acquisition protocol capable of handling the main articulators involved in human expressive gesture (whole body, fingers and face). We then present the postprocessing of captured data leading to a motion database complying with our motion specification language and capable of feeding data driven animation techniques

'Don't box me in': Blurred lines in 'Waking Life' and 'A Scanner Darkly'

This is the author's accepted manuscript. The final published article is available from the link below.This article seeks to evaluate the visual style of Waking Life and A Scanner Darkly, predominantly through an analysis of the films’ aesthetics. The use of Rotoshop as an expressive means to illustrate character and theme, where identity becomes sketched and multi-faceted rather than fixed or stable is explored here. Yet this aesthetic play with borders has a greater resonance than simply a means by which to delineate thematic preoccupations with troubled identity. While such representations are indeed key to these two films, the darkly outlined contours of character borders, which move and slide incessantly, also comment on the blurred divide between live action and animation. Central to the argument is the use of the animated line in understanding these two films; the line provides impetus for exploring several issues raised by the films and the use of Rotoshop. This article explores the following key ideas: the animated line and aesthetic analysis; Rotoshop technology; the representation of fragmentary identity; and the relationship between photo-real cinema and animation, with a particular focus on narrative and spectacle. The author addresses Rotoshop within the context of technology and spectacle; taking industry practices into account allows for an appreciation of how a technological innovation such as Rotoshop can change the shape of live-action cinema