4D (3D Dynamic) statistical models of conversational expressions and the synthesis of highly-realistic 4D facial expression sequences

In this thesis, a novel approach for modelling 4D (3D Dynamic) conversational interactions and synthesising highly-realistic expression sequences is described. To achieve these goals, a fully-automatic, fast, and robust pre-processing pipeline was developed, along with an approach for tracking and inter-subject registering 3D sequences (4D data). A method for modelling and representing sequences as single entities is also introduced. These sequences can be manipulated and used for synthesising new expression sequences. Classification experiments and perceptual studies were performed to validate the methods and models developed in this work. To achieve the goals described above, a 4D database of natural, synced, dyadic conversations was captured. This database is the first of its kind in the world. Another contribution of this thesis is the development of a novel method for modelling conversational interactions. Our approach takes into account the time-sequential nature of the interactions, and encompasses the characteristics of each expression in an interaction, as well as information about the interaction itself. Classification experiments were performed to evaluate the quality of our tracking, inter-subject registration, and modelling methods. To evaluate our ability to model, manipulate, and synthesise new expression sequences, we conducted perceptual experiments. For these perceptual studies, we manipulated modelled sequences by modifying their amplitudes, and had human observers evaluate the level of expression realism and image quality. To evaluate our coupled modelling approach for conversational facial expression interactions, we performed a classification experiment that differentiated predicted frontchannel and backchannel sequences, using the original sequences in the training set. We also used the predicted backchannel sequences in a perceptual study in which human observers rated the level of similarity of the predicted and original sequences. The results of these experiments help support our methods and our claim of our ability to produce 4D, highly-realistic expression sequences that compete with state-of-the-art methods

Real-time generation and adaptation of social companion robot behaviors

Social robots will be part of our future homes. They will assist us in everyday tasks, entertain us, and provide helpful advice. However, the technology still faces challenges that must be overcome to equip the machine with social competencies and make it a socially intelligent and accepted housemate. An essential skill of every social robot is verbal and non-verbal communication. In contrast to voice assistants, smartphones, and smart home technology, which are already part of many people's lives today, social robots have an embodiment that raises expectations towards the machine. Their anthropomorphic or zoomorphic appearance suggests they can communicate naturally with speech, gestures, or facial expressions and understand corresponding human behaviors. In addition, robots also need to consider individual users' preferences: everybody is shaped by their culture, social norms, and life experiences, resulting in different expectations towards communication with a robot. However, robots do not have human intuition - they must be equipped with the corresponding algorithmic solutions to these problems. This thesis investigates the use of reinforcement learning to adapt the robot's verbal and non-verbal communication to the user's needs and preferences. Such non-functional adaptation of the robot's behaviors primarily aims to improve the user experience and the robot's perceived social intelligence. The literature has not yet provided a holistic view of the overall challenge: real-time adaptation requires control over the robot's multimodal behavior generation, an understanding of human feedback, and an algorithmic basis for machine learning. Thus, this thesis develops a conceptual framework for designing real-time non-functional social robot behavior adaptation with reinforcement learning. It provides a higher-level view from the system designer's perspective and guidance from the start to the end. It illustrates the process of modeling, simulating, and evaluating such adaptation processes. Specifically, it guides the integration of human feedback and social signals to equip the machine with social awareness. The conceptual framework is put into practice for several use cases, resulting in technical proofs of concept and research prototypes. They are evaluated in the lab and in in-situ studies. These approaches address typical activities in domestic environments, focussing on the robot's expression of personality, persona, politeness, and humor. Within this scope, the robot adapts its spoken utterances, prosody, and animations based on human explicit or implicit feedback.Soziale Roboter werden Teil unseres zukünftigen Zuhauses sein. Sie werden uns bei alltäglichen Aufgaben unterstützen, uns unterhalten und uns mit hilfreichen Ratschlägen versorgen. Noch gibt es allerdings technische Herausforderungen, die zunächst überwunden werden müssen, um die Maschine mit sozialen Kompetenzen auszustatten und zu einem sozial intelligenten und akzeptierten Mitbewohner zu machen. Eine wesentliche Fähigkeit eines jeden sozialen Roboters ist die verbale und nonverbale Kommunikation. Im Gegensatz zu Sprachassistenten, Smartphones und Smart-Home-Technologien, die bereits heute Teil des Lebens vieler Menschen sind, haben soziale Roboter eine Verkörperung, die Erwartungen an die Maschine weckt. Ihr anthropomorphes oder zoomorphes Aussehen legt nahe, dass sie in der Lage sind, auf natürliche Weise mit Sprache, Gestik oder Mimik zu kommunizieren, aber auch entsprechende menschliche Kommunikation zu verstehen. Darüber hinaus müssen Roboter auch die individuellen Vorlieben der Benutzer berücksichtigen. So ist jeder Mensch von seiner Kultur, sozialen Normen und eigenen Lebenserfahrungen geprägt, was zu unterschiedlichen Erwartungen an die Kommunikation mit einem Roboter führt. Roboter haben jedoch keine menschliche Intuition - sie müssen mit entsprechenden Algorithmen für diese Probleme ausgestattet werden. In dieser Arbeit wird der Einsatz von bestärkendem Lernen untersucht, um die verbale und nonverbale Kommunikation des Roboters an die Bedürfnisse und Vorlieben des Benutzers anzupassen. Eine solche nicht-funktionale Anpassung des Roboterverhaltens zielt in erster Linie darauf ab, das Benutzererlebnis und die wahrgenommene soziale Intelligenz des Roboters zu verbessern. Die Literatur bietet bisher keine ganzheitliche Sicht auf diese Herausforderung: Echtzeitanpassung erfordert die Kontrolle über die multimodale Verhaltenserzeugung des Roboters, ein Verständnis des menschlichen Feedbacks und eine algorithmische Basis für maschinelles Lernen. Daher wird in dieser Arbeit ein konzeptioneller Rahmen für die Gestaltung von nicht-funktionaler Anpassung der Kommunikation sozialer Roboter mit bestärkendem Lernen entwickelt. Er bietet eine übergeordnete Sichtweise aus der Perspektive des Systemdesigners und eine Anleitung vom Anfang bis zum Ende. Er veranschaulicht den Prozess der Modellierung, Simulation und Evaluierung solcher Anpassungsprozesse. Insbesondere wird auf die Integration von menschlichem Feedback und sozialen Signalen eingegangen, um die Maschine mit sozialem Bewusstsein auszustatten. Der konzeptionelle Rahmen wird für mehrere Anwendungsfälle in die Praxis umgesetzt, was zu technischen Konzeptnachweisen und Forschungsprototypen führt, die in Labor- und In-situ-Studien evaluiert werden. Diese Ansätze befassen sich mit typischen Aktivitäten in häuslichen Umgebungen, wobei der Schwerpunkt auf dem Ausdruck der Persönlichkeit, dem Persona, der Höflichkeit und dem Humor des Roboters liegt. In diesem Rahmen passt der Roboter seine Sprache, Prosodie, und Animationen auf Basis expliziten oder impliziten menschlichen Feedbacks an

Agents with faces : a study on the effects of personification of software agents

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1996.Includes bibliographical references (p. 129-133).by Tomoko Koka.M.S

‘With this face, can I take up space in the world?’: Embodied geographies of facial difference

This PhD thesis investigates the everyday lived experience of the embodiment of facial difference/disfigurement. In collaboration with six organisations that each provide support to those living with facial difference – Alopecia UK, Cleft Lip and Palate Association, Face Equality International, Facial Palsy UK, ReMake Up, and The Psoriasis Association – the research employs a qualitative methodology to generate insight into the experience of living with a facial appearance that does not conform to geographically variable social and aesthetic norms. The methodology of the project involves an online qualitative survey (n=92 respondents) and remote qualitative interviews (n=26), carried out with individuals who self-identify as having a ‘facial difference’: any condition or characteristic that alters or impacts the appearance of the face (e.g., hair loss from eyebrows, facial paralysis, a facial birthmark). These participant testimonies evidence the existence and manifestation of a stigmatised politics of facial and bodily appearance, providing insight into the spatial – and, as I argue, disabling – consequences of facial difference. Engaging with scholarship across disciplines such as human geography, sociology, psychology, bioethics, and disability studies, the research theoretically situates the geography of facial difference within this interdisciplinary framework, paying particular attention to embodied and disability geographies. The empirical chapters of the thesis are then structured around four main points of departure. Firstly, I locate the human face as an interface between bodies and worlds, revealing the significance of facial appearance in everyday life. Secondly, I probe into the disabling spatialities of facial difference, documenting participant accounts of living with varying forms of facial difference/disfigurement and how these can (re)produce a politics of inclusion/exclusion. Thirdly, I make significant contributions to the field of emotional geographies, identifying how the embodiment of facial difference is wrought with complex emotions for the face-bearer, uncovering emotions such as shame, guilt, and loss. Finally, I critically analyse multiple forms of facial appearance intervention, from everyday cosmetics to surgical procedures. The thesis concludes by creatively troubling the limits of this particular research project and identifies future research avenues for a geography of facial difference, possibly informed by feminist, queer, and crip theories. The thesis therefore contributes to interdisciplinary scholarship on facial and bodily appearance and difference, making original contributions to debates about the embodying or ‘materialising’ of emotions and identities, the role of bodily difference in creating social geographies of exclusion, the contested politics of appearance and aesthetics, and the epistemic challenges arising from prioritising ‘voices’ of experience

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music