Exploring Emotion Representation to Support Dialogue in Police Training on Child Interviewing

Police officers when dealing with interviewing children have to cope with a complex set of emotions from a vulnerable witness. Triggers for recognising those emotions and how to build rapport are often the basis of learning exercises. However, current training pulls together the full complexity of emotions during role-playing which can be over-whelming and reduce appropriate learning focus. Interestingly a serious game’s interface can provide valuable training not because it represents full complex, multimedia interactions but because it can restrict emotional complexity and increase focus during the interactions on key factors for emotional recognition. The focus of this paper is to report on a specific aspect that was explored during the development of a serious game that aims to address the current police-training needs of child interviewing techniques, where the recognition of emotions plays an important role in understanding how to build rapport with children. The review of literature reveals that emotion recognition, through facial expressions, can contribute significantly to the perceived quality of communication. For this study an ‘emotions map’ was created and tested by 41 participants to be used in the development of a targeted interface design to support the different levels of emotion recognition. The emotions identified were validated with a 70 % agreement across experts and non-experts highlighting the innate role of emotion recognition. A discussion is made around the role of emotions and game-based systems to support their identification for work-based training. As part of the graphical development of the Child Interview Stimulator (CIS) we examined different levels of emotional recognition that can be used to support the in-game graphical representation of a child’s response during a police interview

The Turning, Stretching and Boxing Technique: a Direction Worth Looking Towards

3D avatar user interfaces (UI) are now used for many applications, a growing area for their use is serving location sensitive information to users as they need it while visiting or touring a building. Users communicate directly with an avatar rendered to a display in order to ask a question, get directions or partake in a guided tour and as a result of this kind of interaction with avatar UI, they have become a familiar part of modern human-computer interaction (HCI). However, if the viewer is not in the sweet spot (defined by Raskar et al. (1999) as a stationary viewing position at the optimal 90° angle to a 2D display) of the 2D display, the 3D illusion of the avatar deteriorates, which becomes evident as the user’s ability to interpret the avatar’s gaze direction towards points of interests (PoI) in the user’s real-world surroundings deteriorates also. This thesis combats the above problem by allowing the user to view the 3D avatar UI from outside the sweet spot, without any deterioration in the 3D illusion. The user does not lose their ability to interpret the avatar’s gaze direction and thus, the user experiences no loss in the perceived corporeal presence (Holz et al., 2011) for the avatar. This is facilitated by a three pronged graphical process called the Turning, Stretching and Boxing (TSB) technique, which maintains the avatar’s 3D illusion regardless of the user’s viewing angle and is achieved by using head-tracking data from the user captured by a Microsoft Kinect. The TSB technique is a contribution of this thesis because of how it is used with an avatar UI, where the user is free to move outside of the sweet spot without losing the 3D illusion of the rendered avatar. Then each consecutive empirical study evaluates the claims of the TSB Technique are also contributions of this thesis, those claims are as follows: (1) increase interpretability of the avatar’s gaze direction and (2) increase perception of corporeal presence for the avatar. The last of the empirical studies evaluates the use of 3D display technology in conjunction with the TSB technique. The results of Study 1 and Study 2 indicate that there is a significant increase in the participants’ abilities to interpret the avatar’s gaze direction when the TSB technique is switched on. The survey from Study 1 shows a significant increase in the perceived corporeal presence of the avatar when the TSB technique is switched on. The results from Study 3 indicate that there is no significant benefit for participants’ when interpreting the avatar’s gaze direction with 3D display technology turned on or off when the TSB technique is switched on