Emotions in context: examining pervasive affective sensing systems, applications, and analyses

Pervasive sensing has opened up new opportunities for measuring our feelings and understanding our behavior by monitoring our affective states while mobile. This review paper surveys pervasive affect sensing by examining and considering three major elements of affective pervasive systems, namely; “sensing”, “analysis”, and “application”. Sensing investigates the different sensing modalities that are used in existing real-time affective applications, Analysis explores different approaches to emotion recognition and visualization based on different types of collected data, and Application investigates different leading areas of affective applications. For each of the three aspects, the paper includes an extensive survey of the literature and finally outlines some of challenges and future research opportunities of affective sensing in the context of pervasive computing

Both Facts and Feelings: Emotion and News Literacy

News literacy education has long focused on the significance of facts, sourcing, and verifiability. While these are critical aspects of news, rapidly developing emotion analytics technologies intended to respond to and even alter digital news audiences’ emotions also demand that we pay greater attention to the role of emotion in news consumption. This essay explores the role of emotion in the “fake news” phenomenon and the implementation of emotion analytics tools in news distribution. I examine the function of emotion in news consumption and the status of emotion within existing news literacy training programs. Finally, I offer suggestions for addressing emotional responses to news with students, including both mindfulness techniques and psychological research on thinking processes

Affective games:a multimodal classification system

Affective gaming is a relatively new field of research that exploits human emotions to influence gameplay for an enhanced player experience. Changes in player’s psychology reflect on their behaviour and physiology, hence recognition of such variation is a core element in affective games. Complementary sources of affect offer more reliable recognition, especially in contexts where one modality is partial or unavailable. As a multimodal recognition system, affect-aware games are subject to the practical difficulties met by traditional trained classifiers. In addition, inherited game-related challenges in terms of data collection and performance arise while attempting to sustain an acceptable level of immersion. Most existing scenarios employ sensors that offer limited freedom of movement resulting in less realistic experiences. Recent advances now offer technology that allows players to communicate more freely and naturally with the game, and furthermore, control it without the use of input devices. However, the affective game industry is still in its infancy and definitely needs to catch up with the current life-like level of adaptation provided by graphics and animation

What does touch tell us about emotions in touchscreen-based gameplay?

This is the post-print version of the Article. The official published version can be accessed from the link below - Copyright @ 2012 ACM. It is posted here by permission of ACM for your personal use. Not for redistribution.Nowadays, more and more people play games on touch-screen mobile phones. This phenomenon raises a very interesting question: does touch behaviour reflect the player’s emotional state? If possible, this would not only be a valuable evaluation indicator for game designers, but also for real-time personalization of the game experience. Psychology studies on acted touch behaviour show the existence of discriminative affective profiles. In this paper, finger-stroke features during gameplay on an iPod were extracted and their discriminative power analysed. Based on touch-behaviour, machine learning algorithms were used to build systems for automatically discriminating between four emotional states (Excited, Relaxed, Frustrated, Bored), two levels of arousal and two levels of valence. The results were very interesting reaching between 69% and 77% of correct discrimination between the four emotional states. Higher results (~89%) were obtained for discriminating between two levels of arousal and two levels of valence

From positive youth development to youth’s engagement : the dream teens

In addition to the empirical validation of ‘health and happiness’ determinants, theoretical models suggesting where to ground actions are necessary. In the beginning of the twentieth century, intervention models focused on evaluation and empirical validation were only concerned about overt behaviours (verbal and non-verbal) and covert behaviours (cognitions and emotions). Later on in the middle of the century, there was a shift from treating the problems to a positive approach, focused on promoting assets and individual strengths. Thus, the role of social competences, self-regulation and resilience became salient. Researchers also highlighted the importance of social cohesion and social support, as active health and wellbeing facilitators. More recently, in the twentyfirst century, the population’s engagement (positive engagement) has become crucial. This paper presents the evolution of this theoretical and scientific path, using Portugal as a case study, where early interventions focused on the positive aspects of both covert and overt behaviours, while more recent interventions included explicitly the perspective of youth engagement and participation, as is the case of the Dream Teens Project. It is expected that the political and professional understanding of this trajectory will allow professionals to provide better health and educational services, improving young people’s engagement, quality of life, health and wellbeingpeer-reviewe

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

Inspiring inclusion in your classroom and beyond

This article reflects upon teachers’ engagement in a Leadership for Inclusion Community of Practice (LIn-CoP), which utilised the Participatory Action Learning Action Research (PALAR) strategy. The study explored if and how engagement could support teachers to develop and exercise leadership for inclusion, using Grudnoff, Haigh, Cochran-Smith, Eil and Ludlow (2017) six facets for equity. Data were drawn from seven early career elementary teachers in the Republic of Ireland over a three-year period. The teachers sought successfully to: 1) develop six facets of equity and, 2) overcome barriers to applying their learning in their contexts. Analysis unveiled many examples of inclusive practices for promoting equity, thus narrowing the values practice gap related to inclusion. The findings also highlight for researchers and professional learning facilitators the potential of the PALAR LIn-CoP model for applying teacher learning in situated environments, in the face of organisational barriers

Anger: the unrecognized emotion in emotional disorders

Anger plays a prominent definitional role in some psychological disorders currently widely scattered across DSM‐5 categories (e.g., intermittent explosive disorder, borderline personality disorder). But the presence and consequences of anger in the emotional disorders (e.g., anxiety disorders, depressive disorders) remain sparsely examined. In this review, we examine the presence of anger in the emotional disorders and find that anger is elevated across these disorders and, when it is present, is associated with negative consequences, including greater symptom severity and worse treatment response. Based on this evidence, anger appears to be an important and understudied emotion in the development, maintenance, and treatment of emotional disorders.First author draf

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer