16,307 research outputs found
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
Exploring the Affective Loop
Research in psychology and neurology shows that both body and mind are
involved when experiencing emotions (Damasio 1994, Davidson et al.
2003). People are also very physical when they try to communicate their
emotions. Somewhere in between beings consciously and unconsciously
aware of it ourselves, we produce both verbal and physical signs to make
other people understand how we feel. Simultaneously, this production of
signs involves us in a stronger personal experience of the emotions we
express.
Emotions are also communicated in the digital world, but there is little
focus on users' personal as well as physical experience of emotions in
the available digital media. In order to explore whether and how we can
expand existing media, we have designed, implemented and evaluated
/eMoto/, a mobile service for sending affective messages to others. With
eMoto, we explicitly aim to address both cognitive and physical
experiences of human emotions. Through combining affective gestures for
input with affective expressions that make use of colors, shapes and
animations for the background of messages, the interaction "pulls" the
user into an /affective loop/. In this thesis we define what we mean by
affective loop and present a user-centered design approach expressed
through four design principles inspired by previous work within Human
Computer Interaction (HCI) but adjusted to our purposes; /embodiment/
(Dourish 2001) as a means to address how people communicate emotions in
real life, /flow/ (Csikszentmihalyi 1990) to reach a state of
involvement that goes further than the current context, /ambiguity/ of
the designed expressions (Gaver et al. 2003) to allow for open-ended
interpretation by the end-users instead of simplistic, one-emotion
one-expression pairs and /natural but designed expressions/ to address
people's natural couplings between cognitively and physically
experienced emotions. We also present results from an end-user study of
eMoto that indicates that subjects got both physically and emotionally
involved in the interaction and that the designed "openness" and
ambiguity of the expressions, was appreciated and understood by our
subjects. Through the user study, we identified four potential design
problems that have to be tackled in order to achieve an affective loop
effect; the extent to which users' /feel in control/ of the interaction,
/harmony and coherence/ between cognitive and physical expressions/,/
/timing/ of expressions and feedback in a communicational setting, and
effects of users' /personality/ on their emotional expressions and
experiences of the interaction
Chasing the Chatbots: Directions for Interaction and Design Research
Big tech-players have been successful in pushing the chatbots forward. Investments in the technology are growing fast, as well as the number of users and applications available. Instead of driving investments towards a successful diffusion of the technology, user-centred studies are currently chasing the popularity of chatbots. A literature analysis evidences how recent this research topic is, and the predominance of technical challenges rather than understanding users’ perceptions, expectations and contexts of use. Looking for answers to interaction and design questions raised in 2007, when the presence of clever computers in everyday life had been predicted for the year 2020, this paper presents a panorama of the recent literature, revealing gaps and pointing directions for further user-centred research
Agents for educational games and simulations
This book consists mainly of revised papers that were presented at the Agents for Educational Games and Simulation (AEGS) workshop held on May 2, 2011, as part of the Autonomous Agents and MultiAgent Systems (AAMAS) conference in Taipei, Taiwan. The 12 full papers presented were carefully reviewed and selected from various submissions. The papers are organized topical sections on middleware applications, dialogues and learning, adaption and convergence, and agent applications
Affective feedback: an investigation into the role of emotions in the information seeking process
User feedback is considered to be a critical element in the information seeking process, especially in relation to relevance assessment. Current feedback techniques determine content relevance with respect to the cognitive and situational levels of interaction that occurs between the user and the retrieval system. However, apart from real-life problems and information objects, users interact with intentions, motivations and feelings, which can be seen as critical aspects of cognition and decision-making. The study presented in this paper serves as a starting point to the exploration of the role of emotions in the information seeking process. Results show that the latter not only interweave with different physiological, psychological and cognitive processes, but also form distinctive patterns, according to specific task, and according to specific user
Applying Principles from Performance Arts for an Interactive Aesthetic Experience
Heightening tension and drama in 3-D interactive environments is a hard, but important problem. It is important for its potential utility in increasing motivation, involvement, engagement, and providing an overall pleasing aesthetic experience. These constructs are not only useful for entertainment applications, but can also impact training and edutainment applications due to the impact of emotions on learning. To stimulate emotional engagement, many researchers have explored several techniques, including enhancing the story content, developing new algorithms for dynamically creating stunning visual effects, and enhancing 3-D sound. In this paper, I describe a set of new design techniques based on a study of film and theatre theories, including acting and screenwriting. These design techniques are integrated within a multiagent interactive drama architecture. In this paper, I will discuss this architecture elaborating on the implementation of the theories studied and discussed from film and performance arts
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