Evaluating Content-centric vs User-centric Ad Affect Recognition

Despite the fact that advertisements (ads) often include strongly emotional content, very little work has been devoted to affect recognition (AR) from ads. This work explicitly compares content-centric and user-centric ad AR methodologies, and evaluates the impact of enhanced AR on computational advertising via a user study. Specifically, we (1) compile an affective ad dataset capable of evoking coherent emotions across users; (2) explore the efficacy of content-centric convolutional neural network (CNN) features for encoding emotions, and show that CNN features outperform low-level emotion descriptors; (3) examine user-centered ad AR by analyzing Electroencephalogram (EEG) responses acquired from eleven viewers, and find that EEG signals encode emotional information better than content descriptors; (4) investigate the relationship between objective AR and subjective viewer experience while watching an ad-embedded online video stream based on a study involving 12 users. To our knowledge, this is the first work to (a) expressly compare user vs content-centered AR for ads, and (b) study the relationship between modeling of ad emotions and its impact on a real-life advertising application.Comment: Accepted at the ACM International Conference on Multimodal Interation (ICMI) 201

A fast 3-D object recognition algorithm for the vision system of a special-purpose dexterous manipulator

A fast 3-D object recognition algorithm that can be used as a quick-look subsystem to the vision system for the Special-Purpose Dexterous Manipulator (SPDM) is described. Global features that can be easily computed from range data are used to characterize the images of a viewer-centered model of an object. This algorithm will speed up the processing by eliminating the low level processing whenever possible. It may identify the object, reject a set of bad data in the early stage, or create a better environment for a more powerful algorithm to carry the work further

Preserved local but disrupted contextual figure-ground influences in an individual with abnormal function of intermediate visual areas

Visual perception depends not only on local stimulus features but also on their relationship to the surrounding stimulus context, as evident in both local and contextual influences on figure-ground segmentation. Intermediate visual areas may play a role in such contextual influences, as we tested here by examining LG, a rare case of developmental visual agnosia. LG has no evident abnormality of brain structure and functional neuroimaging showed relatively normal V1 function, but his intermediate visual areas (V2/V3) function abnormally. We found that contextual influences on figure-ground organization were selectively disrupted in LG, while local sources of figure-ground influences were preserved. Effects of object knowledge and familiarity on figure-ground organization were also significantly diminished. Our results suggest that the mechanisms mediating contextual and familiarity influences on figure-ground organization are dissociable from those mediating local influences on figure-ground assignment. The disruption of contextual processing in intermediate visual areas may play a role in the substantial object recognition difficulties experienced by LG

Somaesthetics and Dance

Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer

Affect Recognition in Ads with Application to Computational Advertising

Advertisements (ads) often include strongly emotional content to leave a lasting impression on the viewer. This work (i) compiles an affective ad dataset capable of evoking coherent emotions across users, as determined from the affective opinions of five experts and 14 annotators; (ii) explores the efficacy of convolutional neural network (CNN) features for encoding emotions, and observes that CNN features outperform low-level audio-visual emotion descriptors upon extensive experimentation; and (iii) demonstrates how enhanced affect prediction facilitates computational advertising, and leads to better viewing experience while watching an online video stream embedded with ads based on a study involving 17 users. We model ad emotions based on subjective human opinions as well as objective multimodal features, and show how effectively modeling ad emotions can positively impact a real-life application.Comment: Accepted at the ACM International Conference on Multimedia (ACM MM) 201

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