Visual Affect Around the World: A Large-scale Multilingual Visual Sentiment Ontology

Every culture and language is unique. Our work expressly focuses on the uniqueness of culture and language in relation to human affect, specifically sentiment and emotion semantics, and how they manifest in social multimedia. We develop sets of sentiment- and emotion-polarized visual concepts by adapting semantic structures called adjective-noun pairs, originally introduced by Borth et al. (2013), but in a multilingual context. We propose a new language-dependent method for automatic discovery of these adjective-noun constructs. We show how this pipeline can be applied on a social multimedia platform for the creation of a large-scale multilingual visual sentiment concept ontology (MVSO). Unlike the flat structure in Borth et al. (2013), our unified ontology is organized hierarchically by multilingual clusters of visually detectable nouns and subclusters of emotionally biased versions of these nouns. In addition, we present an image-based prediction task to show how generalizable language-specific models are in a multilingual context. A new, publicly available dataset of >15.6K sentiment-biased visual concepts across 12 languages with language-specific detector banks, >7.36M images and their metadata is also released.Comment: 11 pages, to appear at ACM MM'1

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

Gastropods

33 p. : ill. ; 24 cm.Includes bibliographical references (p. 29-33)

Biophilic architecture: a review of the rationale and outcomes

Contemporary cities have high stress levels, mental health issues, high crime levels and ill health, while the built environment shows increasing problems with urban heat island effects and air and water pollution. Emerging from these concerns is a new set of design principles and practices where nature needs to play a bigger part called “biophilic architecture”. This design approach asserts that humans have an innate connection with nature that can assist to make buildings and cities more effective human abodes. This paper examines the evidence for this innate human psychological and physiological link to nature and then assesses the emerging research supporting the multiple social, environmental and economic benefits of biophilic architecture