Creative approaches to emotional expression animation

In facial expression research, it is well established that certain emotional expressions are universally recognized. Studies into observer perception of expressions have built upon this research by highlighting the importance of particular facial regions, actions, and movements to the recognition of emotions. In many studies, the stimuli for such studies have been generated through posing by non-experts or performances by trained actors. However, character animators are required to craft recognizable, believable emotional facial expressions as a part of their profession. In this poster, the authors discuss some of the creative processes employed in their research into emotional expressions, and how practice-led research into expression animation might offer a new perspective on the generation of believable emotional expressions

Considerations for believable emotional facial expression animation

Facial expressions can be used to communicate emotional states through the use of universal signifiers within key regions of the face. Psychology research has identified what these signifiers are and how different combinations and variations can be interpreted. Research into expressions has informed animation practice, but as yet very little is known about the movement within and between emotional expressions. A better understanding of sequence, timing, and duration could better inform the production of believable animation. This paper introduces the idea of expression choreography, and how tests of observer perception might enhance our understanding of moving emotional expressions

Investigating facial animation production through artistic inquiry

Studies into dynamic facial expressions tend to make use of experimental methods based on objectively manipulated stimuli. New techniques for displaying increasingly realistic facial movement and methods of measuring observer responses are typical of computer animation and psychology facial expression research. However, few projects focus on the artistic nature of performance production. Instead, most concentrate on the naturalistic appearance of posed or acted expressions. In this paper, the authors discuss a method for exploring the creative process of emotional facial expression animation, and ask whether anything can be learned about authentic dynamic expressions through artistic inquiry

An empirical study of electricity and gas demand drivers in large food retail buildings of a national organisation

AbstractFood retail buildings account for a measurable proportion of a country's energy consumption and resultant carbon emissions so energy-operating costs are key business considerations. Increased understanding of end-use energy demands in this sector can enable development of effective benchmarking systems to underpin energy management tools. This could aid identification and evaluation of interventions to reduce operational energy demand. Whilst there are a number of theoretical and semi-empirical benchmarking and thermal modelling tools that can be used for food retail building stocks, these do not readily account for the variance of technical and non-technical factors that can influence end-use demands.This paper discusses the various drivers of energy end-uses of typical UK food retail stores. It reports on an empirical study of one organisation's hypermarket stock to evaluate the influence of various factors on annual store electricity and gas demands. Multiple regression models are discussed in the context of the development and application of a methodology for estimating annual energy end-use demand in food retail buildings. The established models account for 75% of the variation in electricity demand, 50% of the variation in gas demand in stores without CHP and 77% of the variation in gas demand in stores with CHP

An iron(ii) spin-crossover metallacycle from a back-to-back bis-[dipyrazolylpyridine]

The syntheses of 4-mercapto-2,6-di(pyrazol-1-yl)pyridine (bppSH) and bis[2,6-di(pyrazol-1-yl)pyrid-4-yl]disulfide (bppSSbpp) are reported. In contrast to previously published “back-to-back” bis-[2,6-di(pyrazol-1-yl)pyridine] derivatives, which form coordination polymers with transition ions that are usually insoluble, bppSSbpp yields soluble oligomeric complexes with iron(II) and zinc(II). Mass spectrometry and DOSY data show that [{Fe(μ-bppSSbpp)}n]2n+ and [{Zn(μ-bppSSbpp)}n]2n+ form tetranuclear metallacycles in nitromethane solution (n = 4), although 1H NMR and conductivity measurements imply the iron compound may undergo more fragmentation than its zinc congener. Both [{Fe(bppSH)2]2+ and [{Fe(μ-bppSSbpp)}n]2n+ exhibit thermal spin-crossover in CD3NO2 solution, with midpoint temperatures near 245 K. The similarity of these equilibria implies there is little cooperativity between the iron centres in the metallacyclic structures

An evaluation of computational fluid dynamics for modelling buoyancy-driven displacement ventilation.

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A practice-led approach to facial animation research

In facial expression research, it is well established that certain emotional expressions are universally recognized. Studies into the observer perception of dynamic expressions have built upon this research by highlighting the importance of particular facial regions, timings, and temporal configurations to perception and interpretation. In many studies, the stimuli for such studies have been generated through posing by non-experts or performances by trained actors. However, skilled character animators are capable of crafting recognizable, believable emotional facial expressions as a part of their professional practice. ‘Emotional Avatars’ was conceived as an interdisciplinary research project which would draw upon the knowledge of animation practice and emotional psychology. The aim of the project was to jointly investigate the artistic generation and observer perception of emotional expression animation to determine whether the nuances of emotional facial expression could be artistically choreographed to enhance audience interpretation

Animating believable facial expressions:is it possible to choreograph perceptually valid emotional expressions?

In psychology research, the nuances of facial movement have been investigated to determine the key characteristics of emotional expressions. Studies have shown that movement alone can communicate emotion, that particular facial regions have varying degrees of importance to expression recognition, and that temporal factors might affect the appearance of facial regions during expressions. Furthermore, researchers have suggested that emotional expressions could have temporal configurations. If facial expressions have perceptually valid (or invalid) configurations of facial actions over time, then a detailed study of how configuration manipulation affects perception could inform the practice of character animation. Studies of facial expression - most notably Ekman and Friesen’s Facial Action Coding System – have had an impact on animation research and application. However, most studies have focused on static expressions. A better understanding of the choreography of authentic dynamic expressions (where choreography could be described as the sequence, timing, and duration of regional facial movement within and between expressions) could be of more value to practicing animators. In this paper, the authors discuss ‘Emotional Avatars’ - an interdisciplinary research project which aims to expand upon the findings of psychology-based methods in order to inform artistic practice. Drawing upon the experience of animators and psychologists, the primary aim of the project is to determine whether audiences perceive certain choreographies of facial movement to be more or less authentic. The current research concerns the sequence and timing of regional movement within and between expressions of emotion. Using existing resources as a basis for peak expression appearance the authors systematically generate and manipulate animated expressions of emotion based on the generally accepted ‘universal expressions’ (happiness, sadness, anger, fear, disgust, and surprise). By producing a range of animations with variation in sequence, and then testing observer perception of the animations under controlled conditions, the goal of the current research is to identify potential valid and invalid emotional expression choreographies

The modelling gap : quantifying the discrepancy in the representation of thermal mass in building simulation

Enhanced fabric performance is fundamental to reduce the energy consumption in buildings. Research has shown that the thermal mass of the fabric can be used as a passive design strategy to reduce energy use for space conditioning. Concrete is a high density material, therefore said to have high thermal mass. Insulating concrete formwork (ICF) consists of cast in-situ concrete poured between two layers of insulation. ICF is generally perceived as a thermally lightweight construction, although previous field studies indicated that ICF shows evidence of heat storage effects. There is a need for accurate performance prediction when designing new buildings. This is challenging in particular when using advanced or new methods (such as ICF), that are not yet well researched. Building Performance Simulation (BPS) is often used to predict the thermal performance of buildings. Large discrepancies can occur in the simulation predictions provided by different BPS tools. In many cases assumptions embedded within the tools are outside of the modeller's control. At other times, users are required to make decisions on whether to rely on the default settings or to specify the input values and algorithms to be used in the simulation. This paper investigates the “modelling gap”, the impact of default settings and the implications of the various calculation algorithms on the results divergence in thermal mass simulation using different tools. ICF is compared with low and high thermal mass constructions. The results indicated that the modelling uncertainties accounted for up to 26% of the variation in the simulation predictions

Design and operating concept for an innovative naturally ventilated library

Recent years have seen increased use of natural ventilation, daylighting, and cooling techniques in UK buildings. This paper describes the design and operating concept of a large, naturally ventilated and illuminated city centre library for Coventry University in the UK. The novel design concept includes four lightwells acting as ventilation inlets, each of which is fed with fresh air from a plenum below the ground floor. A central lightwell and perimeter stacks draw air across each floor plate and provide air extract routes. This strategy enables fresh air to reach the core of the building whilst keeping the external façade sealed for reasons of security and preventing urban noise and pollution. Computer simulation demonstrates that the building is likely to be well ventilated and thermally comfortable. The building and the analyses should increase the confidence of engineers and architects designing sustainable buildings