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

Reassessing the History of U.S. Hazardous Waste Disposal Policy - Problem Definition, Expert Knowledge and Agenda-Setting

The authors show that in the 1940\u27s technical consensus began to develop about the effects of land-based waste disposal on groundwater degradation. They go on to explain why this understanding was only slowly reflected in federal legislation

Interaction of GABA and Excitatory Amino Acids in the Basolateral Amygdala: Role in Cardiovascular Regulation

Activation of the amygdala in rats produces cardiovascular changes that include increases in heart rate and arterial pressure as well as behavioral changes characteristic of emotional arousal. The objective of the present study was to examine the interaction of GABA and excitatory amino acid (EAA) receptors in the basolateral amygdala (BLA) in regulating cardiovascular function. Microinjection of the GABAA receptor antagonist bicuculline methiodide (BMI) or the E A A receptor agonists NMDA or AMPA into the same region of the BLA of conscious rats produced dose-related increases in heart rate and arterial pressure. Injection of the nonselective EAA receptor antagonist kynurenic acid into the BLA prevented or reversed the cardiovascular changes caused by local injection of BMI or the noncompetitive GABA antagonist picrotoxin. Conversely, local pretreatment with the glutamate reuptake inhibitorl-trans-pyrrolidine-2,4-dicarboxylic acid enhanced the effects of intra-amygdalar injection of BMI. The cardiovascular effects of BMI were also attenuated by injection of either the NMDA antagonist 3-(2-carboxypiperazin-4-yl)-propyl-1-phosphonic acid (CPP) or the AMPA receptor antagonist 1,2,3,4-tetrahydro-6-nitro-2,3-dioxo-benzo[f]quinoxaline-7-sulfonamide (NBQX). When these two EAA receptor antagonists were combined, their ability to suppress BMI-induced tachycardic and pressor responses was additive. These findings indicate that the cardiovascular effects caused by blockade of GABAergic inhibition in the BLA of the rat are dependent on activation of local NMDA and AMPA receptors

U.S. Firm outsourcing/offshoring practices and plans: an update

A study of U.S. firm outsourcing and offshoring practices and future plans regarding supply chain activities provides an update for supply chain managers. Specifically, the reported information provides supply chain managers of manufacturing/ merchandising firms with a competitive benchmark; facilitates third party logistics manager strategic planning efforts and provides an input to U.S. transportation planners who determine future transport and infrastructure requirements. The study reports the responses of 151 Chief Purchasing Officers from U.S. firms. Firms are benefiting from outsourcing logistics and production activities and over one-third of the firms plan to increase outsourcing spend. In addition, 60 percent of firms outsource offshore, and of these firms, 41 percent will increase their offshore spending, some by more than 50 percent

Management development and retention programs in U.S. third-party logistics firms

To provide quality logistics services, it is essential for third-party logistics (3PL) firms to develop an effective human resource program that ensures successful development and retention of qualified managers. By reporting the results of a survey of current U.S. 3PL firm development and retention practices and experiences regarding junior managers, this article provides a benchmark for 3PL firm managers who seek to improve management development and retention programs. Efforts to improve human resource programs should focus on improving orientation programs, mentoring, job enrichment, formal career planning, job relocation assignments, educational support, training and compensation

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