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

(Chloromethyl)pentacarbonylmanganese(I): a crystal structure with a non-crystallographic centre of symmetry

There are two molecules in the asymmetric unit of the P2₁/c unit cell of ClCH₂Mn(CO)₅, the first halomethyl complex of manganese to be structurally determined. The molecules are crystallographically independent, despite an apparent local centre of symmetry. The average bond parameters include Mn–Calkyl 2.128(8) Å, C–Cl 1.811(8) Å and Mn–C–Cl 116.4(4)

Synthesis and alkyne-coupling chemistry of cyclomanganated 1- and 3-acetylindoles, 3-formylindole and analogues

The syntheses are reported of new cyclomanganated indole derivatives (1-acetyl-κO-indolyl-κC2)dicarbonylbis(trimethylphosphite)manganese (2), (1-methyl-3-acetyl-κO-indolyl-κC2)tetracarbonylmanganese (4), (3-formyl-κO-indolyl-κC2)tetracarbonylmanganese (5a) and (1-methyl-3-formyl-κO-indolyl-κC2)tetracarbonylmanganese (5b). The unusually complicated crystal structure of 5b has been determined, the first for a cyclomanganated aryl aldehyde. The preparations of a mitomycin-related pyrrolo-indole and related products by thermally promoted and oxidatively (Me3NO) initiated alkyne-coupling reactions of the previously known complex (1-acetyl-κO-indolyl-κC2)tetracarbonylmanganese (1) are reported for different alkynes and solvents. X-ray crystal structures are reported for the dimethyl acetylenedicarboxylate coupling product of 1 (dimethyl 1-methyl-l-hydroxypyrrolo[1,2a]-indole-2,3-dicarboxylate; 6a), and an unusually-cyclised triple insertion product 8 from the coupling of acetylene with 4, in which a cyclopentadiene moiety is η3-allyl-coordinated to Mn through only one double bond and an exocyclic carbon, but which rearranges on heating to an η5-cyclopentadienyl complex

The preparation and characterisation of monomeric and linked metal carbonyl clusters containing the closo-Si2Co4 pseudo-octahedral core

PhSiH3 reacts with [Co₄(CO)₁₂] at 50 °C in hydrocarbon solvents to give [(µ₄-SiPh)₂Co₄(CO)₁₁], 2c, shown by an X-ray crystal structure determination to have a pseudo-octahedral Si₂Co₄ core. Substituted aryl-silanes behaved similarly. Mixtures of PhSiH₃, H₃SiC₆H₄SiH₃ and [Co₄(CO)₁₂] in a ca. 2 1 2 ratio gave the dimeric cluster [{Co₄(µ₄-SiPh)(CO)₁₁Si}₂C₆H₄], 3a, which has the two Si₂Co₄ cores linked by a C₆H₄ group to give a rigid molecule which an X-ray structure analysis shows to be over 23 Å long. Related dimers linked by –(CH₂)₈– groups were isolated from mixtures of PhSiH₃, α ,ω-(H₃Si)₂(CH₂)₈ and [Co₄(CO)₁₂]. Electrochemical studies show the two cluster units in 3a do not interact electronically

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

Future research to underpin successful peste des petits ruminants virus (PPRV) eradication

Peste des petits ruminants virus (PPRV) is a significant pathogen of small ruminants and is prevalent in much of Africa, the Near and Middle East and Asia. Despite the availability of an efficacious and cheap live-attenuated vaccine, the virus has continued to spread, with its range stretching from Morocco in the west to China and Mongolia in the east. Some of the world’s poorest communities rely on small ruminant farming for subsistence and the continued endemicity of PPRV is a constant threat to their livelihoods. Moreover, PPRV’s effects on the world’s population are felt broadly across many economic, agricultural and social situations. This far-reaching impact has prompted the Food and Agriculture Organization of the United Nations (FAO) and the World Organisation for Animal Health (OIE) to develop a global strategy for the eradication of this virus and its disease. PPRV is a morbillivirus and, given the experience of these organizations in eradicating the related rinderpest virus, the eradication of PPRV should be feasible. However, there are many critical areas where basic and applied virological research concerning PPRV is lacking. The purpose of this review is to highlight areas where new research could be performed in order to guide and facilitate the eradication programme. These areas include studies on disease transmission and epidemiology, the existence of wildlife reservoirs and the development of next-generation vaccines and diagnostics. With the support of the international virology community, the successful eradication of PPRV can be achieved