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Emotions: The Art of Visual Communication for Virtual Agents.

Emotions: The Art of Visual Communication for Virtual Agents. Emmanuel Tanguy Philip Willis Joanna J. Bryson University of Bath Department of Computer Science. Reseach funded by a studentship from the Department of Computer Science, University of Bath and the ESPRC grant GR/S/79299/01.

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Emotions: The Art of Visual Communication for Virtual Agents.

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  1. Emotions: The Art of Visual Communication for Virtual Agents. Emmanuel Tanguy Philip Willis Joanna J. Bryson University of Bath Department of Computer Science Reseach funded by a studentship from the Department of Computer Science, University ofBath and the ESPRC grant GR/S/79299/01.

  2. Virtual Actors: Text To Animation • In video games, films, educational software,… • Virtual Actor aims to communicate with humans • Democratise the creation of facial animation • Text to speech software + facial animation system • Emotionally Expressive Facial Animation System (EE-FAS) producing visual speech from tagged text

  3. Marvin, the depressed robot • The Hitchhiker's Guide to the Galaxy: • Marvin: You can blame the Sirius Cybernetics Corporation for making androids with GPP... • Arthur: Um... what's GPP? • Marvin: Genuine People Personalities. I'm a personality prototype. You can tell, can't you...? <comm_func name="personal reaction" max_nb_fd="2" intensity="60"> You can blame Sirius Cybernetics Corporationfor making androids <comm_func name="Emphasizer" intensity="30" > with GPP... </comm_func> </comm_func> Marvin, depressed?

  4. Levels of Control (LoC) What kind of facial representation can be added to the text? Levels of Control: • Static Graphical Representation (LoC1) • Graphical Deformation Commands (LoC2) • Facial Movements or Facial Signals (LoC3) • Facial Meanings (LoC4) • To be introduced in texts • It is more intuitive than other LoCs • To create visual speech

  5. Facial Meanings • Two types of facial meaning: • Emotional (ex: Happy, Sad, etc) • Communicative (question mark, emphasise, etc) • A facial meaning has physical implementations, e.g. facial signals • 30 facial meanings and 50,000 facial signals (Terzopoulos and Waters, 1990). • One communicative function can have several facial signals. (Bavelas and Chovil, 2000; Pelachaud and Bilvi, 2003) • How to map a small number of facial meanings onto a large number of facial signals?

  6. Emotional Context • We decided to use emotional contexts • Emotion models are widely used • In emotion models we distinguish two parts: • Emotion elicitation mechanisms and • Emotion representation • The Dynamic Emotion Representation (DER): • Why only the DER? • What for?

  7. Dynamic Emotion Representation • Foundations of the DER: • Definitions of emotion types • Sloman model of mind processes • Picard’s description of • emotion impulses • emotion intensity

  8. Dynamic Emotion Representation Configuration File Emotion Intensity Emotional Impulse

  9. Emotional Expressions BM NM GM

  10. Emotional Context for Animations • 1.30s: <comm_func name="personal reaction" intensity="60" > • 5.30s: <comm_func name=“emphasizer" intensity="30"> • 10.00s: <comm_func name="personal reaction" sec_emo_context="happiness" intensity="60" > • 13.20s: <comm_func name="question marker" intensity="60" > Context of happiness Context of sadness

  11. Meanings of Facial Components • Purely categorical or componential approach? (Smith and Scott (1997)). • An experiment showing videos with individual facial movements: • Eyebrows frown; Lip corners raise; Eyebrows oblique • People’s perception measured on the following dimensions (60 subjects): • Happy; Angry; Sad; • Pleased/Displeased; Energetic/Lethargic; • Friendly/Unfriendly; Sincere/Insincere

  12. Dimension Happy Lip corners raised involved in happiness expression Smith and Scott (1997)

  13. Dimension Angry Frown involved in anger expression Smith and Scott (1997)

  14. Dimension Sad

  15. Dimensions Energy/Pleased From Russel, J. A. and J. M. Fernandez-Dols (1997). The Psychology of Facial Expression. Cambridge University Press.

  16. Dimension Friendly

  17. Dimension Sincere

  18. EE-FAS Architecture • Modular • Customisable DER • Message passing mechanism • Implementation of all LoCs: • LoC1: 3D Mesh • LoC2: Abstract Muscles • LoC3: Facial Signals • LoC4: Emotions and Communicative functions • Customisable transformations from one LoC to another • Loose relation between LoCs

  19. Conclusion (1) • We developed a Dynamic Emotion Representation (DER) model that enables users • To create their own Emotion Representation based on different emotion theories. • To represent any interacting variable, such as drives • We integrated an instance of the DER model within the EE-FAS • Technical Report on the DER: “A Dynamic Emotion Representation Model Within a Facial Animation System”, 2005, Emmanuel Tanguy, Joanna Bryson, Philip Willis, University of Bath

  20. Conclusion (2) • Developed an Emotionally Expressive Facial Animation System (EE-FAS), which: • Enables non-specialist users to create facial animations • Is customisable through XML dictionaries • EE-FAS extends the number of facial expressions that a such system can produce by displaying: • Emotional expressions • Multiple facial signals for each communicative function • Fake or genuine facial expressions

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