Details

Emotion-Oriented Systems


Emotion-Oriented Systems


1. Aufl.

von: Catherine Pelachaud

162,99 €

Verlag: Wiley
Format: PDF
Veröffentl.: 07.02.2013
ISBN/EAN: 9781118603215
Sprache: englisch
Anzahl Seiten: 352

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Beschreibungen

The Affective Computing domain, term coined by Rosalind Picard in 1997, gathers several scientific areas such as computer science, cognitive science, psychology, design and art. The humane-machine interaction systems are no longer solely fast and efficient. They aim to offer to users affective experiences: user’s affective state is detected and considered within the interaction; the system displays affective state; it can reason about their implication to achieve a task or resolve a problem. In this book, we have chosen to cover various domains of research in emotion-oriented systems. Our aim is also to highlight the importance to base the computational model on theoretical foundations and on natural data.
<p><b>Preface xiii</b></p> <p><b>PART 1: FOUNDATIONS 1</b></p> <p><b>Chapter 1. Contemporary Theories and Concepts in the Psychology of Emotions 3</b><br /> <i>Géraldine COPPIN and David SANDER</i></p> <p>1.1. Introduction 3</p> <p>1.2. Emergence of a scientific approach to emotions 4</p> <p>1.3. Basic emotions theories 7</p> <p>1.4. Bi-dimensional theories of emotion 11</p> <p>1.5. Appraisal theories of emotions 14</p> <p>1.6. Conclusion 19</p> <p>1.7. Glossary 20</p> <p>1.8. Bibliography 21</p> <p><b>Chapter 2. Emotion and the Brain 33</b><br /> <i>Andy CHRISTEN and Didier GRANDJEAN</i></p> <p>2.1. Introduction 33</p> <p>2.2. The major role of affective neuroscience in understanding emotions 35</p> <p>2.3. The historical and conceptual legacy of early conceptions of emotions and the brain 40</p> <p>2.4. Initial neuro-anatomical emotion theories 41</p> <p>2.5. Structures in the brain and their functions in emotional processes 44</p> <p>2.6. The prefrontal cortex 53</p> <p>2.7. The anterior cingulate cortex 58</p> <p>2.8. The role of the insula in disgust 58</p> <p>2.9. Temporal dynamic of brain processes in emotional genesis 59</p> <p>2.10. Functional connectivity 60</p> <p>2.11. Conclusion 63</p> <p>2.12. Bibliography 64</p> <p><b>PART 2: NON-VERBAL BEHAVIOR 77</b></p> <p><b>Chapter 3. Emotional Corpora: from Acquisition to Modeling 79</b><br /> <i>Laurence DEVILLERS and Jean-Claude MARTIN</i></p> <p>3.1. Introduction 79</p> <p>3.2. Building corpora: “acted”, “induced” and real-life emotions 81</p> <p>3.3. Current emotional corpora 86</p> <p>3.4. Coding schemes 86</p> <p>3.5. Complex emotions in spontaneous data 93</p> <p>3.6. Applications for corpora 97</p> <p>3.7. Conclusion 100</p> <p>3.8. Bibliography 101</p> <p><b>Chapter 4. Visual Emotion Recognition: Status and Key Issues 107</b><br /> <i>Alice CAPLIER</i></p> <p>4.1. Introduction 107</p> <p>4.2. What is a facial expression? 109</p> <p>4.3. Overview of facial expression recognition methods 112</p> <p>4.4. Spontaneous facial expressions 118</p> <p>4.5. Expression intensity 124</p> <p>4.6. Dynamic analysis 126</p> <p>4.7. Multimodality 128</p> <p>4.8. Conclusion 131</p> <p>4.9. Bibliography 132</p> <p><b>Chapter 5. Recognition of Acoustic Emotion 139</b><br /> <i>Chloé CLAVEL and Gaël RICHARD</i></p> <p>5.1. Introduction 139</p> <p>5.2. Principles of automatic emotion-recognition systems 140</p> <p>5.3. Acoustic descriptors 141</p> <p>5.4. Automatic emotion classification 151</p> <p>5.5. Performance and assessment 157</p> <p>5.6. Conclusion 161</p> <p>5.7. Bibliography 163</p> <p><b>Chapter 6. Modeling Facial Expressions of Emotions 169</b><br /> <i>Sylwia Julia HYNIEWSKA, Rados³aw NIEWIADOMSKI and Catherine PELACHAUD</i></p> <p>6.1. Expressive conversational agents 169</p> <p>6.2. Expressions and their emotional states 170</p> <p>6.3. Computational models for facial expressions of emotions 174</p> <p>6.4. Conclusion 183</p> <p>6.5. Acknowledgements 184</p> <p>6.6. Bibliography 184</p> <p><b>Chapter 7. Emotion Perception and Recognition 191</b><br /> <i>Ioana VASILESCU</i></p> <p>7.1. Introduction 191</p> <p>7.2. Perception in vocal communication of emotion 193</p> <p>7.3. Experimental paradigms and emotion-oriented automatic systems 194</p> <p>7.4. Conclusion 208</p> <p>7.5. Bibliography 209</p> <p><b>PART 3: FUNCTIONS 215</b></p> <p><b>Chapter 8. The Role of Emotions in Human−Machine Interaction 217</b><br /> <i>Valérie MAFFIOLO and Magalie OCHS</i></p> <p>8.1. Introduction 217</p> <p>8.2. Interactive information and assistance systems 219</p> <p>8.3. Video games 227</p> <p>8.4. Intelligent tutoring systems (ITS)235</p> <p>8.5. Discussion and research perspectives 237</p> <p>8.6. Bibliography 238</p> <p><b>Chapter 9. Music and Emotions 247</b><br /> <i>Donald GLOWINSKI and Antonio CAMURRI</i></p> <p>9.1. The growing importance of music in society 247</p> <p>9.2. Recognizing emotions and structural characteristics in music 249</p> <p>9.3. Rules for modeling musical expression of emotions 251</p> <p>9.4. Towards a continuous measure of emotional reactions to music 252</p> <p>9.5. Multimodality in musical experience 253</p> <p>9.6. Multimodal emotional synthesis in a musical context 260</p> <p>9.7. The social active listening paradigm: the collective aspect of emotion 262</p> <p>9.8. Conclusion and perspectives 263</p> <p>9.9. Bibliography 263</p> <p><b>Chapter 10. Literary Feelings in Interactive Fiction 271</b><br /> <i>Marc CAVAZZA and David PIZZI</i></p> <p>10.1. Introduction: emotions and feelings 271</p> <p>10.2. French novels and the representation of feelings 273</p> <p>10.3. Madame Bovary: plot and scenes 275</p> <p>10.4. Interactive fiction and emotional planning 280</p> <p>10.5. Linguistic interaction and emotions 284</p> <p>10.6. Emma Bovary’s virtuality 290</p> <p>10.7. Conclusion 294</p> <p>10.8. Bibliography 295</p> <p><b>Chapter 11. The Design of Emotions: How the Digital is Making Us More Emotional 299</b><br /> <i>Annie GENTÈS</i></p> <p>11.1. Representing, interpreting and evoking emotions 299</p> <p>11.2. Emotion, mimicry and technical devices 301</p> <p>11.3. Devices as an alternate source of emotion: photography 301</p> <p>11.4. Art and computers: formal beginnings 303</p> <p>11.5. The human behind the mechanics and the mechanics behind the human 305</p> <p>11.6. Mirror interaction as an emotional vehicle 307</p> <p>11.7. Trompe l’oeil versus explicit expression 309</p> <p>11.8. Three-dimensional universes: an empathetic experience 311</p> <p>11.9. Empathy and identifying emotions 315</p> <p>11.10. Making human−machine interaction and dialog effective 317</p> <p>11.11. Conclusion: “revenge of the emotions”318</p> <p>11.12. Bibliography 318</p> <p>List of Authors 321</p> <p>Index 325</p>
<p><b>Catherine Pelachaud</b> is the author of <i>Emotion-Oriented Systems</i>, published by Wiley.</p>

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