Emotional Space Research Articles

Determining Subcategories of Facial Expressions for Improved Performance in Practical Applications

In the context of facial expression recognition (FER), this paper reviews the fundamental theories of emotions and further explains the key dimensions of a defined emotional space. The main contribution of this paper is to propose a set of novel categorization methods for facial expressions to be used in the design of an automatic FER system. This novel categorization enables the facial expression to be interpreted in a better way that and to be more effective in practical applications of automatic FER systems. In order to validate the feasibility of the proposed categorization methods, a set of experiments is reported which investigates and analyzes the influence that the novel categorization brings to a multi-view FER system.

Sonic Counterspaces: The Role of Music in the Latino College Experience at a Predominantly White Institution

A critical race theory framework was used to examine the role of music listening practices in the academic and social contexts of Latino college students enrolled at a predominantly White institution. An inductive thematic analysis examined themes in participants’ open-ended responses. Awareness of their Latino identity in music and the use of digital music players served to construct sonic counterspaces, an affirming auditory realm that is comprised of emotional, psychological, and physical space activated through intentional listening practices. Sonic counterspaces facilitated their academic experience and helped them navigate negative social encounters.

Biomorphic Clothing Sculpture Interface as an Emotional Communication Space.

This study found that clothing, combined with digital technology, can be a wearable computer that adapts to environmental change and increases biological limits, as well as an emotional space to which art and design are applied, and that promotes mutual communication. A user-friendly interface is proposed for those pursuing a new artistic experience by building a conceptual algorithm for biomorphic clothing sculpture modeling that can be used to create generative designs simply by entering moderated mediator variables. Biomorphic clothing sculpture refers to clothing that is inspired by life in nature and modeled in three dimensions. As the human body and buildings are 3D forms, the parametric design method used frequently in architecture is implemented here and used as a tool to explore attributes and representations of 3D modeling in clothing sculpture design. On the basis of a literature review, this study presents knowledge-based data for biomorphic clothing sculpture that can predict generative design outcomes, and through a case study, identifies the mediator variables and attributes of the parametric process related to biomorphic clothing sculpture modeling. The knowledge-based data on biomorphic clothing sculpture and biomorphic clothing sculpture modeling mediator variables discovered during the research are applied to the 3D modeling process as visual data and presented as the conceptual interface of biomorphic clothing sculpture.

A model for reappraisal with personality in emotion regulation

ABSTRACT In this paper, an algorithm model is proposed to describe the emotion regulation process of human beings based on Hidden Markov Model (HMM). The process of reappraisal strategy in emotion regulation is optimized by an individual’s personality and the effect of interaction between emotions. Firstly, the theoretical bases in this paper, the theory of Gross emotion regulation process and the Five-Factor Model are described and the relationship between psychology and mathematics models is built by analysing Gross emotion regulation process and HMM. The interaction between emotions affects the initial matrix values by emotional state transition probability. Afterwards, how significantly the personality effects work on reappraisal strategies is elaborated and how to quantify them is discussed. The transition probability matrix based on emotional states is changed with the positions of external emotional stimuli in emotional space and the personality factors of individuals. The simulation results show that the model is effective. The results show that the algorithm can improve the emotion generation and expression in the field of emotion computing in human–computer interaction process and realize the real machine autonomous emotion calculation.

Recognition of Emotion According to the Physical Elements of the Video.

The increasing interest in the effects of emotion on cognitive, social, and neural processes creates a constant need for efficient and reliable techniques for emotion elicitation. Emotions are important in many areas, especially in advertising design and video production. The impact of emotions on the audience plays an important role. This paper analyzes the physical elements in a two-dimensional emotion map by extracting the physical elements of a video (color, light intensity, sound, etc.). We used k-nearest neighbors (K-NN), support vector machine (SVM), and multilayer perceptron (MLP) classifiers in the machine learning method to accurately predict the four dimensions that express emotions, as well as summarize the relationship between the two-dimensional emotion space and physical elements when designing and producing video.

Emotional spaces: atmosphere and spatial perception in architecture

Emotional spaces: atmosphere and spatial perception in architecture

Very ardent in words and frank in thoughts (touches to the boigraphy of Ulas Samchuk)

The epistolary of the writer is an important material for literary studies. He retains a powerful biographical potential, has a cultural weight and, losing the status of privacy and acquires the status of documentary evidence of a particular era. Letters allow you to feel the artist as a person, delve into his inner world, learn something special about his worldview, emotional movements of the soul, and penetrate the secret of the creative laboratory. For the first time, the poetics of Ulas Samchuk’s intimate letters is analysed in the article; an attempt is made to add essential details to the psychological portrait of the writer. The author described the thematic content of love letters, their mood and expression, revealed the writer’s understanding of the concept of «love» and its meaning in the life of a person. The emotive space of the love epistolary is associated with the author and his beloved. The letters contain precise auto-characteristics of the writer related to the realization of his own artistic mission. The writer expressed his attitude to the artistic tastes of his chosen one, appreciated the organic combination of sensuality and intellectualism in her paintings. The mature love of U. Samchuk showed a deep personal transformation of the writer, made an ennobling and harmonizing influence on the work of this period. During this time, two books of memoirs and three novels were created and published, one novel and two plays were completed. The writer’s love letters made it possible to assess the degree of autobiography of the novel «On Solid Land» (1967), including finding in the work undoubted elements of autobiography. An intimate epistolary gave unique evidence of where the writer got his inspiration for fruitful work in the 1950s-1960s, what were the prerequisites and mechanisms of the creative process while working on a novel from the life of Ukrainian emigration in Canada.

Solidarity in the face of global fragility

Maisha, in the fifth article in this issue (pp. 45-51), reflects on the therapeutic care of child survivors of sexual violence in conflict-affected areas and draws specifically on the cultural context of the eastern region of the Democratic Republic of Congo. Findings indicate that programmes facilitated a safe emotional space for men to talk about their problems, to become more reflective about their relationships with their wives and children, which resulted in improved patterns of interaction and communication, and increased openness and greater tolerance by men of changing gender roles in families as a result of displacement. The first by Almoshmosh, Jefee-Bahloul, Abdallah and Barkil-Oteo (pp. 66-70) reports on the Syrian Tele-Mental Health Network, a form of telemedicine that provides mental health assessment and treatment at a distance.

Engaging men to promote resilient communities among Syrian refugees in Lebanon

Engaging Men programmes seek to challenge the social norms, attitudes and practices that increase the risk of gender-based violence against girls and women while also harnessing positive male power to prevent violence and promote safety. This paper examines the impact of an Engaging Men intervention that engaged 1028 Syrian refugee and 440 Lebanese men in a 12-week training course structure. There were four core objectives: promoting peaceful interactions with others, reducing violence and gender-based violence, child protection and caregiving, and increasing community safety and harmony through a community project. Focus group discussions were conducted with 130 men, 28 wives, and 17 children of male participants, 10 family visits and 20 individual interviews by peer researchers.The findings were that programmes facilitated a safe emotional space for men to meet collectively to talk about their problems, to become more attuned and reflective about their relationships with their wives and children, which resulted in improved patterns of interaction and communication, increased openness and greater tolerance by men of changing gender roles in families as a result of displacement.The discussion calls for greater integration of psychosocial programming with other forms of programming from livelihoods to political advocacy and that programmes incorporate clear guidance on perpetrator accountability. Key implications for practice An intervention engaging with 1500 Syrian and Lebanese men reduced stress and improved family relations. Changes to gender-equitable attitudes were less clear. Interventions to engage refugee men should address refugee men's psychosocial needs in addition to viewing men's engagement as a means to protecting women and children. Findings highlight the importance of clearly defining the focus, aims and scope of interventions engaging with men, and that programmes incorporate clear guidance on perpetrator accountability.

Connecting Performance and Performing Connection: How the Performing Arts Can Usefully Engage an International and Interdisciplinary Cohort in Pedagogy and Research

This article draws upon my experiences from the last several years (2014–2017) of leading collaborative performing arts projects with students and faculty from US liberal arts colleges and Asian partner institutions. Herein, I describe how the performing arts, like other forms of embodied learning, can usefully function to convene students and faculty who operate in different disciplines and languages. The performing arts could be more central to and useful in education about and engagement with environmental issues by enlisting embodied learning, memory skills, transdisciplinarity, social networks, emotion, and liminal spaces of imaginative vision. The performing arts offer powerful tools for constructing international and interdisciplinary collaborations and exchanges. Applied voice study in the liberal arts context also offers help in lowering language barriers in intercultural exchanges. Included are brief descriptions of performing arts projects which helped cement collaborative relationships in past projects. An epilogue follows, describing how development of a performance can also be a form of cultural research in and of itself, using Augusto Boal’s (1985) model of ‘participatory action research.’

Italian Eco-Trauma Cinema: From “Vajont” to “Un posto sicuro”

Moving from Stolorow’s works, the psychological notion of trauma is intertwined with a philosophy of existence that meets “worlds apart,” inaccessible private universes based on traumatic experiences. Faced with these unfathomable emotional spaces, film gives images to what is unspeakable, and, through the contradiction between representation and what remains unrepresentable, film images are involved in the tension between a duty not to forget and a duty to help to forget. This article will focus on cinema of trauma and, in particular, on filmic representation of ecological catastrophes in contemporary Italian cinema. The two movies Vajont (Martinelli 2001) and Un posto sicuro (Ghiaccio 2015) will be analysed in order to highlight key aspects of a film aesthetic in which the anti-narrative dimension of traumatic experience is raised to the status of philosophical principle.

FEATURES OF THE BOOK GRAPHICS OF NIKOLAI STOROZHENKO OF THE 1958–1970S

The article considers specific features of the book graphic arts of Mykola Storozhenko of the 1958– 1970s, and also investigates and analyzes the stylistic and compositional features of individual works in the context of evolution of his own artist’s style. At the current time, the subject of the book graphic arts of Mykola Storozhenko remains understudied in Ukrainian art, and the problem of the artist’s creativity in the period of the 1958–1970s has not been practically investigated. Mykola Storozhenko’s book graphic arts, like his monumental works, make a significant contribution to Ukrainian art, and therefore require deep and well-grounded study. By using the method of comparative, formalistic and compositional analysis of the works of Mykola Storozhenko’s book graphic arts of the 1958–1970s, the article reveals the approach of the artist to the form and sculpturesque means of visual and graphic arts as the factors of the experimental space. On the example of illustrative series of works of the certain period it is shown that all means of artistic expression are directed by the artist to create a coherent, emotional and metaphoric space. The issues of visual perception, aesthetic influence and artistic self-sufficiency of each individual illustration were put by the master in a number of priorities, at the level of issue of whole book design.The article emphasizes that Mykola Storozhenko directed the search for new technologies and techniques ofwork in traditional and rarely used graphic arts techniques to create an original, expressive in style of publication, with maximum compliance with the content and contemporary art form.The author considered Mykola Storozhenko’s book graphic arts of the 1958–1970s in the broader art historical context of the stylistic landmarks of his age and issues of his own self-identification.As a result of the study, the author of the article proves that all the means of artistic expression, stylistic and compositional features of each of the stages of Mykola Storozhenko’s creativity in the field of book graphic arts of the 1958–1970s are organic components of the process of evolution of the artist’s own style.All materials of this analytical study are quite important in theoretical and practical application directly in the creative process: to improve the curriculum of composition, as well as an auxiliary methodological material for students of creative specialties and student — art experts.

An Emotional Turn in Journalism Studies?

This article develops the idea of an “emotional turn” in journalism studies, which has led to an increasingly nuanced investigation of the role of emotion in the production, texts and audience engagement with journalism. These developments have occurred in tandem with, and accelerated by, the emergence of digital and social media. Research on news production has shown that journalistic work has always taken emotion into consideration, shaping approaches to storytelling and presentation. However, the view of journalists as detached observers has rendered the emotional labor associated with news production invisible. Research on emotion in journalistic texts has highlighted the fact that even conventional “hard news genres” are shaped by an engagement with emotion. As studies on news audiences and emotions have shown, audiences are more likely to be emotionally engaged, recall information and take action when news stories are relatable. The affordances of digital platforms and social media have had a profound impact on the space for emotion. The expanded opportunities for participation have contributed to questioning traditional distinctions between news audiences and producers and have ushered in new and more forms of emotional expression that have spilled over into practices of news production.

Turning a blind eye.

This summer, I killed a bird while on a research trip. The project leader and I were sitting under a tree, protected from the hot sun, while we placed leg bands on birds we had just caught. I hadn't handled a bird in a year, and I was nervous that it would escape. I held the bird tightly as it struggled in my hand. Then, as I readjusted my grip, I saw it was lying limp. “Is he OK?” I asked the project leader in a shaky voice. I handed her the bird and she looked down uncomfortably, setting it on the ground. We both stared at it, wishing the wind blowing its chest feathers was actually its heartbeat returning. ![][1] ILLUSTRATION: ROBERT NEUBECKER > “As researchers, we must be mindful of the ethical dimensions of our work.” I'm not an ornithologist; I'm a Ph.D. student who studies soil biology. But I had worked on birds as an undergraduate student, and I was assisting the project leader, a close friend, with her research. I make the cross-country trip each year to help her and welcome it as a fun change of pace from my usual fieldwork, which involves digging up soil samples from agricultural fields. This year, though, the experience left me in turmoil. It's not uncommon for animals to die when biologists catch them—and some scientists consider this an unavoidable cost of doing research—but the knowledge that I had taken a life nagged at me. I felt ashamed of my mistake and agonized over the bird for days. After I traveled back to my university and reoriented myself to my dissertation research, I realized that I had more on my conscience than the accidental killing of one bird. I regularly capture and preserve huge numbers of soil invertebrates (mites, beetles, and other critters) for my research; this summer alone I killed more than 10,000. I had turned a blind eye to this invertebrate massacre. But as I resumed my normal work, sorting and categorizing hundreds of vials of dead invertebrates, the conflict between my methods and my values increasingly weighed on me. I face similar struggles in my personal life. Before grad school, I was dedicated to walking or biking around town and buying food from local and organic sources. In grad school, where I'm pressed for time and money, I drive more often and have become increasingly relaxed about my consumer choices. Conventionally farmed bananas shipped thousands of kilometers to Vermont are often the easiest and cheapest snack option I can find, even though eating them while I research sustainable agriculture feels enormously hypocritical. Scientific research can make a real difference in the world. But I've come to realize that the life of a scientist comes with ethical trade-offs, including ones that aren't easy to stomach—or avoid. Some scientists, such as myself, may debate the ethics of methods that could harm or kill animals. Others may struggle with whether it's the right choice to fly around the world to meetings about climate change. I entered my Ph.D. program because I care deeply about environmental conservation, and I want to stay grounded and true to those motivations. But I am not perfect. I've made compromises between getting research done and following my personal values. Although these compromises can be necessary and practical, I sometimes look back and wonder whether I cut the wrong corners. The unfortunate reality is that in grad school, moments of reflection are sometimes difficult to come by. Juggling classes and research, jumping through various Ph.D. milestones, and learning technical and professional skills—on top of worrying whether my research is novel, relevant, and impactful—leave me little time and emotional space for much else. Going forward, though, I want to be more deliberate about these ethical considerations. I plan to ask myself whether my methods are truly necessary and to think more carefully about ways to minimize harm or risk. The death of this bird hit me as a wake-up call, forcing me to reflect and recalibrate. In grad school, it's easy to be consumed by pressures and demands. But it's important to have moments where we can step back and reconnect with our values. As researchers, we must be mindful of the ethical dimensions of our work. [1]: /embed/graphic-1.gif

Resilience and Urban Capabilities in Denise Mina’s Garnethill Trilogy

AbstractThis essay examines Denise Mina’s Garnethill trilogy from the standpoint of spatial and capabilities studies. It analyzes the representation of spaces of resilience and their role in the gendered redistribution of urban and domestic power portrayed in the narratives. In order to do so, it contextualizes these books within the framework of contemporary Scottish crime fiction and subsequently studies the contraposition and subversion of emotional spaces in Glasgow and London in the process of recovery from the trauma of the child sexual abuse their protagonist has undergone.

Sobre la comunicación a distancia: diseminaciones del archivo de arte correo del Centro de Arte Experimental Vigo

Este escrito surge de una revisión crítica de la primera etapa del proceso de ordenamiento y catalogación del acervo de arte correo del artista platense Edgardo Antonio Vigo. A través de las nociones de network (trabajo en red), comunicación a distancia y arte correo, indagaremos en conceptualizaciones y producciones que desplazan o subvierten las redes y los circuitos de consumo del arte del siglo XX, tensionando sus lógicas hegemónicas de circulación. A través de la recuperación de intercambios postales y estrategias de comunicación a distancia, que activaron diversas redes de solidaridad internacionales en contextos de asfixia social, censura y represión, exploraremos las potencialidades de estas estrategias para la construcción de espacios de intercambio y sostenimiento afectivos entre sus integrantes. En este sentido, nos detendremos en el arte correo como la puesta en acto de un apoyo postal recíproco, que narró situadamente y con mínima latencia el acontecer de su tiempo.

Communication system development for emotional domotics interactive space

Domotic integrates different technologies to facilitate the task in the home area. Domotic tools lead to the design and construction of interactive space with potential fields of use. Emotion Domotics is a research in which it is sought to create an interactive space for testing that its main objective is to react to the emotional state of the user in order to modify the environment until reaching the appropriate stage in which the user enters a state of comfort. It is also sought that this interactive space can be used to increase labor and learning efficiency. Another potential application of this interactive space is that it can be used as a tool to evaluate the user experience of products and services. However, to achieve the objective of this research, a communication system must be developed that integrates the available domotic technologies with biometric systems for the detection of emotions. This communication system is important for the progress of the research because it will also be the one that will control the environmental variables such as temperature, light intensity and hue, and humidity within the interactive space to create a scenario according to the user’s needs. Throughout this work, the development of the communication system for the interactive space will be presented, as well as the tests carried out to validate the effectiveness of the communication system.

Using narrative distance to invite transformative learning experiences

PurposeThe purpose of this paper is to introduce narrative distance as a phenomenon that can help create transformative learning experiences (TLEs). Narrative distance is defined as the cognitive or emotional space afforded by indirect communication that invites listeners to make sense of content. In ways similar to a book, movie or play, narrative distance invites participants to draw conclusions for themselves (Craddock, 2002).Design/methodology/approachAfter examining how other fields have discussed concepts related to narrative distance and its affordances, this paper illustrates how this phenomenon can satisfy many of Wilson and Parrish’s (2011) key indicators for TLEs.FindingsSix principles are offered for incorporating narrative distance into instructional design.Originality/valueInstructional design has not explored indirect communication that is similar to narrative in any significant way.

Visual-Texual Emotion Analysis With Deep Coupled Video and Danmu Neural Networks

User emotion analysis toward videos is to automatically recognize the general emotional status of viewers from the multimedia content embedded in the online video stream. Existing works fall into two categories: 1) visual-based methods, which focus on visual content and extract a specific set of features of videos. However, it is generally hard to learn a mapping function from low-level video pixels to high-level emotion space due to great intra-class variance. 2) textual-based methods, which focus on the investigation of user-generated comments associated with videos. The learned word representations by traditional linguistic approaches typically lack emotion information and the global comments usually reflect viewers’ high-level understandings rather than instantaneous emotions. To address these limitations, in this paper, we propose to jointly utilize video content and user-generated texts simultaneously for emotion analysis. In particular, we introduce exploiting a new type of user-generated texts, i.e., “danmu,” which are real-time comments floating on the video and contain rich information to convey viewers’ emotional opinions. To enhance the emotion discriminativeness of words in textual feature extraction, we propose Emotional Word Embedding (EWE) to learn text representations by jointly considering their semantics and emotions. Afterward, we propose a novel visual-textual emotion analysis model with Deep Coupled Video and Danmu Neural networks (DCVDN), in which visual and textual features are synchronously extracted and fused to form a comprehensive representation by deep-canonically-correlated-autoencoder-based multi-view learning. Through extensive experiments on a self-crawled real-world video-danmu dataset, we prove that DCVDN significantly outperforms the state-of-the-art baselines.

Automatic speech emotion recognition using deep learning for analysis of collaborative group meetings

Emotion is a central component of verbal communication between humans. Due to advances in machine learning and the development of affective computing, automatic emotion recognition is both increasingly possible and increasingly sought-after. In this project, deep learning architectures, such as long short-term memory networks, are used to classify emotion from the prosody of human speech. Emotional groupings are considered both categorically (i.e., happiness, anger, etc.) and with respect to a three-dimensional emotion space divided into axes of valence, activation, and dominance. The network is trained on publicly available emotional speech corpuses and tested on a new dataset as part of a larger project to understand the dynamics of collaborative groupwork. Specifically, small groups were asked to complete a lunar survival task while recorded in a smart meeting room equipped with multimodal sensors. The results of the emotion classification, as well as other non-verbal speech metrics, are correlated with user-reported rankings including emergent group leader and major group contributor, in the hopes of better understanding the complex dynamics of team meetings. [Work supported by NSF IIP-1631674, a Northeastern University Tier 1 Seed Grant, and the Cognitive and Immersive Systems Laboratory (CISL).]