Expressive Intentions Research Articles

Research on an Eye Control Method Based on the Fusion of Facial Expression and Gaze Intention Recognition

With the deep integration of psychology and artificial intelligence technology and other related technologies, eye control technology has achieved certain results at the practical application level. However, it is found that the accuracy of the current single-modal eye control technology is still not high, which is mainly caused by the inaccurate eye movement detection caused by the high randomness of eye movements in the process of human–computer interaction. Therefore, this study will propose an intent recognition method that fuses facial expressions and eye movement information and expects to complete an eye control method based on the fusion of facial expression and eye movement information based on the multimodal intent recognition dataset, including facial expressions and eye movement information constructed in this study. Based on the self-attention fusion strategy, the fused features are calculated, and the multi-layer perceptron is used to classify the fused features, so as to realize the mutual attention between different features, and improve the accuracy of intention recognition by enhancing the weight of effective features in a targeted manner. In order to solve the problem of inaccurate eye movement detection, an improved YOLOv5 model was proposed, and the accuracy of the model detection was improved by adding two strategies: a small target layer and a CA attention mechanism. At the same time, the corresponding eye movement behavior discrimination algorithm was combined for each eye movement action to realize the output of eye behavior instructions. Finally, the experimental verification of the eye–computer interaction scheme combining the intention recognition model and the eye movement detection model showed that the accuracy of the eye-controlled manipulator to perform various tasks could reach more than 95 percent based on this scheme.

A biogenic hydrogel to recover Au(III) from electronic waste

In the course of this investigation, we undertook the contemplation of a green chemistry paradigm with the express intent of procuring valuable metal, namely gold, from electronic waste (e-waste). In pursuit of this overarching objective, we conceived a procedural framework consisting of two pivotal stages. As an initial stage, we introduced a physical separation procedure relying on the utilization of the Eddy current separator, prior to embarking on the process of leaching from e-waste. Subsequent to the partitioning of metals from the non-metal constituents of waste printed circuit boards (PCB), we initiated an investigation into the hydrogel derived from basil seeds (Ocimum basilicum L.), utilizing it as a biogenic sorbent medium. The thorough characterization of hydrogel extracted from basil seeds involved the application of an array of analytical techniques, encompassing FTIR, XRD, SEM, and BET. The batch sorption experiments show more than 90% uptake in the pH range of 2–5. The sorption capacity of the hydrogel material was evaluated as 188.44 mg g−1 from the Langmuir Isotherm model. The potential interference stemming from a spectrum of other ions, encompassing Al, Cu, Ni, Zn, Co, Cr, Fe, Mn, and Pb was systematically examined. Notably, the sole instance of interference in the context of adsorption of gold ions was observed to be associated with the presence of lead. The application of the hydrogel demonstrated a commendable efficiency in the recovery of Au(III) from the leached solution derived from the waste PCB.

The role of embodiment, experience, and self-image expression in creating continuance intention in the metaverse

Despite the growth of the metaverse, users' perception of their self-image based on the embodied elements remains unexplored. This research explores the metaverse world's relationship between embodiment, experience, expression, and continuance intention. This research deploys an exploratory sequential mixed-method research design to operationalise the study objective. Study 1 performs a qualitative investigation to develop a hypothetical model, and Study 2 employs a 3 × 3 factorial experimental design with 356 participants to investigate the proposed hypotheses. The results indicate that embodied presence and co-presence can lead to positive continuance intentions. Also, it is crucial to develop self-image expressions in the metaverse space. This research offers multiple insights and advances the theoretical knowledge of cognitive embodiment, flow, cognitive bias, and expectancy confirmation theories. The results can also aid metaverse practitioners in designing an interactive metaverse domain.

Studying unique musical effects and techniques in Iranian instruments and voice

The Musical effects and techniques in Iranian music have a great impact on the musical expression and composer's intention. Besides, Iranian instruments and vocals have unique capacities that have their special techniques. In this research, the techniques have been investigated separately for Tār, Kamāncheh, Santūr, Ney, and Iranian voices. Also, musical effects have been reviewed in general. Some of these techniques are written and some are unwritten, but they are noticeable and obvious to musicians. Therefore, Iranian composers especially in their improvisations, use these techniques along with the other two elements of articulation and musical expression, to create effective compositions.

Emotional Communication as Complex Phenomenon in Musical Interpretation – Proposal for a Systemic Model That Promotes a Transdisciplinary Process of Self-Formation and Reflection Around Expressiveness as a Lived Experience

For a long time, expressiveness in musical performance was a question of musical performance and research. It was difficult to explain why musicians arouse aesthetic emotions in their listeners with their interpretation. Even so, was more complex to explain why the performance of the same work by various artists provoked different emotional responses in listeners. Thanks to empirical research, our understanding of this phenomenon has improved. However, these theories and discoveries have not permeated teaching practice, so they have not yet taken a new direction in music teaching. In this paper, we proposed a new approach to expressiveness in musical interpretation in a systemic and complex way. For this, we propose a systemic model that allows us to observe the dynamic behavior of the phenomenon of emotional communication in musical interpretation. Furthermore, we suggest a systemic transdisciplinary didactic proposal to encourage the performer to develop their musical identity, reinforce their sensitivity and creativity, and enrich their expression and participatory intention in interpretation.

A Challenge to Monolithic Elitism: Eclecticism in Rock Music

This project aims to explore how eclecticism reflected in rock music as a sign of postmodern culture, explain the cultural background and expression intention of it by musical analysis, then apply the relative theory of Jonathan Kramer in his Postmodern Music, Postmodern Listening. As a characteristic of musical postmodernism, eclecticism changed the original features of rock music and led it to a fresh style which broke through its own performance category, to show new connotations and values. By elucidating how rock musicians use eclecticism to deny the authoritative value represented by traditional classical music, it can be seen that in a specific historical context, an anti authority voice sounded outside the traditional historical line of music, which has changed the single line historical narrative. Through the acceptance of music style that were considered noble in the past, rock music became a powerful force to challenge the value made by monolithic elitism, and successfully created an environment in which multiple voices can exist.

Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?

In music, the interpreter manipulates the performance parameters in order to offer a sonic rendition of the piece that is capable of conveying specific expressive intentions. Since the 1980s, there has been growing interest in expressive music performance (EMP) and its computational modeling. This research field has two fundamental objectives: understanding the phenomenon of human musical interpretation and the automatic generation of expressive performances. Rule-based, statistical, machine, and deep learning approaches have been proposed, most of them devoted to the classical repertoire, in particular to piano pieces. On the contrary, we introduce the role of expressive performance within popular music and the contemporary ecology of pop music production based on the use of digital audio workstations (DAWs) and virtual instruments. After an analysis of the tools related to expressiveness commonly available to modern producers, we propose a detailed survey of research into the computational EMP field, highlighting the potential and limits of what is present in the literature with respect to the context of popular music, which by its nature cannot be completely superimposed to the classical one. In the concluding discussion, we suggest possible lines of future research in the field of computational expressiveness applied to pop music.

Counter-intuitive enhancement of degradation of polyethylene terephthalate through engineering of lowered enzyme binding to solid plastic.

Degradation of solid polyethylene terephthalate (PET) by leaf branch compost cutinase (LCC) produces various PET-derived degradation intermediates (DIs), in addition to terephthalic acid (TPA), which is the recyclable terminal product of all PET degradation. Although DIs can also be converted into TPA, in solution, by LCC, the TPA that is obtained through enzymatic degradation of PET, in practice, is always contaminated by DIs. Here, we demonstrate that the primary reason for non-degradation of DIs into TPA in solution is the efficient binding of LCC onto the surface of solid PET. Although such binding enhances the degradation of solid PET, it depletes the surrounding solution of enzyme that could otherwise have converted DIs into TPA. To retain a subpopulation of enzyme in solution that would mainly degrade DIs, we introduced mutations to reduce the hydrophobicity of areas surrounding LCC's active site, with the express intention of reducing LCC's binding to solid PET. Despite the consequent reduction in invasion and degradation of solid PET, overall levels of production of TPA were ~3.6-fold higher, due to the partitioning of enzyme between solid PET and the surrounding solution, and the consequent heightened production of TPA from DIs. Further, synergy between such mutated LCC (F125L/F243I LCC) and wild-type LCC resulted in even higher yields, and TPA of nearly ~100% purity.

When nerves hit: The effect of trait anxiety, situational stress, and task mastery on the perception and interpersonal accuracy of musical expressiveness.

Music performance anxiety (MPA) is a prevalent phenomenon with potentially serious consequences to a musician's wellbeing and professional career. Yet, MPA does not always affect performance quality. It is hypothesized that trait anxiety, situational stress, and task mastery can exacerbate the effects of MPA and affect performance quality. Furthermore, it is unclear whether these effects are noticeable to both listeners and performing musicians. We measure performance quality as the expressiveness scores assigned by musicians and listeners to a set of pre-recorded performances. We selected three pianists with low, mid, and high MPA. Each pianist performed two pieces of their choice, familiar and unfamiliar, which were performed in rehearsal and recital conditions. The performances were videoed and edited into shorter clips for being presented to the performing pianists and to a set of online raters. Listeners and pianists will be asked to rate the expressiveness of all clips. We will determine the difference between the listeners' perceived expressiveness and the pianists' own expressiveness scores to estimate how well did listeners understand the pianists' expressive intentions. We investigate (1) what is the effect of trait anxiety, situational stress, and task mastery on the listener's perception of expressiveness and (2) what is the effect of these same variables on the listeners' understanding of expressiveness.

Relationships Between Audio and Movement Features, and Perceived Emotions in Musical Performance

A core aspect of musical performance is communicating emotional and expressive intentions to the audience. Recognition of the musician's intentions is constructed from a combination of visual and auditory performance cues, as well as compositional features. The current study attempted to quantify these contributions by measuring relationships between ratings of perceived emotion, and motion and auditory performance features. A pianist and violinist with advanced degrees in music performance individually performed four short western tonal pieces. The musicians were tasked with performing the pieces while invoking different expressive intentions: sad, happy, angry, and as a control, deadpan. To examine how different expressive intentions influenced performance behavior, the musicians’ body movements were tracked using optical motion capture and rendered into point-light animations. Participants rated perceived emotions (happiness, sadness, tenderness, anger) in audio-only, video-only, and audiovisual rating conditions. We first explored how compositional aspects of the music and performers’ expressive intentions contributed to ratings across the three viewing conditions. Through a series of analyses of variance, we found that participants successfully decoded the performers’ expressive intentions based on visual information alone and auditory information alone. In the rating conditions in which audio was present, compositional aspects had a stronger effect on participant ratings than performers’ expressive intentions. Next, we quantified relationships between the ratings and both motion and auditory performance features. Of the features investigated, musical mode had the greatest impact on ratings. Additionally, perceived emotion ratings were more consistent among responders in conditions with audio than without. These results suggest that, in music performance, auditory information is conceptualized by most responders in a similar way, while visual information might be open to a variety of interpretations.

The Beethoven Syndrome: Hearing Music as Autobiography, by Mark Evan Bonds

<i>The Beethoven Syndrome: Hearing Music as Autobiography</i>, by Mark Evan Bonds

Follow the sound of my violin: Granger causality reflects information flow in sound.

Recent research into how musicians coordinate their expressive timing, phrasing, articulation, dynamics, and other stylistic characteristics during performances has highlighted the role of predictive processes, as musicians must anticipate how their partners will play in order to be together. Several studies have used information flow techniques such as Granger causality to show that upcoming movements of a musician can be predicted from immediate past movements of fellow musicians. Although musicians must move to play their instruments, a major goal of music making is to create a joint interpretation through the sounds they produce. Yet, information flow techniques have not been applied previously to examine the role that fellow musicians' sound output plays in these predictive processes and whether this changes as they learn to play together. In the present experiment, we asked professional violinists to play along with recordings of two folk pieces, each eight times in succession, and compared the amplitude envelopes of their performances with those of the recordings using Granger causality to measure information flow and cross-correlation to measure similarity and synchronization. In line with our hypotheses, our measure of information flow was higher from the recordings to the performances than vice versa, and decreased as the violinists became more familiar with the recordings over trials. This decline in information flow is consistent with a gradual shift from relying on auditory cues to predict the recording to relying on an internally-based (learned) model built through repetition. There was also evidence that violinists became more synchronized with the recordings over trials. These results shed light on the planning and learning processes involved in the aligning of expressive intentions in group music performance and lay the groundwork for the application of Granger causality to investigate information flow through sound in more complex musical interactions.

Children’s Sensitivity to Performance Expression and its Relationship to Children’s Empathy

Emotional communication is central to music performance expression and empathy. Research has shown that music activities can enhance empathy in children and that more empathic adults can more accurately recognize and feel performers’ expressive intentions. Nevertheless, little is known about performance expression during childhood and the specific music-related factors affecting empathy development. This paper explores children’s sensitivity to a performer’s expressive or mechanical intentions and its relationship to children’s everyday empathy. Twenty-seven children listened to expressive and mechanical versions of Romantic flute excerpts with and without accompanying video, rating their perceived level of the performer’s expression and their enjoyment of the performance. The results indicate that children recognize performers’ intended expression or lack thereof and enjoy expressive performances more than mechanical ones. Children aged 10–12 recognized performance expression better than those aged 8–9, especially in audiovisual conditions. Children with higher cognitive empathy rated performance expression more in line with their enjoyment of the performance, which was also more concordant with the performer’s expressive intention. The findings support a relationship between music and socio-emotional skills and emphasize the importance of the visual component of music performance for children, an aspect that has received little attention among researchers and educators.

Production of gluten-free pasta from black rice by-products: physicochemical, nutritional and sensory attributes

The manufacture and characterization of gluten-free pasta based on black rice flour by-products from the industrial processing of black rice grains were addressed in this study. The black rice pasta (BRP) was extruded in a penne format developed with black rice flour: white rice flour 1:2 w/w, and the addition of food additives to improve the texture and viscoelasticity proprieties of pasta: tapioca starch, xanthan gum, egg, and water. The cooking quality, texture parameters, CIEL*a*b* color, and total monomeric anthocyanin (TAM) content were evaluated. The optimum cooking time was adjusted to 7 minutes, BRP presented 31.9% of moisture, water absorption of 68.0%, and cooking loss of 4.8%. Texture properties of BRP were positively affected by the presence of additives and presented firmness and adhesiveness values of 2.54 N and 0.01 N, respectively. Cooked BRP presented 10.4 mg of cyanidin-3-glycoside / 100 g (dry basis), carrying a reduction of only 16% of the TAM content related to the dough before cooking. Sensory analysis performed with 100 untrained testers showed high acceptance indexes (between 67% and 89%), with flavor and texture the most well-evaluated attributes contributing to an expressive purchase intention (86%) if the product was available for sale. It was possible to reuse a residue from black rice-processing and develop an innovative, high-quality gluten-free pasta, with a peculiar chestnut flavor, a natural purple color, with nutritional properties, antioxidants and being gluten-free, it is a product with potential to benefit and increases the diversity of food for celiac patients.

Associations Between Ancillary Body Movements and Acoustic Parameters of Pitch, Dynamics and Timbre in Clarinet Playing.

When playing an instrument, there are two main categories of body movements: instrumental movements, which are necessary for the sound production, and ancillary movements, which are associated with individual musical intentions and expressions. In this study, the particular purpose of ancillary movements of clarinet player was investigated especially in respect to how these movements were related to the musical structure of the piece and to specific audio parameters. 3D motion capture data of 19 clarinet players performing the same piece were analyzed regarding common motion patterns during the performance and in accordance with acoustic features related to pitch, dynamics (RMS energy) and timbre (spectral centroid and flux). A focus of the body movements was on the arms and the knees. The results showed that there were certain motion patterns performed by the players depending on specific musical structures. When playing a melodic part, the players often did so by bending their knees. At musical transitions, however, the knees were mainly stretched. Similarly, arm movements were more pronounced during playing melodious parts. At transitions, the arms were put closer to the torso. Considering the connection with the acoustics, a larger range of knee motions was correlated with a larger variation of the timbre. Moreover, at specific moments during the performance, when some players strongly bent their knees or lifted the arms, the RMS energy of the signal was significantly higher. The correlations of the body movements and the acoustic features showed that some players synchronized their movements with particular audio parameters more than others did. In summary, the ancillary movements of the clarinetists pursued both musical expressive intentions and physiologically necessary movements and tended to be performed with individual differences in terms of visual and auditory expression.

MELODIC ORGANIZATION OF THE PREACHER'S SPEECH IN FILM DISCOURSE

The article is devoted to the study of the peculiarities of the melodic organization of monological expressions of preachers of different ranks - the characters of English-language feature films. Based on the fact that the preacher's speech functions are not limited to preaching from the pulpit, but include speeches outside the temple and private conversations with parishioners on spiritual topics, these three types of speech activities were studied. The research material, which consisted of oral English sermons, speeches and conversations taken from five modern films, was subjected to auditive, auditory and electroacoustic analysis. Auditive analysis involved the selection from the general text of those phrasal units that most clearly demonstrate the prosodic characteristics in all parts of the studied sermons, speeches and conversations. Auditory analysis was aimed at determining the type of spiritual speech and identifying the degree of participation of certain prosodic parameters (melodic contour, phrasal stress, volume, tempo, rhythm, pause) in the realization of the intention of speech and expression of emotions in different parts of the text. Based on the auditive analysis, firstly, the prosodic differences between the three speech realizations at the level of perception were confirmed, and secondly, it was found that the melodic component of intonation is the second most informative component involved in speech differentiation and enhancing its influential effect.The complex auditory and instrumental analysis of the melodic characteristics of the preachers’ speech allows to conclude that there are integral and distinctive melodic parameters inherent in the three types of speech behaviour of the speakers during the sermon, speeches outside the church and conversations with parishioners in private. The private priests’ conversation with parishioners is characterized by the lowest melodic indicators, where facial expressions and kinetic means of expressiveness and emotionality come to the fore.

Modern Issues and Challenges in Contract Frustration

There is no doubt that the corona virus (COVID-19) pandemic has impacted almost every sphere of human endeavours, including the performance of a contract. The significance of the concepts of frustration and force majeure as principles of contract in the current context of the COVID-19 pandemic cannot be overemphasized. While frustration, a common law doctrine is implied by law to release parties from their obligations, force majeure clauses look at the express intention of parties in dealing with supervening occurrences. This article intends to simplify the understanding of the overlapping nature of frustration, force majeure and COVID-19 in modern contracts.

Pragmatics Analysis on Anger Expression in #IndonesiaTerserah on Twitter

This study attempts to identify the intention and pragmalinguistic forms of anger expression in tweets using #IndonesiaTerserah on November 15th, 2020. A corpus of 30 tweets is analyzed within pragmatic analysis framework. In analyzing the data, the illocutionary acts and pragmalinguistics forms of the tweets are the focus. The interpretation entails the analysis of text, addressing, and the identification of connotative meanings. The data are collected using Twitter Archiver Programme (API). An underlying assumption for choosing the time frame is the hashtag reached the highest trending in Indonesia as response to two mass gathering incidents in Soekarno Hatta airport on 10 November 2020, and Petamburan on 14 November 2020. Based on the findings of illocutionary act, the intention of using #IndonesiaTerserah in the tweets mostly is to state the fact and elaborate their opinions regarding the issues. The irritated feeling dominates the intention of using #IndonesiaTerserah. However, they also express expectation to the stakeholders to handle the issues in a better way. Based on the findings on pragmalinguistics forms, anger is expressed in thinly veiled form of cynical humor in order to make their message more straightforward to the addressees.

What if carbon drives our design from the outset?

This article considers the implications of adopting a carbon-driven design approach – with the express intent of limiting the embodied carbon of the structure. It examines the impact this approach will have on a number of key design decisions – material choice, grids and spans, loads, structural system, foundations, serviceability requirements, facade type and method of construction – and highlights the tensions that may arise between these and the low-carbon goal. The article argues that opting for timber as the initial material choice will likely offer greater flexibility and leave open the option of switching to another material later in the design process should the need arise.

Prison Life Writing: Conversion and the Literary Roots of the U.S. Prison System by Simon Rolston

Reviewed by: Prison Life Writing: Conversion and the Literary Roots of the U.S. Prison System by Simon Rolston D. Quentin Miller (bio) Prison Life Writing: Conversion and the Literary Roots of the U.S. Prison System Simon Rolston Wilfrid Laurier UP, 2021, ix+316 pp. ISBN 9781771125178, $34.99 paperback. Despite marked political and cultural changes in the United States over the past century, the practice of mass incarceration has grown in a steady upward trajectory. The history of incarceration, especially since the publication of Michel Foucault's treatise Discipline and Punish (1975), has provided a context for analyzing what has [End Page 100] been an unfortunate growth field within American letters, namely prison literature, and especially autobiographical accounts of the prison experience. Simon Rolston's Prison Life Writing: Conversion and the Literary Roots of the U.S. Prison System claims to be the "first full-length study" of this genre. There has been an upsurge in critical studies of prison literature in the twenty-first century, but what distinguishes Rolston's argument is the context of the conversion narrative that has its origins in seventeenth-century Puritan literature. The study thus acts as a hinge between two lifewriting subfields that have been considered separately: the conversion narrative and prison literature. A key critical question emerges over the course of the argument that Rolston applies to his selected primary texts: does a work of prison life writing based on the conversion narrative challenge or uphold the institutional structure of the prison? As Rolston demonstrates, the answer varies widely. Here is a summary from his conclusion: "Although prison life writings consistently use the prison conversion narrative, they do so with surprising aesthetic and ideological range" (228). This range enables Rolston to celebrate narratives that both challenge the status quo of the prison industrial complex and build community, and to critique those that (consciously or unconsciously) uphold the assumptions that justify incarceration and aggrandize the individual at the expense of civic connections. He also develops the idea advanced in Foucault's work and elsewhere that the express purpose and intent of incarceration has changed over time. The conversion narrative is rooted in a spiritual journey in which a narrator is brought to a low point, sees the light of an upright moral path, and becomes a heaven-bound believer. Rolston argues that the very project of nationhood in America in the eighteenth century was linked to this narrative structure: "the nation had itself undergone a kind of conversion: the American Revolution had created an entirely new nation: colonial Britons had become Americans" (48). This emphasis on a new self replacing an old self is also crucial to the prison conversion narrative. Conversion in prison is frequently linked to literacy or to self-education. The blueprint for this story is The Autobiography of Malcolm X, in which the author-subject famously copies the dictionary while in solitary confinement en route to replacing his old selves (Malcolm Little, Detroit Red, Satan) with his enlightened new selves (Malcolm X, el-Hajj Malik el-Shabazz). Rolston acknowledges The Autobiography of Malcolm X as the most important text in the tradition he examines, especially as it explicitly influenced a large number of later texts. Yet he doesn't spend as much time on it as one might expect, even as he identifies it as a troublesome text, one that "points to the peculiar and unexpected ways that competing discourses merge uneasily in prison life writing, making it difficult to see the genre as solely on one side of a Manichaean divide between a powerless writer and a powerful institution" (12). The potentially problematic rhetoric of Malcolm X is examined indirectly, then, through the remainder of the tradition: presumably the reader would be familiar enough with this canonical work to follow the argument. [End Page 101] Having established the tradition through identifying its origins, Rolston moves forward from The Autobiography of Malcolm X through three eras—the Treatment Era (which he dates from 1945–1976), a transitional period he calls the Monster Factory (in the early 1970s), and our current period of mass incarceration beginning in the mid-1970s. He adds a fourth chapter on women's...