The media equation: how people treat computers, television, and new media like real people and places
Meeting people vitually: experiments in shared virtual environments
The social life of avatars
Perception of Human Motion With Different Geometric Models
IEEE Transactions on Visualization and Computer Graphics
Presence: Teleoperators and Virtual Environments
Virtual shapers & movers: form and motion affect sex perception
Proceedings of the 4th symposium on Applied perception in graphics and visualization
Realistic human body movement for emotional expressiveness
ACM SIGGRAPH 2009 Courses
ACII'11 Proceedings of the 4th international conference on Affective computing and intelligent interaction - Volume Part I
Synthesizing mood-affected signed messages: Modifications to the parametric synthesis
International Journal of Human-Computer Studies
ACM Transactions on Graphics (TOG) - SIGGRAPH 2012 Conference Proceedings
Proceedings of the ACM Symposium on Applied Perception
EGVE - JVRC'10 Proceedings of the 16th Eurographics conference on Virtual Environments & Second Joint Virtual Reality
3D Virtual worlds and the metaverse: Current status and future possibilities
ACM Computing Surveys (CSUR)
Perception of emotional body expressions in narrative scenarios
Proceedings of the ACM Symposium on Applied Perception
Unpleasantness of animated characters corresponds to increased viewer attention to faces
Proceedings of the ACM Symposium on Applied Perception
Proceedings of Motion on Games
Hi-index | 0.00 |
In order to analyze the emotional content of motions portrayed by different characters, we created real and virtual replicas of an actor exhibiting six basic emotions: sadness, happiness, surprise, fear, anger, and disgust. In addition to the video of the real actor, his actions were applied to five virtual body shapes: a low- and high-resolution virtual counterpart, a cartoon-like character, a wooden mannequin, and a zombie-like character (Figures 1 and 2). In a point light condition, we also tested whether the absence of a body affected the perceived emotion of the movements. Participants were asked to rate the actions based on a list of 41 more complex emotions. We found that the perception of emotional actions is highly robust and to the most part independent of the character's body, so long as form is present. When motion alone is present, emotions were generally perceived as less intense than in the cases where form was present.