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dc.rights.licenseopenen_US
hal.structure.identifierLaboratoire Bordelais de Recherche en Informatique [LaBRI]
hal.structure.identifierESTIA - Institute of technology [ESTIA]
dc.contributor.authorCLAY, Alexis
hal.structure.identifierLaboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur [LIMSI]
dc.contributor.authorCOURGEON, Matthieu
hal.structure.identifierLaboratoire Bordelais de Recherche en Informatique [LaBRI]
hal.structure.identifierESTIA - Institute of technology [ESTIA]
dc.contributor.authorCOUTURE, Nadine
ORCID: 0000-0001-7959-5227
IDREF: 111534275
hal.structure.identifierESTIA - Institute of technology [ESTIA]
dc.contributor.authorDELORD, Elric
hal.structure.identifierLaboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur [LIMSI]
dc.contributor.authorCLAVEL, Céline
hal.structure.identifierLaboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur [LIMSI]
dc.contributor.authorMARTIN, Jean-Claude
dc.contributor.editorACM
dc.date.accessioned2025-03-28T08:52:01Z
dc.date.available2025-03-28T08:52:01Z
dc.date.issued2009-11-06
dc.date.conference2009-11-06
dc.identifier.urihttps://oskar-bordeaux.fr/handle/20.500.12278/205744
dc.description.abstractEnRecent progress in augmented reality technologies enables them to be integrated in performing arts applications. So-called “augmented performances” are set up around the world, providing the audience with a new experience. As artistic tools, augmentation elicits aesthetic emotions within the audience by conveying the artists' emotional intent. The emotional communicative power of augmented reality in a performance has however not yet been formally evaluated from a perception point of view. This paper reports an experiment about the emotionally communicative power of several virtual modalities. We first describe how we collected a set of emotionally-expressive dance sequences from a professional dancer. We explain how the emotion expressed in each sequence is recognized by computer automatic recognition techniques and human subjects. We explain how we generated for each sequence virtual elements that are animated according to the expressed emotion. The resulting augmented dance sequences are then evaluated by human judges in order to determine which augmentation better conveys the original emotion. Results report that complex emotions are harder to recognize than simple emotions in a dance context, but that augmentation might improve recognition of those complex emotions.
dc.description.sponsorshipCultural experience: Augmented Reality and Emotion - ANR-07-RIAM-0002en_US
dc.language.isoENen_US
dc.subject.enaugmented performances
dc.subject.enemotion
dc.subject.envirtual agent
dc.title.enExpressive virtual modalities for augmenting the perception of affective movements
dc.typeCommunication dans un congrèsen_US
dc.identifier.doi10.1145/1655260.1655268en_US
dc.subject.halInformatique [cs]/Interface homme-machine [cs.HC]en_US
bordeaux.page#8en_US
bordeaux.hal.laboratoriesESTIA - Rechercheen_US
bordeaux.institutionUniversité de Bordeauxen_US
bordeaux.conference.titleInternational Conference on Multimodal Interfaces, International Workshop on Affective-Aware Virtual Agents and Social Robotsen_US
bordeaux.countryusen_US
bordeaux.title.proceedingInternational Conference on Multimodal Interfaces, Proceedings of the International Workshop on Affective-Aware Virtual Agents and Social Robotsen_US
bordeaux.conference.cityBoston, Massachusettsen_US
bordeaux.import.sourcehal
hal.identifierhal-00445908
hal.version1
hal.invitednonen_US
hal.proceedingsouien_US
hal.conference.end2009-11-06
hal.popularnonen_US
hal.audienceInternationaleen_US
hal.exportfalse
workflow.import.sourcehal
dc.rights.ccPas de Licence CCen_US
bordeaux.COinSctx_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.date=2009-11-06&rft.spage=%238&rft.epage=%238&rft.au=CLAY,%20Alexis&COURGEON,%20Matthieu&COUTURE,%20Nadine&DELORD,%20Elric&CLAVEL,%20C%C3%A9line&rft.genre=unknown


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