Catch me if you can

Rehm, Matthias; André, Elisabeth

doi:10.1145/1082473.1082615

Cited by 56 publications

(2 citation statements)

References 19 publications

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“…For example, in a game that allowed competition and cooperation (Prisoner’s Dilemma, Pruitt & Kimmel, 1977), a virtual human who smiled after making a competitive move evoked more competitive and less cooperative responses from human participants compared with a virtual human using an identical strategy in the game (tit-for-tat) but who smiled after cooperating. Virtual humans who make a verbal comment about a film that is inconsistent with their facial movements, such as saying they enjoyed the film but grimacing, quickly followed by a smile, were perceived as less reliable, trustworthy, and credible (Rehm & Andre, 2005).…”

Section: Perceiving Emotions From Facial Movements: a Review Of The Smentioning

confidence: 99%

Emotional Expressions Reconsidered: Challenges to Inferring Emotion From Human Facial Movements

Barrett

Adolphs

Marsella

et al. 2019

Psychol Sci Public Interest

1,200

854

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It is commonly assumed that a person’s emotional state can be readily inferred from his or her facial movements, typically called emotional expressions or facial expressions. This assumption influences legal judgments, policy decisions, national security protocols, and educational practices; guides the diagnosis and treatment of psychiatric illness, as well as the development of commercial applications; and pervades everyday social interactions as well as research in other scientific fields such as artificial intelligence, neuroscience, and computer vision. In this article, we survey examples of this widespread assumption, which we refer to as the common view, and we then examine the scientific evidence that tests this view, focusing on the six most popular emotion categories used by consumers of emotion research: anger, disgust, fear, happiness, sadness, and surprise. The available scientific evidence suggests that people do sometimes smile when happy, frown when sad, scowl when angry, and so on, as proposed by the common view, more than what would be expected by chance. Yet how people communicate anger, disgust, fear, happiness, sadness, and surprise varies substantially across cultures, situations, and even across people within a single situation. Furthermore, similar configurations of facial movements variably express instances of more than one emotion category. In fact, a given configuration of facial movements, such as a scowl, often communicates something other than an emotional state. Scientists agree that facial movements convey a range of information and are important for social communication, emotional or otherwise. But our review suggests an urgent need for research that examines how people actually move their faces to express emotions and other social information in the variety of contexts that make up everyday life, as well as careful study of the mechanisms by which people perceive instances of emotion in one another. We make specific research recommendations that will yield a more valid picture of how people move their faces to express emotions and how they infer emotional meaning from facial movements in situations of everyday life. This research is crucial to provide consumers of emotion research with the translational information they require.

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Section: Perceiving Emotions From Facial Movements: a Review Of The Smentioning

confidence: 99%

Emotional Expressions Reconsidered: Challenges to Inferring Emotion From Human Facial Movements

Barrett

Adolphs

Marsella

et al. 2019

Psychol Sci Public Interest

1,200

854

View full text Add to dashboard Cite

show abstract

“…Focusing on conveying more subtle and complex emotional expressions, Rehm and André (Rehm & André, 2005) implemented some "fake expressions" (modifying subtly the real expression combining it with an opposite emotion) with the objective of portraying a character who was lying to the users. Their experiments showed that that participants were able to notice the differences between genuine and faked smiles.…”

Section: Related Workmentioning

confidence: 99%

Investigating Macroexpressions and Microexpressions in Computer Graphics Animated Faces

Queiroz

Musse

Badler

2014

Presence: Teleoperators and Virtual Environments

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Due to varied personal, social, or even cultural situations, people sometimes conceal or mask their true emotions. These suppressed emotions can be expressed in a very subtle way by brief movements called microexpressions. We investigate human subjects' perception of hidden emotions in virtual faces, inspired by recent psychological experiments. We created animations with virtual faces showing some facial expressions and inserted brief secondary expressions in some sequences, in order to try to convey a subtle second emotion in the character. Our evaluation methodology consists of two sets of experiments, with three different sets of questions. The first experiment verifies that the accuracy and concordance of the participant's responses with synthetic faces matches the empirical results done with photos of real people in the paper by X.-b. Shen, Q. Wu, and X.-l. Fu, 2012, "Effects of the duration of expressions on the recognition of microexpressions," Journal of Zhejiang University Science B, 13(3), 221-230. The second experiment verifies whether participants could perceive and identify primary and secondary emotions in virtual faces. The third experiment tries to evaluate the participant's perception of realism, deceit, and valence of the emotions. Our results show that most of the participants recognized the foreground (macro) emotion and most of the time they perceived the presence of the second (micro) emotion in the animations, although they did not identify it correctly in some samples. This experiment exposes the benefits of conveying microexpressions in computer graphics characters, as they may visually enhance a character's emotional depth through subliminal microexpression cues, and consequently increase the perceived social complexity and believability (Shen, Wu, & Fu, 2012). The second experiment verifies if participants could perceive and identify primary and secondary emotions in virtual faces. The third tries to evaluate the participant's perception of realism, deceit and valence of the emotions. Our results show that most of the participants recognized the foreground (macro) emotion and most of the time they had perceived the presence of the second (micro) emotion in the animations, although they did not identify it correctly in some samples. This experiment exposes the benefits of conveying microexpressions in Computer Graphics characters, as they may visually enhance a character's emotional "depth" through subliminal microexpression cues and consequently increase its perceived social complexity and believability.

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