An Emotional Spatial Handwriting System

Ziqian Chen, M. Bourguet, G. Venture
{"title":"An Emotional Spatial Handwriting System","authors":"Ziqian Chen, M. Bourguet, G. Venture","doi":"10.1145/3267782.3274679","DOIUrl":null,"url":null,"abstract":"According to graphology, people's emotional states can be detected from their handwriting. Unlike writing on paper, which can be analysed through its on-surface properties, spatial interaction-based handwriting is entirely in-air. Consequently, the techniques used in graphology to reveal the emotions of the writer are not directly transferable to spatial interaction. The purpose of our research is to propose a 3D handwriting system with emotional capabilities. For our study, we retained height basic emotions represented by a large spectrum of coordinates in the Russell's valence-arousal model: afraid, angry, disgusted, happy, sad, surprised, amorous and serious. We used the Leap Motion sensor (https://www.leapmotion.com) to capture hand motion; C# and the Unity 3D game engine (https://unity3d.com) for the 3D rendering of the handwritten characters. With our system, users can write freely with their fingers in the air and immerse themselves in their handwriting by wearing a virtual reality headset. We aim to create a rendering model that can be universally applied to any handwriting and any alphabet: our choice of parameters is inspired by both Latin typography and Chinese calligraphy, characterised by its four elementary writing instruments: the brush, the ink, the brush-stand and the ink-stone. The final parameter selection process was carried out by immersing ourselves in our own in-air handwriting and through numerous trials. The five rendering parameters we chose are: (1) weight determined by the radius of the rendered stroke; (2) smoothness determined by the minimum length of one stroke segment; (3) tip of stroke determined by the ratio of the radius to the writing speed; (4) ink density determined by the opacity of the rendering material; and (5) ink dryness determined by the texture of the rendering material, which can be coarse or smooth. Having implemented the 3D handwriting system and empirically determined five rendering parameters, we designed a survey to gather opinions on which rendering parameters' values are most effective at conveying the intended emotions. For each parameter, we created three handwriting samples by varying the value of the parameter, and to avoid the combinatorial explosion of the number of samples, each parameter was made to vary independently of the others. The formula we used to calculate the optimal value of a parameter is as follows: Where i = 1, 2, 3 refers to the value of the parameter used in the sample; Q is the total number of respondents (64 in average); qi is the number of people who chose that sample; and Pi denotes the parameter. Applying the R values to the 3D handwriting system in Unity, we obtain the eight emotional styles illustrated below. We calculated the Euclidean distances between each pair of emotions using their 2D coordinates (x, y) in the Russell's valence-arousal emotion model and their 5-dimensional vectors of normalised parameters' values. Across all pairs of emotions, there is a positive correlation (R=0.41) between the two distances. This is an interesting result, which seems to support the choice of parameters' values that was made in the model. We then conducted another survey (42 respondents) to evaluate the emotional capabilities of our rendering model. Handwriting samples in both Chinese and English were produced for each of the 8 emotions, making a total of 16 samples. The four most notably recognised emotions are: afraid, sad, serious and angry. Binomial tests with a 95% confidence interval showed that for these four emotions the respondents' choices were significantly different from random chance. We note that these four emotions have all negative or neutral valence in the Russell's valence-arousal model. The emotion afraid was particularly well recognised. The emotion happy was well recognised but was also often confused for serious. The least correctly identified emotions are disgusted, amorous and surprised. Selecting one emotion among eight by observing a single word sample is a difficult exercise, but the results are encouraging.","PeriodicalId":126671,"journal":{"name":"Proceedings of the 2018 ACM Symposium on Spatial User Interaction","volume":"19 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Proceedings of the 2018 ACM Symposium on Spatial User Interaction","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1145/3267782.3274679","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

According to graphology, people's emotional states can be detected from their handwriting. Unlike writing on paper, which can be analysed through its on-surface properties, spatial interaction-based handwriting is entirely in-air. Consequently, the techniques used in graphology to reveal the emotions of the writer are not directly transferable to spatial interaction. The purpose of our research is to propose a 3D handwriting system with emotional capabilities. For our study, we retained height basic emotions represented by a large spectrum of coordinates in the Russell's valence-arousal model: afraid, angry, disgusted, happy, sad, surprised, amorous and serious. We used the Leap Motion sensor (https://www.leapmotion.com) to capture hand motion; C# and the Unity 3D game engine (https://unity3d.com) for the 3D rendering of the handwritten characters. With our system, users can write freely with their fingers in the air and immerse themselves in their handwriting by wearing a virtual reality headset. We aim to create a rendering model that can be universally applied to any handwriting and any alphabet: our choice of parameters is inspired by both Latin typography and Chinese calligraphy, characterised by its four elementary writing instruments: the brush, the ink, the brush-stand and the ink-stone. The final parameter selection process was carried out by immersing ourselves in our own in-air handwriting and through numerous trials. The five rendering parameters we chose are: (1) weight determined by the radius of the rendered stroke; (2) smoothness determined by the minimum length of one stroke segment; (3) tip of stroke determined by the ratio of the radius to the writing speed; (4) ink density determined by the opacity of the rendering material; and (5) ink dryness determined by the texture of the rendering material, which can be coarse or smooth. Having implemented the 3D handwriting system and empirically determined five rendering parameters, we designed a survey to gather opinions on which rendering parameters' values are most effective at conveying the intended emotions. For each parameter, we created three handwriting samples by varying the value of the parameter, and to avoid the combinatorial explosion of the number of samples, each parameter was made to vary independently of the others. The formula we used to calculate the optimal value of a parameter is as follows: Where i = 1, 2, 3 refers to the value of the parameter used in the sample; Q is the total number of respondents (64 in average); qi is the number of people who chose that sample; and Pi denotes the parameter. Applying the R values to the 3D handwriting system in Unity, we obtain the eight emotional styles illustrated below. We calculated the Euclidean distances between each pair of emotions using their 2D coordinates (x, y) in the Russell's valence-arousal emotion model and their 5-dimensional vectors of normalised parameters' values. Across all pairs of emotions, there is a positive correlation (R=0.41) between the two distances. This is an interesting result, which seems to support the choice of parameters' values that was made in the model. We then conducted another survey (42 respondents) to evaluate the emotional capabilities of our rendering model. Handwriting samples in both Chinese and English were produced for each of the 8 emotions, making a total of 16 samples. The four most notably recognised emotions are: afraid, sad, serious and angry. Binomial tests with a 95% confidence interval showed that for these four emotions the respondents' choices were significantly different from random chance. We note that these four emotions have all negative or neutral valence in the Russell's valence-arousal model. The emotion afraid was particularly well recognised. The emotion happy was well recognised but was also often confused for serious. The least correctly identified emotions are disgusted, amorous and surprised. Selecting one emotion among eight by observing a single word sample is a difficult exercise, but the results are encouraging.
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
情感空间书写系统
根据笔迹学,人们的情绪状态可以从他们的笔迹中检测出来。纸上书写可以通过其表面特性进行分析,而基于空间交互的书写则完全是在空气中进行的。因此,笔迹学中用来揭示作家情感的技巧并不能直接应用于空间互动。我们研究的目的是提出一个具有情感能力的3D手写系统。在我们的研究中,我们保留了罗素价值觉醒模型中由大谱坐标表示的高度基本情绪:害怕、愤怒、厌恶、快乐、悲伤、惊讶、多情和严肃。我们使用Leap Motion传感器(https://www.leapmotion.com)来捕捉手部运动;c#和Unity 3D游戏引擎(https://unity3d.com)用于手写字符的3D渲染。通过我们的系统,用户可以用手指在空中自由书写,并通过佩戴虚拟现实耳机沉浸在自己的笔迹中。我们的目标是创建一个可以普遍适用于任何笔迹和任何字母的渲染模型:我们选择参数的灵感来自拉丁字体和中国书法,其特点是其四种基本书写工具:毛笔、墨水、毛笔架和砚台。最终的参数选择过程是通过沉浸在我们自己的空中笔迹和无数的试验来进行的。我们选择的五个渲染参数是:(1)权重由渲染笔画的半径决定;(2)光滑度由单个行程段的最小长度决定;(3)笔尖由半径与书写速度之比决定;(4)油墨密度由渲染材料的不透明度决定;(5)油墨干燥度由渲染材料的质地决定,可以是粗糙的,也可以是光滑的。在实现了3D手写系统并根据经验确定了五个渲染参数后,我们设计了一项调查,以收集关于哪些渲染参数值最有效地传达预期情绪的意见。对于每个参数,我们通过改变参数的值创建了三个手写样本,为了避免样本数量的组合爆炸,每个参数都独立于其他参数而变化。我们计算某参数最优值的公式如下:其中i = 1,2,3为样本中使用的参数值;Q为被调查者总数(平均64人);Qi是选择该样本的人数;Pi为参数。将R值应用到Unity的3D手写系统中,我们得到了如下所示的八种情感风格。我们计算了每对情绪之间的欧几里得距离,使用罗素的价格唤醒情绪模型中的二维坐标(x, y)和它们归一化参数值的5维向量。在所有对情绪中,两个距离之间存在正相关(R=0.41)。这是一个有趣的结果,它似乎支持模型中参数值的选择。然后,我们进行了另一项调查(42名受访者),以评估我们的渲染模型的情感能力。对8种情绪分别制作中英文手写样本,共16个样本。最容易识别的四种情绪是:害怕、悲伤、严肃和愤怒。95%置信区间的二项检验表明,对于这四种情绪,被调查者的选择与随机机会有显著差异。我们注意到,这四种情绪在罗素的价-唤醒模型中都具有负价或中性价。恐惧的情绪尤其明显。快乐的情绪很容易被识别,但也经常被混淆为严肃。最不能正确识别的情绪是厌恶、多情和惊讶。通过观察单个单词样本从八种情绪中选择一种情绪是一项困难的练习,但结果令人鼓舞。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 去求助
来源期刊
自引率
0.00%
发文量
0
期刊最新文献
Exploring the Potential and Challenges of VR Prototyping in Fashion Design Air Maestros: A Multi-User Audiovisual Experience Using MR An Emotional Spatial Handwriting System Haptopus: Transferring the Touch Sense of the Hand to the Face Using Suction Mechanism Embedded in HMD Virtual Campus: Infrastructure and spatiality management tools based on 3D environments
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1