A framework for investigating the use of face features to identify spontaneous emotions

Emotion-based analysis has raised a lot of interest, particularly in areas such as forensics, medicine, music, psychology, and human-machine interface. Following this trend, the use of facial analysis (either automatic or human-based) is the most common subject to be investigated once this type of data can easily be collected and is well accepted in the literature as a metric for inference of emotional states. Despite this popularity, due to several constraints found in real world scenarios (e.g. lightning, complex backgrounds, facial hair and so on), automatically obtaining affective information from face accurately is a very challenging accomplishment. This work presents a framework which aims to analyse emotional experiences through naturally generated facial expressions. Our main contribution is a new 4-dimensional model to describe emotional experiences in terms of appraisal, facial expressions, mood, and subjective experiences. In addition, we present an experiment using a new protocol proposed to obtain spontaneous emotional reactions. The results have suggested that the initial emotional state described by the participants of the experiment was different from that described after the exposure to the eliciting stimulus, thus showing that the used stimuli were capable of inducing the expected emotional states in most individuals. Moreover, our results pointed out that spontaneous facial reactions to emotions are very different from those in prototypic expressions due to the lack of expressiveness in the latter.

Instâncias da representação imagética hiper-real

The approach that undertakes this work revolves around the emergence of iconic structures on reflecting about the meaning of different methods of image representation through which the contemporaneity reveals itself. At baseline, three aspects are considered looking for an analytical ontology of the act of representation and imagery: the transition of representation in the oral culture of societies for writing, from these to typography, and finally the creation of a representation device. Resorted to, therefore, the argument by some genealogy reference points that technological instances such as writing, printing and photography, the evolution of this process, correspond, in itself, a consequent shift technique, for each representation precedent. In the area of the image, the most salient aspect of this change in foward process is the emergence of hyper-reality: the instances of hyper-realistic representation. In the Western context, the 'simulation of the world' - essential idea of mimesis is the work of an autonomous an conventional system. It should be noted, then the fact that under unreflective of the post-industrial societies, the mass-media image is coating with natural or fake code including - according to Baudrillard - tends to replace the real world in the "perpetuation of a large chain of simulacra." Hence in modern times, in the postindustrial society, during the crisis of the representation regimen and perception, centered in the referent. In this limit, new settings are established by aesthetic representations of imagery in contemporary culture: establishing spaces of simulation [Jean Baudrillard] the spectacle [Guy Debord] and hypermodernity [Gilles Lipovetsky] in which they operate. In these assemblages, saps the emergence of Hyper-reality Representation Instances - as seen in this study aesthetic events to configure itineraries of a new sensibility. It is the nature of this practice sign-iconic, ingrained in the creation of current artistic expression, which this research engaged in peering: the hyper-realistic setting, taking empirical support central to contemporary imagery production, diverse formats of analog representation.