Human Behavior Understanding: 4th International Workshop, by Albert Ali Salah, Hayley Hung, Oya Aran, Hatice Gunes

By Albert Ali Salah, Hayley Hung, Oya Aran, Hatice Gunes

This publication constitutes the refereed lawsuits of the 4th foreign Workshop on Human habit figuring out, HBU 2013, held in Barcelona, Spain, in October 2013. The 21 papers awarded have been conscientiously reviewed and chosen from 50 submissions. The papers are grouped in topical sections on: behaviour and have an effect on in arts, creativity, leisure, and edutainment functions; activities and actions; facial habit; social indications; and affective signals.

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Extra info for Human Behavior Understanding: 4th International Workshop, HBU 2013, Barcelona, Spain, October 22, 2013. Proceedings

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G. g. g. waving). The third and final stage involves the matching of ‘task primitives’ to particular hand actions. In the case of the Theremin the primitives are pitch and amplitude adjustment, and the actions are the continuous movement of the hands in three dimensions. In more recent years the release of open source drivers for the Microsoft Kinect has provided an accessible way for artists and interaction designers to work with motion capture based gesture recognition. When looking at examples of the use of the Kinect in these contexts (see [12] and [13] for specific works), a common feature is that less defined input to output mappings are used, an approach which puts more creative freedom in the hands of the person using the interface.

In many cases, these media comprise the very same tools that affective and behavioural computing researchers are adopting for the computerised recognition and expression of human nonverbal behaviour and affect. Despite this plurality, there is currently very little exploration or utilisation of affective and behavioural computing techniques in artistic practices. This is surprising, given the important roles that nonverbal behaviour and affect play in creative expression and experience [2]. As affective and behavioural computing starts to migrate from the laboratory and into the wider world, the question of whether artists will welcome affective and behavioural computing based technologies as a positive addition to their new media palettes is likely to come to the fore.

Gunes other two content styles. Due to the limitations of collecting data in the wild, we were unable to obtain detailed and in-depth insight into this data, as we did not have access to subjective reports of mood from the participants. In our analysis of common gestures we were surprised by the frequency at which gestures re-occurred between nights and participants, especially in the absence of any instruction as to how to interact with the installation. There are a number of features that are common to most of these gestures: (i) they tend to be performed in the coronal plane, potentially due to the fact that the main interaction control was also based upon movement in this plane, (ii) they are predominantly performed with extended arms and do not involve much movement of the body, and (iii) each gesture comprises relatively short and repeatable movements that exhibit high degrees of rhythm, synchrony and symmetry.

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