• Journal of Intelligence and Information Systems
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• v.17 no.1
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• pp.53-69
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• 2011

Vision and voice-based technologies are commonly utilized for human-robot interaction. But it is widely recognized that the performance of vision and voice-based interaction systems is deteriorated by a large margin in the real-world situations due to environmental and user variances. Human users need to be very cooperative to get reasonable performance, which significantly limits the usability of the vision and voice-based human-robot interaction technologies. As a result, touch screens are still the major medium of human-robot interaction for the real-world applications. To empower the usability of robots for various services, alternative interaction technologies should be developed to complement the problems of vision and voice-based technologies. In this paper, we propose the use of accelerometer-based gesture interface as one of the alternative technologies, because accelerometers are effective in detecting the movements of human body, while their performance is not limited by environmental contexts such as lighting conditions or camera's field-of-view. Moreover, accelerometers are widely available nowadays in many mobile devices. We tackle the problem of classifying acceleration signal patterns of 26 English alphabets, which is one of the essential repertoires for the realization of education services based on robots. Recognizing 26 English handwriting patterns based on accelerometers is a very difficult task to take over because of its large scale of pattern classes and the complexity of each pattern. The most difficult problem that has been undertaken which is similar to our problem was recognizing acceleration signal patterns of 10 handwritten digits. Most previous studies dealt with pattern sets of 8~10 simple and easily distinguishable gestures that are useful for controlling home appliances, computer applications, robots etc. Good features are essential for the success of pattern recognition. To promote the discriminative power upon complex English alphabet patterns, we extracted 'motion trajectories' out of input acceleration signal and used them as the main feature. Investigative experiments showed that classifiers based on trajectory performed 3%~5% better than those with raw features e.g. acceleration signal itself or statistical figures. To minimize the distortion of trajectories, we applied a simple but effective set of smoothing filters and band-pass filters. It is well known that acceleration patterns for the same gesture is very different among different performers. To tackle the problem, online incremental learning is applied for our system to make it adaptive to the users' distinctive motion properties. Our system is based on instance-based learning (IBL) where each training sample is memorized as a reference pattern. Brute-force incremental learning in IBL continuously accumulates reference patterns, which is a problem because it not only slows down the classification but also downgrades the recall performance. Regarding the latter phenomenon, we observed a tendency that as the number of reference patterns grows, some reference patterns contribute more to the false positive classification. Thus, we devised an algorithm for optimizing the reference pattern set based on the positive and negative contribution of each reference pattern. The algorithm is performed periodically to remove reference patterns that have a very low positive contribution or a high negative contribution. Experiments were performed on 6500 gesture patterns collected from 50 adults of 30~50 years old. Each alphabet was performed 5 times per participant using $Nintendo{(R)}$ $Wii^{TM}$ remote. Acceleration signal was sampled in 100hz on 3 axes. Mean recall rate for all the alphabets was 95.48%. Some alphabets recorded very low recall rate and exhibited very high pairwise confusion rate. Major confusion pairs are D(88%) and P(74%), I(81%) and U(75%), N(88%) and W(100%). Though W was recalled perfectly, it contributed much to the false positive classification of N. By comparison with major previous results from VTT (96% for 8 control gestures), CMU (97% for 10 control gestures) and Samsung Electronics(97% for 10 digits and a control gesture), we could find that the performance of our system is superior regarding the number of pattern classes and the complexity of patterns. Using our gesture interaction system, we conducted 2 case studies of robot-based edutainment services. The services were implemented on various robot platforms and mobile devices including $iPhone^{TM}$. The participating children exhibited improved concentration and active reaction on the service with our gesture interface. To prove the effectiveness of our gesture interface, a test was taken by the children after experiencing an English teaching service. The test result showed that those who played with the gesture interface-based robot content marked 10% better score than those with conventional teaching. We conclude that the accelerometer-based gesture interface is a promising technology for flourishing real-world robot-based services and content by complementing the limits of today's conventional interfaces e.g. touch screen, vision and voice.

• Asia Marketing Journal
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• v.14 no.2
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• pp.177-207
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• 2012

Today's consumers perceive consumption as a representation of themselves. It is not simply an act that fulfills a consumer's physical and practical needs. Even in terms of life quality, consumers increasingly want to achieve an emotional and sensible experience through consumption. Consumers now make decisions based on their need to express their position in relation to other people, pursue emotional satisfaction, and try to improve the quality of life. Culture-art products that meet such internal and external demands of consumers have made significant improvements in both quantity and quality, because of the social interest and policy support. The recognition of personal and social values of culture and arts has brought about interest in and need for culture-art products. Businesses have agilely embraced such change and actively implemented various marketing strategies utilizing culture and arts. For example, businesses began to sponsor artists who produce culture-art products while building facilities for cultural and art performances or exhibitions. Businesses have also provided performances and exhibitions free-of-charge or at affordable prices. As a result, the supply in the market has started to exceed its demand as is often the case in many of other markets. However, such imbalance has occurred not because of over-supply but because of a lack of demand. Given these circumstances, the government and culture and art related organizations, which had mainly concentrated on the supply side, started to recognize the importance of creating personal and social values in culture and arts. As a result, the government and various organizations are now creating various strategies that include policy measures to achieve their new found goal. Unfortunately however, such efforts are not meeting the expectations. Focusing on above-mentioned circumstances and problems, this study aims to find measures to create demand for culture-art products in the internal conditions of those who consume culture-art products. In other words, given that the demand for culture-art products has not increased despite all external conditions to encourage consumption, this study aims to find the reasons in consumers' value judgment on culture-art products. Though there were recent studies on culture-art products that applied consumer behavior on marketing theories, most of them focused on peripheral aspects such as people's motivation for or satisfaction from watching culture-art events. Hence, there is a need to understand what kind of value consumers perceive from culture-art products and how such value cognition leads to consumption in a comprehensive manner. This study acts as follow-up to a separate study entitled "Qualitative Study about Value Cognition and Benefits of Consumer on Culture-Art Products". The current study aims to extend practical implications that enhance the effectiveness of marketing strategies among the producing and policy agencies in the industry. The purpose of this study is to investigate dimensions of value cognition, benefits and attributes of culture-art products, and identify the effects of consumer value cognition on benefits and attributes. The questionnaire was developed based on the conceptual structure of qualitative research and previous researches. It was composed of value cognition, benefits, attributes of culture-art products and demographic variables. This survey was conducted on-line and off-line among a total of 662 persons ranging from their teens to their 50's who were living in Seoul, Gyeonggi-do, various metropolitan cities, and small and medium-sized cities. The data collected was analyzed by factor analysis and path analysis using SPSS WIN 18.0 and AMOS 16.0. This empirical study found that the dimensions of value cognition of culture-art products were categorized into personal goods, aesthetic goods and public property. This shows that the consumers perceive culture-art products as products that are worthy enough to pay the costs not just for personal benefits but also for their social values. Also the formation of value cognition for culture-art products requires special conditions unlike that for physical consumer goods and services, which simply require marketing stimuli. The dimensions of benefits pursued by consuming culture-art products were found to be composed of four types - pursuit of aesthetic benefits, pursuit of actual benefits, pursuit of emotional benefits, and pursuit of conspicuous character. This result implies that people consume culture-art products not just to pursue pleasure from emotional and intelligent satisfaction as well as social relations, but also to seek the needs and benefits embodied at a social level. The dimensions of attributes of culture-art products had seven different factors, - environmental, price, evaluation, people, artwork, composition, and personal relations - which is plentiful. This is because the attributes of culture-art products are very complicated compared to other consumer goods or services. Since culture-art products include not just cultural or artistic works but also all physical, human, environmental, and systemic elements of the products in a comprehensive manner, consumers perceive everything they experience in the process of consuming culture-art products as part of the products. The dimensions of value cognition was found to affect attributes of the products, mostly using pursued benefits as a mediating factors. This result is consistent with the result of qualitative research, and proves that applying the means-end chain theory in the reverse direction is reasonable. The result can be interpreted that consumers' value cognitions for culture-art products turns into actual benefits leading to consumers' decisions. Furthermore, this result reveals that when consumers choose culture-art products, they take into account the attributes of culture-art products depending on the benefits they pursue. These results confirm that despite their conceptual and abstract attributes, culture-art products have values that contribute to actual benefits for individual consumers and society. Hence, value cognition generates benefits to be pursued and this in turn affects the consumers' choices of attributes on products. Based on the conceptual structure of consumers' value cognitions on culture-art products and its dimensions, it is possible to find detailed methods to provide opportunities for education and training to form and reinforce positive value cognition on culture-art products. And through those methods, it will be possible to develop attributes of culture-art products according to the dimensions of pursued benefits, and allow conceptual products become the subject to valuable consumption in real life. These results provide theoretical understanding of consumer behavior in culture marketing and useful information to culture-art producers, companies that use culture and art, and government agencies that use culture-art as a mean to improve the public perception of quality of life. As a follow up on this study, there should be experimental studies that can develop criteria visualizing the demands of consumers who purchase culture-art products and identify their detailed attributes. Studies that compare characteristics of different areas within the culture-art product category and in-depth studies on a specific area or genre will also be needed. In order to develop marketing strategies for culture-art products, studies on the formation and reinforcement of positive value cognition on culture-art products and education for the development of consumer demand as well as on the development and differentiation of attributes of culture-art products depending on types of consumer groups should also follow.