• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 한국멀티미디어학회논문지
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• 제12권8호
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• pp.1155-1163
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• 2009

본 논문에서는 가우시안 프로세스 모델을 이용한 벡터 그래픽 캐릭터의 자동 표정 생성 시스템을 제안한다. 제안한 방법은 Russell의 내적 정서 상태의 차원 모형을 근거로 재정의된 캐릭터의 26가지 표정 데이터로 부터 주요 특징 벡터를 추출한다. 그리고 추출된 고차원의 특징 벡터에 대해 SGPLVM이라는 가우시안 프로세스 모델을 이용하여 저차원 특징 벡터를 찾고, 확률분포함수(PDF)를 학습한다. 확률분포함수의 모든 파라메타는 학습된 표정 데이터의 우도를 최대화함으로써 추정할 수 있으며, 이는 2차원 공간에서 사용자가 원하는 얼굴 표정을 실시간으로 선택하기 위해 사용된다. 시뮬레이션 결과 본 논문에서 제안한 표정 생성 프로그램은 얼굴 표정의 작은 데이터셋에도 잘 동작하며, 사용자는 표정과 정서간의 관련성에 관한 사전지식이 없이도 연속되는 다양한 캐릭터의 표정을 생성할 수 있음을 확인할 수 있었다.

• 한국언어정보학회:학술대회논문집
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• 한국언어정보학회 2007년도 정기학술대회
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• pp.311-320
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• 2007

Interrogative sentences are generally used to perform speech acts of directly asking a question or making a request, but they are also used to convey such speech acts indirectly. In the utterances, such indirect uses of interrogative sentences usually carry speaker's emotion with a negative attitude, which is close to an expression of anger. The identification of such negative emotion is known as a difficult problem that requires relevant information in syntax, semantics, discourse, pragmatics, and speech signals. In this paper, we argue that the interrogatives used for indirect speech acts could serve as a dominant marker for identifying the emotional attitudes, such as anger, as compared to other emotion-related markers, such as discourse markers, adverbial words, and syntactic markers. To support such an argument, we analyze the dialogues collected from the Korean soap operas, and examine individual or cooperative influences of the emotion-related markers on emotional realization. The user study shows that the interrogatives could be utilized as a promising device for emotion identification.

• ETRI Journal
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• 제37권6호
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• pp.1199-1210
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• 2015

Automatic emotion recognition based on facial cues, such as facial action units (AUs), has received huge attention in the last decade due to its wide variety of applications. Current computer-based automated two-phase facial emotion recognition procedures first detect AUs from input images and then infer target emotions from the detected AUs. However, more robust AU detection and AU-to-emotion mapping methods are required to deal with the error accumulation problem inherent in the multiphase scheme. Motivated by our key observation that a single AU detector does not perform equally well for all AUs, we propose a novel two-phase facial emotion recognition framework, where the presence of AUs is detected by group decisions of multiple AU detectors and a target emotion is inferred from the combined AU detection decisions. Our emotion recognition framework consists of three major components - multiple AU detection, AU detection fusion, and AU-to-emotion mapping. The experimental results on two real-world face databases demonstrate an improved performance over the previous two-phase method using a single AU detector in terms of both AU detection accuracy and correct emotion recognition rate.

• 제어로봇시스템학회:학술대회논문집
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• 제어로봇시스템학회 2005년도 ICCAS
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• pp.101-106
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• 2005

In this paper, we propose a behavior decision model for a robot, which is based on artificial emotion, various motivations and dynamic personality. Our goal is making a robot which can express its emotion human-like way. To achieve this goal, we applied several emotion and personality theories in psychology. Especially, we introduced the concept of dynamic personality model for a robot. Drawing on this concept, we could make a behavior decision model so that the emotion expression of the robot has adaptability to various environments through interactions between human and the robot.

• Asian Journal for Public Opinion Research
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• 제2권4호
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• pp.248-278
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• 2015

Despite the proliferation of studies on emotion, little attention has been paid to the effects of discrete emotion on political participation. Using a representative survey conducted on a sample of South Korean citizens in the aftermath of the Sewol ferry accident, the current survey explored how anger and sadness, as well as the ways people express those emotions, influence the orientation of their response in social environments and, ultimately, their voting intention. The results partially supported the discrete effects of sadness and anger in eliciting reactions of approach or avoidance. Anger was found to provoke an approach action tendency in independent voters and supporters of the opposition, while also eliciting an avoidance action tendency with a varying effect size across all three groups of respondents. Sadness also prompted an approach action tendency in independents and supporters of the incumbent party, while it manifested a negative association with the avoidance action tendency in supporters of the opponent party. An interpretation of the findings and proposed directions for future research are presented.

• 산업공학
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• 제19권3호
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• pp.174-180
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• 2006

This paper deals with the robot system of recognizing human's expression from a detected human's face and then showing human's emotion. A face detection method is as follows. First, change RGB color space to CIElab color space. Second, extract skin candidate territory. Third, detect a face through facial geometrical interrelation by face filter. Then, the position of eyes, a nose and a mouth which are used as the preliminary data of expression, he uses eyebrows, eyes and a mouth. In this paper, the change of eyebrows and are sent to a robot through serial communication. Then the robot operates a motor that is installed and shows human's expression. Experimental results on 10 Persons show 78.15% accuracy.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2012년도 춘계학술대회
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• pp.23-24
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• 2012

• 로봇학회논문지
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• 제1권1호
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• pp.58-65
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• 2006

The emotional interface is essential technology for the robot to provide the proper service to the user. In this research, we developed emotional components for the service robot such as a neural network based facial expression recognizer, emotion expression technologies based on 3D graphical face expression and joints movements, considering a user's reaction, behavior selection technology for emotion expression. We used our humanoid robots, AMI and AMIET as the test-beds of our emotional interface. We researched on the emotional interaction between a service robot and a user by integrating the developed technologies. Emotional interface technology for the service robot, enhance the performance of friendly interaction to the service robot, to increase the diversity of the service and the value-added of the robot for human. and it elevates the market growth and also contribute to the popularization of the robot. The emotional interface technology can enhance the performance of friendly interaction of the service robot. This technology can also increase the diversity of the service and the value-added of the robot for human. and it can elevate the market growth and also contribute to the popularization of the robot.

• 한국실천공학교육학회논문지
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• 제4권2호
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• pp.171-175
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• 2012

최근 정보기술을 이용하여 인간의 감정을 인식하고 소통할 수 있는 ICT(Information and Communication Technology)의 연구가 증가하고 있다. 예를 들어 상대방의 마음을 읽기 위해서 그 사람과의 관계를 형성하고 활동을 해야만 하는 시대에서 사회의 디지털화로 그 경험이 디지털화 되어가며 마인드를 리딩 할 수 있는 디지털기기들이 출현하고 있다. 즉, 인간만이 예측할 수 있었던 감정을 디지털 기기가 대신해 줄 수 있게 된 것이다. 얼굴에서의 감정인식은 현재 연구되어지는 여러 가지 감정인식 중에서 효율적이고 자연스러운 휴먼 인터페이스로 기대되고 있다. 본 논문에서는 감성 ICT에 대한 고찰을 하고 그 사례로서 얼굴감정 인식 시스템에 대한 메카니즘을 살펴보고자 한다.