Measurement Noise Model for Depth Camera-Based People Tracking.

Depth cameras are widely used in people tracking applications. They typically suffer from significant range measurement noise, which causes uncertainty in the detections made of the people. The data fusion, state estimation and data association tasks require that the measurement uncertainty is modelled, especially in multi-sensor systems. Measurement noise models for different kinds of depth sensors have been proposed, however, the existing approaches require manual calibration procedures which can be impractical to conduct in real-life scenarios. In this paper, we present a new measurement noise model for depth camera-based people tracking. In our tracking solution, we utilise the so-called plan-view approach, where the 3D measurements are transformed to the floor plane, and the tracking problem is solved in 2D. We directly model the measurement noise in the plan-view domain, and the errors that originate from the imaging process and the geometric transformations of the 3D data are combined. We also present a method for directly defining the noise models from the observations. Together with our depth sensor network self-calibration routine, the approach allows fast and practical deployment of depth-based people tracking systems.

Aesthetic Evaluation of Digitally Reproduced Art Images.

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected - to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today's digitally reproduced art environment.

Perception of stereoscopic direct gaze: The effects of interaxial distance and emotional facial expressions.

Gaze perception has received considerable research attention due to its importance in social interaction. The majority of recent studies have utilized monoscopic pictorial gaze stimuli. However, a monoscopic direct gaze differs from a live or stereoscopic gaze. In the monoscopic condition, both eyes of the observer receive a direct gaze, whereas in live and stereoscopic conditions, only one eye receives a direct gaze. In the present study, we examined the implications of the difference between monoscopic and stereoscopic direct gaze. Moreover, because research has shown that stereoscopy affects the emotions elicited by facial expressions, and facial expressions affect the range of directions where an observer perceives mutual gaze-the cone of gaze-we studied the interaction effect of stereoscopy and facial expressions on gaze perception. Forty observers viewed stereoscopic images wherein one eye of the observer received a direct gaze while the other eye received a horizontally averted gaze at five different angles corresponding to five interaxial distances between the cameras in stimulus acquisition. In addition to monoscopic and stereoscopic conditions, the stimuli included neutral, angry, and happy facial expressions. The observers judged the gaze direction and mutual gaze of four lookers. Our results show that the mean of the directions received by the left and right eyes approximated the perceived gaze direction in the stereoscopic semidirect gaze condition. The probability of perceiving mutual gaze in the stereoscopic condition was substantially lower compared with monoscopic direct gaze. Furthermore, stereoscopic semidirect gaze significantly widened the cone of gaze for happy facial expressions.

A review of empirical evidence on different uncanny valley hypotheses: support for perceptual mismatch as one road to the valley of eeriness.

The uncanny valley hypothesis, proposed already in the 1970s, suggests that almost but not fully humanlike artificial characters will trigger a profound sense of unease. This hypothesis has become widely acknowledged both in the popular media and scientific research. Surprisingly, empirical evidence for the hypothesis has remained inconsistent. In the present article, we reinterpret the original uncanny valley hypothesis and review empirical evidence for different theoretically motivated uncanny valley hypotheses. The uncanny valley could be understood as the naïve claim that any kind of human-likeness manipulation will lead to experienced negative affinity at close-to-realistic levels. More recent hypotheses have suggested that the uncanny valley would be caused by artificial-human categorization difficulty or by a perceptual mismatch between artificial and human features. Original formulation also suggested that movement would modulate the uncanny valley. The reviewed empirical literature failed to provide consistent support for the naïve uncanny valley hypothesis or the modulatory effects of movement. Results on the categorization difficulty hypothesis were still too scarce to allow drawing firm conclusions. In contrast, good support was found for the perceptual mismatch hypothesis. Taken together, the present review findings suggest that the uncanny valley exists only under specific conditions. More research is still needed to pinpoint the exact conditions under which the uncanny valley phenomenon manifests itself.

Enactive cinema paves way for understanding complex real-time social interaction in neuroimaging experiments.

We outline general theoretical and practical implications of what we promote as enactive cinema for the neuroscientific study of online socio-emotional interaction. In a real-time functional magnetic resonance imaging (rt-fMRI) setting, participants are immersed in cinematic experiences that simulate social situations. While viewing, their physiological reactions-including brain responses-are tracked, representing implicit and unconscious experiences of the on-going social situations. These reactions, in turn, are analyzed in real-time and fed back to modify the cinematic sequences they are viewing while being scanned. Due to the engaging cinematic content, the proposed setting focuses on living-by in terms of shared psycho-physiological epiphenomena of experience rather than active coping in terms of goal-oriented motor actions. It constitutes a means to parametrically modify stimuli that depict social situations and their broader environmental contexts. As an alternative to studying the variation of brain responses as a function of a priori fixed stimuli, this method can be applied to survey the range of stimuli that evoke similar responses across participants at particular brain regions of interest.