• Title/Summary/Keyword: '두려움'의 감정표현

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HEEAS: On the Implementation and an Animation Algorithm of an Emotional Expression (HEEAS: 감정표현 애니메이션 알고리즘과 구현에 관한 연구)

  • Kim Sang-Kil;Min Yong-Sik
    • The Journal of the Korea Contents Association
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    • v.6 no.3
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    • pp.125-134
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    • 2006
  • The purpose of this paper is constructed a HEEAAS(Human Emotional Expression Animaion System), which is an animation system to show both the face and the body motion from the inputted voice about just 4 types of emotions such as fear, dislike, surprise and normal. To implement our paper, we chose the korean young man in his twenties who was to show appropriate emotions the most correctly. Also, we have focused on reducing the processing time about making the real animation in making both face and body codes of emotions from the inputted voice signal. That is, we can reduce the search time to use the binary search technique from the face and body motion databases, Throughout the experiment, we have a 99.9% accuracy of the real emotional expression in the cartoon animation.

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A study about the aspect of translation on 'Hu(怖)' in novel 『Kokoro』 - Focusing on novels translated in Korean and English - (소설 『こころ』에 나타난 감정표현 '포(怖)'에 관한 번역 양상 - 한국어 번역 작품과 영어 번역 작품을 중심으로 -)

  • Yang, Jung-soon
    • Cross-Cultural Studies
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    • v.53
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    • pp.131-161
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    • 2018
  • Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

On the Implementation of a Facial Animation Using the Emotional Expression Techniques (FAES : 감성 표현 기법을 이용한 얼굴 애니메이션 구현)

  • Kim Sang-Kil;Min Yong-Sik
    • The Journal of the Korea Contents Association
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    • v.5 no.2
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    • pp.147-155
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    • 2005
  • In this paper, we present a FAES(a Facial Animation with Emotion and Speech) system for speech-driven face animation with emotions. We animate face cartoons not only from input speech, but also based on emotions derived from speech signal. And also our system can ensure smooth transitions and exact representation in animation. To do this, after collecting the training data, we have made the database using SVM(Support Vector Machine) to recognize four different categories of emotions: neutral, dislike, fear and surprise. So that, we can make the system for speech-driven animation with emotions. Also, we trained on Korean young person and focused on only Korean emotional face expressions. Experimental results of our system demonstrate that more emotional areas expanded and the accuracies of the emotional recognition and the continuous speech recognition are respectively increased 7% and 5% more compared with the previous method.

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Spontaneous Speech Emotion Recognition Based On Spectrogram With Convolutional Neural Network (CNN 기반 스펙트로그램을 이용한 자유발화 음성감정인식)

  • Guiyoung Son;Soonil Kwon
    • The Transactions of the Korea Information Processing Society
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    • v.13 no.6
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    • pp.284-290
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    • 2024
  • Speech emotion recognition (SER) is a technique that is used to analyze the speaker's voice patterns, including vibration, intensity, and tone, to determine their emotional state. There has been an increase in interest in artificial intelligence (AI) techniques, which are now widely used in medicine, education, industry, and the military. Nevertheless, existing researchers have attained impressive results by utilizing acted-out speech from skilled actors in a controlled environment for various scenarios. In particular, there is a mismatch between acted and spontaneous speech since acted speech includes more explicit emotional expressions than spontaneous speech. For this reason, spontaneous speech-emotion recognition remains a challenging task. This paper aims to conduct emotion recognition and improve performance using spontaneous speech data. To this end, we implement deep learning-based speech emotion recognition using the VGG (Visual Geometry Group) after converting 1-dimensional audio signals into a 2-dimensional spectrogram image. The experimental evaluations are performed on the Korean spontaneous emotional speech database from AI-Hub, consisting of 7 emotions, i.e., joy, love, anger, fear, sadness, surprise, and neutral. As a result, we achieved an average accuracy of 83.5% and 73.0% for adults and young people using a time-frequency 2-dimension spectrogram, respectively. In conclusion, our findings demonstrated that the suggested framework outperformed current state-of-the-art techniques for spontaneous speech and showed a promising performance despite the difficulty in quantifying spontaneous speech emotional expression.

Healing Effect of 'Creative Writing' on Individual and on Our Age - Focused on the 'Man of Darkness (Vampire)' Symbol - ('창조적 글쓰기'가 개인 및 시대에 미치는 치유적 작용 - '어둠의 남자(Vampire)' 상징을 중심으로 - )

  • Kye-Hee Kim;Ki-Won Kim;Eun-Seun Han
    • Sim-seong Yeon-gu
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    • v.28 no.1
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    • pp.1-49
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    • 2013
  • This article started with 'encounter'. Both authors met around the middle of February and discussed the subject for the inhospital conference presentation scheduled at the break of June. Having conversation like "Movies similar to fairytales heard from childhood are standing out conspicuously among commercial films which are attracting audiences and receiving fervent response these days. This phenomenon is marvelous and mysterious." together, and sharing this and that, the conversation turned naturally to 'Bram Stoker's Dracula', 'Series of Twilight', and 'Warm Bodies', both authors found out the fact that we saw these movies in common with propound impression. Feeling our hearts beating high, bit of fear and hesitation followed simultaneously at the moment when both of us encountered the idea to choose subject of conference presentation related to this and expressed one in words. While preparing for the conference, presenting to others, and having discussion with the audience, our hearts have been filled with Presentation was finished after active discussion beyond fixed hour and it also brought audience (among those present) to show strong emotional response both positively and negatively. At first, we just had a thought to put aside the content of presentation, but we felt lack of something else, lingering in our minds. We finally decided to accomplish our work into an article leading to submission, based on the advice and recommendation from one of the audience. This article is a small 'creative writing' born by sharing both authors' passion and enthusiasm. In the first part of this article, we have introduced the dream of 31-year-old woman's which led to the 'creative writing' and spotlighted her personal life, before and after the dream. In the second part, we have examined the consequence (way of realization) and meaning of creative impulse shown from or experienced from personal unconsciousness (dream, fantasy) together. Creative impulse shown from the individual appeared to bring creative transformation of individual personality through the process of 'introversion'. Otherwise it also appeared to be delivered as a masterpiece through 'creative writing' or from the process of 'extroversion'. Sometimes both consequences happened at once. We tried to examine and interpret the dream of 31-year-old woman's, which was introduced in the first part of this article, that is to say, the dream of 'Stephenie Meyer's, the author of the 'love between vampire boy and ordinary human girl' themed novel 'Twilight Series', in a psychoanalytic perspective. In the third part, highlighting individual dreams and three different movies 'Bram Stoker's Dracula', 'Twilight Series', and 'Warm Bodies', we found the transformation of symbol 'Man of Darkness, vampire' seen in each individual dreams and in some specific popular arts, such as novels and movies, receiving fervent response from people. We also found love between this symbol and humane woman, bearing fruit together with very impressive change shown in the attitude of 'Man of Darkness' (vampire)'s conscious ego and mutual relationship pattern. We contemplated this phenomenon, the reason why these events happen, and what kind of association presents among these events, individual, and this era and discussed the effects on individuals and this era, at present. 'Creative impulse', originated in the deep structure of human mind is realized as a 'transformation of individual personality' or masterpiece through artistic creation. If it has a chance to make a match with this era, shared by a lot of contemporary people, it also appears to bring positive effect as healing and salvation to each individual or to each era. From this article, we mainly highlighted positive and healing aspects of individual 'creative impulse'. We hope to deal with the negative consequences and their reason coming from 'creative impulse', if the occasion arises, in the future with a new article.