There has been significant progress in the graphical realism of digital humans in recent years. This work investigates the realistic portrayal of emotions beyond facial expressions by analysing how skin colour changes when expressing different emotional states. The study combines existing knowledge from old painters, photogrammetry data, thermal imaging, and skin colouration maps to create an artistic guideline to portray emotions realistically, resulting in the proposal of a set of colour maps representing the six basic emotions. By using skin colour changes to represent emotional states, the proposed colour maps offer an alternative workflow for portraying emotions. During the experiment of this research four of these proposed colour maps, which represent neutrality, anger, disgust, and happiness, were preferred over traditional alternatives in terms of realism perception and likeability. The findings have implications for the development of digital human technology, particularly in the creation of more realistic and expressive digital characters.
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The colour-word Stroop task and the picture-word interference task (PWI) have been used extensively to study the functional processes underlying spoken word production. One of the consistent behavioural effects in both tasks is the Stroop-like effect: The reaction time (RT) is longer on incongruent trials than on congruent trials. The effect in the Stroop task is usually linked to word planning, whereas the effect in the PWI task is associated with either word planning or perceptual encoding. To adjudicate between the word planning and perceptual encoding accounts of the effect in PWI, we conducted an EEG experiment consisting of three tasks: a standard colour-word Stroop task (three colours), a standard PWI task (39 pictures), and a Stroop-like version of the PWI task (three pictures). Participants overtly named the colours and pictures while their EEG was recorded. A Stroop-like effect in RTs was observed in all three tasks. ERPs at centro-parietal sensors started to deflect negatively for incongruent relative to congruent stimuli around 350 ms after stimulus onset for the Stroop, Stroop-like PWI, and the Standard PWI tasks: an N400 effect. No early differences were found in the PWI tasks. The onset of the Stroop-like effect at about 350 ms in all three tasks links the effect to word planning rather than perceptual encoding, which has been estimated in the literature to be finished around 200-250 ms after stimulus onset. We conclude that the Stroop-like effect arises during word planning in both Stroop and PWI.
MULTIFILE
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
