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• W1605866977 abstract "Artists express emotions through art. To accomplish this, they rely on lines, shapes, textures, color, light, sounds, music, words and the body (Sayre, 2007). It is the flexibility of artistic media which affords the expression of complex affective states (Bell, 1913; Oatley, 2003). In fact, many artists use art as a means to come to terms and understand the subtlety and peculiarity of their feelings (Collingwood, 1938). Furthermore, it is not uncommon for artists to claim they need these media, which are not limited to the body or language, for the expression of their feelings (Gardner, 1982). But art is not simply an outlet for the artist’s emotions. From the perspective of the receiver, through its empathetic emotional response to a work of art, it is also seen as a means to learn about the human condition (Elliot, 1966; Oatley, 2003). Emotions are, therefore, intrinsically related to the value of art. Affective computing has been neglecting the kind of expression we see in the arts. Instead, researchers have focused on expression signals, spanning face, voice and body, which accompany affective processes (Davidson, Scherer & Goldsmith, 2003). Four reasons could help explain why this has been so. First, it is natural to focus on overt expression signals as these are directly observable and, thus, can be measured objectively. In contrast, it is rather difficult to measure objectively what is being expressed in a work of art. In fact, whereas some argue for the importance of understanding the artist’s production process and culture when interpreting an art artefact (Davies, 1987; Wollheim, 1980; Goodman, 1968), others argue that the interpretation and aesthetics of an artefact is independent of its creation process (Beardsley, 1958; Baxandall, 1987; Sontag, 1966). Second, art is certainly not limited to the expression of affective states and sometimes it is difficult to discern what constitutes such expression. In fact, there are several conceptions about what expression in the arts is: (a) it relates to beauty as the creative expression of beauty in nature (Batteux, 1969); (b) it relates to culture as the expression of the values of a given society (Geertz, 1976); (c) it relates to individuality as the expression of the artist’s liberties and creativity (Kant, 1951); (d) finally, it relates to the expression of affective states. Third, the romantic perspective of art as the creative expression of affective states in all its complexity is problematic (Averill, Nunley & Tassinary, 1995; Oatley, 2003). In general, the subject of art is not the habitual emotions we experience in our daily lives but, subtle and peculiar affective states. Therefore, it is only natural that researchers choose to begin by addressing the simpler affective states. Finally, the affective sciences field is itself relatively recent and we are only now beginning" @default.
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• W1605866977 date "2008-05-01" @default.
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• W1605866977 title "The Art of Expressing Emotions in Virtual Humans" @default.
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• W1605866977 doi "https://doi.org/10.5772/6179" @default.
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