200 |
@tab the situation, prior to any conceptual analysis or description |
@tab the situation, prior to any conceptual analysis or description |
201 |
@item abstract situation |
@item abstract situation |
202 |
@tab the simplified, objective, verbal description of a given actual situation |
@tab the simplified, objective, verbal description of a given actual situation |
203 |
@item actual emotion |
@item actual affect |
204 |
@tab the feeling, prior to any conceptual analysis or description |
@tab the feeling, prior to any conceptual analysis or description |
205 |
@item abstract emotion |
@item affect term |
206 |
@tab the simplified, objective, verbal description of a given actual emotion |
@tab the simplified, objective, verbal description of a given actual affect |
207 |
@item exemplar |
@item exemplar |
208 |
@tab the correct answers; the abstract representation of a film |
@tab the correct answers; the abstract representation of a film |
209 |
@end multitable |
@end multitable |
210 |
|
|
211 |
An abstract situation is an evocative example for an actual emotion. An |
An abstract situation is an evocative example for an actual affect. An |
212 |
abstract emotion is a name assigned to a group of similar abstract |
affect term is a name assigned to a group of similar abstract |
213 |
situations. |
situations. |
214 |
|
|
215 |
@node Audience, Bibliography, Terminology, Introduction |
@node Audience, Bibliography, Terminology, Introduction |
245 |
@chapter Classification |
@chapter Classification |
246 |
|
|
247 |
We would like some way to evoke a repeatable sequence of atomic |
We would like some way to evoke a repeatable sequence of atomic |
248 |
emotions. In general, film contains too much detail and complexity for |
affects. In general, film contains too much detail and complexity for |
249 |
this purpose. There are many problems: |
this purpose. There are many problems: |
250 |
|
|
251 |
@itemize @bullet |
@itemize @bullet |
252 |
@item A given personality in a given film clip may be depicting |
@item A given personality in a given film clip may be depicting |
253 |
several different emotions at once. |
several different affects at once. |
254 |
|
|
255 |
@item The set of personalities who are simultaneously present in a film clip |
@item The set of personalities who are simultaneously present in a film clip |
256 |
need not be depicting similar emotions. |
need not be depicting similar affects. |
257 |
|
|
258 |
@item The overall emotional tone depicted by a film clip can |
@item The overall affective tone depicted by a film clip can |
259 |
be distinct from what each of the individual personality in |
be distinct from what each of the individual personality in |
260 |
a film is depicting. |
a film is depicting. |
261 |
@end itemize |
@end itemize |
263 |
Without addressing these problems, an unambiguous analysis of film is |
Without addressing these problems, an unambiguous analysis of film is |
264 |
impossible. The solution employed in Aleader is to prescribe rules |
impossible. The solution employed in Aleader is to prescribe rules |
265 |
which skillfully narrow down on specific component of a scene. We are |
which skillfully narrow down on specific component of a scene. We are |
266 |
not interested in the whole complex mixture of emotions. Rather, we are |
not interested in the whole complex mixture of affects. Rather, we are |
267 |
trying to pick out one or two emotions as guided by carefully crafted |
trying to pick out one or two affects as guided by carefully crafted |
268 |
appraisal instructions. |
appraisal instructions. |
269 |
|
|
270 |
We use two different tools to analyze a film: |
We use two different tools to analyze a film: |
271 |
|
|
272 |
@enumerate |
@enumerate |
273 |
@item We use our innate sense of empathy to get a feel for the action |
@item We use our innate mindreading sense to get a feel for the action |
274 |
then pick an evocative phrase which best fits our feeling. |
then pick an evocative phrase which best fits our feeling. |
275 |
|
|
276 |
@item The other method is described in this chapter. |
@item The other method is described in this chapter. |
518 |
situations (for example a conversation during a long span of @w{[+] |
situations (for example a conversation during a long span of @w{[+] |
519 |
admires [0]}) then the longer running spans should be ignored. |
admires [0]}) then the longer running spans should be ignored. |
520 |
|
|
521 |
If we try to model all the layers of emotion ranging from one second spans |
If we try to model all the layers of affect ranging from one second spans |
522 |
to hour long spans then we invite too much uncertainty. |
to hour long spans then we invite too much uncertainty. |
523 |
When exactly do long span emotions start and end? Exactly how many |
When exactly do long span affects start and end? Exactly how many |
524 |
layers of emotion are presently active? |
layers of affect are presently active? |
525 |
There questions may not be answerable. |
There questions may not be answerable. |
526 |
Therefore, only consider situations of shortest span. |
Therefore, only consider situations of shortest span. |
527 |
|
|
607 |
@end itemize |
@end itemize |
608 |
|
|
609 |
@quotation |
@quotation |
610 |
Which factors @emph{actually} contribute to the emotional |
Which factors @emph{actually} contribute to the affectual |
611 |
texture of the film? |
texture of the film? |
612 |
@end quotation |
@end quotation |
613 |
|
|
621 |
|
|
622 |
@enumerate |
@enumerate |
623 |
@item |
@item |
624 |
Predict empathy: Map abstract situations to abstract emotions. |
Predict affect: Map abstract situations to affect terms. |
625 |
|
|
626 |
@item |
@item |
627 |
Compare the abstract emotions with actual emotions. |
Compare the affect terms with actual affects. |
628 |
@end enumerate |
@end enumerate |
629 |
|
|
630 |
If you feel the emotion ``nervousness'' but the calculated |
If you feel the affect ``nervousness'' but the calculated |
631 |
abstract emotion is ``drunk with accomplishment'' then something is |
affect term is ``drunk with accomplishment'' then something is |
632 |
wrong. The calculated and actual emotions must be made to reconcile. |
wrong. The calculated and actual affects must be made to reconcile. |
633 |
How does this work in detail? |
How does this work in detail? |
634 |
|
|
635 |
Notice that step (1) of the reconciliation process requires an |
Notice that step (1) of the reconciliation process requires a |
636 |
empathy mapping. We also would like to present an inverse-of-empathy |
mindreading mapping. We also would like to present an inverse-of-mindreading |
637 |
mapping (situation assessment), otherwise we invite doubt about its |
mapping (situation assessment), otherwise we invite doubt about its |
638 |
existence. A one-to-one mapping would be ideal. If this mapping is |
existence. A one-to-one mapping would be ideal. If this mapping is |
639 |
merely one-to-many (or one-way) then the whole viability of the |
merely one-to-many (or one-way) then the whole viability of the |
642 |
@cartouche |
@cartouche |
643 |
@multitable @columnfractions .6 .4 |
@multitable @columnfractions .6 .4 |
644 |
@item |
@item |
645 |
Here is a typical situation/emotion entry. |
Here is a typical situation/affect entry. |
646 |
The part between @code{if} and @code{then} is the abstract situation pattern. |
The part between @code{if} and @code{then} is the abstract situation pattern. |
647 |
The word (or words) between the double quotes is the abstract emotion. |
The word (or words) between the double quotes is the affect term. |
648 |
The words describing the emotion can be of any type. |
The words describing the affect can be of any type. |
649 |
There is no artificial limitation. |
There is no artificial limitation. |
650 |
Any evocative phrase serves as an abstract emotion. |
Any evocative phrase serves as an affect term. |
651 |
@tab |
@tab |
652 |
@example |
@example |
653 |
if |
if |
673 |
|
|
674 |
To search for counterexamples, use the Cross Reference screen. |
To search for counterexamples, use the Cross Reference screen. |
675 |
The technique is to look at situations and sort them by similarity. Use |
The technique is to look at situations and sort them by similarity. Use |
676 |
your innate sense of empathy to judge similarity. Which situations |
your innate mindreading sense to judge similarity. Which situations |
677 |
trigger similar emotions? Which situations are not similar? If you don't |
trigger similar affects? Which situations are not similar? If you don't |
678 |
get a clear sense of the emotion on first viewing then repeatedly view |
get a clear sense of the affect on first viewing then repeatedly view |
679 |
the span until you get it. Counterexamples are of two kinds: |
the span until you get it. Counterexamples are of two kinds: |
680 |
|
|
681 |
@itemize @bullet |
@itemize @bullet |
682 |
@item |
@item |
683 |
The parameters of the situation are too general. |
The parameters of the situation are too general. |
684 |
Examples of a single situation type evoke more than one emotion. |
Examples of a single situation type evoke more than one affect. |
685 |
|
|
686 |
For a given abstract situation, all matching film examples should evoke a |
For a given abstract situation, all matching film examples should evoke a |
687 |
similar emotion. You can check by playing each example. If a problem |
similar affect. You can check by playing each example. If a problem |
688 |
is found then try to solve it by adding a more specific pattern. All of |
is found then try to solve it by adding a more specific pattern. All of |
689 |
the large patterns were developed this way. Emotions with a relatively |
the large patterns were developed this way. Affects with a relatively |
690 |
large proportion of matches are good canidates for pattern refinement. |
large proportion of matches are good canidates for pattern refinement. |
691 |
There are some likely canidates in the default mapping. These canidates |
There are some likely canidates in the default mapping. These canidates |
692 |
are assigned multiple similar emotions separated by slashes. |
are assigned multiple similar affects separated by slashes. |
693 |
|
|
694 |
|
|
695 |
@item |
@item |
696 |
The parameters of situations are too specific. |
The parameters of situations are too specific. |
697 |
Examples of more than one situation type evoke a single emotion. |
Examples of more than one situation type evoke a single affect. |
698 |
|
|
699 |
To detect this kind of problem, ignore situation types and look for abstract |
To detect this kind of problem, ignore situation types and look for |
700 |
emotions which are the same or evocate a similar feeling. If two |
affect terms which are the same or evocate a similar feeling. If two |
701 |
emotions are indistinguishable then there is a problem in the empathy |
affects are indistinguishable then there is a problem in the mindreading |
702 |
mapping. |
mapping. |
703 |
@end itemize |
@end itemize |
704 |
|
|
705 |
Try to find a counterexample. It's not easy, is it? Gain confidence |
Try to find a counterexample. It's not easy, is it? Gain confidence |
706 |
that the empathy mapping is correct. Now we are ready for step (2). |
that the mindreading mapping is correct. Now we are ready for step (2). |
707 |
|
|
708 |
Go through your abstract story. Check whether the calculated emotions |
Go through your abstract story. Check whether the calculated affect terms |
709 |
match the actual emotions. If you find an emotion that doesn't match then the |
match the actual affects. If you find an affect that doesn't match then the |
710 |
problem is with the empathy mapping or your abstract story. Since you |
problem is with the mindreading mapping or your abstract story. Since you |
711 |
already verified the empathy mapping, the fault can only be attributed |
already verified the mindreading mapping, the fault can only be attributed |
712 |
to your situation assessment ability. |
to your situation assessment ability. |
713 |
|
|
714 |
@tex |
@tex |
750 |
@item Chaining |
@item Chaining |
751 |
Is this situation part of a conversation? |
Is this situation part of a conversation? |
752 |
@item Disagreement |
@item Disagreement |
753 |
Which factors @emph{actually} contribute to the emotional |
Which factors @emph{actually} contribute to the affectual |
754 |
texture of the film? |
texture of the film? |
755 |
@end table |
@end table |
756 |
|
|
1019 |
translation, without dubbing the film, still demands the tedious process of |
translation, without dubbing the film, still demands the tedious process of |
1020 |
synchronizing the film with the translated transcript |
synchronizing the film with the translated transcript |
1021 |
(@pxref{Synchronization}) and then adjusting all the spans. It's a lot |
(@pxref{Synchronization}) and then adjusting all the spans. It's a lot |
1022 |
of manual work which i don't really know how to automate. |
of manual work which we don't really know how to automate. |
1023 |
|
|
1024 |
@item |
@item |
1025 |
Within Aleader, there is a component which converts abstract situations |
Within Aleader, there is a component which converts abstract situations |
1026 |
into sentences. No attempt is made to adapt the sentence according to |
into sentences. No attempt is made to adapt the sentence according to |
1027 |
the gender of the participants. No attempt is made to conjugate verb |
the gender of the participants. No attempt is made to conjugate verb |
1028 |
tense. It reads awkwardly. i'm not sure whether other languages are |
tense. It reads awkward. We have not investigated whether other |
1029 |
more strict about such things. |
languages are more strict about such things. |
1030 |
|
|
1031 |
@item |
@item |
1032 |
It is an open question how well the empathy mapping translates into |
It is an open question how well the mindreading mapping translates into |
1033 |
other languages. i expect a core subset of emotions will translate into |
other languages and cultures. |
1034 |
|
We expect a core subset of affects will translate into |
1035 |
all languages. However, some languages may offer more names for |
all languages. However, some languages may offer more names for |
1036 |
emotions than others languages. i am curious to see what this direction |
affects than others languages. We are curious to see what this direction |
1037 |
of inquiry will reveal. |
of inquiry will reveal. |
1038 |
@end itemize |
@end itemize |
1039 |
|
|