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Grant: Discovery Grants Program - Individual

Ryerson University

$47,000.00

The joint roles of movement and simulation in vocal communication of emotion

EF 2012-13

Résumé
The proposed project is a continuation of our research explicating mechanisms involved with vocal communication of emotion, and embraces several methods that we have been developing over the past few years in the context of singing including movement tracking, gaze tracking, electromyography (EMG), and electroencephalography (EEG). Our research has thus far identified a small number of universal principles of song production that appear to stem from constraints of the human voice. Violation of these principles is effortful, leading to visible displays of emotional arousal such as exaggerated head movement. New experiments are required to understand the relation between different aspects of vocal effort, head movement, and facial animation. Head movement and facial animation of singers/speakers will be tracked in three-dimensional space (forward/backward, up/down, left/right) and with rotation about three perpendicular axes (pitch, yaw, roll). We have also found that observers track these movements and mimic them, suggesting that simulation may be an important aspect of perceiving vocal communication of emotion. However, our evidence of observer simulation has been limited to audio-visual presentations of song. New experiments will involve auditory-only, visual-only, and audio-visual presentations of speech and song. Observers' eye movements, head movements, facial muscles, and brain waves will be examined for evidence of simulation. We envisage that these experiments will reveal new insights about the joint role of movement and simulation in perception of vocal communication of emotion, with striking implications for understanding the dynamics of communication -- for example, how speakers/singers can use their voices to regulate engagement and the focus of visual attention in observers. Furthermore, benefits to Canada include the generation of basic knowledge that may impact the development of communication technologies (e.g., improved avatars for human-computer interaction), communication skills training, and therapies for special populations with emotion-processing deficits (e.g., autistic children).
Programme
Discovery Grants Program - Individual
Bénéficiaire
Emplacement
Ontario, Canada
Type de bénéficiaire
Academia
Type
Grant
Source
NSERC's Awards Data

Tel que publié

Application id
341583-2012
Name nom
Russo, Frank
Department département
Psychology
Organization id
43
Institution établissement
Ryerson University
Province en
Ontario
Province fr
Ontario
Country en
CANADA
Country fr
CANADA
Fiscal year exercice financier
2012
Competition year année de concours
2012
Award amount
47000
Program id
RGPIN
Program name en
Discovery Grants Program - Individual
Program name fr
Programme de subventions à la découverte - individuelles
Group en
Discovery grants programs
Group fr
Programmes de subventions à la découverte
Committee code
1502
Committee name en
Biological Systems and Functions
Committee name fr
Systèmes et fonctions biologiques
Area of application code
1210
Area of application group en
Advancement of knowledge
Area of application group fr
Avancement des connaissances
Area of application en
Psychology
Area of application fr
Psychologie
Research subject code
6304
Research subject group en
Psychology
Research subject group fr
Psychologie
Research subject en
Cognitive science -- fundamental
Research subject fr
Science cognitive -- principes fondamentaux
Partie
1
Nb partie
5
Application title
The joint roles of movement and simulation in vocal communication of emotion
Keyword
NSERC
Application summary
The proposed project is a continuation of our research explicating mechanisms involved with vocal communication of emotion, and embraces several methods that we have been developing over the past few years in the context of singing including movement tracking, gaze tracking, electromyography (EMG), and electroencephalography (EEG). Our research has thus far identified a small number of universal principles of song production that appear to stem from constraints of the human voice. Violation of these principles is effortful, leading to visible displays of emotional arousal such as exaggerated head movement. New experiments are required to understand the relation between different aspects of vocal effort, head movement, and facial animation. Head movement and facial animation of singers/speakers will be tracked in three-dimensional space (forward/backward, up/down, left/right) and with rotation about three perpendicular axes (pitch, yaw, roll). We have also found that observers track these movements and mimic them, suggesting that simulation may be an important aspect of perceiving vocal communication of emotion. However, our evidence of observer simulation has been limited to audio-visual presentations of song. New experiments will involve auditory-only, visual-only, and audio-visual presentations of speech and song. Observers' eye movements, head movements, facial muscles, and brain waves will be examined for evidence of simulation. We envisage that these experiments will reveal new insights about the joint role of movement and simulation in perception of vocal communication of emotion, with striking implications for understanding the dynamics of communication -- for example, how speakers/singers can use their voices to regulate engagement and the focus of visual attention in observers. Furthermore, benefits to Canada include the generation of basic knowledge that may impact the development of communication technologies (e.g., improved avatars for human-computer interaction), communication skills training, and therapies for special populations with emotion-processing deficits (e.g., autistic children).