Whilst affective responses to various forms and genres of multimedia content have been well researched, precious few studies have investigated the combined impact that multimedia system parameters and human factors have on affect. Consequently, in this paper we explore the role that two primordial dimensions of human factors - personality and culture - in conjunction with system factors - frame rate, resolution, and bit rate - have on user affect and enjoyment of multimedia presentations. To this end, a two-site, cross-cultural study was undertaken, the results of which produced three predictve models. Personality and Culture traits were shown statistically to represent 5.6 of the variance in positive affect, 13.6 in negative affect and 9.3 in enjoyment. The correlation between affect and enjoyment, was significant. Predictive modeling incorporating human factors showed about 8 , 7 and 9 improvement in predicting positive affect, negative affect and enjoyment respectively when compared to models trained only on system factors. Results and analysis indicate the significant role played by human factors in influencing affect that users experience while watching multimedia.
The apparent difficulty in assessing emotions elicited by movies and the undeniable high variability in subjects' emotional responses to film content have been recently tackled by exploring film connotative properties: the set of shooting and editing conventions that help in transmitting meaning to the audience. Connotation provides an intermediate representation that exploits the objectivity of audiovisual descriptors to predict the subjective emotional reaction of single users. This is done without the need of registering users' physiological signals. It is not done by employing other people's highly variable emotional rates, but by relying on the intersubjectivity of connotative concepts and on the knowledge of user's reactions to similar stimuli. This paper extends previous work by extracting audiovisual and film grammar descriptors and, driven by users' rates on connotative properties, creates a shared framework where movie scenes are placed, compared, and recommended according to connotation. We evaluate the potential of the proposed system by asking users to assess the ability of connotation in suggesting film content able to target their affective requests.   The problem of relating media content to users' affective responses is here addressed. Previous work suggests that a direct mapping of audio-visual properties into emotion categories elicited by films is rather difficult, due to the high variability of individual reactions. To reduce the gap between the objective level of video features and the subjective sphere of emotions, we propose to shift the representation towards the connotative properties of movies, in a space inter-subjectively shared among users. Consequently, the connotative space allows to define, relate, and compare affective descriptions of film videos on equal footing. An extensive test involving a significant number of users watching famous movie scenes suggests that the connotative space can be related to affective categories of a single user. We apply this finding to reach high performance in meeting user's emotional preferences.   A picture is worth one thousand words, but what words should be used to describe the sentiment and emotions conveyed in the increasingly popular social multimedia? We demonstrate a novel system which combines sound structures from psychology and the folksonomy extracted from social multimedia to develop a large visual sentiment ontology consisting of 1,200 concepts and associated classifiers called SentiBank. Each concept, defined as an Adjective Noun Pair (ANP), is made of an adjective strongly indicating emotions and a noun corresponding to objects or scenes that have a reasonable prospect of automatic detection. We believe such large-scale visual classifiers offer a powerful mid-level semantic representation enabling high-level sentiment analysis of social multimedia. We demonstrate novel applications made possible by SentiBank including live sentiment prediction of social media and visualization of visual content in a rich intuitive semantic space. In this paper we propose a novel aesthetic model emphasizing psycho-visual statistics extracted from multiple levels in contrast to earlier approaches that rely only on descriptors suited for image recognition or based on photographic principles. At the lowest level, we determine dark-channel, sharpness and eye-sensitivity statistics over rectangular cells within a frame. At the next level, we extract Sentibank features (1,200 pre-trained visual classifiers) on a given frame, that invoke specific sentiments such as "colorful clouds", "smiling face" etc. and collect the classifier responses as frame-level statistics. At the topmost level, we extract trajectories from video shots. Using viewer's fixation priors, the trajectories are labeled as foreground, and background camera on which statistics are computed. Additionally, spatio-temporal local binary patterns are computed that capture texture variations in a given shot. Classifiers are trained on individual feature representations independently. On thorough evaluation of 9 different types of features, we select the best features from each level -- dark channel, affect and camera motion statistics. Next, corresponding classifier scores are integrated in a sophisticated low-rank fusion framework to improve the final prediction scores. Our approach demonstrates strong correlation with human prediction on 1,000 broadcast quality videos released by NHK as an aesthetic evaluation dataset.   Conversational social video is becoming a worldwide trend. Video communication allows a more natural interaction, when aiming to share personal news, ideas, and opinions, by transmitting both verbal content and nonverbal behavior. However, the automatic analysis of natural mood is challenging, since it is displayed in parallel via voice, face, and body. This paper presents an automatic approach to infer 11 natural mood categories in conversational social video using single and multimodal nonverbal cues extracted from video blogs (vlogs) from YouTube. The mood labels used in our work were collected via crowdsourcing. Our approach is promising for several of the studied mood categories. Our study demonstrates that although multimodal features perform better than single channel features, not always all the available channels are needed to accurately discriminate mood in videos. Scene recognition is one of the hallmark tasks of computer vision, allowing definition of a context for object recognition. Whereas the tremendous recent progress in object recognition tasks is due to the availability of large datasets like ImageNet and the rise of Convolutional Neural Networks (CNNs) for learning high-level features, performance at scene recognition has not attained the same level of success. This may be because current deep features trained from ImageNet are not competitive enough for such tasks. Here, we introduce a new scene-centric database called Places with over 7 million labeled pictures of scenes. We propose new methods to compare the density and diversity of image datasets and show that Places is as dense as other scene datasets and has more diversity. Using CNN, we learn deep features for scene recognition tasks, and establish new state-of-the-art results on several scene-centric datasets. A visualization of the CNN layers' responses allows us to show differences in the internal representations of object-centric and scene-centric networks. This survey describes recent progress in the field of Affective Computing (AC), with a focus on affect detection. Although many AC researchers have traditionally attempted to remain agnostic to the different emotion theories proposed by psychologists, the affective technologies being developed are rife with theoretical assumptions that impact their effectiveness. Hence, an informed and integrated examination of emotion theories from multiple areas will need to become part of computing practice if truly effective real-world systems are to be achieved. This survey discusses theoretical perspectives that view emotions as expressions, embodiments, outcomes of cognitive appraisal, social constructs, products of neural circuitry, and psychological interpretations of basic feelings. It provides meta-analyses on existing reviews of affect detection systems that focus on traditional affect detection modalities like physiology, face, and voice, and also reviews emerging research on more novel channels such as text, body language, and complex multimodal systems. This survey explicitly explores the multidisciplinary foundation that underlies all AC applications by describing how AC researchers have incorporated psychological theories of emotion and how these theories affect research questions, methods, results, and their interpretations. In this way, models and methods can be compared, and emerging insights from various disciplines can be more expertly integrated.  