Thesis (M.A.)--York University, 2005. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 125-130). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19676

Thesis (Ph. D.)--Auburn University. / Abstract. Vita. Includes bibliographical references (p. 95-130).

Thesis (M.S.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains vii, 124 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 76).

Thesis--Auburn University, 2009. / Abstract. Includes bibliographic references (p.22-23).

Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 17, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: Dr. Kevin Wise. Includes bibliographical references.

Thesis (MFA)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Theo Lipfert. Includes bibliographical references (leaves 27-30).

Thesis--Auburn University, 2009. / Abstract. Vita. Includes bibliographical references (p. 35-37).

As a universal element of human nature, the experience, expression, and perception of emotions permeate our daily lives. Many emotions are thought to be basic and common to all humanity, irrespective of social or cultural background. Of these emotions, the corresponding facial expressions of a select few are known to be truly universal, in that they can be identified by most observers without the need for training. Facial expressions of emotion are subsequently used as a method of communication, whether through close face-to-face contact, or the use of emoticons online and in mobile texting. Facial expressions are fundamental to acting for stage and screen, and to animation for film and computer games. Expressions of emotion have been the subject of intense experimentation in psychology and computer science research, both in terms of their naturalistic appearance and the virtual replication of facial movements. From this work much is known about expression universality, anatomy, psychology, and synthesis. Beyond the realm of scientific research, animation practitioners have scrutinised facial expressions and developed an artistic understanding of movement and performance. However, despite the ubiquitous quality of facial expressions in life and research, our understanding of how to produce synthetic, dynamic imitations of emotional expressions which are perceptually valid remains somewhat limited. The research covered in this thesis sought to unite an artistic understanding of expression animation with scientific approaches to facial expression assessment. Acting as both an animation practitioner and as a scientific researcher, the author set out to investigate emotional facial expression dynamics, with the particular aim of identifying spatio-temporal configurations of animated expressions that not only satisfied artistic judgement, but which also stood up to empirical assessment. These configurations became known as emotional expression choreographies. The final work presented in this thesis covers the performative, practice-led research into emotional expression choreography, the results of empirical experimentation (where choreographed animations were assessed by observers), and the findings of qualitative studies (which painted a more detailed picture of the potential context of choreographed expressions). The holistic evaluation of expression animation from these three epistemological perspectives indicated that emotional expressions can indeed be choreographed in order to create refined performances which have empirically measurable effects on observers, and which may be contextualised by the phenomenological interpretations of both student animators and general audiences.

Avec la complexité croissante des environnements virtuels apparaît le besoin de doter les personnages qui les peuplent d'une plus grande autonomie de mouvement. En plus de marcher, courir et sauter, les simulations interactives actuelles requièrent des personnages qu'ils rampent, escaladent, poussent ou tirent des objets... Ces tâches sont caractérisées par les environnements contraints dans lesquelles elles sont réalisées, qui présentent un risque fort de collision et réduisent fortement les possibilités de mouvement; elles le sont aussi par les forces importantes qui doivent être exercées afin de les réaliser, résultant de la création de contacts. Ces deux aspects rendent la synthèse automatique de mouvements très difficile dans ce contexte. Cette thèse a pour objectif de proposer une méthode automatique pour la synthèse de mouvements en environnements contraints. Pour ce faire, deux problématiques de recherche ont été posées et étudiées. La première partie de la thèse porte sur la question de la génération de contacts pertinents pour la réalisation des tâches considérées. Une nouvelle heuristique appelée EFORT (Extended FORce Transmission ratio) est présentée ; elle permet d’évaluer la compatibilité d’une posture de contact avec la tâche demandée. Cette heuristique est au coeur d’une méthode pour la génération temps réel de postures de contact. Cette méthode s’applique pour des personnages et des environnements arbitraires, et peut être directement intégrée au sein de simulations interactives telles que les jeux vidéo. La deuxième partie porte sur le problème plus global de la recherche d’une trajectoire pertinente dans un environnement contraint. Cette recherche de trajectoire passe par la recherche d’une séquence de postures de contact qui vont permettre le mouvement. Une nouvelle méthode de planification de mouvement s’appuyant sur EFORT est donc proposée. Parce qu’elle est une des premières à simultanément considérer la complexité de l’environnement et la pertinence des configurations générées au regard de la tâche à accomplir, notre méthode constitue un pas significatif vers une plus grande autonomie de mouvement pour les personnages virtuels. / With the growing complexity of virtual environments comes the need to provide virtual characters with a larger autonomy of motion. Additionally to walking, running and jumping, state of the art virtual applications require characters to climb, crawl, pull or push objects... Those tasks are characterized by the constrained environments in which they are achieved, where the risk of collision is high and motion capabilities are limited; they are also associated with important force exertion, resulting from contact creation. In this context, automatic motion synthesis is really difficult. This thesis aims at proposing an automatic method for motion synthesis in constrained environments. To achieve these goals, two research problems have been identified and studied. The first part is dedicated to the issue of generating contact postures compatible to achieve the considered tasks. We propose a new heuristic called EFORT (Extended FORce Transmission ratio). EFORT is used to evaluate the compatibility of a contact posture with the requested task. EFORT lies at the center of a new method for the real time generation of task efficient contact configurations. This generator finds its applications for arbitrary virtual characters and environment, and as such can be directly integrated within video game applications. The second part of this thesis focuses on the more global issue of computing a relevant trajectory in a constrained environment. This issue is seen as the search for a sequence of task efficient contact postures, suited for achieving the task. Consequently a new motion planner based on EFORT is proposed. Because it is one of the first to simultaneously address the complexity of the environment and task efficiency, our motion planner is a significant step towards an enhanced autonomy of motion for virtual characters.