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Acting is a fascinating phenomenon whereby individuals modify their physicality to portray another person and persuade audiences that they are indeed said person. Historically, and with the goal of creating realistic characterizations, acting theorists have debated if actors must begin either from the internalized driving forces of the characters or from external manifestations of the characters’ physical expression. However, regardless of whether actors have to actually feel the emotions of the characters who they portray during a performance, the challenge for the actor remains the same: to produce compelling representations of persons who they themselves are not. This production is physical by its very nature and can therefore lend itself to being gesturally coded, systematized, and modeled. To explore the question of whether character performances can be modeled, I designed and validated a classification scheme of character conceptualizations. I examined if a set of prototypical characters extracted from the literature were conceptually shared amongst a large group of raters, and found that character concepts were indeed shared. In addition, I found that character concepts could be modeled along the two orthogonal personality-trait dimensions of assertiveness and cooperativeness. I then sought to validate this model behaviourally. I designed a novel performance experiment whereby a group of professional actors performed a subset of characters from the model while I recorded their vocal and facial gestures. I found that actors used their vocal and facial gestures contrastively to differentiate between the characters, as well as between their performance-related and non-performance selves. Furthermore, I found that vocal gestures could be predicted by changes in the level of a character’s assertiveness. Complementary to this, I v found that facial gestures could be predicted by changes in the level of a character’s cooperativeness. Finally, I conducted a cross-modal examination of character and emotion performances and found that characters and emotions, as testable or “functional” units of performative behaviour, share a similar dimensional relationship. My data provide validated support for a dimensional behavioural model of character performance and character classification. My research extends previous findings on acting and emotions and provides new evidence for the quantification and predictive modeling of the products and processes of acting as a whole. / Dissertation / Doctor of Philosophy (PhD) / When acting, actors change their outward physicality to portray another person and persuade audiences that they are that person. Regardless of training or method employed by an actor, this production is ultimately physical and can therefore be recorded, analyzed, and modeled. I investigated this using a novel character classification scheme. I found that stock characters taken from Western literature were shared conceptually amongst a large group of raters and could be modeled along the two personality-trait dimensions of assertiveness and cooperativeness. I tested this new model in a performance experiment, measuring the vocal and facial gestures of a group of professional actors. I found that actors used their vocal and facial gestures to differentiate between characters that differed in personality. I discovered that vocal gestures could be predicted by changes in the level of a character’s assertiveness and, complementary to this, that facial gestures could be predicted by changes in the level of a character’s cooperativeness. Finally, I examined character and emotion performances in both the voice and face and found that characters and emotions share a similar dimensional relationship. My research extends previous findings on acting and emotions and provides new evidence for modeling of the products and processes of acting as a whole.

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This dissertation argues that early modern English drama portrays touch as a crucial means of social negotiation. In the plays of Shakespeare and his contemporaries, a diverse array of contacts between characters, from kicks to kisses to handshakes, embody social relations including dominance, reciprocity and mutuality, in contexts ranging from friendship to marriage to the political realm. But the relations embodied by a given form of touch are not fixed: even as the stage depicts characters using touch to negotiate social relations, many touch gestures are themselves the subjects of social struggle. Amid changing religious views of the senses and emergent discourses of civility, the theater tests, critiques, and reformulates competing codifications of the social role of touch. Five chapters, organized by body part—feet, laps, arms, hands, and mouth respectively—outline the most contested features of the theater’s surprisingly diverse vocabulary of touch. Chapter One considers plays from Love’s Labor’s Lost to the anonymous A Yorkshire Tragedy that contest prevalent associations of the foot with hierarchical dominance in portrayals of such gestures as kicking, foot-kissing, and playing footsy. Chapter Two argues that Hamlet and other plays rework the culturally expected meanings of a male laying his head in a female’s lap, to suggest this action could signify affectionate reciprocity rather than masculine dissipation or dangerous female dominance. Chapter Three argues that Coriolanus, Marlowe’s Edward II, and Arden of Faversham resist a prominent historical tendency to restrict both same-sex and cross-gendered embracing and linking arms to erotically intimate contexts, with each play suggesting that such restriction supports patriarchal power and surveillance. Chapter Four considers hand-holding, betrothal, and hand clasps accompanying business deals and political alliances in Julius Caesar, Jonson’s Poetaster, Webster’s The Duchess of Malfi, and others, which portray touch as enacting mutuality, in contexts otherwise marked by hierarchies of gender and status. Finally, Chapter Five analyzes depictions of kissing, whether erotic or sociable, in plays ranging from Jonson’s Bartholomew Fair to Romeo and Juliet. In depictions of contested courtship and neighborly kisses, plays represent female agents strategically claiming a measure of autonomy among patriarchal structures. / 2026-02-28T00:00:00Z

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Finger gesture recognition using glove-like interfaces are very accurate for sensing individual finger positions by employing a gamut of sensors. However, for the same reason, they are also very costly, cumbersome and unaesthetic for use in artistic scenarios such as gesture based music composition platforms like Virginia Tech's Linux Laptop Orchestra. Wearable computing has shown promising results in increasing portability as well as enhancing proprioceptive perception of the wearers' body. In this thesis, we present the proof-of-concept for designing a novel muscle-machine interface for interpreting human thumb motion as a 2-dimensional joystick employing mechanomyographic signals. Infrared camera based systems such as Microsoft Digits and ultrasound sensor based systems such as Chirp Microsystems' Chirp gesture recognizers are elegant solutions, but have line-of-sight sensing limitations. Here, we present a low-cost and wearable joystick designed as a wristband which captures muscle sounds, also called mechanomyographic signals. The interface learns from user's thumb gestures and finally interprets these motions as one of the four kinds of thumb movements. We obtained an overall classification accuracy of 81.5% for all motions and 90.5% on a modified metric. Results obtained from the user study indicate that mechanomyography based wearable thumb-joystick is a feasible design idea worthy of further study. / Master of Science

In modern society, computers are primarily interacted with via keyboards, touch screens, voice recognition, video analysis, and many others. For certain applications, these methods may be the most efficient interface. However, there are applications that we can conceive where a more natural interface could be convenient and connect humans and computers in a more intuitive and natural way. These applications are gesture recognition systems and range from the interpretation of sign language by a computer to virtual reality control. This Thesis proposes a gesture recognition system that primarily uses accelerometers to capture gestures from a tactical communications application. A segmentation algorithm is developed based on the accelerometer energy to segment these gestures from an input sequence. Using signal processing and machine learning techniques, the segments are reduced to mathematical features and classified with support vector machines. Experimental results show that the system achieves an overall gesture recognition accuracy of 98.9%. Additional methods, such as non-gesture recognition/suppression, are also proposed and tested.

Great ape gesture is an elaborate, flexible system of intentional communication. It has been suggested that human language originated in gesture, thus, the gestural communication of great apes is of great interest for questions on the origin of language. To date, systematic studies of great ape gesture have been limited to restricted captive settings, supplemented by the study of a few specific gestures in wild populations. To address questions about gestural communication from an evolutionary perspective it is necessary to extend the systematic study of gesture into a wild ape population. I therefore undertook a 22-month study of gesture in the wild Sonso chimpanzee community in Budongo, Uganda. Sonso chimpanzees employ a large repertoire of species-typical gestures in intentional communication; a proportion of this repertoire appears to be ape-typical, as would be expected with a biologically given trait. Chimpanzees can acquire new behavioural patterns through imitation; however, this apparently does not represent a significant means of acquiring gestures. Gesturing was employed regularly in an intentional manner from the end of the first year, and was used by chimpanzees of all ages to communicate across a range of contexts, including the evolutionarily urgent context of consortship. Immature chimpanzees used a wide range of gestures, which they combined into rapid sequences. With maturity, use of the repertoire was ‘tuned’ to focus on the most effective gestures, which were then used individually. Despite the evidence for referential pointing in captive chimpanzees, there was little evidence for the regular use of it in wild chimpanzees. Gestures were used to communicate a range of imperative requests that regulated social behaviour. Chimpanzee gestures vary from the ambiguous to the highly specific in meaning; and, while gestures were used flexibly, they tended to be associated with a single dominant meaning.