E-Monet // E Monet

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Decisions about our lives are increasingly being made with the help of artificial intelligence. As a result, more ways are being explored to make it more emotionally intelligent - such as the automation of some of the emotional processes that come naturally to humans.

It represents a development that sounds promising, since the human ability to make judgments per se is not one hundred percent reliable.
The problem is that the majority of companies rely on the theory of basic emotions, which has been heavily criticized and is controversial, to develop their algorithms. Since a person's facial expressions alone do not provide a sufficient basis for the recognition of their emotions, it is assumed that emotion recognition based on the current state of the art recognizes the configuration of the face - i.e. which facial muscles are used - rather than the true emotion behind it.
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With the E-Monet project, I speculatively explored the question of what possibilities would arise once technology will be able to recognize true emotions after all. Based on scientific research on emotion and emotion recognition, emerging trends and existing technologies.
E-Monet is designed to enable the user to immerse themselves in their own emotional world. The machine generates virtual worlds based on emotions, which should reflect the current state of mind of the user in their structure and mood. Due to the current state of the art, this is done on the basis of a simulation in VR.
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The virtual reality project has been implemented for the Oculus VR headsets in Unity 3D.

The experience starts in a cyberspace - a virtual space created by the machine. This cyberspace serves as a sensory horizon of one's own mental world. The user is greeted by an AI named E-Monet, which appears as a hologram. It explains the procedure beforehand, whereupon the recognition process can be initiated.
Subsequently, the user is loaded into a generated world of the recognized emotion. After the visit, the user receives an evaluation of the recognition.

The design of the emotion-driven worlds is based on the emotion theory of neuroscience, which states in simple terms that emotions are evoked by situations and experiences. Therefore, the worlds are visually and auditorily designed on the basis of emotion-typical archetypes.
360° World example: Disgust
Disgust can be defined as a sensation of strong aversion. What does and does not trigger the feeling of disgust varies from culture to culture. Even the sensitivity to disgust triggers depends strongly on the individual; however, open wounds, corpses, pus, bodily excretions as well as parasites count almost as standard. Associations and the law of similarity also play a major role in the disgust reaction. Thus, anything that has similarities to the basic disgust trigger is also perceived as disgusting.
This means, for example, that insects and rodents are often perceived as disgusting because they carry parasites and can thus transmit diseases. This reaction of the human brain represents an ancient protective mechanism and serves to avoid contact with disease-causing organisms. Proximity to the triggers is an important aspect of the disgust experience. The environment for the scenery is designed with these factors and some of the above elements in mind. Since disgust gives the appearance of being a rather sticky emotion, this characteristic has been played into the choice of sounds and elements distributed around the room.
360° World example: FEAR
Fear is one of the basic emotions and, like disgust, it serves as self-protection. It expresses itself in situations that are perceived as threatening. The expectation of threats can also trigger fear. Thus, this emotion is a reaction to danger that is intended to help combat its source or escape from it in order to minimize the expected harm.

This expectation does not have to have an identifiable trigger, nor an objective reason. Both one's own experience and the reports of others' experiences play a decisive role. Consequently, the interpretation of the situation is decisive. Hearing and seeing what has already caused anxiety is also sufficient as a trigger of anxiety. For this purpose, it is necessary to create the impression of an unrecognizable power.
An entity from which sounds such as cracking, squeaking or footsteps emanate, but which cannot be localized and thus cannot be seen. In this way, fear can be caused by the mere representation of danger. For the design of the fear sceneries, the elements of darkness, disorientation and sounds of defective electronics and footsteps were used. In this example, you are in a ramshackle room with poor lighting conditions. The room is open upwards, downwards and to the sides. This awakens the feeling of being defenselessly at the mercy of an unknown entity whose footsteps seem to be approaching. The distorted camera view is another source of danger, suggesting an altered field of vision through fear. In this context, the flickering lights, unidentifiable objects, pointed objects lying on the ground, and smoke are also meant to imply uncertainty.
World example: JOY
Joy has many definitions. Various views exist in the fields of psychology, philosophy and religion.

As with any emotion, what triggers joy is subjective. It can be evoked by experiencing a pleasant situation as well as by remembering such a situation. Also, it can happen when an expectation has been exceeded by first inducing fear, but the object of fear turns out to be friendly.
Even though everything is subjective, in my research, nature and closeness to nature were often factors for joy, in addition to contact with other people. Thus, the goal was to trigger, if not joy, then astonishment and wonder - a positive feeling. A relief to have landed in this world, of all places, after previously not knowing where the journey might lead in an indefinable virtual illusory world. The environment represents a dream-like natural landscape.
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