Cartoons Expressing Emotions Essay

The use of cartoons alongside articles has become more and more popular for School Accessed Courseworks (SACs) and end of year English exam. At first glance and even the second glance, cartoons may not always appear to contain great amounts of information for students to analyse. However, when students know what to look for, it can be a vital jump-start for an insightful cartoon analysis. After all, there is a reason why teachers and examiners choose to use cartoons. It is crucial that students develop a strong ability to analyse cartoons with or without written articles.

1. Colour

While there are many resources helping students gain skills in analysing written articles, few are specifically focused on cartoons. Below are 10 things you should look for in cartoons. These are common techniques used by illustrators and are a fantastic starting point in cartoon analysis.

In coloured cartoons, there are myriad of things you can look for. Ask yourself these questions:

  • What colours did the illustrator use?
  • What colours are used most? Least?
  • Is there a repetition of colours?
  • Is there only one colour?

Colours can be separated into two groups – warm colours and cool colours. Warm colours including red, orange and yellow may be used to evoke feelings of comfort and warmth. It can also be used to express anger and embarrassment. Meanwhile, cool colours including blue, green and purple may represent calm and tranquility. Otherwise it can mean sadness and misery (download our full guide on cartoon analysis below which includes finer details about colour meanings).

Remember that a group of colours can represent an overall meaning:

  • Red, blue and white – can represent Australian flag and symbolises patriotism.
  • Red, orange, and dark brown – can represent earth and nature.

While analysing colourful cartoons, also consider that many cartoons are black and white. Although these cartoons lack colour, illustrators use other methods to create meaning.

  • What shading is used? – heavy shading can mean power and solidity; light shading can indicate frailty and insignificance.
  • What textures/patterns are used? – smooth or rough.
  • What shapes are there?

Remember that no cartoons are simply just ‘black and white.’

For example:

Analysis: The monochromatic national broadband laid across mountains and kilometers just to serve one shack may represent a sombre plan that is pointless for Australian citizens.

2. Size

Size is an important element in cartoons and one that is often quite obvious. Investigate:

  • Is anything disproportioned?
  • Exaggerated? Under-exaggerated?
  • What is large and what is small?

For example:

 The oversized ‘WikiLake’ appears to be irrepressible and too overwhelming for any of the three politicians from preventing another information release.

Background: Wikileaks exposes information about Hilary Clinton and Kevin Rudd and Julia Gillard’s subsequent condemnation of the website.

3. Labelling

  • What is labeled?
  • What do the labels say?
  • Do the labels tell us the situation? Person? Time change?

For example:

 In the aftermath of the 2011 Queensland floods, many will be seeking insurance for home and business damages.

Analysis: The label ‘Grin Insurance’ is satirical in that one would expect a customer to be ‘grinning’ to have their insurance. However, the insurance policy only ‘covers [them] against small ‘f’ flood’, not the ‘capital ‘F’ Flood’ they have just experienced, leaving them with no insurance and little to ‘grin’ about.

4. Speech bubbles

  • Who is speaking?
  • What are they saying?
  • Is it a conversation?

For example:

Background: Cows contribute to greenhouse gases via flatuence of methane gas.

Analysis: The irony of a cow stating that he is a ‘climate change septic’ when his own release of methane gas is a significant cause in growing greenhouse gases.

5. Symbols

A symbol is something that represents or stands for something else, usually an idea. They are commonly found throughout daily lives such as the cross for Christinity or the Red Cross for the organisation that helps victims of war or natural disasters. Sometimes symbols may be as obvious as those mentioned above, yet other times may be more subtle in their meaning.

  • What symbols are incorporated?
  • Why are particular symbols used?
  • Is it a well-known symbol?
  • Is the symbol’s meaning clear and identifiable? Or is it vague and can have multiple interpretations?

For example:

Background: Ted Baillieu, opposition leader against John Brumby in 2010 Victorian state elections.

Analysis: The representation of Baillieu as an iceberg indicates that he is a powerful force preventing the Labor Party from moving forwards and winning the 2010 state elections. The cartoon symbolises the famous movie, Titanic, and indicates that the Labor Party is bound to ‘sink’ against Baillieu and fail to ‘move forward’ to a victory.

6. Focus

The focus of a cartoon can indicate the main issue or situation.

  • What is in focus?
  • What is in the foreground and background?

For example:

Background: Wikileaks obtaining information about politicians.

Analysis: While a gigantic fly labeled ‘Wikileaks’ is the main focus of the cartoon, it is humorous in that it succeeds in surreptitiously listening in on Kevin Rudd and Hilary Clinton’s unsuspecting private conversation.

7. Angle

Angles often provide readers an indication of the status of particular people or things. If the angle is sloping down, then it creates an image of a smaller person or item. This indicates weakness, inferiority and powerlessness. An angle sloping up towards a person or item provides it with power, superiority and authority. A straight-on angle can represent equality.

  • Is the angle sloping up?
  • Is the angle sloping down?
  • Is it straight on?
  • From behind? Front on?
  • On top or below?

For example:

Background: Banks and Power Companies are two sectors important to Australian society.

Analysis: The angle tilted up towards the Bank and Power Company demonstrates that they are domineering, powerful and authoritative.

8. Tone

The tone of a cartoon can indicate the illustrator’s attitude and stance towards the issue.

Common cartoon tones VCE Study Guide’s 195 Tones Vocabulary.

For example:

Background: The North Koreans are well known for their possession of nuclear weapons.

Analysis: Although North Korea has made significant technological advances with their nuclear weapons, it is ironic that their other tools of war remain underdeveloped, perhaps since the Middle Ages as the catapult implies.

9. Facial Expression

Facial expressions are key to the character’s thoughts, feelings and emotions.

  • What facial expressions are used?
  • Do they change (sequential cartoons)?
  • How do expressions compare to another’s expression?
  • Is it an expression we expect?

For example:

Background: Prince William introducing Kate Middleton to his royal family.

Analysis: While Prince William appears to be proud and excited to introduce Kate to his family, his fiancé’s expression demonstrates that perhaps she may be apprehensive about the event.

10. Context

The context of a cartoon is important. Most of the time, cartoons are attached to articles and usually draw upon a point contended by the writer of the article.

  • Does the cartoon support or oppose the article? 
  • Is it relevant or irrelevant? 
  • Does it focus on the past, present or future? 
  • Which aspect of the article does it relate to?
  • Does it add further information?

However, there are times when you will have to analyse a cartoon alone, where it is not accompanying an article. In this case you will have to understand the background, the situation and the issue that is represented.

Did you know that our VCE English Essentials Study Guide includes offers a even more comprehensive guide on Language Analysis? Click here to download a FREE sample chapter from the study guide!

Download 10 Things To Look For In Cartoons PDF

Three years ago, archivists at A.T. & T. stumbled upon a rare fragment of computer history: a short film that Jim Henson produced for Ma Bell, in 1963. Henson had been hired to make the film for a conference that the company was convening to showcase its strengths in machine-to-machine communication. Told to devise a faux robot that believed it functioned better than a person, he came up with a cocky, boxy, jittery, bleeping Muppet on wheels. “This is computer H14,” it proclaims as the film begins. “Data program readout: number fourteen ninety-two per cent H2SOSO.” (Robots of that era always seemed obligated to initiate speech with senseless jargon.) “Begin subject: Man and the Machine,” it continues. “The machine possesses supreme intelligence, a faultless memory, and a beautiful soul.” A blast of exhaust from one of its ports vaporizes a passing bird. “Correction,” it says. “The machine does not have a soul. It has no bothersome emotions. While mere mortals wallow in a sea of emotionalism, the machine is busy digesting vast oceans of information in a single all-encompassing gulp.” H14 then takes such a gulp, which proves overwhelming. Ticking and whirring, it begs for a human mechanic; seconds later, it explodes.

The film, titled “Robot,” captures the aspirations that computer scientists held half a century ago (to build boxes of flawless logic), as well as the social anxieties that people felt about those aspirations (that such machines, by design or by accident, posed a threat). Henson’s film offered something else, too: a critique—echoed on television and in novels but dismissed by computer engineers—that, no matter a system’s capacity for errorless calculation, it will remain inflexible and fundamentally unintelligent until the people who design it consider emotions less bothersome. H14, like all computers in the real world, was an imbecile.

Today, machines seem to get better every day at digesting vast gulps of information—and they remain as emotionally inert as ever. But since the nineteen-nineties a small number of researchers have been working to give computers the capacity to read our feelings and react, in ways that have come to seem startlingly human. Experts on the voice have trained computers to identify deep patterns in vocal pitch, rhythm, and intensity; their software can scan a conversation between a woman and a child and determine if the woman is a mother, whether she is looking the child in the eye, whether she is angry or frustrated or joyful. Other machines can measure sentiment by assessing the arrangement of our words, or by reading our gestures. Still others can do so from facial expressions.

Our faces are organs of emotional communication; by some estimates, we transmit more data with our expressions than with what we say, and a few pioneers dedicated to decoding this information have made tremendous progress. Perhaps the most successful is an Egyptian scientist living near Boston, Rana el Kaliouby. Her company, Affectiva, formed in 2009, has been ranked by the business press as one of the country’s fastest-growing startups, and Kaliouby, thirty-six, has been called a “rock star.” There is good money in emotionally responsive machines, it turns out. For Kaliouby, this is no surprise: soon, she is certain, they will be ubiquitous.

Affectiva is situated in an office park behind a strip mall on a two-lane road in Waltham, Massachusetts, part of a corridor that serves as Boston’s answer to Silicon Valley. The headquarters have the trappings of a West Coast startup—pool table, beanbag chairs—but the sensibility is New England; many of the employees are from M.I.T. From a conference room, the Amtrak line to Boston is visible beyond a large parking lot.

When I visited in September, Kaliouby walked me past charts of facial expressions, some of them scientific diagrams, some borrowed from comics. Kaliouby has a Ph.D. in computer science, and, like many accomplished coders, she has no trouble with mathematical concepts like Bayesian probability and hidden Markov models. But she is also at ease among people: emotive, warm, even flirtatious. She is a practicing Muslim, and until two years ago she wore a head scarf, which had the effect of drawing the eye to her rounded, expressive features. Frank Moss, a former director of M.I.T.’s Media Lab, where she held a postdoctoral position, told me that she has a high “emotional intelligence.” As a mother of two, she worries about technology’s effects on her children.

Affectiva is the most visible among a host of competing boutique startups: Emotient, Realeyes, Sension. After Kaliouby and I sat down, she told me, “I think that, ten years down the line, we won’t remember what it was like when we couldn’t just frown at our device, and our device would say, ‘Oh, you didn’t like that, did you?’ ” She took out an iPad containing a version of Affdex, her company’s signature software, which was simplified to track just four emotional “classifiers”: happy, confused, surprised, and disgusted. The software scans for a face; if there are multiple faces, it isolates each one. It then identifies the face’s main regions—mouth, nose, eyes, eyebrows—and it ascribes points to each, rendering the features in simple geometries. When I looked at myself in the live feed on her iPad, my face was covered in green dots. “We call them deformable and non-deformable points,” she said. “Your lip corners will move all over the place—you can smile, you can smirk—so these points are not very helpful in stabilizing the face. Whereas these points, like this at the tip of your nose, don’t go anywhere.” Serving as anchors, the non-deformable points help judge how far other points move.

Affdex also scans for the shifting texture of skin—the distribution of wrinkles around an eye, or the furrow of a brow—and combines that information with the deformable points to build detailed models of the face as it reacts. The algorithm identifies an emotional expression by comparing it with countless others that it has previously analyzed. “If you smile, for example, it recognizes that you are smiling in real time,” Kaliouby told me. I smiled, and a green bar at the bottom of the screen shot up, indicating the program’s increasing confidence that it had identified the correct expression. “Try looking confused,” she said, and I did. The bar for confusion spiked. “There you go,” she said.

Like every company in this field, Affectiva relies on the work of Paul Ekman, a research psychologist who, beginning in the sixties, built a convincing body of evidence that there are at least six universal human emotions, expressed by everyone’s face identically, regardless of gender, age, or cultural upbringing. Ekman worked to decode these expressions, breaking them down into combinations of forty-six individual movements, called “action units.” From this work, he compiled the Facial Action Coding System, or facs—a five-hundred-page taxonomy of facial movements. It has been in use for decades by academics and professionals, from computer animators to police officers interested in the subtleties of deception.

Ekman has had critics, among them social scientists who argue that context plays a far greater role in reading emotions than his theory allows. But context-blind computers appear to support his conclusions. By scanning facial action units, computers can now outperform most people in distinguishing social smiles from those triggered by spontaneous joy, and in differentiating between faked pain and genuine pain. They can determine if a patient is depressed. Operating with unflagging attention, they can register expressions so fleeting that they are unknown even to the person making them. Marian Bartlett, a researcher at the University of California, San Diego, and the lead scientist at Emotient, once ran footage of her family watching TV through her software. During a moment of slapstick violence, her daughter, for a single frame, exhibited ferocious anger, which faded into surprise, then laughter. Her daughter was unaware of the moment of displeasure—but the computer had noticed. Recently, in a peer-reviewed study, Bartlett’s colleagues demonstrated that computers scanning for “micro-expressions” could predict when people would turn down a financial offer: a flash of disgust indicated that the offer was considered unfair, and a flash of anger prefigured the rejection.

Kaliouby often emphasizes that this technology can read only facial expressions, not minds, but Affdex is marketed as a tool that can make reliable inferences about people’s emotions—a tap into the unconscious. The potential applications are vast. CBS uses the software at its Las Vegas laboratory, Television City, where it tests new shows. During the 2012 Presidential elections, Kaliouby’s team used Affdex to track more than two hundred people watching clips of the Obama-Romney debates, and concluded that the software was able to predict voting preference with seventy-three-per-cent accuracy. Affectiva is working with a Skype competitor, Oovoo, to integrate it into video calls. “People are doing more and more videoconferencing, but all this data is not captured in an analytic way,” she told me. Capturing analytics, it turns out, means using the software—say, during a business negotiation—to determine what the person on the other end of the call is not telling you. “The technology will say, ‘O.K., Mr. Whatever is showing signs of engagement—or he just smirked, and that means he was not persuaded.’ ”

Kaliouby created Affectiva with her mentor, Rosalind Picard, a professor at the M.I.T. Media Lab, whose early research laid the groundwork for the company. Picard, who has degrees in electrical engineering and in computer science, came to the Media Lab in 1990, to develop technology for image compression, but she soon reached a technical impasse. The models then in vogue worked independently of the content: a landscape of the Grand Canyon and a Presidential portrait were compressed in the same way. Picard believed that the process could be improved if a computer recognized what it was looking at. But to do this it would need to be capable of vision, not merely sight; like the brain, it would need to distinguish objects, then determine which ones mattered.

One day, Picard picked up Richard Cytowic’s “The Man Who Tasted Shapes,” a book on synesthesia. Cytowic made the case that perception was partly processed in the brain’s limbic system, an ancient part of neural anatomy that handles attention, memory, and emotion. Attention and memory seemed pertinent to the problems Picard sought to solve; emotion, she hoped, was extraneous. But as she delved into the neuroscience literature she became convinced that reasoning and emotion were inseparable: just as too much emotion could cause irrational thinking, so could too little. Brain injuries specific to emotional processing robbed people of their capacity to make decisions, see the bigger picture, exercise common sense—the very qualities that she wanted computers to have.

“I wanted to be taken seriously, and emotion was not a serious topic,” Picard told me. Nonetheless, in 1995, she circulated an informal paper on her findings; laced with references to Leibniz and “Star Trek,” Curie and Kubrick, it argued that something like emotional reasoning was necessary for true machine intelligence, and also that programmers should consider affect when writing software that interacts with people. At first, her ideas were met with perplexity. One scientist told her, “Why are you working on emotion? It’s irrelevant!” Unmoved, Picard turned down hundreds of thousands of dollars in grants for research in image compression, and expanded her ideas into a book, titled “Affective Computing.” Without realizing it, she had given a name to a new field of computer science.

Kaliouby was still in Cairo, an undergraduate at the American University. In 1998, she graduated at the top of her class, earning a merit scholarship to pursue a master’s. She aspired to teach computer science, but she knew that a tenured job would require doctorate work abroad. “My dad was like, ‘Well, if you go, by the time you get back, you will be too old to get married.’ ” Uncertain, she applied for work at a local tech startup. “It was in a residential building,” she said. “My dad drove me there, then wanted to come up, and I was like, ‘Please, it will look awful,’ so he waited in the car. I was wearing a skirt, and I looked very formal—it was my first interview—and I saw all these guys walking around in shorts, barefoot: typical software engineers. The guy who interviewed me said, ‘We have run out of chairs,’ and, pointing to my skirt, he said, ‘We can either have this interview on the floor, or, if you are uncomfortable, we can reschedule.’ I was like, ‘O.K., I can sit on the floor.’ ”

A few days later, Kaliouby withdrew her application, and enrolled in the master’s program. But she had made an impression; one of the company’s founders, Wael Amin, had grown up an expat in Argentina, and sympathized with the social pressures that she faced. He tracked her down, and encouraged her to continue her education; they were married not long after. In graduate school, Kaliouby searched for focus. “The idea that computers can change the way we connect with one another—that was where I was being drawn,” she recalled. One day, Amin passed along a review of Picard’s book, and she ordered a copy. “It took four months to get to Egypt—it was held in customs for reasons that I don’t understand,” she said. “But eventually I read the book, and I was inspired.” Without meeting Picard, she considered her a role model. “She was a female scientist, successful, and created this field that I found exciting.” Kaliouby had settled on her direction: to create an algorithm that could read faces.

The human face is a moving landscape of tremendous nuance and complexity. It is a marvel of computation that people so often effortlessly interpret expressions, regardless of the particularities of the face they are looking at, the setting, the light, or the angle. A programmer trying to teach a computer to do the same thing must contend with nearly infinite contingencies. The process requires machine learning, in which computers find patterns in large tranches of data, and then use those patterns to interpret new data.

From Cairo, Kaliouby contacted some of the early research teams for guidance and data. Ekman had begun working to automate facs, building systems designed to locate discrete action units. With nineties-era technology, this was painstaking work. Undergraduate students (or Ekman himself) would perform expressions in an exaggerated way, against a controlled background. Each frame of video took twenty-five seconds to digitize, and, in key frames, a person had to hand-label every facial movement. “There were so many challenges,” an early researcher told me; one version of his system struggled to track the deformable points. “It was always a little off, and as we processed more and more frames the errors started to accumulate.” Every ten seconds, he had to re-start.

Kaliouby hoped to create a system that was powerful enough to work in the real world. But when she began pursuing her Ph.D. at Cambridge University, in 2001, her adviser wasn’t familiar with affective computing; nor were her peers. “There was a lot of curiosity, and also questioning: why would you ever want to do that?” she told me. During a presentation of her research goals, an audience member mentioned that the problem of training computers to read faces seemed to resemble difficulties that his autistic brother had. Kaliouby knew nothing about autism, so she began to look into it, searching for clues. At the time, Cambridge’s Autism Research Centre was working on a huge project to create a catalogue of every human facial expression, which people on the autism spectrum could study to assist with social interactions. Rather than trying to break expressions into their constituent parts, as Ekman had, the center was interested in natural, easily understood portrayals; under the rubric of “thinking,” it distinguished among brooding, choosing, fantasizing, judging, thoughtfulness. It hired six actors—of both genders, and a range of ages and ethnicities—to perform the emotions before a video camera. Twenty judges reviewed each clip, and near-consensus was required before an emotion was labelled. At the project’s end, four hundred and twelve had been identified.

Kaliouby recognized at once that the catalogue presented an unprecedented opportunity: rich, validated data, ideal for a computer to learn from. By the time she completed her doctorate, she had built MindReader, a program that could track several complex emotions in relatively unstructured settings. As she considered its potential, she wondered if she could construct an “emotional hearing aid” for people with autism. The wearer would carry a small computer, an earpiece, and a camera, to scan people’s expressions. In gentle tones, the computer would indicate appropriate behavior: keep talking, or shift topics.

While developing the idea, Kaliouby learned that Picard was planning to visit her lab. “That was the highlight of my summer,” she recalled. “She was supposed to spend ten minutes with every student. We ended up spending an hour.” Picard thought that Kaliouby’s system was the most robust anyone had created. The two women decided to collaborate on the emotional aid, and the National Science Foundation awarded them nearly a million dollars to build a prototype.

The Media Lab was devised as a refuge for tinkerers. Its founder had once commanded, “Forget technical papers and to a lesser extent theories. Let’s prove by doing.” Kaliouby embraced the ethos, and, though Picard was in a much more senior position, Frank Moss told me that the two women worked together in a “mind meld.” Just about everyone in the lab was playing with tiny, wearable cameras, and, Picard told me, “We talked a lot about ‘jacking in.’ ” During visits home to Egypt, Kaliouby would call to participate in meetings. Picard remembered a demonstration with a robot: “Rana was Skyping in, or something, through a laptop camera, and we left the camera on the floor while we walked over to see the demo. I felt bad, like leaving Rana’s body on the floor. So I thought, I need to put the camera on me. Then, when I walk around, Rana has the advantage of being on my body.”

While Kaliouby focussed on MindReader, Picard tested various devices—such as a computer mouse that could measure user frustration—that attempted to discern feelings by tracking physical responses. The most promising one, later called the Q, was strapped to the body, to record reactions like skin conductance. Picard wore one nearly continuously, and kept a diary to track the data against her experiences.

Kaliouby and Picard believed that their systems were complementary, and in 2007 they began testing at a facility for children with behavioral disabilities. Picard hoped that her biosensor would provide insight into the origins of tantrums and other outbursts; an autistic child might seem calm, even disengaged, but the Q would indicate that her skin conductance was twice normal. Kaliouby’s system helped navigate social situations.

“One day really stuck with me,” Kaliouby recalled. “There was this boy who was really avoiding eye contact. That is a problem that is very common with a lot of these kids—they are experiencing information overload. This boy—we were experimenting with something like an iPad, but that was before iPads—was wearing the camera, and getting the feedback, basically using the iPad to shield off face contact. He was seeing me through the screen.” The device reinforced when he was communicating well, and as they talked he gained confidence. “Then he actually started lowering the device, until he and I made eye contact. And it was this special moment. It was like, Wow, this technology can really help.”

As the team developed MindReader, Kaliouby uploaded the software onto a server, where corporate sponsors were invited to test whatever Media Lab products they found interesting. To her surprise, she said, it quickly became the most downloaded item. Pepsi was curious if it could use the software to gauge consumer preferences. Bank of America was interested in testing it in A.T.M.s. Toyota wanted to see if it could better understand driver behavior—and perhaps design a system to detect drowsiness. Inquiries flooded in—from Microsoft, H.P., Yamaha, Honda, Gibson, Hallmark, NASA, Nokia—and Kaliouby did what she could to accommodate each one. “They had lots of questions,” she recalled. “ ‘Exactly what do the data mean?’ ‘How can we adapt this to our particular environment?’ This V.P. at FOX basically said, ‘I want to test all our pilot shows with this.’ And I was like, ‘We don’t have the resources to do that. We’re a research lab.’ ”

The requests began to overwhelm her autism research. Kaliouby built a spreadsheet, to keep track of which sponsors wanted what, and in November, 2008, she and Picard brought it to Frank Moss, the Media Lab’s director. “We said, ‘Here are all the things our sponsors need—we need to double our group size,’ ” Kaliouby told me. “And he was like, ‘No, the solution is not to add more researchers. The solution is to spin out.’ ” Kaliouby was reluctant to leave academia. “We really wanted to focus on the do-good applications of the technology,” she said. But Moss argued that the marketplace would make the technology more robust and flexible: a device that could work for FOX could also better assist the autistic. It was possible, he said, to build a company with a “dual bottom line”—one that not only did well but also changed people’s lives.

Kaliouby and Picard set out to create a “baby I.B.M.” for emotionally intelligent machines: a startup for myriad products based on affective computing. Government agencies started asking about the technology, but, Kaliouby told me, she turned them away. Some of the corporate interest alarmed them, too. Picard recalled, “We had people come and say, ‘Can you spy on our employees without them knowing?’ or ‘Can you tell me how my customers are feeling?’ and I was like, ‘Well, here is why that is a bad idea.’ I can remember one wanted to put our stuff in these terminals and measure people, and we just went back to Affectiva and shook our heads. We told them, ‘We will not be a part of that—we have respect for the participant.’ But it’s tough when you are a little startup, and someone is willing to pay you, and you have to tell them to go away.”

MindReader had been trained with actors, rather than from real-life behavior, and the code had to be rebuilt entirely. In 2011, the company tested it with Super Bowl ads online, building up a database of authentic emotional responses; later, Kaliouby collaborated with Thales Teixeira, a professor at the Harvard Business School, on a more rigorous study, screening ads for two hundred and fifty respondents. Affectiva’s C.E.O., David Berman, a former sales executive, was steering the company away from assistive technology and toward market research, which helped attract millions of dollars in venture capital. “Our C.E.O. was absolutely not comfortable with the medical space,” Picard said. Tensions rose. After four* years, Picard was pushed out, and her group was reassigned. Matthew Goodwin, an early researcher at Affectiva who now sits on its scientific board, told me, “We began with a powerful set of products that could assist people who have a very difficult time with perceiving affect and producing affect. Then they started to emphasize only the face, to focus on advertisements, and on predicting whether someone likes a product, and just went totally off the original mission.”

Kaliouby was upset by Picard’s departure, but the company’s new momentum was undeniable. In March, 2011, she and her team were invited to demonstrate MindReader to executives from Millward Brown, a global market-research company. Kaliouby was frank about the system’s limitations—the software still was having trouble distinguishing a smile from a grimace—but the executives were impressed. Ad testing often relies on large surveys, which deal in reasoned reflections, rather than in the spontaneous, even unconscious, sentiment that really interests marketers; new technology promised better results. A year earlier, Millward Brown had formed a neuroscience unit, which attempted to bring EEG technology into the work, and it had hired experts in Ekman’s system to study video of interviews. But these ideas had proved impossible to scale up. Now the executives proposed a test: if Affdex could successfully measure people’s emotional responses to four ads that they had already studied, Millward Brown would become a client, and also an investor. “The stakes were so high,” Kaliouby told me. “I remember, our C.E.O. said, ‘This is all hands on deck.’ ”

One of the TV spots that Millward Brown had chosen was for Dove. Titled “Onslaught,” it begins with an image of a young girl. The camera then shifts to her perspective as she is bombarded by a montage of video clips—a lifetime of female stereotypes compressed into thirty-two seconds—before the ad ends with the girl, all innocence, and the tagline “Talk to your daughter before the beauty industry does.” The ad was critically acclaimed, but in surveys Millward Brown found that many people considered it emotionally difficult to sit through. Affdex scanned more than a hundred respondents watching the ad, and detected the same response. But it also found that at the moment of resolution this discomfort went away. “The software was telling us something we were potentially not seeing,” Graham Page, a Millward Brown executive, told me. “People often can’t articulate such detail in sixty seconds, and also, when it comes to negative content, they tend to be polite.” Millward Brown’s parent company, WPP, invested $4.5 million in Affectiva. Soon Affdex was being used to test thousands of ads a year.

Kaliouby invited me to try the version of Affdex that Millward Brown uses, and one afternoon in her office she directed me to a MacBook loaded with the first fifteen minutes of Spike Jonze’s movie “Her”—about a man who falls in love with an emotionally enabled computer operating system. After completing a short survey, I watched while the laptop’s camera watched me. Fifteen other people did the same. Then I logged onto Affdex. Against a black background, the quantified sentiment—colorful jagged lines—appeared like plots on a lie detector. The software allowed me to isolate smiles, disgust, surprise, concentration.

Kaliouby had seen “Her,” and she wondered if its mood was too muted to invoke responses that the software could measure. In the film’s opening, Theodore Twombly (Joaquin Phoenix), who works for a company called Beautiful Handwritten Letters, narrates a sentimental letter—from a woman to her husband, on their fiftieth wedding anniversary—which his computer then prints out in her handwriting. Leaving the office, he passes a receptionist, played by Chris Pratt, who says, “Who knew you could rhyme so many words with the name Penelope? It’s badass.” The goofball earnestness of Pratt’s delivery—the last word imparted as if congratulating a Navy SEAL on a successful mission—was amusing, and Affdex noticed: nearly all of us smiled. In fact, in many moments, everyone appeared to be reacting in synch. During a wordless transition, a pan through an empty apartment, our reactions dipped. I looked at video of myself. I had shifted in my seat.

We all became most expressive during a scene in which Twombly has phone sex with a woman identified as SexyKitten—the voice of the comedian Kristen Wiig. In a bizarre, funny moment, SexyKitten seizes control of the call, demanding that Twombly strangle her with an imaginary dead cat, and, as he hesitantly complies, she screams with ecstasy. Affdex tracked us smiling—women, on the whole, more than men. Kaliouby noticed that the smiles came in three pulses. She suggested that this might indicate a micro-narrative worth exploring, and it turned out that there was a structure behind them: whenever Twombly, distraught, spoke of the dead cat, the smiles waned. The Affectiva team often strives to build a story from this kind of data, but the story remained unclear. Were the smiles waning out of empathy—because of Twombly’s distress? Or discomfort with the implied violence? Or was the scene simply less funny when Wiig stopped talking? In such cases, Kaliouby told me, market researchers would rely on old-fashioned human intelligence: interviews with respondents.

Spike Jonze spent months researching “Her,” and it’s not hard to find real-world intimations of the future he imagined. Recently, researchers at the University of Southern California built a prototype “virtual human” named Ellie, a digital therapist that integrates an algorithm similar to Affdex with others that track gestures and vocal tonalities. One of its designers sent me video of a woman talking with Ellie. “What were your symptoms?” Ellie asks, and the woman describes her trouble with weight gain, insomnia, and oversleeping. Ellie appears to listen, nodding. The woman explains that she often feels the need to cry. Her voice wavers, her eyes fill up, and Ellie sympathetically draws her brow into a frown, pauses, and says in a comforting tone, “I’m sorry.”

In October, Kaliouby took the Acela to New York to speak at a conference, called Strata + Hadoop World, at the Javits Center. More than five thousand specialists in Big Data had come from around the country—believers in the faith that transformative patterns exist in the zeros and ones that sustain modern life. The talks ranged from “Industrial Internet” to “How Goldman Sachs Is Using Knowledge to Create an Information Edge.” Some of the attendees wore badges for well-known corporations (Microsoft, Dell, G.E.); others were for companies I hadn’t heard of (Polynumeral, Metanautix). While waiting to enter the main hall, I stood beside one of the few women there. Her badge simply said “U.S. Government.”

In the darkened hall, audience members opened laptops, and their screens glowed. In the greenroom, Kaliouby reviewed her notes and did breathing exercises. Onstage, she declared that it was the first time a scientist in her field had been invited to join “the Big Data conversation”: a throwaway line, but one with a remarkable implication—that even emotions could be quantified, aggregated, leveraged.

She said that her company had analyzed more than two million videos, of respondents in eighty countries. “This is data we have never had before,” she said. When Affectiva began, she had trained the software on just a few hundred expressions. But once she started working with Millward Brown hundreds of thousands of people on six continents began turning on Web cams to watch ads for testing, and all their emotional responses—natural reactions, in relatively uncontrolled settings—flowed back to Kaliouby’s team.

Affdex can now read the nuances of smiles better than most people can. As the company’s database of emotional reactions grows, the software is getting better at reading other expressions. Before the conference, Kaliouby had told me about a project to upgrade the detection of furrowed eyebrows. “A brow furrow is a very important indicator of confusion or concentration, and it can be a negative facial expression,” she said. “A lot of our customers want to know if their ad is offending people, or not really connecting. So we kicked off this experiment, using a whole bunch of parameters: should the computer consider the entire face, the eye region, just the brows? Should it look at two eyebrows together, or one and then the other?” By the time Kaliouby arrived in New York, Affdex had run the tests on eighty thousand brow furrows. Onstage, she presented the results: “Our accuracy jumped to over ninety per cent.”

From the Javits, Kaliouby caught a cab to the global headquarters of McCann Erickson, the ad agency. The company occupies eight floors in a midtown skyscraper, and her face brightened as she walked from the elevator and into a retro-modernist lobby with a lofty ceiling. Painted on a wall was McCann’s credo: “Truth Well Told.” Mike Medeiros, a vice-president of strategy, met Kaliouby and directed her to a conference room with a view across the city. He runs a group called Team America, which provided the U.S. military with the slogan “Army Strong.” Tall with blond hair, he has a plainspoken manner that one could see putting a military officer at ease on Madison Avenue.

Within the firmament of consumer persuasion, companies like Millward Brown and McCann often act as adversaries: one seeks to evaluate what the other invents. Many advertising “creatives,” Medeiros told Kaliouby, regard ad testing as antithetical to inspiration. “You know what they say about ‘Seinfeld,’ ” he said. “By the metrics, it should have been killed in the first season.” His group had just experimented with Affdex, to pitch an account worth millions of dollars; he seemed interested in the technology, but not convinced of its necessity. “I tend to go back to the methods that are lower tech, that are simpler—when you can sit people in a room with a script,” he said. “More than anything, I am watching them to see: are they sitting back, leaning forward? Those cues tell you what is happening, and then you get them to talk about them. My own experience is that this is more important than what they say. Someone can say, ‘Oh, I love that,’ and at the same time they could not care less.”

“That is where our technology can come in and quantify it,” Kaliouby said.

Medeiros’s superior, Steve Zaroff, stopped by, and Kaliouby gave him a demo. Sitting at her laptop with childlike enthusiasm, he mugged and twisted his face into brow furrows and lip curls. “A disgusted smile—I like it!” he said.

“We tested some really gross YouTube videos of people eating larvae,” Kaliouby said. “People smile, but they are also like, ‘Eww!’ ” The same sentiment, her software found, had animated a humorous gross-out ad that Doritos aired during the Super Bowl.

A few days later, Medeiros put me in touch with McCann’s Barcelona affiliate, which had used emotion-sensing technology in an unexpected way. In 2012, the Spanish government, facing a severe budget crisis, imposed strict austerity measures, including a thirteen-per-cent increase in the tax on theatre tickets. Teatreneu, a comedy club in Barcelona, lost a third of its nightly audience, so it approached the McCann affiliate for help. Instead of drafting an ad campaign, the agency recommended that the club outfit its seats with Affdex-like software, then open its doors for free, promising that visitors would be charged only .30 euro per laugh, with an eighty-laugh maximum. If anyone tried to cover up a laugh, or turn away, the system would charge the full fee: twenty-four euros. Revenue went up. Theatres in America, France, and South Korea contacted McCann, wanting to know more.

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