We live in a rich and varied acoustic world, which is experienced by individuals or communities as asoundscape. Computational auditory scene analysis, disentangling acoustic scenes by detecting and classifying events, focuses on objective attributes of sounds, such as their category and temporal characteristics, ignoring their effects on people, such as the emotions they evoke within a context. To fill this gap, we propose the affective soundscape captioning (ASSC) task, which enables automated soundscape analysis, thus avoiding labour-intensive subjective ratings and surveys in conventional methods. With soundscape captioning, context-aware descriptions are generated for soundscape by capturing the acoustic scenes (ASs), audio events (AEs) information, and the corresponding human affective qualities (AQs). To this end, we propose an automatic soundscape captioner (SoundSCaper) system composed of an acoustic model, i.e. SoundAQnet, and a large language model (LLM). SoundAQnet simultaneously models multi-scale information about ASs, AEs, and perceived AQs, while the LLM describes the soundscape with captions by parsing the information captured with SoundAQnet. SoundSCaper is assessed by two juries of 32 people. In expert evaluation, the average score of SoundSCaper-generated captions is slightly lower than that of two soundscape experts on the evaluation set D1 and the external mixed dataset D2, but not statistically significant. In layperson evaluation, SoundSCaper outperforms soundscape experts in several metrics on datasets D1 and D2. In addition to human evaluation, compared to other automated audio captioning (AAC) systems with and without LLM, SoundSCaper performs better on the ASSC task in several natural language processing (NLP) based metrics. Overall, SoundSCaper performs well in human subjective evaluation and various objective captioning metrics, and the generated captions are comparable to those annotated by soundscape experts. The model, source code, LLM scripts, human assessment data, instructions, and evaluation statistics are all publicly available.

Touch is a fundamental aspect of emotion-rich communication, playing a vital role in human interaction and offering significant potential in human-robot interaction. Previous research has demonstrated that a sparse representation of human touch can effectively convey social tactile signals. However, advances in human-robot tactile interaction remain limited, as many humanoid robots possess simplistic capabilities, such as only opening and closing their hands, restricting nuanced tactile expressions. In this study, we explore how a robot can use sparse representations of tactile vibrations to convey emotions to a person. To achieve this, we developed a wearable sleeve integrated with a$\mathbf{5}\times \mathbf{5}$grid of vibration motors, enabling the robot to communicate diverse tactile emotions and gestures. Using chain prompts within a Large Language Model (LLM), we generated distinct 10-second vibration patterns corresponding to 10 emotions (e.g., happiness, sadness, fear) and 6 touch gestures (e.g., pat, rub, tap). Participants$(N=\mathbf{32})$then rated each vibration stimulus based on perceived valence and arousal. People are accurate at recognising intended emotions, a result which aligns with earlier findings. These results highlight the LLM's ability to generate emotional haptic data and effectively convey emotions through tactile signals. By translating complex emotional and tactile expressions into vibratory patterns, this research demonstrates how LLMs can enhance physical interaction between humans and robots.

Emotion recognition and touch gesture decoding are crucial for advancing human-robot interaction (HRI), especially in social environments where emotional cues and tactile perception play important roles. However, many humanoid robots, such as Pepper, Nao, and Furhat, lack full-body tactile skin, limiting their ability to engage in touch-based emotional and gesture interactions. In addition, vision-based emotion recognition methods usually face strict GDPR compliance challenges due to the need to collect personal facial data. To address these limitations and avoid privacy issues, this paper studies the potential of using the sounds produced by touching during HRI to recognise tactile gestures and classify emotions along the arousal and valence dimensions. Using a dataset of tactile gestures and emotional interactions from 28 participants with the humanoid robot Pepper, we design an audio-only lightweight touch gesture and emotion recognition model with only 0.24M parameters, 0.94MB model size, and 0.7G FLOPs. Experimental results show that the proposed model effectively recognises the arousal and valence states of different emotions, as well as various tactile gestures, when the input audio length varies. The proposed model is of low-latency and achieves similar results as well-known pretrained audio neural networks (PANNs), but with much smaller FLOPs, number of parameters, and model size.

Affective interaction is not merely about recognizing emotions; it is an embodied, situated process shaped by context and co-created through interaction. In affective computing, the role of haptic feedback within dynamic emotional exchanges remains underexplored. This study investigates how situational emotional cues influence the perception and interpretation of haptic signals given by a robot. In a controlled experiment, 32 participants watched video scenarios in which a robot experienced either positive actions (such as being kissed), negative actions (such as being slapped) or neutral actions. After each video, the robot conveyed its emotional response through haptic communication, delivered via a wearable vibration sleeve worn by the participant. Participants rated the robot’s emotional state—its valence (positive or negative) and arousal (intensity)—based on the video, the haptic feedback, and the combination of the two. The study reveals a dynamic interplay between visual context and touch. Participants’ interpretation of haptic feedback was strongly shaped by the emotional context of the video, with visual context often overriding the perceived valence of the haptic signal. Negative haptic cues amplified the perceived valence of the interaction, while positive cues softened it. Furthermore, haptics override the participants’ perception of arousal of the video. Together, these results offer insights into how situated haptic feedback can enrich affective human-robot interaction, pointing toward more nuanced and embodied approaches to emotional communication with machines.

WHO’s report on environmental noise estimates that 22 M people suffer from chronic annoyance related to noise caused by audio events (AEs) from various sources. Annoyance may lead to health issues and adverse effects on metabolic and cognitive systems. In cities, monitoring noise levels does not provide insights into noticeable AEs, let alone their relations to annoyance. To create annoyance-related monitoring, this paper proposes a graph-based model to identify AEs in a sound-scape, and explore relations between diverse AEs and human-perceived annoyance rating (AR). Specifically, this paper proposes a lightweight multi-level graph learning (MLGL) based on local and global semantic graphs to simultaneously perform audio event classification (AEC) and human annoyance rating prediction (ARP). Experiments show that: 1) MLGL with 4.1 M parameters improves AEC and ARP results by using semantic node information in local and global context-aware graphs; 2) MLGL captures relations between coarse-and fine-grained AEs and AR well; 3) Statistical analysis of MLGL results shows that some AEs from different sources significantly correlate with AR, which is consistent with previous research on human perception of these sound sources.

The perception of audiovisual speech plays an important role in infants' first language acquisition and continues to be important for language understanding beyond infancy. Beyond that, the perception of speech and congruent lip motion supports language understanding for adults, and it has been suggested that second language learning benefits from audiovisual speech, as it helps learners distinguish speech sounds in the target language. In this paper, we study whether congruent audiovisual speech on a robot facilitates the learning of Japanese pronunciation. 27 native-Dutch speaking participants were trained in Japanese pronunciation by a social robot. The robot demonstrated 30 Japanese words of varying complexity using either congruent audiovisual speech, incongruent visual speech, or computer-generated audiovisual speech. Participants were asked to imitate the robot's pronunciation, recordings of which were rated by native Japanese speakers. Against expectation, the results showed that congruent audiovisual speech resulted in lower pronunciation performance than low-fidelity or incongruent speech. We show that our learners, being native Dutch speakers, are only very weakly sensitive to audiovisual Japanese speech which possibly explains why learning performance does not seem to benefit from audiovisual speech.

Sound events in daily life carry rich information about the objective world. The composition of these sounds affects the mood of people in a soundscape. Most previous approaches only focus on classifying and detecting audio events and scenes, but may ignore their perceptual quality that may impact humans' listening mood for the environment, e.g. annoyance. To this end, this paper proposes a novel hierarchical graph representation learning (HGRL) approach which links objective audio events (AE) with subjective annoyance ratings (AR) of the soundscape perceived by humans. The hierarchical graph consists of fine-grained event (fAE) embeddings with single-class event semantics, coarse-grained event (cAE) embeddings with multi-class event semantics, and AR embeddings. Experiments show the proposed HGRL successfully integrates AE with AR for AEC and ARP tasks, while coordinating the relations between cAE and fAE and further aligning the two different grains of AE information with the AR.