One of the challenges in virtual environments is the difficulty users have in interacting with these increasingly complex systems. Ultimately, endowing machines with the ability to perceive users emotions will enable a more intuitive and reliable interaction. Consequently, using the electroencephalogram as a bio-signal sensor, the affective state of a user can be modelled and subsequently utilised in order to achieve a system that can recognise and react to the user’s emotions. This paper investigates features extracted from electroencephalogram signals for the purpose of affective state modelling based on Russell’s Circumplex Model. Investigations are presented that aim to provide the foundation for future work in modelling user affect to enhance interaction experience in virtual environments. The DEAP dataset was used within this work, along with a Support Vector Machine and Random Forest, which yielded reasonable classification accuracies for Valence and Arousal using feature vectors based on statistical measurements and band power from the α, β, δ, and ???? waves and High Order Crossing of the EEG signal.

Social robots are being designed to help support people’s well-being in domestic and public environments. To address increasing incidences of psychological and emotional difficulties such as loneliness, and a shortage of human healthcare workers, we believe that robots will also play a useful role in engaging with people in therapy, on an emotional and creative level, e.g., in music, drama, playing, and art therapy. Here, we focus on the latter case, on an autonomous robot capable of painting with a person. A challenge is that the theoretical foundations are highly complex; we are only just beginning ourselves to understand emotions and creativity in human science, which have been described as highly important challenges in artificial intelligence. To gain insight, we review some of the literature on robots used for therapy and art, potential strategies for interacting, and mechanisms for expressing emotions and creativity. In doing so, we also suggest the usefulness of the responsive art approach as a starting point for art therapy robots, describe a perceived gap between our understanding of emotions in human science and what is currently typically being addressed in engineering studies, and identify some potential ethical pitfalls and solutions for avoiding them. Based on our arguments, we propose a design for an art therapy robot, also discussing a simplified prototype implementation, toward informing future work in the area.