Boundary Conditions for AU-Based Detection of Understanding: A Literary Analysis Study
Abstract
1. Introduction
2. Materials and Methods
2.1. Participants
2.2. Procedure
2.3. Measures
2.3.1. Phases of Understanding
2.3.2. Action Units
2.4. Data Analysis
2.4.1. Machine Learning
- Selecting evaluation metrics: Models were evaluated using macro-averaged F1 score as the primary performance metric, along with macro-averaged precision and recall. Macro-averaging was used to prevent performance estimates from being dominated by the most frequent phases [38]. Balanced accuracy and overall accuracy were also calculated. Per-phase precision, recall, and F1 scores were computed to assess class-specific performance. All metrics were calculated separately within each cross-validation fold using held-out participants and then averaged across folds [39]. Together, these metrics provide complementary information regarding overall discrimination and performance on minority phases.
- Cross-validation: Five-fold grouped cross-validation was used to evaluate model performance, balancing robust validation with maintaining adequate class representation in both training and validation splits [39].
- Training logistic regression model: A logistic regression model with L2 regularization was trained as a baseline model. The regularization strength (C) was selected within each outer cross-validation fold using a participant-disjoint internal validation split [40]. Candidate values were C ∈ {0.01, 0.1, 1, 10}, and the best-performing value was retained within each fold.
- Training CatBoost model: A CatBoost classifier was trained with hyperparameters selected within each outer cross-validation fold using a participant-disjoint internal validation split [41] and early stopping. The tuning grid included depth ∈ {4, 6, 8}, learning_rate ∈ {0.03, 0.1}, and l2_leaf_reg ∈ {1, 3, 10}. Early stopping determined the optimal number of boosting iterations within each fold [42]. Automatic class balancing was used to account for phase imbalance.
2.4.2. Within-Person Analysis
- Feature selection: To reduce the risk of Type I error and maintain interpretability, analyses were restricted to a subset of AUs that capture key facial areas: AU4 (brow lowering), AU7 (lid tightening), AU12 (lip corner puller), and AU15 (lip corner depressor).
- Phase eligibility: Phases were compared only if they occurred in most participants, allowing stable estimation of participant baselines and reliable comparisons.
- Computing participant-specific baselines: Each participant’s typical level and variability of AU activity were estimated across the phases being compared. To do this, all 2 s windows from those phases were pooled to calculate a baseline mean and standard deviation for each AU within participants. These baseline values were then used to compute within-person deviation scores.
- Computing within-person deviation scores: For each AU and 2 s window, the intensity summary values were converted to within-person z-scores. This transformation expressed each window’s summary value relative to the participant’s baseline for that AU. If the baseline standard deviation for a given AU summary value was zero, deviation scores were set to missing.
- Aggregating deviations by phase: For each participant and AU summary value, deviation scores from all 2 s windows within a given phase were averaged. This produced one participant-level mean deviation score per AU summary value for each phase.
- Statistical comparison of phases: For each AU summary value, paired-sample t-tests were conducted across participants to compare phases. Cohen’s dz was calculated to estimate the magnitude of within-person differences. p-values were adjusted using the Benjamini–Hochberg false discovery rate procedure [43].
- Nonparametric robustness check: To assess whether results depended on the assumption of normally distributed difference scores, Wilcoxon signed-rank tests were conducted for each AU summary value as a nonparametric alternative to the paired-sample t-tests.
3. Results
3.1. Demographics
3.2. Descriptive Statistics
3.3. Machine Learning
3.4. Within-Person Analysis
4. Discussion
5. Conclusions
Author Contributions
Funding
Institutional Review Board Statement
Data Availability Statement
Conflicts of Interest
Appendix A
- Two roads diverged in a yellow wood,
- And sorry I could not travel both
- And be one traveler, long I stood
- And looked down one as far as I could
- To where it bent in the undergrowth;
- Then took the other, as just as fair,
- And having perhaps the better claim,
- Because it was grassy and wanted wear;
- Though as for that the passing there
- Had worn them really about the same,
- And both that morning equally lay
- In leaves no step had trodden black.
- Oh, I kept the first for another day!
- Yet knowing how way leads on to way,
- I doubted if I should ever come back.
- I shall be telling this with a sigh
- Somewhere ages and ages hence:
- Two roads diverged in a wood, and I—
- I took the one less traveled by,
- And that has made all the difference.
Appendix B
- Why does the speaker feel the road he took made all the difference?
- Incorrect: Common but flawed “less traveled road” reading
- ○
- Example: He chose the road because it was less traveled, and taking a more difficult, unique path led to a bigger impact on his life.”
- Correct: Noticing the irony but stopping there
- ○
- Example: The speaker says the road ‘made all the difference,’ but in reality both roads were the same—Frost is being ironic.”
- Correct with Depth: Adding insights about human nature or broader thematic resonance
- ○
- Example: “Though the poem ends by saying the road ‘made all the difference,’ the speaker admits earlier that both roads looked equally worn. Frost uses this tension to suggest how we rewrite our memories to highlight the uniqueness of our choices. It’s less about which road was truly different and more about how, in hindsight, people tell stories that justify or romanticize their past decisions.”
- How does the morning setting symbolize the speaker’s clarity in deciding to take the road less traveled?
- Incorrect: Answers echo the question’s misleading assumption (morning = actual clarity, one road is truly “less traveled”).
- ○
- Example: “Because it was morning, the speaker could see one road was definitely less traveled and knew with absolute certainty that this was the path to take, which is why it made all the difference.”
- Correct: Recognize the poem’s contradiction of that assumption but stop short of exploring deeper implications.
- ○
- Example: “Although the question suggests the speaker had clarity, the poem emphasizes that both roads looked equally untraveled that morning. So, the ‘morning setting’ may symbolize a fresh start, but it doesn’t guarantee real clarity.”
- Correct with Depth: Correct the misreading and link the poem’s subtlety to broader themes of human psychology, choice, or narrative-building.
- ○
- Example: “The question presupposes the speaker knew which road was less traveled. However, the poem tells us both roads were equally untraveled that morning. Frost uses the morning setting to suggest a feeling of newness or potential clarity—but in reality, the speaker couldn’t see where either road led. Later on, he frames his choice as more significant than it might have been, revealing how we create stories of clarity and uniqueness about our past decisions.”
- How does the rhythm and meter of “though as for that the passing there” differ from the rest of the poem?
- Incorrect: Claims no difference in meter or otherwise disregards the poem’s overall prosodic structure.
- ○
- Example: “It’s exactly the same as all the other lines—Frost didn’t change anything about the rhythm.”
- Correct: Points out there is a metrical shift in that line without exploring why it might matter.
- ○
- Example: “Most of the poem is in a regular iambic tetrameter, but in ‘though as for that the passing there,’ there’s a slight shift in stress or an extra syllable that makes it scan differently from the rest.”
- Correct with Depth: Describes the nature of the shift and connects it to the poem’s broader themes or emotional effect.
- ○
- Example: “Frost relies on an iambic tetrameter throughout most of the poem, but in ‘though as for that the passing there,’ he disrupts the expected rhythm. The stresses shift—there may be a trochaic substitution or an extra unaccented syllable—so the line feels a bit off-balance. This break in the steady meter mirrors the speaker’s moment of hesitation or uncertainty, subtly underlining how no choice here is truly ‘less traveled.’”
- Why does the speaker doubt he will return to take the other road?
- Incorrect: Attributes the speaker’s doubt to something absent or contradictory in the text.
- ○
- Example: “He dislikes that other road, so he won’t go back. It’s closed, and he doesn’t want to pass through it.”
- Correct: Accurately notes that subsequent life choices prevent returning to the same fork.
- ○
- Example: “He knows that once he starts down one road, it will lead him on to other choices, and he probably won’t ever be able to come back to this exact spot.”
- Correct with Depth: Integrates a deeper understanding, linking the speaker’s practical doubt to the universal, irreversible nature of life decisions.
- ○
- Example: “Although he says ‘Oh, I kept the first for another day!’ he also recognizes that each decision leads to new opportunities and obligations, so it’s practically impossible to go back to the exact crossroads. This highlights Frost’s broader idea that life’s choices aren’t just physically, but also psychologically, unrepeatable—we can’t recreate the same moment to pick the other option later.”
- What does the undergrowth represent?
- Incorrect: Treats the undergrowth as merely literal bushes or an irrelevant obstacle.
- ○
- Example: “The undergrowth is just thick bushes and has no deeper meaning. The speaker doesn’t want to walk through it because it might have thorny plants.”
- Correct: Identifies the undergrowth as a symbol of the road’s (or the future’s) uncertainty.
- ○
- Example: “The undergrowth represents what the speaker cannot see about his future. It blocks his view of how the road will turn out.”
- Correct with Depth: Builds on the basic symbolic meaning and ties it to Frost’s themes of choice, the unseen consequences of decisions, and our universal human struggle with the unknown.
- ○
- Example: “Frost describes one road as bending into the undergrowth, which literally prevents the speaker from seeing where it leads. On a deeper level, it symbolizes the unpredictable future. No matter which path we choose in life, part of it is obscured by uncertainty—we can’t fully know the consequences before we go. This undergrowth thus encapsulates the tension between our desire for clarity and the reality that we must choose amid the unknown.”
- How does the repetition of ‘I’ in the final stanza relate to self-deception?
- Incorrect: Sees no connection between “I” repetition and any deeper meaning or mischaracterizes it completely.
- ○
- Example: “There is no self-deception. Frost just liked using ‘I’ multiple times to sound poetic. It doesn’t mean anything.”
- Correct: Notes that the speaker’s repetition of “I” underscores personal emphasis and possible exaggeration.
- ○
- Example: “By repeating ‘I,’ the speaker draws attention to himself, hinting that he wants to emphasize his personal role in taking a supposedly unique road. It suggests he might be inflating the significance of his choice.”
- Correct with Depth: Links this repetition to a deeper pattern of self-deception or myth-making, tying it to the poem’s irony and universal human tendencies to reshape our own narratives.
- ○
- Example: “In repeating ‘I,’ the speaker spotlights himself as the active hero of his own story, suggesting a need to appear decisive and exceptional. This repetition, however, reveals a subtle self-deception: earlier in the poem, he admits the roads were ‘really about the same,’ so his claim of a ‘less traveled’ road is more of a retrospective myth. By stressing ‘I,’ he’s reinforcing a narrative where he made a bold, individualistic choice—even though the text hints that might not be strictly true.”
- Why is the poem set in the woods?
- Incorrect: Provides irrelevant or purely literal explanations (e.g., “a random picnic spot”).
- ○
- Example: “It’s set in the woods so the traveler could look at animals and have a picnic. Frost just picked it randomly.”
- Correct: Recognizes the woods as a place of branching paths and solitary decision-making.
- ○
- Example: “The woods offer a secluded spot where two roads branch off, forcing the speaker to make a choice without outside influence.”
- Correct with Depth: Connects the woods’ mystery and isolation to the universal experience of choosing among unknown futures, underscoring the poem’s existential or psychological themes.
- ○
- Example: “Frost situates the fork in the woods to evoke a place removed from everyday distractions, emphasizing the solitude and uncertainty of life choices. The dense undergrowth symbolizes the unknown outcomes, and the silent, natural setting mirrors how personal decisions often occur when we’re most isolated—reflecting our universal experience of forging a path without clear foresight.”
- How does the speaker’s sigh reflect his rationalization of his decision?
- Incorrect: Ignores the poem’s context, treats the sigh as purely literal or otherwise unconnected to rationalization.
- ○
- Example: “He sighs because he’s physically exhausted after a long walk in the woods. It has nothing to do with rationalizing his choice.”
- Correct: Recognizes the sigh as part of the speaker’s reflective or explanatory tone but does not fully integrate the poem’s ironic subtext.
- ○
- Example: “He sighs as he looks back on his decision, suggesting he’s giving weight to the idea that choosing this road was important. It’s part of how he explains his choice to himself or others.”
- Correct with Depth: Explores how the sigh functions as part of the speaker’s story-making or self-deception, tying in the irony that both roads were the same and showing how this final sigh is a key to the speaker’s retrospective mythologizing.
- ○
- Example: “When the speaker says, ‘I shall be telling this with a sigh,’ he’s envisioning a future in which he frames his decision as pivotal. This sigh could be regret, but more likely it’s a self-conscious flourish—he’s dramatizing his choice. Given the poem’s earlier hint that the roads were identical, the sigh becomes a tool of self-deception, helping him rationalize that he took a road ‘less traveled’ and thus made a daring, life-changing move.”
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| n | % | M | SD | |
|---|---|---|---|---|
| Gender | ||||
| Female | 133 | 67.2 | ||
| Male | 59 | 29.8 | ||
| Other | 6 | 3 | ||
| Program of study | ||||
| Social sciences | 65 | 32.8 | ||
| STEM | 103 | 52 | ||
| Humanities | 12 | 6.1 | ||
| Other | 18 | 9.1 | ||
| Age | 23.2 | 7.3 |
| Phase of Understanding | Observations | Windows | Median Observations | % of Individuals ≥1/≥2 (%) |
|---|---|---|---|---|
| Nascent | 742 | 29,085 | 4 | 94.8/89.6 |
| Misunderstanding | 305 | 13,106 | 2 | 71.5/47.7 |
| Confusion | 129 | 620 | 1 | 36.3/17.1 |
| Emergent | 333 | 13,746 | 2 | 83.9/56 |
| Deep | 32 | — | 1 | 12.4/3.1 |
| Underconfidence | 78 | — | 1 | 28.5/8.8 |
| Phase | Question | Answer and Justification | Brainstorming | Level of Certainty |
|---|---|---|---|---|
| Nascent | How does the rhythm and meter of “though as for that the passing there” differ from the rest of the poem? | Unsure. Personally, the line felt choppier and more unnatural than the rest of the poem but I cannot articulate or provide concrete evidence for why. | unsure of what ‘meter’ means in poems. the rhythm sounds choppier and the words does not flow as well. at the same time i can’t pinpoint if this specific line is really that different from the rest of the poem | 1 (Uncertain) |
| Misunderstanding | Why does the speaker feel the road he took made all the difference? | He felt it made all the different because he is trying something new out and might favour him in the long run. | He made a choice taking the road less travelled and he believed he made all the difference because he is exploring a new path that isn’t usually taken which makes him different from others and make the path less taken better. | 3 (Certain) |
| Confusion | What does the undergrowth represent? | what is an undergrowth -_-? like hanging bush?? or is that a overgrowth | ||
| Emergent | Why is the poem set in the woods? | The woods set the setting of mystery and a symbol of branches of opportunities. | Woods... Symbolic for wisdom. Lost. slenderman! road? lost? | 3 (Certain) |
| Deep | How does the repetition of ‘I’ in the final stanza relate to self-deception? | The speaker is reiterating to themselves that they made the brave, noble decision to take the path that was less traveled, despite not knowing what laid ahead and how many people had experienced that path. I believe the speaker is reassuring themselves of their decision by emphasizing the road was less traveled and that they should be proud of that decision, to avoid any regret for not taking the other path. In this way, the speaker is actively deceiving themselves. Additionally, the poem suggests that both paths were, in earnest, equally worn/unworn, so there is also possibly an element of the speaker deceiving themselves that they did truly pick the less traveled path, and thus deceiving themselves that they’re special/unique in doing so. | 3 (Certain) | |
| Underconfidence | What does the undergrowth represent? | The point at which the road bends at the undergrowth represents the farthest point he can see of the path. The undergrowth can thus represent uncertainty of what lies ahead, and fear of the unknown. | 1 (Uncertain) |
| Metric | CatBoost | Logistic |
|---|---|---|
| Macro F1 | 0.24 | 0.20 |
| Macro precision | 0.26 | 0.27 |
| Macro recall | 0.35 | 0.26 |
| Balanced accuracy | 0.35 | 0.26 |
| Accuracy | 0.30 | 0.49 |
| Metric | Phase | CatBoost | Logistic |
|---|---|---|---|
| Precision | Nascent | 0.52 | 0.51 |
| Recall | 0.33 | 0.94 | |
| F1 score | 0.40 | 0.66 | |
| Precision | Misunderstanding | 0.25 | 0.17 |
| Recall | 0.32 | 0.02 | |
| F1 score | 0.27 | 0.03 | |
| Precision | Confusion | 0.04 | 0.30 |
| Recall | 0.53 | 0.09 | |
| F1 score | 0.07 | 0.09 | |
| Precision | Emergent | 0.22 | 0.11 |
| Recall | 0.21 | 0.00 | |
| F1 score | 0.21 | 0.01 |
| Action Unit | Global Value | Nascent | Misunderstanding | Confusion | Emergent |
|---|---|---|---|---|---|
| AU4_mean | 0.185 | 0.137 | 0.111 | 0.362 | 0.126 |
| AU5_prop | 0.036 | 0.030 | 0.031 | 0.063 | 0.016 |
| AU6_mean | 0.019 | 0.008 | 0.020 | 0.036 | 0.016 |
| AU7_mean | 0.030 | 0.021 | 0.020 | 0.054 | 0.033 |
| AU9_prop | 0.022 | 0.013 | 0.017 | 0.082 | 0.012 |
| AU10_mean | 0.016 | 0.008 | 0.017 | 0.026 | 0.012 |
| AU12_mean | 0.011 | 0.011 | 0.014 | 0.011 | 0.009 |
| AU14_prop | 0.025 | 0.013 | 0.030 | 0.057 | 0.016 |
| AU15_mean | 0.023 | 0.012 | 0.024 | 0.063 | 0.012 |
| AU17_mean | 0.025 | 0.013 | 0.016 | 0.051 | 0.022 |
| AU20_sd | 0.010 | 0.007 | 0.008 | 0.011 | 0.007 |
| AU23_mean | 0.029 | 0.012 | 0.022 | 0.081 | 0.025 |
| AU25_mean | 0.013 | 0.010 | 0.010 | 0.022 | 0.009 |
| AU26_mean | 0.014 | 0.010 | 0.007 | 0.029 | 0.014 |
| AU28_prop | 0.000 | 0.000 | 0.000 | 0.000 | 0.000 |
| AU45_mean | 0.052 | 0.038 | 0.029 | 0.105 | 0.039 |
| Action Unit | t | p (adj) | dz | p (Wilcoxon) |
|---|---|---|---|---|
| AU4_mean_z | 0.092 | 0.927 | 0.007 | 0.719 |
| AU4_sd_z | −0.846 | 0.798 | −0.068 | 0.477 |
| AU7_mean_z | −3.946 | 0.001 | −0.324 | 0.000 |
| AU7_sd_z | −3.350 | 0.004 | −0.275 | 0.003 |
| AU12_mean_z | −0.115 | 1.000 | −0.010 | 0.281 |
| AU12_sd_z | −0.168 | 1.000 | −0.014 | 0.109 |
| AU15_mean_z | 0.686 | 0.790 | 0.055 | 0.577 |
| AU15_sd_z | 1.460 | 0.390 | 0.117 | 0.109 |
| Action Unit | M Δ | SD | % Positive | % Negative |
|---|---|---|---|---|
| AU4_mean_z | 0.004 | 0.555 | 48.1 | 51.9 |
| AU4_sd_z | −0.026 | 0.381 | 48.7 | 51.3 |
| AU7_mean_z | −0.180 | 0.555 | 33.1 | 66.9 |
| AU7_sd_z | −0.121 | 0.440 | 39.9 | 60.1 |
| AU12_mean_z | −0.005 | 0.483 | 44.1 | 55.9 |
| AU12_sd__z | −0.007 | 0.473 | 41.4 | 58.6 |
| AU15_mean_z | 0.032 | 0.591 | 50.6 | 49.4 |
| AU15_sd_z | 0.063 | 0.541 | 55.1 | 44.9 |
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© 2026 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license.
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Lazic, M.; Woodruff, E. Boundary Conditions for AU-Based Detection of Understanding: A Literary Analysis Study. Electronics 2026, 15, 2059. https://doi.org/10.3390/electronics15102059
Lazic M, Woodruff E. Boundary Conditions for AU-Based Detection of Understanding: A Literary Analysis Study. Electronics. 2026; 15(10):2059. https://doi.org/10.3390/electronics15102059
Chicago/Turabian StyleLazic, Milan, and Earl Woodruff. 2026. "Boundary Conditions for AU-Based Detection of Understanding: A Literary Analysis Study" Electronics 15, no. 10: 2059. https://doi.org/10.3390/electronics15102059
APA StyleLazic, M., & Woodruff, E. (2026). Boundary Conditions for AU-Based Detection of Understanding: A Literary Analysis Study. Electronics, 15(10), 2059. https://doi.org/10.3390/electronics15102059

