Tactual perception: a review of experimental variables and procedures

This paper reviews literature on tactual perception. Throughout this review we will highlight some of the most relevant variables in touch literature: interaction between touch and other senses; type of stimuli, from abstract stimuli such as vibrations, to two- and three-dimensional stimuli, also considering concrete stimuli such as the relation between familiar and unfamiliar stimuli or the haptic perception of faces; type of participants, separating studies with blind participants, studies with children and adults, and an analysis of sex differences in performance; and finally, type of tactile exploration, considering conditions of active and passive touch, the relevance of movement in touch and the relation between exploration and time. This review intends to present an organised overview of the main variables in touch experiments, attending to the main findings described in literature, to guide the design of future works on tactual perception and memory.This work was funded by the Portuguese “Foundation for Science and Technology” through PhD scholarship SFRH/BD/35918/2007

Corseto: A Kinesthetic Garment for Designing, Composing for, and Experiencing an Intersubjective Haptic Voice

We present a novel intercorporeal experience - an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based \u27fourth voice\u27 to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that \u27intersubjective haptics\u27 can be a generative medium not only for singing performances, but other possible intersubjective experiences

16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)

The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28-31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25-28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc

Somatic ABC's: A Theoretical Framework for Designing, Developing and Evaluating the Building Blocks of Touch-Based Information Delivery

abstract: Situations of sensory overload are steadily becoming more frequent as the ubiquity of technology approaches reality--particularly with the advent of socio-communicative smartphone applications, and pervasive, high speed wireless networks. Although the ease of accessing information has improved our communication effectiveness and efficiency, our visual and auditory modalities--those modalities that today's computerized devices and displays largely engage--have become overloaded, creating possibilities for distractions, delays and high cognitive load; which in turn can lead to a loss of situational awareness, increasing chances for life threatening situations such as texting while driving. Surprisingly, alternative modalities for information delivery have seen little exploration. Touch, in particular, is a promising candidate given that it is our largest sensory organ with impressive spatial and temporal acuity. Although some approaches have been proposed for touch-based information delivery, they are not without limitations including high learning curves, limited applicability and/or limited expression. This is largely due to the lack of a versatile, comprehensive design theory--specifically, a theory that addresses the design of touch-based building blocks for expandable, efficient, rich and robust touch languages that are easy to learn and use. Moreover, beyond design, there is a lack of implementation and evaluation theories for such languages. To overcome these limitations, a unified, theoretical framework, inspired by natural, spoken language, is proposed called Somatic ABC's for Articulating (designing), Building (developing) and Confirming (evaluating) touch-based languages. To evaluate the usefulness of Somatic ABC's, its design, implementation and evaluation theories were applied to create communication languages for two very unique application areas: audio described movies and motor learning. These applications were chosen as they presented opportunities for complementing communication by offloading information, typically conveyed visually and/or aurally, to the skin. For both studies, it was found that Somatic ABC's aided the design, development and evaluation of rich somatic languages with distinct and natural communication units.Dissertation/ThesisPh.D. Computer Science 201

Exploration of mid-air haptics experience design

Ultrasonic Mid-air Haptics (UMH) is a novel technology that uses the mechanical properties of sound waves to create a pressure point in mid-air. This pressure point, called focal point, can slightly bend the skin and be felt in mid-air without any attachment to the body. This thesis focuses on both studying how to integrate this technology with other senses (i.e. vision and audition) and exploring the range of tactile sensations it can provide. The first two projects presented in this document present the integration of ultrasonic mid-air haptics with audio-visual content. The first project describes the process of creating a unique haptic experience that was part of a six-weeks multisensory exhibition in a museum. The second project moved from the museum to a controlled environment and explored the creation of haptic experiences based on physiologic measurements for six short films. Both studies showed the positive value of adding ultrasonic mid-air haptics to traditional media through higher reported arousal and participants’ high enthusiasm for multisensory content. In the two latter projects of this thesis, it was explored how we could extend the range of possible tactile sensations provided by UMHs. We introduced a new technique called Spatio-Temporal Modulation (STM). It enabled the creation of brand-new tactile experiences, including more salient shapes and wider range of textures. We also provided some guidelines on how to control some of the tactile properties of the sensation, including strength,roughness,or regularity. The findings of those four projects contribute to the growing body of knowledge of UMHs. A summary of the key contributions is provided at the end of the thesis as well as several leads for future works

The digitally 'Hand Made' object

This article will outline the author’s investigations of types of computer interfaces in practical three-dimensional design practice. The paper contains a description of two main projects in glass and ceramic tableware design, using a Microscribe G2L digitising arm as an interface to record three-dimensional spatial\ud design input.\ud \ud The article will provide critical reflections on the results of the investigations and will argue that new approaches in digital design interfaces could have relevance in developing design methods which incorporate more physical ‘human’ expressions in a three-dimensional design practice. The research builds on concepts indentified in traditional craft practice as foundations for constructing new types of creative practices based on the use of digital technologies, as outlined by McCullough (1996)

Musical Haptics

Haptic Musical Instruments; Haptic Psychophysics; Interface Design and Evaluation; User Experience; Musical Performanc