State of the art review on walking support system for visually impaired people

The technology for terrain detection and walking support system for blind people has rapidly been improved the last couple of decades but to assist visually impaired people may have started long ago. Currently, a variety of portable or wearable navigation system is available in the market to help the blind for navigating their way in his local or remote area. The focused category in this work can be subgroups as electronic travel aids (ETAs), electronic orientation aids (EOAs) and position locator devices (PLDs). However, we will focus mainly on electronic travel aids (ETAs). This paper presents a comparative survey among the various portable or wearable walking support systems as well as informative description (a subcategory of ETAs or early stages of ETAs) with its working principal advantages and disadvantages so that the researchers can easily get the current stage of assisting blind technology along with the requirement for optimising the design of walking support system for its users

How touch and hearing influence visual processing in sensory substitution, synaesthesia and cross-modal correspondences

Sensory substitution devices (SSDs) systematically turn visual dimensions into patterns of tactile or auditory stimulation. After training, a user of these devices learns to translate these audio or tactile sensations back into a mental visual picture. Most previous SSDs translate greyscale images using intuitive cross-sensory mappings to help users learn the devices. However more recent SSDs have started to incorporate additional colour dimensions such as saturation and hue. Chapter two examines how previous SSDs have translated the complexities of colour into hearing or touch. The chapter explores if colour is useful for SSD users, how SSD and veridical colour perception differ and how optimal cross-sensory mappings might be considered. After long-term training, some blind users of SSDs report visual sensations from tactile or auditory stimulation. A related phenomena is that of synaesthesia, a condition where stimulation of one modality (i.e. touch) produces an automatic, consistent and vivid sensation in another modality (i.e. vision). Tactile-visual synaesthesia is an extremely rare variant that can shed light on how the tactile-visual system is altered when touch can elicit visual sensations. Chapter three reports a series of investigations on the tactile discrimination abilities and phenomenology of tactile-vision synaesthetes, alongside questionnaire data from synaesthetes unavailable for testing. Chapter four introduces a new SSD to test if the presentation of colour information in sensory substitution affects object and colour discrimination. Chapter five presents experiments on intuitive auditory-colour mappings across a wide variety of sounds. These findings are used to predict the reported colour hallucinations resulting from LSD use while listening to these sounds. Chapter six uses a new sensory substitution device designed to test the utility of these intuitive sound-colour links for visual processing. These findings are discussed with reference to how cross-sensory links, LSD and synaesthesia can inform optimal SSD design for visual processing

Spatial Auditory Maps for Blind Travellers

Empirical research shows that blind persons who have the ability and opportunity to access geographic map information tactually, benefit in their mobility. Unfortunately, tangible maps are not found in large numbers. Economics is the leading explanation: tangible maps are expensive to build, duplicate and distribute. SAM, short for Spatial Auditory Map, is a prototype created to address the unavail- ability of tangible maps. SAM presents geographic information to a blind person encoded in sound. A blind person receives maps electronically and accesses them using a small in- expensive digitalizing tablet connected to a PC. The interface provides location-dependent sound as a stylus is manipulated by the user, plus a schematic visual representation for users with residual vision. The assessment of SAM on a group of blind participants suggests that blind users can learn unknown environments as complex as the ones represented by tactile maps - in the same amount of reading time. This research opens new avenues in visualization techniques, promotes alternative communication methods, and proposes a human-computer interaction framework for conveying map information to a blind person

Geometric shape detection with soundview

Presented at the 10th International Conference on Auditory Display (ICAD2004)We present the results of user studies that were performed on sighted people to test their ability to detect simple shapes with SoundView. SoundView is an experimental vision substitution system for the blind. Visual images are mapped onto a virtual surface with a fine-grained color dependent roughness texture. The user explores an image by moving a pointer device over the image which creates sounds. The current prototype uses a Wacom graphics tablet as a pointer device. The pointer acts like a virtual gramophone needle, and the sound produced depends on the motion as well as on the color of the area explored. An extension of SoundView also allows haptic feedback and we have compared the performance of users using auditory and/or haptic feedback

Art (that) works: design guidelines for equitable public art

Master of Landscape ArchitectureDepartment of Landscape Architecture/Regional and Community PlanningMajor Professor Not ListedPublic art within a public space should be experienced by all people (Hein 2006; Phillips 1989; Zebracki 2013). However, when attitudinal, organizational or systemic, and architectural or physical barriers exist, the experience of public art may exclude Persons with Disabilities (Council of Ontario Universities 2013; Schaffer 2020). When people are unable to equitably experience public art, they are also excluded from cultural communities and artistic interpretations of society. If artists and designers do not know how to purposefully accommodate the experiential needs of diverse audiences, including Persons with Disabilities, public art may not be equitably experienced by all people. While some guidelines exist for equitable art in private settings, such as museums, there is a lack of knowledge about how to create and site equitable public art in public spaces. Thus, to fill this knowledge gap, this project developed design guidelines for artists, designers, and creatives when creating and siting equitable public art in public space. The guidelines consider the needs of “all” people to include mobility (physical disabilities), cognition (intellectual disabilities and/or neurodiversity), hearing (D/deaf and Hard of Hearing), and vision (B/blind and Low Vision) disabilities. Notably, the graphic design of the guidelines adheres to established graphic design standards for accessibility. Methods used to inform the development of the guidelines included interviews with artists and site designers, and precedent analysis of multi-sensory art and universally-design sites. To demonstrate how the guidelines can be used, a projective art and site design was developed with site analysis and documented through memoing. Findings reveal that for public art to be equitably experienced by all people, it must be both physically accessible and multi-sensory, to engage two or more senses (Barnes 2003; National Recreation and Parks Association 2015; Robinson 1998). Additionally, and most importantly, findings indicate that the most essential component of equitable public art is social. Public art needs to foster social interaction, which can occur when the art is interactive and “comes alive” with engagement (Papalia 2022). By considering the needs of Persons with Disabilities, artists, designers, and creatives have an opportunity to make a more enriching art experience for all people- an experience that all people may not have had otherwise