Different activation signatures in the primary sensorimotor and higher-level regions for haptic three-dimensional curved surface exploration

Haptic object perception begins with continuous exploratory contact, and the human brain needs to accumulate sensory information continuously over time. However, it is still unclear how the primary sensorimotor cortex (PSC) interacts with these higher-level regions during haptic exploration over time. This functional magnetic resonance imaging (fMRI) study investigates time-dependent haptic object processing by examining brain activity during haptic 3D curve and roughness estimations. For this experiment, we designed sixteen haptic stimuli (4 kinds of curves x 4 varieties of roughness) for the haptic curve and roughness estimation tasks. Twenty participants were asked to move their right index and middle fingers along the surface twice and to estimate one of the two features -roughness or curvature -depending on the task instruction. We found that the brain activity in several higher-level regions (e.g., the bilateral posterior parietal cortex) linearly increased as the number of curves increased during the haptic exploration phase. Surprisingly, we found that the contralateral PSC was parametrically modulated by the number of curves only during the late exploration phase but not during the early exploration phase. In contrast, we found no similar parametric modulation activity patterns during the haptic roughness estimation task in either the contralateral PSC or in higher-level regions. Thus, our findings suggest that haptic 3D object perception is processed across the cortical hierarchy, whereas the contralateral PSC interacts with other higher-level regions across time in a manner that is dependent upon the features of the object

Touching the invisible: Localizing ultrasonic haptic cues

While mid-air gestures offer new possibilities to interact with or around devices, some situations, such as interacting with applications, playing games or navigating, may require visual attention to be focused on a main task. Ultrasonic haptic feedback can provide 3D spatial haptic cues that do not demand visual attention for these contexts. In this paper, we present an initial study of active exploration of ultrasonic haptic virtual points that investigates the spatial localization with and without the use of the visual modality. Our results show that, when providing haptic feedback giving the location of a widget, users perform 50% more accurately compared to providing visual feedback alone. When provided with a haptic location of a widget alone, users are more than 30% more accurate than when given a visual location. When aware of the location of the haptic feedback, active exploration decreased the minimum recommended widget size from 2cm2 to 1cm2 when compared to passive exploration from previous studies. Our results will allow designers to create better mid-air interactions using this new form of haptic feedback

Deep neural network model of haptic saliency

Haptic exploration usually involves stereotypical systematic movements that are adapted to the task. Here we tested whether exploration movements are also driven by physical stimulus features. We designed haptic stimuli, whose surface relief varied locally in spatial frequency, height, orientation, and anisotropy. In Experiment 1, participants subsequently explored two stimuli in order to decide whether they were same or different. We trained a variational autoencoder to predict the spatial distribution of touch duration from the surface relief of the haptic stimuli. The model successfully predicted where participants touched the stimuli. It could also predict participants' touch distribution from the stimulus' surface relief when tested with two new groups of participants, who performed a different task (Exp. 2) or explored different stimuli (Exp. 3). We further generated a large number of virtual surface reliefs (uniformly expressing a certain combination of features) and correlated the model's responses with stimulus properties to understand the model's preferences in order to infer which stimulus features were preferentially touched by participants. Our results indicate that haptic exploratory behavior is to some extent driven by the physical features of the stimuli, with e.g. edge-like structures, vertical and horizontal patterns, and rough regions being explored in more detail

Exploration of Reaction Pathways and Chemical Transformation Networks

For the investigation of chemical reaction networks, the identification of all relevant intermediates and elementary reactions is mandatory. Many algorithmic approaches exist that perform explorations efficiently and automatedly. These approaches differ in their application range, the level of completeness of the exploration, as well as the amount of heuristics and human intervention required. Here, we describe and compare the different approaches based on these criteria. Future directions leveraging the strengths of chemical heuristics, human interaction, and physical rigor are discussed.Comment: 48 pages, 4 figure

Interactive Chemical Reactivity Exploration

Elucidating chemical reactivity in complex molecular assemblies of a few hundred atoms is, despite the remarkable progress in quantum chemistry, still a major challenge. Black-box search methods to find intermediates and transition-state structures might fail in such situations because of the high-dimensionality of the potential energy surface. Here, we propose the concept of interactive chemical reactivity exploration to effectively introduce the chemist's intuition into the search process. We employ a haptic pointer device with force-feedback to allow the operator the direct manipulation of structures in three dimensions along with simultaneous perception of the quantum mechanical response upon structure modification as forces. We elaborate on the details of how such an interactive exploration should proceed and which technical difficulties need to be overcome. All reactivity-exploration concepts developed for this purpose have been implemented in the Samson programming environment.Comment: 36 pages, 14 figure

To “Sketch-a-Scratch”

A surface can be harsh and raspy, or smooth and silky, and everything in between. We are used to sense these features with our fingertips as well as with our eyes and ears: the exploration of a surface is a multisensory experience. Tools, too, are often employed in the interaction with surfaces, since they augment our manipulation capabilities. “Sketch-a-Scratch” is a tool for the multisensory exploration and sketching of surface textures. The user’s actions drive a physical sound model of real materials’ response to interactions such as scraping, rubbing or rolling. Moreover, different input signals can be converted into 2D visual surface profiles, thus enabling to experience them visually, aurally and haptically

The Perceptual Experience Of Slope By Foot And By Finger

Historically, the bodily senses have often been regarded as impeccable sources of spatial information and as being the teacher of vision. Here, the authors report that the haptic perception of slope by means of the foot is greatly exaggerated. The exaggeration is present in verbal as well as proprioceptive judgments. It is shown that this misperception of pedal slope is not caused by calibration to the well-established visual misperception of slope because it is present in congenitally blind individuals as well. The pedal misperception of slope is contrasted with the perception of slope by dynamic touch with a finger in a force-feedback device. Although slopes feel slightly exaggerated even when explored by finger, they tend to show much less exaggeration than when equivalent slopes are stood on. The results are discussed in terms of a theory of coding efficiency. (PsycINFO Database Record (c) 2013 APA, all rights reserved)(journal abstract

Haptic Experience and the Design of Drawing Interfaces

Haptic feedback has the potential to enhance users’ sense of being engaged and creative in their artwork. Current work on providing haptic feedback in computer-based drawing applications has focused mainly on the realism of the haptic sensation rather than the users’ experience of that sensation in the context of their creative work. We present a study that focuses on user experience of three haptic drawing interfaces. These interfaces were based on two different haptic metaphors, one of which mimicked familiar drawing tools (such as pen, pencil or crayon on smooth or rough paper) and the other of which drew on abstract descriptors of haptic experience (roughness, stickiness, scratchiness and smoothness). It was found that users valued having control over the haptic sensation; that each metaphor was preferred by approximately half of the participants; and that the real world metaphor interface was considered more helpful than the abstract one, whereas the abstract interface was considered to better support creativity. This suggests that future interfaces for artistic work should have user-modifiable interaction styles for controlling the haptic sensation

Constructing sonified haptic line graphs for the blind student: first steps

Line graphs stand as an established information visualisation and analysis technique taught at various levels of difficulty according to standard Mathematics curricula. It has been argued that blind individuals cannot use line graphs as a visualisation and analytic tool because they currently primarily exist in the visual medium. The research described in this paper aims at making line graphs accessible to blind students through auditory and haptic media. We describe (1) our design space for representing line graphs, (2) the technology we use to develop our prototypes and (3) the insights from our preliminary work