Gamma EEG Correlates of Haptic Preferences for a Dial Interface

Consumers often develop preferences toward consumer electronics based not only on the visual appearance of a product, but also on its haptic interface. If consumers express a strong haptic preference for a consumer electronic product, they are more likely to purchase it. Hence, it is important to understand how consumers' haptic preference for consumer electronics is formed. Conventional paper-based methods may not provide sufficient information for this purpose, because they provide post-event (i.e., after haptic experience) and environment-dependent (i.e., depending on the manner of asking questions, the person asking the questions, and so on.) data. Therefore, the present study investigated haptic preferences for consumer electronics using neural responses during haptic experiences, which provide the advantage of observing changes while the user is manipulating the product and obtaining environment-independent data. We measured neural responses using non-invasive electroencephalography (EEG). Eighteen volunteers participated in the study and manipulated a haptic dial knob that generates four different haptic profiles; during the manipulation, their EEG signals were recorded. After experiencing different haptic profiles, participants reported their level of preference for each profile. The analysis of EEG revealed that frontal gamma oscillations correlate with the level of haptic preferences, with oscillations becoming stronger with increasing haptic preference. The highest correlation between frontal gamma power and haptic preference was found in the early period of the dial task. Therefore, the frontal gamma oscillation of the EEG may represent a neural correlate of the haptic preference and provides a neural basis for understanding this preference in relation to consumer electronics

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

User quality of experience of mulsemedia applications

User Quality of Experience (QoE) is of fundamental importance in multimedia applications and has been extensively studied for decades. However, user QoE in the context of the emerging multiple-sensorial media (mulsemedia) services, which involve different media components than the traditional multimedia applications, have not been comprehensively studied. This article presents the results of subjective tests which have investigated user perception of mulsemedia content. In particular, the impact of intensity of certain mulsemedia components including haptic and airflow on user-perceived experience are studied. Results demonstrate that by making use of mulsemedia the overall user enjoyment levels increased by up to 77%

Beyond multimedia adaptation: Quality of experience-aware multi-sensorial media delivery

Multiple sensorial media (mulsemedia) combines multiple media elements which engage three or more of human senses, and as most other media content, requires support for delivery over the existing networks. This paper proposes an adaptive mulsemedia framework (ADAMS) for delivering scalable video and sensorial data to users. Unlike existing two-dimensional joint source-channel adaptation solutions for video streaming, the ADAMS framework includes three joint adaptation dimensions: video source, sensorial source, and network optimization. Using an MPEG-7 description scheme, ADAMS recommends the integration of multiple sensorial effects (i.e., haptic, olfaction, air motion, etc.) as metadata into multimedia streams. ADAMS design includes both coarse- and fine-grained adaptation modules on the server side: mulsemedia flow adaptation and packet priority scheduling. Feedback from subjective quality evaluation and network conditions is used to develop the two modules. Subjective evaluation investigated users' enjoyment levels when exposed to mulsemedia and multimedia sequences, respectively and to study users' preference levels of some sensorial effects in the context of mulsemedia sequences with video components at different quality levels. Results of the subjective study inform guidelines for an adaptive strategy that selects the optimal combination for video segments and sensorial data for a given bandwidth constraint and user requirement. User perceptual tests show how ADAMS outperforms existing multimedia delivery solutions in terms of both user perceived quality and user enjoyment during adaptive streaming of various mulsemedia content. In doing so, it highlights the case for tailored, adaptive mulsemedia delivery over traditional multimedia adaptive transport mechanisms

Understanding customers' holistic perception of switches in automotive human–machine interfaces

For successful new product development, it is necessary to understand the customers' holistic experience of the product beyond traditional task completion, and acceptance measures. This paper describes research in which ninety-eight UK owners of luxury saloons assessed the feel of push-switches in five luxury saloon cars both in context (in-car) and out of context (on a bench). A combination of hedonic data (i.e. a measure of ‘liking’), qualitative data and semantic differential data was collected. It was found that customers are clearly able to differentiate between switches based on the degree of liking for the samples' perceived haptic qualities, and that the assessment environment had a statistically significant effect, but that it was not universal. A factor analysis has shown that perceived characteristics of switch haptics can be explained by three independent factors defined as ‘Image’, ‘Build Quality’, and ‘Clickiness’. Preliminary steps have also been taken towards identifying whether existing theoretical frameworks for user experience may be applicable to automotive human–machine interfaces

Substitutional reality:using the physical environment to design virtual reality experiences

Experiencing Virtual Reality in domestic and other uncontrolled settings is challenging due to the presence of physical objects and furniture that are not usually defined in the Virtual Environment. To address this challenge, we explore the concept of Substitutional Reality in the context of Virtual Reality: a class of Virtual Environments where every physical object surrounding a user is paired, with some degree of discrepancy, to a virtual counterpart. We present a model of potential substitutions and validate it in two user studies. In the first study we investigated factors that affect participants' suspension of disbelief and ease of use. We systematically altered the virtual representation of a physical object and recorded responses from 20 participants. The second study investigated users' levels of engagement as the physical proxy for a virtual object varied. From the results, we derive a set of guidelines for the design of future Substitutional Reality experiences

Quality of experience study for multiple sensorial media delivery

Traditional video sequences make use of both visual images and audio tracks which are perceived by human eyes and ears, respectively. In order to present better ultra-reality virtual experience, the comprehensive human sensations (e.g. olfaction, haptic, gustatory, etc) needed to be exploited. In this paper, a multiple sensorial media (mulsemedia) delivery system is introduced to deliver multimedia sequences integrated with multiple media components which engage three or more of human senses such as sight, hearing, olfaction, haptic, gustatory, etc. Three sensorial effects (i.e. haptic, olfaction, and air-flowing) are selected for the purpose of demonstration. Subjective test is conducted to analyze the user perceived quality of experience of the mulsemedia service. It is concluded that the mulsemedia sequences can partly mask the decreased movie quality. Additionally the most preferable sensorial effect is haptic, followed by air-flowing and olfaction.This work was supported in part by Enterprise Ireland Innovation Partnership programme