Tactile Interactions with a Humanoid Robot : Novel Play Scenario Implementations with Children with Autism

Acknowledgments: This work has been partially supported by the European Commission under contract number FP7-231500-ROBOSKIN. Open Access: This article is distributed under the terms of the Creative Commons Attribution License which permits any use, distribution, and reproduction in any medium, provided the original author(s) and the source are credited.The work presented in this paper was part of our investigation in the ROBOSKIN project. The project has developed new robot capabilities based on the tactile feedback provided by novel robotic skin, with the aim to provide cognitive mechanisms to improve human-robot interaction capabilities. This article presents two novel tactile play scenarios developed for robot-assisted play for children with autism. The play scenarios were developed against specific educational and therapeutic objectives that were discussed with teachers and therapists. These objectives were classified with reference to the ICF-CY, the International Classification of Functioning – version for Children and Youth. The article presents a detailed description of the play scenarios, and case study examples of their implementation in HRI studies with children with autism and the humanoid robot KASPAR.Peer reviewedFinal Published versio

Tactile modulation of emotional speech samples

Copyright © 2012 Katri Salminen et al. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly citedTraditionally only speech communicates emotions via mobile phone. However, in daily communication the sense of touch mediates emotional information during conversation. The present aim was to study if tactile stimulation affects emotional ratings of speech when measured with scales of pleasantness, arousal, approachability, and dominance. In the Experiment 1 participants rated speech-only and speech-tactile stimuli. The tactile signal mimicked the amplitude changes of the speech. In the Experiment 2 the aim was to study whether the way the tactile signal was produced affected the ratings. The tactile signal either mimicked the amplitude changes of the speech sample in question, or the amplitude changes of another speech sample. Also, concurrent static vibration was included. The results showed that the speech-tactile stimuli were rated as more arousing and dominant than the speech-only stimuli. The speech-only stimuli were rated as more approachable than the speech-tactile stimuli, but only in the Experiment 1. Variations in tactile stimulation also affected the ratings. When the tactile stimulation was static vibration the speech-tactile stimuli were rated as more arousing than when the concurrent tactile stimulation was mimicking speech samples. The results suggest that tactile stimulation offers new ways of modulating and enriching the interpretation of speech.Peer reviewe

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Multisensory integration across exteroceptive and interoceptive domains modulates self-experience in the rubber-hand illusion

Identifying with a body is central to being a conscious self. The now classic “rubber hand illusion” demonstrates that the experience of body ownership can be modulated by manipulating the timing of exteroceptive(visual and tactile)body-related feedback. Moreover,the strength of this modulation is related to individual differences in sensitivity to internal bodily signals(interoception). However the interaction of exteroceptive and interoceptive signals in determining the experience of body-ownership within an individual remains poorly understood.Here, we demonstrate that this depends on the online integration of exteroceptive and interoceptive signals by implementing an innovative “cardiac rubber hand illusion” that combined computer-generated augmented-reality with feedback of interoceptive (cardiac) information. We show that both subjective and objective measures of virtual-hand ownership are enhanced by cardio-visual feedback in-time with the actual heartbeat,as compared to asynchronous feedback. We further show that these measures correlate with individual differences in interoceptive sensitivity,and are also modulated by the integration of proprioceptive signals instantiated using real-time visual remapping of finger movements to the virtual hand.Our results demonstrate that interoceptive signals directly influence the experience of body ownership via multisensory integration,and they lend support to models of conscious selfhood based on interoceptive predictive coding

Multimodal Affective Feedback: Combining Thermal, Vibrotactile, Audio and Visual Signals

In this paper we describe a demonstration of our multimodal affective feedback designs, used in research to expand the emotional expressivity of interfaces. The feedback leverages inherent associations and reactions to thermal, vibrotactile, auditory and abstract visual designs to convey a range of affective states without any need for learning feedback encoding. All combinations of the different feedback channels can be utilised, depending on which combination best conveys a given state. All the signals are generated from a mobile phone augmented with thermal and vibrotactile stimulators, which will be available to conference visitors to see, touch, hear and, importantly, feel