BendableSound: An Elastic Multisensory Surface Using Touch-based interactions to Assist Children with Severe Autism During Music Therapy

Neurological Music Therapy uses live music to improve the sensorimotor regulation of children with severe autism. However, they often lack musical training and their impairments limit their interactions with musical instruments. In this paper, we present our co-design work that led to the BendableSound prototype: an elastic multisensory surface encouraging users to practice coordination movements when touching a fabric to play sounds. We present the results of a formative study conducted with 18 teachers showing BendableSound was perceived as “usable” and “attractive”. Then, we present a deployment study with 24 children with severe autism showing BendableSound is “easy to use” and may potentially have therapeutic benefits regarding attention and motor development. We propose a set of design insights that could guide the design of natural user interfaces, particularly elastic multisensory surfaces. We close with a discussion and directions for future work

Increasing Speech Ability of the Autistic Children by an Interactive Computer Game

Autism is one of the most common development disorders in the world, which affects about one in every 150 kids. It is a lifelong disability with no known cure at this time. It affects the way a person communicates and relates to people around him. They face problem to communicate with other people. Speech disorder is one of the most common complexities of autistic children. Most of the children are unable to speak like normal children. They speak repeated, meaningless word, which is very harmful for their communication skills. Now a day2019;s computer plays an important role for teaching. So we proposed a method which increases the speech ability of autistic children by an interactive computer game. Our game helps autistic children to improve his verbal communication ability. As children likes to play computer games, so our game will be the perfect way to teach new words to autistic children or increase their fluency of known words. We provide a module with that helps children to also learn mathematics. Their progress can be evaluated through our game module

Sensory Based Interventions for Children with Autism Spectrum Disorder: An Evidence-Based Practice Project

The overall focus of each of case scenarios are related to assessment or interventions that are related to Choosing Wisely Campaign items 1, 2, 3, 5, 8, 10. Case scenarios were developed related to each initiative with clientele and conditions across the lifespan in various practice settings. Practice settings included school district, outpatient pediatric, primary care, skilled nursing facility, work rehabilitation, and acute care

Neki aspekti senzorne disfunkcije kod mladih osoba sa poremećajem iz spektra autizma

Sensory dysfunction is characterized by difficulty in receiving, processing, and integrating sensory stimuli, resulting in an unusual response to sensory stimulations. An altered sensory reactivity is observed in a large number of people with autism spectrum disorder. The aims of this study were to determine: a) the relationship between the severity of autistic disorder and sensory dysfunctions; b) the relationship between different sensory modalities; c) the relationship between age and functioning on sensory modalities; d) the modalities in which respondents have the most pronounced sensory dysfunctions. The sample included 60 participants with autism spectrum disorder, aged 11 to 26. The adolescent and adult sensory profile (The Adolescent / Adult Sensory Profile, Brown & Dunn, 2002) was used to measure sensory responses of the subjects. For the purposes of determining the severity of autistic disorder, a PDD-MRS scale was used (Pervasive Developmental Disorder Mental Retardation Scale, PDD-MRS, Kraijer & de Bildt, 2005). The results obtained show that in young people with autism spectrum disorder there is no statistically significant relationship between the severity of autistic disorder and the sensory dysfunction. Almost all sensory modalities were mutually correlated significantly. Significant correlations were missing between the participants` age and the altered sensory responses. The results show that subjects achieved significantly higher scores on the Activity Engagement subscale compared with all other subscales, which leads us to conclude that the participants from our sample had the most difficulty in adjusting their activity level to the demands of everyday situations. These findings have significant practical implications, both on the planning and realization of sensory interventions in these individuals, as well as on the need to harmonize the characteristics of the environment in which they reside, the tasks delegated to them, and their sensory specifcities.Senzornu disfunkciju karakterišu poteškoće pri prijemu, obradi i integraciji senzornih stimulusa, koje rezultiraju neobičnom reakcijom na senzorne podražaje. Izmenjena senzorna reaktivnost beleži se kod velikog broja osoba s poremećajem iz spektra autizma. Ciljevi ovog istraživanja su da se utvrde: a) odnos između težine autističkog poremećaja i senzornih disfunkcija; b) odnos između različitih senzornih modaliteta; c) odnos između uzrasta i funkcionisanja na senzornim modalitetima; d) modaliteti u kojima ispitanici imaju najizraženije senzorne disfunkcije. Uzorkom je obuhvaćeno 60 ispitanika s poremećajem iz spektra autizma, uzrasta od 11 do 26 godina. Za merenje senzornih odgovora ispitanika korišćen je Senzorni profl adolescenata i odraslih (Te Adolescent/Adult Sensory Profle, Brown & Dunn, 2002). Za potrebe utvrđivanja težine autističkog poremećaja korišćena je Skala za procenu pervazivnih poremećaja razvoja kod osoba sa intelektualnom ometenošću (Pervasive Developmental Disorder Mental Retardation Scale, PDD-MRS, Kraijer & de Bildt, 2005). Dobijeni rezultati pokazuju da kod mladih osoba s poremećajem iz spektra autizma nema statistički značajnih relacija između težine autističkog poremećaja i senzornih disfunkcija. Skoro svi senzorni modaliteti međusobno koreliraju statistički značajno. Značajne korelacije su izostale između uzrasta ispitanika i izmenjenih senzornih reakcija. Dobijeni rezultati pokazuju da ispitanici ostvaruju značajno viša postignuća na supskali Aktivitet u poređenju sa svim ostalim supskalama, na osnovu čega zaključujemo da ispitanici iz našeg uzorka imaju najviše poteškoća u prilagođavanju svog nivoa aktivnosti zahtevima svakodnevnih situacija. Ovi nalazi imaju značajne praktične implikacije, kako na planiranje i realizaciju senzornih intervencija kod ovih osoba, tako i na potrebu za usklađivanjem karakteristika okruženja u kom borave, zadataka koji im se zadaju i njihovih senzornih specifčnosti

The explanatory power of sensory reading for early childhood research: The role of hidden senses

Sensory reading refers to reading that engages all six of the human senses – vison, hearing, touch, gustation, olfaction and proprioception. The author proposes that increased attention be paid to the three ‘hidden’ senses of gustation, olfaction and proprioception to advance innovative reading studies. She articulates the problematic of visually dominated multimodal research and print–digital media comparison studies, and extends the reading field to sensory reading that is not tied to a specific medium or mode of engagement but mediated by individualised sensory stimuli. This cross-disciplinary discussion of sensory reading opens up a new vista for affective literacies and integrates the tensions that emerge between psychological and new media studies concerned with material, ephemeral and embodied reading. This approach refines Rosenblatt's transaction theory and contributes new insights into materiality, ephemerality and the embodiment of reading, which dominate contemporary reading studies

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project