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

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Haptics for the development of fundamental rhythm skills, including multi-limb coordination

This chapter considers the use of haptics for learning fundamental rhythm skills, including skills that depend on multi-limb coordination. Different sensory modalities have different strengths and weaknesses for the development of skills related to rhythm. For example, vision has low temporal resolution and performs poorly for tracking rhythms in real-time, whereas hearing is highly accurate. However, in the case of multi-limbed rhythms, neither hearing nor sight are particularly well suited to communicating exactly which limb does what and when, or how the limbs coordinate. By contrast, haptics can work especially well in this area, by applying haptic signals independently to each limb. We review relevant theories, including embodied interaction and biological entrainment. We present a range of applications of the Haptic Bracelets, which are computer-controlled wireless vibrotactile devices, one attached to each wrist and ankle. Haptic pulses are used to guide users in playing rhythmic patterns that require multi-limb coordination. One immediate aim of the system is to support the development of practical rhythm skills and multi-limb coordination. A longer-term goal is to aid the development of a wider range of fundamental rhythm skills including recognising, identifying, memorising, retaining, analysing, reproducing, coordinating, modifying and creating rhythms – particularly multi-stream (i.e. polyphonic) rhythmic sequences. Empirical results are presented. We reflect on related work, and discuss design issues for using haptics to support rhythm skills. Skills of this kind are essential not just to drummers and percussionists but also to keyboards players, and more generally to all musicians who need a firm grasp of rhythm

Music expression with a robot manipulator used as a bidirectional tangible interface

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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

Biosensing and Actuation—Platforms Coupling Body Input-Output Modalities for Affective Technologies

Research in the use of ubiquitous technologies, tracking systems and wearables within mental health domains is on the rise. In recent years, affective technologies have gained traction and garnered the interest of interdisciplinary fields as the research on such technologies matured. However, while the role of movement and bodily experience to affective experience is well-established, how to best address movement and engagement beyond measuring cues and signals in technology-driven interactions has been unclear. In a joint industry-academia effort, we aim to remodel how affective technologies can help address body and emotional self-awareness. We present an overview of biosignals that have become standard in low-cost physiological monitoring and show how these can be matched with methods and engagements used by interaction designers skilled in designing for bodily engagement and aesthetic experiences. Taking both strands of work together offers unprecedented design opportunities that inspire further research. Through first-person soma design, an approach that draws upon the designer’s felt experience and puts the sentient body at the forefront, we outline a comprehensive work for the creation of novel interactions in the form of couplings that combine biosensing and body feedback modalities of relevance to affective health. These couplings lie within the creation of design toolkits that have the potential to render rich embodied interactions to the designer/user. As a result we introduce the concept of “orchestration”. By orchestration, we refer to the design of the overall interaction: coupling sensors to actuation of relevance to the affective experience; initiating and closing the interaction; habituating; helping improve on the users’ body awareness and engagement with emotional experiences; soothing, calming, or energising, depending on the affective health condition and the intentions of the designer. Through the creation of a range of prototypes and couplings we elicited requirements on broader orchestration mechanisms. First-person soma design lets researchers look afresh at biosignals that, when experienced through the body, are called to reshape affective technologies with novel ways to interpret biodata, feel it, understand it and reflect upon our bodies

Multisensory Perception and Learning: Linking Pedagogy, Psychophysics, and Human–Computer Interaction

In this review, we discuss how specific sensory channels can mediate the learning of properties of the environment. In recent years, schools have increasingly been using multisensory technology for teaching. However, it still needs to be sufficiently grounded in neuroscientific and pedagogical evidence. Researchers have recently renewed understanding around the role of communication between sensory modalities during development. In the current review, we outline four principles that will aid technological development based on theoretical models of multisensory development and embodiment to foster in-depth, perceptual, and conceptual learning of mathematics. We also discuss how a multidisciplinary approach offers a unique contribution to development of new practical solutions for learning in school. Scientists, engineers, and pedagogical experts offer their interdisciplinary points of view on this topic. At the end of the review, we present our results, showing that one can use multiple sensory inputs and sensorimotor associations in multisensory technology to improve the discrimination of angles, but also possibly for educational purposes. Finally, we present an application, the ‘RobotAngle’ developed for primary (i.e., elementary) school children, which uses sounds and body movements to learn about angles